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MGTOW

Wammer
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MGTOW last won the day on June 12

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About MGTOW

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    MGTOW

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    Poole, Dorset
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    Dave Wiley

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    I am not in the Hi-Fi trade

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  1. The node was bought to extend functionality. Digital inputs, Bluetooth headphones, sub output and better Tidal integration being the reasons. All work as advertised but functionality on Tune-in digital radio is poor and I have not, as yet, found good reason to swap from Spotify to Tidal lossless, given that the latter is twice as expensive and the catalogue less extensive in some areas (that I favour). Performance wise, there seems to be a sense of ease to the Node but the bass is certainly more 'emphatic' than the Connector, in some cases a really good thing, on some material, not so good. When it works well, as now, playing some vintage Marcus Miller, it makes me wonder why I bought the subwoofer, bass on the Adam speakers, though clearly limited in both extension and loudness, is fabulous at sensible, neighbour friendly levels in my 25 by 13.5 ft living space. Talk to me when you are back, if you are still interested.
  2. Hi MartinC. I have just replaced a Connector with a latest spec Bluesound Node 2i. Both units were used 'solo' as streamer/dac/preamp into my Adam active speakers. The Connector was simple to set up and use and the Raumfeld app seems to work well. Tune-in was used for occasional talk radio but primarily the Connector was used with Spotify Connect. Once set up using the app, I controlled everything from Spotify client on my MacBook and various iThings, seemless. If you are interested I can send you the Connector to try, I originally planned to keep it as a bedroom setup but that really isn't going to happen so it is just sitting unused. If you fancy it, let me know, I can send it to you. Not a million miles away but the package is small and easy enough to post.
  3. MGTOW

    Amp advice

    Essentially power amps have a single input, no switching and the level controls are primarily for matching rather than volume adjustment. A spare laptop running your streaming service into a USB monitor controller, a fostex PC100 say, would be my preferred option but a Bluetooth receiver such as the Arcam Miniblink used with your phone or tablet would work fine. Either device should cost around £70. The levels on the power amp would be set to your maximum preferred level, then use the volume on your device to adjust in normal use.
  4. MGTOW

    Amp advice

    Casper... You have to balance hifi virtues against ruggedness and reliability. There are plenty of decent 50-100 watt hifi amps available under £100. They are unlikely to be top of the line models so perhaps unsuited to sustained heavy use whilst still being fine for 'normal' hifi playback. Overdriving them in a party situation will quite possibly produce a (distorted) signal that destroys speakers in seconds, even supposing the amp itself survives. Taking a step back I would simplify the situation. Build a selection of playlists on a phone or iPod and connect directly to a pro type amplifier either wired or via a bluetooth receiver. Buy the most potent amplifier you can afford. Studiospares in Luton are selling the KM750 for just £103 and the hugely powerful KM1700 (about 500wpc into your speakers) for £140. But as I said earlier, it all depends on your priorities, in a party situation there is nothing quite like a system that just never runs out of steam, but if that is not your priority then other factors come more important.
  5. MGTOW

    Amp advice

    Casper... A lot depends on your priorities in the first instance, I can not emphasise enough how power requirements increase in party situations, your speakers will be quite sensitive, which is a massive help but the more power you have the better the results will be in party situations. If you are going to use multiple sources then a pre-amp will be needed which will take the cost way over budget so a big integrated remains your best bet. They are not, in the main, designed to be worked hard and often tend to fail in such circumstances, but I can see no practical alternatives.
  6. I have been somewhat intrigued by the Club-27 range of speakers, sort of a spin off from Bastani, originally in kit form. Now available fully built from https://www.club-27.com The Kurt and particularly the Amy models look seriously funky, sensitive yet not enormous in size and at about £3k for the nicer finish options. No obvious way to get to hear them though and for a speaker that 'off the wall', this is an issue. Tune... The 4320 was conceived in the very early '60s, studio amps at that time were generic valve models originally built for cinema use, typically about 40-50 watts. The shift to solid state was a few years later, prompted by the introduction of the Crown DC300 in '67-68. The 4300 series was a complete revamp utilising new bass divers to extend the bass response at the cost of sensitivity. Maximum output was maintained by increasing power handling and the the DC300A was the amp of choice for most studios.
  7. MGTOW

    Amp advice

    Party type systems are always something of an issue. In a reasonably sized room, with some people chatting and 'having a good time', the power requirements go through the roof! Depending on what source you are using for the music, a pro type power amp may be all you need, the Behringer A500 a decent choice but it is an old model and quite expensive for what you get, there are several digital models that deliver more power for less money. The same companies KM750 amp will give you 200+watts into your speakers and, importantly in my view, a degree of overload protection, about £100 if you shop around. Also, from a practical point of view, find a way to get the speakers off the floor, they will play louder and cleaner if you can lift them up, ideally about 18-24 inches.
  8. Thanks to everyone who replied. The JBL pictured above is a fully restored 4320. The 4320 is (arguably) the first purpose built studio monitor, developed in the early 1960s to replace the cinema speakers (Altec A7s in the main) then used for studio playback. The 4320 used two fine drivers, with massive alnico magnets and a simple second order passive crossover, in all respects this is the 'classic' 15 inch plus compression driver system with a sensitivity in the high 90s dB/metre. Unlike later JBLs it was designed to be driven by relatively low powered valve amplifiers. The Klipsch Heresy is a smaller 12 inch system, the main limitation being the use of compression drivers bases on the Electrovoice 18xx series, never my favourite unit. The emphasis on high measured sensitivity gives a very mid forward balance that I find difficult, decent EQ might sort that out at the cost of a loss of some sensitivity, but that tends to over complicate the project. The Living voice models are a possibility, I have heard them sound very good though the Border Patrol amplification was rather beyond my budget. Perhaps a bit too 'normal' for my tastes.
  9. There is rather more than a hint of Tandy about sone of these suggestions, the Kralk and the E Series bothe look like a 'Realistic' product of the mid 1980s. I would dearly love something like this... Late model 4320s, lovely.
  10. Thanks for the quick replies. The Aspara models look wonderful but not exactly easy to find, right sort of thing though. I find the Heresy hopelessly mid forward, The EV derived midrange has never been to my taste. Could eq (dsp) I suppose but that rather goes against the idea of the setup. The odd pair of Century L100 at reasonable prices, need bi-amping though, I know how to do it, but again gets away from the simplicity of the project.
  11. My everyday system (Bluesound Node 2i and active speakers) is wonderfully house trained and not going anywhere. (currently playing some Kamaal Williams, late night levels but still a very solid, full sound, not half bad) However, one of my occasional indulgences is valve amplifiers, I have a fondness for EL34s that is probably unhealthy. As you can see, we are not talking serious exotica here, paired EL34s, good transformers or possibly other designs at a similar level of cost/performance, that is where I am at. Such amplifiers are not difficult to find, there are often models on this very forum that I would love to try, the problem is the rest of the system, so... The primary issue is speakers, I would want decent sensitivity, mid 90dB/m or better, in an ideal world we are talking about a 15 inch bass driver and compression driven highs, realistically I could live with a 12 inch driver. Sadly such things are rare and in the main, large and expensive. I really do not want to get into any kind of custom/diy scenario, so I am looking for speakers that I can actually buy, either new or used, by that I mean that I am prepared to make some effort and travel to audition/buy, but would rather prefer to stay within the uk. (much as I would love to visit Kenrick Sound!) My source material will be Tidal, so a streamer/dac will be required too, nothing else ideally. Any thoughts?
  12. I started asking about timing issues because of something I came across in the studio world. Some digital active monitors are fully integrated, simply requiring a digital signal to play. These are self contained units accepting a data stream, usually to AES standard though occasionally SPDIF coax or optical, the DSP does the processing and crossover and multiple dacs feed the selected channel to the amps and speaker drive units in the usual way. I have never heard anyone have any issue with timing within an individual speaker but concerns have been raised about consistency between the two (left and right) speakers. In the studio environment the digital cables might be quite long, different lengths and be physically routed quite differently. The thought is that the signal reaching each speaker is not identical, the data stream may be, but the noise might be quite different. In a stereo dac any delays (buffering) caused by reclocking will be identical as the two channels are processed more or less simultaneously. In the setup above, the time delays may be quite different between left and right speakers, it is of sufficient concern for manufactures to run control signals between the speakers to mitigate the problem. I was wondering if this might be a issue in hifi, though Linn seem to have it under control.
  13. Not my experience at all. I feel that good vinyl is wasted on affordable players, all you hear is the player, not the music. I gave up on vinyl about 15years ago due to the investment and running costs reaching, for me, unacceptably high levels. I still have friends, in and out of the trade, who play vinyl, some to a very decent standard but I have heard nothing 'affordable' in that time to change my mind. Sorry for the thread drift. I shall find a more appropriate thread to air my views on vinyl replay
  14. The whole front end is the problem. I'm really old school but find that 'affordable' setups really do not do it for me. Amps, I agree, some speakers too but even then my preferred EL34 power and high sensitivity speakers are not exactly cheap.
  15. Don't I know it. Vinyl remains the most effective means of communicating music in the home environment. It's a crying shame that it is such a PITA and so bloody expensive.