popol_vuh

Wammer
  • Content Count

    350
  • Joined

  • Last visited

Community Reputation

26 Excellent

About popol_vuh

  • Rank
    Wammer
  • Birthday 25/09/1980

Personal Info

  • Location
    Croatia
  • Real Name
    Zvonimir

Wigwam Info

  • Turn Table
    Michell Gyrodec
  • Tone Arm & Cartridge
    AO rb250; BM MC gold
  • DAC
    rega DAC
  • Pre-Amp
    EAR 864
  • Power Amp/s
    Quad 909
  • My Speakers
    ATC SCM 19v2
  • Trade Status
    I am not in the Hi-Fi trade

Recent Profile Visitors

287 profile views
  1. Yes, Pete, I've done the same to my old belt (boiled it for 10 minutes) and it does seem that the process shrinks the belt slightly and reinvigorates the material - gives it back some of its rubbery properties. Thanks for the info about what Jonathan Nye said. Just to be clear - did Jonathan say that they already make their new belts in-house and those are already on the market, or are they in process of developing/making them and they are not yet on the market? I agree with your remark on Michell needing to have their own good QC/inspection system and thank you for further explanations and valuable information pertaining to variable hole sizes on the Gyro chassis.
  2. DomT, which amps do, in this dealer's opinion, work well with passive ATCs?
  3. Pete, thank you for a very insightful post. Also, appreciate your work and enthusiasm. I'm looking forward to getting your pylons very much, but unfortunately I think I'll have to wait another month or two to get them, because this situation with the virus and economy side of things is quite unpredictable. I've also recently bought a new Gyro belt and it was absolutely dreadful. My 10+ years old belt that is stretched beyond measure has much better speed stability than the new one. Two days ago, I received the replacement belt for the new one I bought and this one is now on par with that old belt I have...it's good enough, but to be honest, I have no clue what Michell are doing. Reading your post makes me a bit sad, because Michell seem quite complacent, telling from the way they act. I understand their attitude that upgrades need to come from in-house, that's perfectly normal because their products are not "open source", but they themselves don't seem to do much at all. They make great decks that people love and I think they are great value, but they need to wake up. That aside, the situation with the belts is particularly puzzling to me.
  4. Yup. I can also imagine how great they sounded with such high quality amplification as the one you used. Ear 802/509...beautiful. What kind of stands did you use? I used steel stands with 4 steel pipes each, pipes and top/bottom plates all 6mm thick steel. Filled with kiln sand and around 35kilo per stand. That worked really well for me. Really made sound images solid and focused.
  5. Yeah, I definitely see how these speakers could comfortably be all the speaker one needs. Really no need to go over the top money-wise, unless one chooses to, of course. In the end, I went for a different sound with ATC, but ProAcs are truly great speakers. I'd have no problem living with those permanently.
  6. Yeah, well, in that photo they look significantly better because you can see that they're smallish, but still, not my cup of tea. Generally I really don't care how speakers look if they sound good (except that I'd never get any speaker in white), but this is one of those very rare cases where I wouldn't buy a speaker even if it sounded phenomenal based on how it looks. Those acrylic (?) bases especially make no sense to me design-wise. Just too much.
  7. ProAc 1SC are great speakers. I've had them for awhile with quad 909 power amp and EAR 864 preamp. They need good, heavy stands. They sounded very airy and sweet and disappeared in my room. Sent from my Redmi 4X using Tapatalk
  8. Wow, those Gradients have to be one of the ugliest speakers I've ever seen haha. Sent from my Redmi 4X using Tapatalk
  9. Regarding this, I can only add one thing from my rather limited experience, but this thing I'm quite sure of: Absolutely avoid the major labels' reissues of classic rock or pop. I'm talking exclusively about majors here, since almost everything they've done in this area sounds like crap to me. Even with audible distortion in grooves sometimes, poor quality material, just terrible hack jobs and trying to cash in quickly. Then there's the other side of super-duper extra exclusive special editions and box sets that are a rip off even if done right. With classic rock, I always hit discogs or ebay and search for original pressings in minimum EX/VG+ condition that make sense. Good reissue label for rock is Music on vinyl - I have really good experiences with their stuff. I'd also avoid like the plague anything by "Back on black". The experience I have with their reissues is almost 100% crap. Oh yeah, also avoid any release by "4 men with beards" label - they are terrible hacks. On the other hand, new music on smaller, independent labels is very often done right, with care and can sound stunning, even when it's done from digital recording. I think there's often not enough attention given to this fact. I listen to a lot of new(er) independent music and very often it's beautifully done.
  10. I didn't mean it in such a way, as "the good old days" argument. There's no glorification of anything in my post, just a description of two ways of "building up" knowledge and experience and sharing how these two ways affect me. It's clear that before internet the smallest things could be a terrible PITA, nobody is denying that. The answer to the question you pose for me is clearly "yes", but that question isn't really clear and could mean more than a few things. To clarify - I think it's great that artists today can have a small home studio for next to nothing and that people are enabled to create. I think it's great that we have digital distribution, self-publishing etc., so it's easy for creative people to get the music out there. So, in this sense - it's great we have so much stuff, since it's a product of creative practice. And creative practice is very important for a culture and individuals within it. But on the side of one who is only listening to music, the systems/processes can be in place that encourage surface-level interactions. And that's what I mean by "too much" in a bad sense. Not too much per se, but too much in a short time, too many inputs all at once and sometimes even plainly too many inputs. Processes, systems and interfaces that are built to bombard you with inputs lessen one's ability to meaningfully interact with and process content. And in the sphere of art that's especially counter-productive.
  11. These two, along with some other posts, raise a significant issue IMO. And that is - the tempo in which we can meaningfully interact with works of art. Personally, I can be in a meaningful relationship with not too much music in a short period of time. I really need time with particular musical piece / album. I need to listen to it many times. I need to not listen to too many albums daily. When I listen, I need to be fully concentrated and my decision about what to listen to needs to be mindful. I also need some time and space between two listens - time to reflect and feel. joolsburger - what you said above is exactly the reason I don't like streaming. Too much music. Process of discovery way too easy - I wouldn't even call it "discovery" - it's just there, or there as a suggestin made by an algorithm. Remember how we used to discover bands, music and albums before broadband internet? That's discovery for me. Digging up information slowly, organically, forming a picture in one's mind about the artist and their albums. And then finally getting it and giving it proper attention. That's discovery - it involves the whole process, not just the result. These algorithm suggestions have nothing to do with music discovery. And that's why my relationship to music found in that way is almost non-existent. That's also why I think streaming is more a form of music consumption, not a meaningful interaction with a work of art. In this context I've quoted what newlash09 said, because I find that to be my experience as well. Even with CDs and even more with vinly.
  12. The vinyl thing is really highly subjective, it's difficult for anyone to say it's right or isn't right for you. I'd say - if you feel it - go for it. But you should know it's not plug and play. I mean, it can be, but that's not the point of vinyl. You need to be willing to be active with your vinyl setup. It needs attention, time and care. And for me, that's not a bad thing, I love that. Someone else doesn't. So you need to be clear with yourself where you are regarding this. You also need to, with time, build up your knowledge regarding vinyl front-ends. Secondly, there's been quite a few posts here that say vinyl sounds inaccurate, maybe "lovely" but not real. I really disagree with that from my experience. Vinyl has always sounded more "real" to me, even though it has no right to when you look at it objectively. And I'm not talking about "taste". I don't think "taste" has a place in hi-fi approach. High fidelity means exactly that - high fidelity to the source medium. And even with this approach to hi-fi, as I've said, vinyl sounds more real to me. Especially in terms of physical presence in space and texture of sound. But with vinyl it's not only about the sound. It is its own thing. A ritualistic practice. Its own kind of feeling. A kind of alchemy. Lastly, for me even though records are sometimes expensive, they are much more worth it than streaming services. Streaming services are nothing - you buy the right to use the service. You have no collection and no personal library of music. That's completely impersonal and detached. So-called practicality of this approach means nothing to me, I don't need a remote and have no problem getting out of my chair. I prefer my music interaction to be meditative, slow, with regard to the whole of work of art that I'm dealing with, with no nervous scanning, flipping, randomizing, skipping and rewinding. EDIT: P.S. Just for context - I'm saying all this as a 40-year old, whose only experience of vinyl was as a kid with my parents' crappy all-in-one system in the late 80s. When i really started listening to music during my teens, I listened to tapes and later CDs. I started my vinyl journey about 15 years ago with NO records at all and with buying a rega p3 turntable, with no real knowledge of anything really. The reason i started was i felt i wanted to go in that direction. Now I have a setup that i find very satisfying, quite good knowledge, and around 500 LP albums I enjoy immensely. There's no real logic in any of it, but if you want it, it can work beautifully.
  13. The issue happens only when stylus is in contact with the record. Deck is relatively close to a speaker, but the issue happens on some records during the VERY quiet intros where there is almost no sound and therefore NO vibrations happening from the sound (the volume is up, but the recording is silent). That's why i excluded this as a possible cause. I don't know how to check arm/cart matching, other than checking resonant frequency, which is completely fine if audio origami modded rb250 has the same specs as stock rb250. Benz micro carts and rega arms are a very common match. Vinyl engine is a great source and I've read a lot on the issue and it does seem cause by a lack of subsonic filter, but i asked here because i was interested specifically in thos issue when it comes to gyrodecs and a possible cure that would avoid the subsonic filter route. I wantedvto hear other gyrodec users' experiences.
  14. This issue was happening on two pairs of speakers and never happened with a digital source on either of these two pairs of speakers. Preamp/amp used were the same with vinyl and digital setup. Seems to point to a vinyl front-end, especially when checked against the usual suspects when it comes to this issue. The pumping, when it happens, has nothing to do with music/intended signal on the medium. I'm not talking about recorded deep bass. The TT setup is right. Perfectly level...the bounce on gyro is so-so (have never been able to perfect it), cartridge geometry is right, just as VTA (paralel to record). VTF is on the upper range of what manufacturer recommends. Resonant frequency of cartridge is in the right zone (although i'm not sure if for fully audio origami modded rb250 i can use data that's for stock rb250).
  15. Do you guys have a problem with speaker woofer pumping with your Gyros? I've always had this problem. I have to point out it has nothing to do with footfall or vibrations from the speakers (concrete floors with parquet and pumping can happen during very quiet intro music to some symphonies where there's very quiet sound and no sound vibration emanating from a speaker, but the volume is turned up). It happens on SOME (not all) records, pretty much exclusively on tracks on the outer edge of LPs. It's often connected with slight warping of the record, but not always (i have orbe clamp kit on my gyro). Do others have this problem and how do you go about fixing it? Are subsonic filters the only solution? I've been looking at KAB RF1, but i don't like the idea of putting one more component and one more interconnect in the system if it isn't necessary. Plus, I'd have to place it after the line stage (between preamp and power amp), since i don't have a separate phono stage in my system.