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f1eng

Super Wammer Plus
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About f1eng

  • Rank
    Wammer
  • Birthday Private

Personal Info

  • Location
    Wantage, U K
  • Real Name
    Frank

Wigwam Info

  • Turn Table
    Goldmund Reference
  • Tone Arm & Cartridge
    Goldmund T3f/Ortofon
  • SUT / Phono Stage
    T3000/in Devialet
  • Digital Source 1
    Goldmund Mimesis 36+
  • Digital Source 2
    iMac
  • DAC
    in Devialet
  • Integrated Amp
    Devialet O d'A
  • My Speakers
    Tune Audio Anima
  • Headphones
    AKG Q701, Stax Lambd

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  1. f1eng

    CD Alive and Well?

    Not for me they weren't, I like classical music best so listening to a whole piece of music without having to get up and turn the record over at least once whilst listening to a symphony was a godsend with CD. Since the tagging system was standardised for pop music finding a complete set of files to listen to on a streaming service is a pita, as it is with ripped CDs unless 20 minutes is spent tagging the rip each time. I can't be bothered and have pretty well gone back to only listening to CDs and LPs, so I hope it isn't the end of CDs.
  2. f1eng

    Do digital audio players sound different?

    When I decided I wanted to try high res at home a few years ago I looked for a DAC to replace my 20 year old model. I tried 4 normally and well engineered models at home. The most expensive was a Linn Klimax DS then a Resolution Audio Cantata "music centre", a Weiss 202 and the DAC side of a Metric Halo recorder. The sound quality was so close I certainly could not discern one from the others blind on the sort of music I listen to. I could perhaps - just- detect a bit more detail on the Cantata, which is what I bought because of its versatility and styling rather than any impressive SQ. I hear big differences between microphones, various tape recorders, speakers and speaker location. DACs, if there is a difference it is so minimal as to be negligible to me.
  3. f1eng

    Speaker noise when tapping turntable??

    Linn TTs are actually quite well isolated from external influence. It is TTs with a "solid" plinth which add the most bass reverb picked up from the environment. The -8dB figure was a Garrard 401 with SME 3009 Imp arm in a "rigid" wooden plinth on an oak workbench iirc (it was 1975). The TT I preferred in the music room with the speakers to in my study next door was a Technics SP10 in a rigid plinth with my SME 3009 improved with detachable headshell (the fixed headshell measured better but I had already had the detachable version for a few years and didn't know that when I bought it)
  4. f1eng

    Speaker noise when tapping turntable??

    If there is sound when tapping the deck there will definitely be feedback while playing music, I remember 8dB down on the signal being measured at Garrard for one deck. It isn't enough to cause a horrible noise, in fact it is rather a nice addition of bass with a little delay, like reverb. I actually prefer the sound of my deck picking up a bit of mechanical and acoustic reverb. I once moved it and the electronics to a different room with just speakers in the listening room and the sound was much more flat and uninteresting than with the deck in the room adding a bit of reverb. But that is just me.
  5. The corner of a room is the very worst place to put a full range speaker for exciting the main room modes. I usually start with the bass unit about 1/7 of the room length from the wall behind it and 1/9 of the room width from the side walls. These fractions reduce the excitation of the fundamental modes though the can’t eliminate the excitation altogether. Moving the speakers about an inch or so at a time, listening and measuring to get the least bass peakiness My current speakers ended up about 2 meters from the wall behind them and 0.9 meters from the side walls in order to minimise their excitation of the room (by ear and measurement). Where these are located may help to flesh out the bass of a small stand mount but is completely wrong for full range speaker. Anybody forced to have a room layout like that should not use full range speakers in it.
  6. f1eng

    Harbeth 40.1/40.2 vs Spendor SP100/R2

    Well the guy who owns the ones I have here is a pro who has 3 pairs of actives. He does assist Harbeth sometimes and did check about selling them to me and that was OK by them, but I decided the deep bass was not for me, even though the problem only raised its head on a few recordings. No mention of any adjustments being available to set them up for the room was made at any time.
  7. f1eng

    Harbeth 40.1/40.2 vs Spendor SP100/R2

    The ones with unacceptable bass (for me) are the actual Harbeth actives supplied with Harbeth active crossover and amplifiers in a sealed box. I don't think they made many and were only available as a Pro model with matt grey paint and side handles on very tall stands intended to mount them above a mixing desk pointing downwards a bit.
  8. f1eng

    Harbeth 40.1/40.2 vs Spendor SP100/R2

    Not necessarily Keith. I tried the Harbeths all over my room and the bass problem was always there, just as it is with the big 2 way Rogers. The bass of other speakers in the room has not been a problem (for me). The Harbeths are unlistenable for me. I am still storing them for their owner...
  9. f1eng

    Quad price hike.....

    I reckon money has lost about 95% of its value since 1972, based on typical starting salaries, so £960 for the preamp and £1160 for the amp. A Garrard 401 was £72 when I worked there in 1976. I actually think people's expectation of hifi prices has been boosted by the US kit, like Krell and Audio Research being imported at inflated prices a few decades ago. Almost everything is absurdly over priced nowadays IMO, and since some people equate more expensive with better that seems to be the way it will continue to go. It is shocking to realise that a millionaire today has the same amount of buying power as somebody who had £50,000 back in the early 70s :(
  10. f1eng

    Is there any point in owning CDs or vinyl

    I have gone back to CDs and LPs since I retired and don't need music on a portable whilst travelling. I simply don't like using a computer for music though I do use it to find new stuff to buy.
  11. f1eng

    Is classical music harder to get right?

    The Sanders speakers are actually very efficient, 94dB/watt. I have always been bemused by this "first watt" idea. For the sort of music I enjoy, at the levels I play it it is tosh. Maybe for some people it works, but for me it is nowhere near, and IME quality is readily available at high powers if you want low colouration. I am listening to Mahler's 9th symphony at concert levels and the clarity of the crescendos is fabulous, no chance of that with a little amp however good the first watt is!
  12. f1eng

    Is classical music harder to get right?

    95 dB solo soprano with piano accompaniment. 108dB Mahler symphony. I am fairly sure the meter isn't fast enough to catch the height of short peaks, so probably more. The problem is that no meter is fast enough to catch the actual peaks. This isn't a problem on compressed pop music (there aren't any short peaks) but on simply miked and recorded classical the peaks can be hugely higher than the mean. Funnily enough I noticed this morning and article about this in May HiFi News, the first time I have seen something like this. There is a (contentious I suppose) paper on the Sanders web site where he connects an oscilloscope to the speaker terminals and shows clipping on peaks even with very sensitive speakers and powerful amps. Interesting what you write about the Wilson 6s. My amp volume control is in dB and my Goldmund speakers are around 5dB more sensitive than Wilson Sashas based on sound level meter readings though not their paper specs!
  13. f1eng

    Is classical music harder to get right?

    Sad creature that I am I often run the sound meter app on my phone in concerts. I pretty well only go to classical concerts. I obviously would't even be able to fit an orchestra in here to listen, so that idea isn't on deaf or not, The sound level I measure in my seat at the concert is way louder than I measure when I listen to most hifi systems which sound "loud". I believe most domestic kit is nowhere near capable of reproducing the sound levels of a live classical concert in a typical seat without sounding so "loud" due to distortion way before it reaches a realistic level. I have the choice of 1000wpc into 91dB/watt conventional speakers and 100wpc into 109dB/watt horns which get close on the appropriate recordings, but very few recordings are released without some compression, in the case of LPs so they can be manufactured, in the case of CD because they are made to suit domestic listening. Many of the widest dynamic range CDs in my collection are very early ones, ones that IME most hifi systems are incapable of playing without clipping (hence the reputation of early CDs being harsh IMO).
  14. f1eng

    Is classical music harder to get right?

    Even early DAT recorders were capable of recording the full dynamics of orchestral music, actually. My first, a Stelladat was the first recorder I used where the output of the recorder was indistinguishable from the mike feed and the low level was hiss free. Microphones are available which can cover the full dynamics too. OTOH very little domestic hifi is powerful enough to reproduce the dynamic range of an uncompressed audio recording, and quite a few of the classical recordings I own have a big dynamic range, particularly early CDs whilst recording engineers were still enjoying exploiting its performance, not realising most hifis couldn't do it.