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Everything posted by uzzy

  1. uzzy

    Banana plug stuck in amp speaker post

    Depends on the manufacturer and the heat generated by the amp which is not only class A - My hafler is not class A but biased towards class A so it runs hot and so has massive heat sinks. The review of the Wazoo on TNT says the heatsinks are over spec'd and get "warm" so that would indicate (but not guaranteed) that it is not class A. Also it is only 50 watts a side. The Stereophile review amused me as the guy loved it only to find on test that the bias was wrong and it would only give 10 watts of clean power but I guess this goes to show that most of the time an amp doesn't get out of that zone. All reviews seem very positive of this wee beasty and I love the name
  2. uzzy

    Banana plug stuck in amp speaker post

    I did a quick look for anyone interested in getting some banana plugs These look value for money or you could spend a bit more and get these If you want to waste your money get these or alternatively you can get these silver plugs for a fraction of the price (a pack of 20 - with ten red and ten black) If you are a belt and braces person (screw clamp and solder) these could be just the ticket The choices are many - I excluded those with metal covers (they are an accident waiting to happen) i like the make up of the last plug which I have found to provide a secure connection over time, however if you spend a lot of time pulling them out and putting them in the ends of all will compress and provide a lesser contact over time. Someone said earlier not to use WD40 as it has solvents - it actually doesn't but you still do not want to use it as it leaves a greasy residue that attracts dust like noone's business. As to the crocodile teeth thingys - I would avoid them as the sharp points will scratch the gold surface of the socket and make it susceptible to corrosion over time (of course if you are constantly inserting and pulling any of these plugs then the gold plating will rub off over time). It is a shame that manufacturers do not use locking XLR plugs and sockets but hey ho there ya go. I guess they take up too much room on the back of the amp but to have a choice of either on the loudspeaker would be an advantage perhaps)
  3. uzzy

    Banana plug stuck in amp speaker post

    I have to ask, are you playing Yazoo, or maybe Alphabet Zoo (Ralph McTell) on the Wazoo
  4. uzzy

    Bi Wire V Jumpers ?

    Tinning the ends where there is no need for a solder connection will reduce the conductivity from pure copper. Also if you are using captive screws to hold the wire the solder is soft and deforms and does not IMO give such a good bond (have also noted over the years how you have to re tighten screws in mains plugs where the wires have been tinned as they get loose over time).
  5. uzzy

    Bi Wire V Jumpers ?

    Over the years I have tried biamping and biwiring .. wife was used to determine the best (she has good ears and less cognitive bias) .. the result .. she couldn't hear a difference. I have been told replacing a solid copper metal jumper with decent jumper cables makes a big improvement (though I doubt that physics supports this) .. I have a three box speaker system with high quality cable jumpers to each provided by the manufacturer so that is the way it stays.
  6. uzzy

    Banana plug stuck in amp speaker post

    Aye I keep meaning to move over to Spade terminals but the QED banana plugs are just so damn convenient (screw terminals etc) . If you cannot get it out you may have to remover the bass driver and then push it out from the inside with a hex bolt the same diameter as the hole (4mm) or a flat head screw driver (a pozi may work but will push inside the banana and may make life harder). Also might be worth using a metal coathanger or similar substantial wire - bend it out straight and try to bend over the end so you can insert through and hook the bent over end on the back of the banana and pull it out. a dentists pick thingy cut back to just leave a protruded bit would do the trick perhaps .. see if you could use one of these tools with a bit of modding to get it out
  7. uzzy

    "Audiophile Vinyl " my foot !

    My lad gets all his music on vinyl (bands such as All time Low, Gates. You me at 6 and a host of others) to date you can pick holes in some production but overall the vinyl is pretty much noiseless and far more consistent in quality than LPs from the 80s. Even in my hay day of buying vinyl in the 70s pressings were pretty much hit and miss .. I gave up on Yellow Brick Road after my local record shop had got in the third copy and it was still popping and ticking all over the place (even on the fairly mediocre replay stuff in the shop). I have bought a number of pressings in recent years (40th Edition Crime of the Century, replaced Sgt Pepper, Genesis Foxtrot and Nursery Cryme, Roger Walters stuff and others) and overall I have been very pleased with the quality (although the original mixes of Foxtrot and Nursery Cryme is not as good as the original). I clean a record and replace the sleeve for my stuff before playing it (as I have found dust contamination on some new records in the past). So if you are serious about your vinyl get a decent record cleaner (I use an Okki Nokki). I am one of those of the opinion that a modern digital recording should sound as good if not better on CD. However my 22 year old lad has some of his material (mostly all new and digital recordings) on CD but will invariably play the vinyl version which he says sounds better. He is not a hifi buff but he says that there is a realism about vinyl that just isn't there on CD and he has absolutely no axe to grind. He uses my system (he knows sod all about turntables arms and cartridges) but in case he buys a house I bought a Linn on ebay the other day for not a lot of money, with a mission arm mount still left on it - so I can just slot in my spare Mission 774 arm and I must get my other Decca Retipped and he is ready to go (I have a pair of time windows in the garage and I have two spare haflers and a hafler preamp and an elite preamp .. now for a 22 year old that is one hell of a first system methinks) as he would be lost without vinyl replay.
  8. uzzy

    what's next after roksan K2

    As ,Cno said above the Sugden Masterclass is brill. The problem is that you can ask us what we think but you need to get yourself out there and audition stuff because the world is your Oyster - but for under £2 grand you ought to get your ears around this On the solid state front perhaps this monster Or how about one with a DAB tuner on board like this monster or how about the excellent Hegel reviewed well in Absolute sound PMC use these at shows I think but you would need to buy a preamp to go with it Perhaps you ought to get your ears around some class D as well and the excellent Accoustic imagery amp and preamp (uses Hypex units - top notch) Happy hunting
  9. uzzy

    Hi sensitivity speakers

    Can't see them staying at this price but ya never know these are defo worth a listen These are also definitely worth a listen I had an extensive listening session on these somewhere way back when .. stunning little loudspeaker but I cannot remember for the life of me what the sensitivity is (all the modern Arts are 90db or greater efficiency I believe). If you give Derek and Ramsey (at Art Loudspeakers) a ring they would be able to tell you though.
  10. uzzy

    Hi sensitivity speakers

    What he said (they have had good reviews) .. also worth looking at if you can find a pair second hand are the old Wharfedale E70 and the bigger E90. Under rated in their day (well it was the era of Linn, Naim, and a few chosen speaker manfuacturers in the mags. Personally the bling put me off but they do the business on very few watts. The 90s are the biggest with 2 bass drivers,
  11. uzzy

    Cause of a very loud click/pop on Vinyl

    as he put on the Goldring cartridge and there is no noise then it could be tracking angle of the Ortofon but yes to confirm the record is faulty and has a fault deep in the groove that only the Ortofon is finding, he would need to buy another and see if it clicked in the same place with the Ortofon. First though he needs to ensure the Ortofon is set up with the correct VTA methinks
  12. uzzy

    Cause of a very loud click/pop on Vinyl

    As Dave Brown says above - it could be to do with set up (tracking angle (VTA), check that the arm is parallel to the deck and ensure the cartridge base is parallel to the record. If it isn't then adjust until it is and then try it and if the click is still there, then adjust it the arm height up a fraction and try it and if it is still clicking then try lowering it a bit below parallel and trying it there. Failing that working - keep the Goldring and sell the Ortofon (the Goldring is pretty fine cartridge innit)
  13. uzzy

    Stupid question: What's the difference...

    Now physics would suggest that if a turntable is turning at a constant speed with no identifiable wow or flutter then the drive method used will have absolutely no affect on sound quality as far as the speed is concerned. As to a turntable and its performance the trick with any drive is to isolate vibrations and noise from the motor reaching the platter and thus the stylus in contact with it. I sold thousands of turntables in the 70s from SP10s and the Micro Seiki monster with the three arm capability (which we used in the dem room to demonstrate cartridges and arms_. Also in he dem room we had a Linn, a Systemdek, and perhaps a Rega and would wheel on others if a customer wanted to compare say an SL1200 or whatever. They each have a sound quality of their own but I am convinced that is down to the overall materials in construction and mass of various items and its ability to not transmit any extraneous noise to the cartridge in the groove (as any noise will be picked up by the stylus and transmitted through the loudspeakers and thus affect the sound of the music being heard). As to the type of drive - well as physics will tell you - if it turns at a constant speed that is the aim of the game and the only affect that the speed can have on sound is if it variates and the only affect the type of drive used will have in addition to that, is if it transmits vibrations and noise. If properly isolated then it can have no affect on the sound quality. At the end of the day you use your ears and you buy which sounds best to you .. as to the debate about which type of motor sounds best well the best one is ones that play at constant speed and transmits no noise or vibration to the stylus in the groove end of story
  14. uzzy

    From ugly ducking

    No doubt about it Johnnie is a genius .. love his work bless him (he is a lovely feller too so that is an added plus).
  15. Ok - a producer does his best to create an aural image of what he believes the concert should sound like. So he places the instruments in different positions by panning and by volume - so panned to the left on a lower volume makes the sound appear to be placed further back than the vocals and to the left - and so on. Live orchestra can be by various methods (multiple placement of mics and perhaps even close mics on certain instruments and then mixes to try and recreate the aural illusion of someone sitting in the auditorium. It is the craft of the engineers and producers to try and create an audio illusion using two loudspeakers in your living room. We all know that that illusion is lost with headphones where the speakers are on the ear (or in them) and so the music is in your head with a definition of width but not of depth. As Rabski said above the audio image (the illusion) is something we all love and the magic comes from when we have a speaker that is lovely and clear (if the material presented is lovely and clear) with all the metaphors we use to describe the wonder and when they image as well (I will give the example of my old Gale GS401s they sounded fabulously clear but the audio illusion of space and depth was lacking (probably due to the driver placement in the baffle, I say this as the Pro9TL I had after did a fabulous job of clarity and width and depth using the same mid range unit and so to did some of the Celestion Speakers using the same HF2000 tweeter as used in the Gales). It is that magic of clarity and balance with a realistic illusion of depth and width that makes us forget about the kit and focus on the music At the end of the day the thing I hate about articles like the one this post is about is - it has some science and a lot of personal views and it does nothing to help us in our audio experience. Will it help you better identify your next pair of loudspeakers?
  16. uzzy

    Optimal pre amp volume.

    Most DACs give the same output as a CD (2 volts or thereabouts) as far as I am aware. If you have variable output then try it on a lower setting but in my experience I also found with my pre that without attenuating between pre and power I was too "loud" on all sources with little movement on the volume control of the preamp. As to sound quality I can say that in my experience it improved things with the attenuators due to balancing the output of the pre to the power amp. I should add that my first course of action was to attenuate between CD and preamp but realised that it needed to be pre to power so slipped the attenuators over to that formation. You need to check the manufacture specs of your preamp to determine if you should reduce the output of the dac to preamp. Most preamps today are designed to work on about 2 volts on line stages so if that is the case with your preamp then reducing output of the DAC is not ideal, however, if you are using an old quad preamp where it is expecting about 120 millivolts on the line stage then you need to attenuate between the dac and the preamp (IMO) the technical boffins in here will no doubt lend their expertise.
  17. uzzy

    Optimal pre amp volume.

    The problem is two fold First with old pre-amps (pre CD) it is likely the line stages are 125mv and it depends on the design as to what the upper level of input is before the line stage goes into distortion. However, that is not the problem that was being addressed (I think). Second (the problem being addressed) is that a pre-amp may have a high output (say 2 volts) but the power amp may have a requirement for only 1 volt or less to provide full output. So if that is the case then it is unlikely you will ever get the pre-amp to anywhere close to 12 o'clock and it varies from virtually no volume level to too loud (due to the volume control travel being so small to accurately give a gentle level increase). Also if the pre-amp is operating with the volume control hardly on, it is not performing to its optimum. I had that problem with my SP9 into my Hafler (the SP9 provides nearly 2 volts, even with the circuit board user setting to provide a lower output). I rectified the situation by fitting two rothwell type attenuators between pre and power. Now the usable volume range on the pre is from 9 oclock for low volume to 2pm for max volume ... whereas before attenuation I was stuck between zero (about 7 o'clock) to 10 o'clock. So now the pre-amp is performing at its peak levels and I have a nice wide range on the volume control to set listening levels required.
  18. Good luck with working out that one - it is not as if we are present in the recording studio listening the final mix the way the producer intends it In reality it is our ears telling us which we like the best. As i said it was interesting seeing the different criteria used by a famous musician and a famous producer that opened my eyes to the fact that everyone has their own idea of what sounds right to them and has different criteria in choosing their kit (and one of those should have a good idea of how accurately the speaker is reproducing the recording (if it was a record he produced which funnily enough some were).
  19. He obviously never auditioned a pair of Bose 901s first (designed to have most of the sound from reflections from back and side walls with only one driver facing the listener. I have to say I have heard them in different environments and when sited ideally (where the room has usable corners and back wall) they can sound very very good.
  20. uzzy

    Cause of a very loud click/pop on Vinyl

    I would think it is the fact that the shibita is in total contact with most of the groove. This article gives nice diagrams and pictures to show the profiles and how they sit in the groove.
  21. uzzy

    To treat or not to treat

  22. Nope - it is about accuracy of sound (nothing to do with the illusion of depth and width and space). I used to play in bands for years, I worked as a roady, I worked in a hifi shop. I have truly experienced the differences in sound of guitars, basses, amps, microphones. Playing drums I had the back line of amps from Keyboards and guitars and a fold back for the vocals .. no illusions .. It was interesting having the first violinist of a famous orchestra in the shop choosing loudspeakers and a famous record producer. What they were listening for as opposed to the punters who usually wanted to just listen to what the mags recommended. Also the difference in preference - those that sought the illusion and would choose a speaker that gave a better illusion of space and depth whereas to me being able to hear and accurately identify instruments and to hear them sounding how my ears told me they should sound from my live experiences. It is about having a loudspeaker where the tone and acoustics of an instrument are accurately portrayed (the illusion is from what part of the room you hear it from)
  23. uzzy

    Free Equipment Reviews

    If you do not already subscribe then you may wish to (this was the chap who gave the Munich Show Report which i posted earlier)
  24. uzzy

    Free Equipment Reviews latest edition
  25. uzzy

    Record cleaners

    Well that could be the case if you did not use a brush to get into the grooves (bit like a washing up brush when doing the dishes - just leave the plates in the soap suds and it will hardly get them clean) and have an effective cleaning solution .. and of course the better the brush the more crud (if not all) is extracted from the grooves. I use a mohair brush that will get hundreds of bristles down into the grooves and with an effective cleaning solution will remove most if not all the crud. I also know this to be factual because for my sins many years ago i used a lenco clean. it had a mohair brush and a tube that laid down a cleaning liquid and brushed the record in play leaving a damp surface (which resulted in the quietest LP play ever) the disadvantage was the crud then ended up in suspension in the liquid then dried onto the record after play (glued on virtually) and the liquid could make its way up into the cartridge and bugger it up. Playing an album dry after it had been used with a Lenco clean (i.e. not using the lenco clean on play) was unlistenable with drastic surface noise and crackles .. So to get away from the Lenco clean I started years ago taking records into work to clean on the KMAL (which then returned them to the pre lenco state) and they were all playable with virtually no noise at all .. I had not done the whole collection (only the albums I played the most) and so I bought an Okki to finish the job (it took me a few weeks) and I can confirm that the results are brilliant .. So from my experience an effective vacuum cleaning machine works a treat - the ultimate for me would be to have an ultrasonic and a vacuum to ensure all the liquid and anything in suspension is removed from the record.