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About graham67

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  1. i should mention that as serge says it is perfectly normal. IIRC, the manual says that a normal listening level is between 12and 18 which is pretty much what you have. So the best action may be to do nothing at all 😊
  2. hi Gwyneth, and welcome to the Wam. Another option is to set the inputs on the 34 to a more sensitive setting. The cd/aux and tape inputs both have internal coloured flags which you can change with no soldering required. Again this is described in the manual, but at a guess, changing the 300mv flags to the 100mv flags should achieve this. These flags were originally supplied in the small white box which contained the moving coil input card. You can test if this will work without opening the 34 by connecting a source to the radio input which has a fixed sensitivity of 100mv which needs very little volume to go loud. The downside is that the source may overload the input which will cause a distorted or compressed sound, in which case you will know the 100mv setting is not suitable. the only input that cannot be adjusted in this way is the disc/phono input if you play lps. In this case you will need to revert to the better long term solution as mentioned by Serge which is to increase the 500mv output on the 34 to better match the input on the Elite (which I am guessing is 775mv). This is detailed in the manual but does require a resistor to be changed which involves soldiering but is a simple job for any electronics repairer. I use a 34 on a daily basis and in many systems and have always been able to get a good result by changing the input flags. You should find that one setting should give a loud open undistorted sound without being restricted to the first few clicks of the volume control. Dont forget to change both flags for each input there is one for each channel, making a total of four flags to change for both adjustable inputs. hope this helps Graham
  3. Interesting advertisement for JBL 200. I am not familiar with this model so a quick bit of Googling revealed it was not a sales success. The attached link from the lansing site mentions it was rather boomy in the bass. For those in 1976 that outlayed 1,400 smackers (serious money nowadays let alone back then!!), I imagine it would have been a disappointing to find one bought a discontinued model
  4. I would recommend getting Paul coupe from.RFC to develop you a design that you can either build yourself or get a cabinetmaker to build. If you specify the room, he will likely adjust the volume size to suit.
  5. cool great music. Buts its such a shame Sabs albums aren't as well produced as Ozzys solo efforts with Randy Rhodes, sonically these are really good.
  6. Thanks guys, i know myself enough to say the quest will never be over, this hobby seems more a journey than a destination...... But at the moment I am hard pressed to think how the deck/arm/cart could be much improved, short of a megabucks cart or a complete change of deck. Given its daily usage, I really dont want to buy a cart where i count £1 each time I play an LP. And I have sworn not to sell the 401. Of course if I lose my musical mojo and start listening mainly to Diana Krall, Patricia Barber, Barb Jungr et al, then all bets are off . Just a thought, as I have and enjoy Sade's Smooth Operator, does this mean i had better start saving?! 😉
  7. This is a follow-up to the below post where i asked for possible cart options to replace a PTG2. In that post i mentioned I had an DNM Reson Reca which might be fun to try. So I did with rather interesting results. Compared to the PTG2, the Reson Reca is rather unrefined, having the typical MM traits of a strong midrange, smaller soundstage, and a rather fragile treble that does little to paper over the cracks of less than pristine vinyl. However what struck me was the timing and pace, it infused so many of my records with an infectious energy. This was the element that I felt was a weakness in my system. I still dont believe the PTG2 is overly lacking in this area, indeed compared to some other MCs I have tried this was a relative strength, however the DNM was a whole different deal. Unfortunately, I soon tired of the DNMs surface noise and exposed top end on brighter or compressed recordings so I was soon hankering for the MC polish of the PTG2. I considered the Shibata tipped 33Sa, but on reflection, I realised that pace and rhythm was more of a strength on the MM carts I have owned, often being well suited to pop and rock, but equally lacking the refinement for vocal led, acoustic and more sophisticated material. So instead I decided to take a chance on Audio Technica’s premium MM cart, the AT 150Sa. This Shibata tipped cart, but using a plain aluminium cantilever, replaces the well regarded 150MLX which I have also owned. Like other ATs I have tried, the Microline tipped 150MLX had a refined mid and top end. But in my setup the 150MLX could be a little polite and recessed, so despite having good rhythm, I often wanted more. This is one reason I preferred the bolder sounding 33PTG2. In contrast, the 150Sa has a rather different balance to the 150MLX and PTG2. The midrange has much more presence, so vocals are clearer and leap out. I now find myself following lyrics that were previously hard to decipher. The treble is also more prominent and extended but retains the typical AT refinement. Percussion is particularly well handled. Surface noise is a little higher than the ghostly quiet PTG2 (and if i remember right a little noisier than the 150MLX), however by MM standards this is a very quiet cart. Tracking is fantastic, right up with the Microline equipped PTG2 and 150MLX. Bass is not as deep as the 33PTG2 but it is very communicative, bass guitar in particular being rich and resonant. And what about the Pace, Rhythm and Timing? Without doubt this is a major strength of this cart. The best way I can describe it is to say it has no sense of overhang, so it has a drive and energy that makes my LPs sound more engaging. And it is surprising just how many recordings boogie along. When combined with my JBL studio monitors I feel I am hearing albums as they were meant to be heard. In particular it excels at bringing out the funk of rock and pop LPs of the 70s, so it excels with artists such as Bad Company, Bowie, The Eagles, Stevie Wonder, Elton John. Poorly recorded albums, such as Thin Lizzy's Jailbreak, which can become unlistenable are well handled with the emphasis on the meat of the performance rather than the flakey production. The marvellous Tom Jones Decca recordings of the late 60s sound full bodied, conveying all the soul and nuance of Tom's vocals. As a bonus, it is able to dig out the rhythm of albums that can otherwise sound a bit smooth so I find myself tapping along to bands I might previously have dismissed as a bit middle of the road such as 10CC. Of course it cant rescue murky production, such as found on ELO's New World Order, but that would be asking too much of any cart! Moving into the 80s, well recorded material such as Robert Cray Band, Dire Straits, Micheal Jackson etc sound dynamic, full and detailed. Ozzy Osborne's rather excellent Dairy of a Madman is powerful with rapid fire drums overlaid by Randy Rhodes virtuoso guitar. Another bonus is that the sometimes overly smooth remastered LPs of recent times sound more lively. The downside is that very clean and compressed sounding 80s records such as Mike and the Mechanics Living Years could do with a little of the honeyed refinement that the PTG2 brings. However with the right phono stage, it manages to stay on the right side of the musical edge. The best word to describe the 150Sa is that it is crisper than the PTG2. The Sa is more focused, energetic and explicit. Whereas the PTG2 is smoother, more refined with a richer, deeper and bigger soundstage. Both are very musical but in different ways, the PTG2 washes over you, whereas the 150Sa grabs your ears. Consequently, I found the 150Sa works much better with my warmer sounding Quad QC24 valve phono stage than my alternative solid state stage. With the solid state stage I could occasionally reach for the volume control if it all got a bit much. Whereas with the Quad stage, the only time I reach for the volume is to turn it up. Unless your system is a bit forward, I have no doubt the 150Sa is a more capable cart than the 150MLX, offering a more committed musical performance. It is the best MM cart I have tried, besting the DNM Reson Reca, Audio Note IQ2, Nagaoka MP500, Goldring 1042 I have also owned. Whereas the PTG2 is a more sophisticated cartridge than either of the AT MM carts. With a more neutral sounding deck or more modern speakers, I imagine the PTG2 could well make the 150Sa sound a bit brash in comparison. And by most objective or measurable standards, the PTG2 would be rated higher than the 150Sa. However the 150Sa does seem to well complement my Garrard 401/Audio Note Arm One front end and slightly laid back speakers, sounding just right on almost all the material I play. I will be keeping the 33PTG2 as I could imagine the MC cart being perfect to dial back in some refinement, if the system balance changes again. Value wise the 150Sa is a cracker, as it can be purchased for considerably less than the RRP. I purchased mine from Scott Nangle for £259 which seems very good value in this Brexit age being less than most international sites.
  8. Absolutely, the Loricraft does an amazing job and is quiet as it uses a medical type pump rather a vac type motor. I use a dual-pump PRC-4 and consider it the best vinyl related purchase I have made, as i can buy cheap records at fairs, clean them up and get a quiet record assuming it has not been badly scratched of course. The after sales support and help from Terry and Bob at Loricraft is second to none too.
  9. hi robin, that should sound excellent, 3/5s and their derivatives sound great with the 405. If ever I need to relocate to a room too small for my tannoy Eatons, I think the graham audio/chartwell 3/5 will be my no. 1 choice. happy listening !
  10. hi robin, Great to hear from you, I didn't realise it was you. Glad you are still enjoying the quad. Its a lovely amp when matched sympathetically - i see you have tannoys too which models do you have? all the best, graham
  11. bumpo, great drivers for a big tannoy project :-)
  12. Oops didn't notice date of original post. That was a waste of time wasn't it? 😞
  13. jack is spot on, i am rather biased towards pace and rhythm as it is an essential ingredient to the 70/80s rock and pop I enjoy. For artists such as Gary Moore and thin Lizzy et al it is expected, but it is surprising how energetic and funky live LPs from soft rock bands such as supertramp and 10CC can sound if the system is upto it. I used to find these albums a bit plodding but now they display an enjoyable foot tapping rhythm I never expected. With some speakers/amp combos or a smoother front end I found the isolda could occasionally sound a little too relaxed, though I suspect most listeners would prefer the control, imaging, deep bass and presence the isolda brings over the much cheaper nordost. However a recent cart experiment has injected some speed into my system and has meant I have been able to reinstate the Isolda with such good results I have not felt the need to try the TQ black.
  14. hi Fanta, absolutely you can. I use the 34s tape input for my squeezebox touch and it works very well with the added benefit that you can adjust the input sensitivity using the supplied 'flags'. graham
  15. I can confirm these work well old quad amps such as the very similar 405 and assuming the room is not too big. I use this combination in my office system and its a great all rounder. Another good speaker for this amp is the first series Rogers LS6 or LS7, preferably in teak veneer (which look a lot more lounge friendly). These are well under budget and have the classic BBC inspired tone well suited to classical. Parts are hard to source, so make sure they have been well cared for. Graham.