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About ff1d1l

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Wigwam Info

  • Turn Table
    JVC QL-66Y, Techie
  • SUT / Phono Stage
    Russel Technologies
  • Digital Source 1
    Sony CDP-557ESD
  • Digital Source 2
    Yamaha DVD2700,
  • DAC
    W4Sound,MusFid V90
  • Integrated Amp
    Luxman L5
  • Pre-Amp
    Khozmo zfoil passive
  • Power Amp/s
    Luxkit Z504, Z501
  • My Speakers
    Urei 811, 12"M Golds
  • Headphones
  • Trade Status
    I am not in the Hi-Fi trade
  1. Good value second hand amp (<£100)

    Kenwood K A - 3020 special edition - nice ergonomics, quality build and great sound. Not rare. Harder to find - Harman Kardon 6550, a stonkingly good amplifier which would not embarrass itself in any system.
  2. Compression Drivers and Conical Horns

    I wouldn't agree that JBL compression drivers are PA only - if you go on Lansing Heritage you'll see that many of the classic "blue face" JBL studio monitors used the same compression drivers. If you do decide to try JBL drivers, try and have enough left over of your budget to install Radian diaphragms - I recently installed some in my pair of Urei 809s (compression driver is JBL 2416H) and they moved from very good to quite magical.
  3. That's really sad - both what occurred and your decision.
  4. Video and Sound Not in Sync

    In the unlikely event that you're playing back using VLC media player, sound can be advanced or delayed with the j and k letters on the keyboard.
  5. FM Radio to stay

    Excellent news...grab those tasty vintage tuners now before the prices go up!
  6. FM Tuner Advice

    FTFM (fixed that for myself)
  7. FM Tuner Advice

    Been through Optimod though and squirted down the phone line in, I don't know, is it 8 bit? I had stacked quads back then, and combustible enhancements aside, it was better. So were my ears!
  8. FM Tuner Advice

    The Denon is ridiculously good for how much you can pick them up for - this model was a best buy, there are loads out there and I've over the years picked at least three up for fivers at booties and passed them on to mates. They sound good and they pull in even quite weak signals well. I've also owned the Tandberg 2075, albeit not Mk2. The Tandberg is the second best tuner I've had, but I'd say my current tuner, an Onkyo 9090ii bests it both in DXing - I'm high up in North Wales and get loads of Irish stations in listenable stereo - and the Onkyo bests it in sound quality too. The Tandberg usually had to be in mono to be listenable on Irish FM. The Onkyo occasionally surprises with really lifelike, in the room moments (I don't recollect my Tandberg pulling this off). Unfortunately this is usually on R4 drama rather than R3, which is a shadow in SQ terms of what it once was in the 70s and early 80s. Live broadcasts back then were unsurpassed - best source there was, way better than vinyl even on a Linn. Even on the Onkyo most rock broadcasting is not of great SQ, unfortunately IMHO.
  9. Back now, a little late due to stopping off at Gwrych Castle for an impulsive walk in the afternoon sun on the way back. Had an excellent time, meeting compadres old and new, hearing some new music (who would have thought Dead Can Dance, who I'd vaguely heard of, weren't in fact a death metal act?). Seeing some great gear - I particularly liked* the Sony and Pioneer running flushes (+more) and seeing gear you didn't even know existed, for example the Revox speakers. I thought the overall sound quality everyone, yes everyone, achieved this year were exceptionally good. I had a quick couple of hours run around - thanks so much Eddie and Mondie, roomsitters extraordinaire, and tried to see and hear, however briefly, every room. Although seeing the pictures I'm questioning whether I managed this! And as someone who exhibited a few years ago in Scalford and was disappointed at only achieving 60% of what the system sounded like at home, it was good to be extremely happy this time. I have to say that I think Kegworth basically sounds better - more solid construction, less leakage between rooms - possibly the rooms are better proportioned for not having standing waves, I don't know, but it was easy to get an in-room sound I was happy with. So thumbs up there. And even with the snow preventing significant numbers of people from attending, I understand attendance was nevertheless good, so bodes really well for the future. And wonderful visitors, who had brought interesting and eclectic music to play - Peter Warlock's Capriol Suite arranged for brass ensemble to Infected Mushroom, and points in between. And to everyone who helped, who carried and trollied my gear - grateful thanks, guys - you know who you are. Finally kudos to Dean for his ten year innings. What about that, eh? Respect. * British understatement - I mean, of course, tongue out, drooling, uncontrolled lust Tis
  10. I enjoy and would miss your knowledgeable posts - I hope you will reconsider.
  11. Bargain excellent speakers?

    Wow, what a fab bit of gear... That'll be interesting to try at some future bakeoff...looks like it could be exceptional.... fantastic knobs - I'm tempted to say Knob Envy but good taste prevents me. Messing on with old JBLs I'd say improvements are gained, in order of effectiveness, by: Soldering all connections instead of push on connectors Cleaning and deoxiting the wire wound pots Bracing the cabinet and the rear of the bass driver. Never tried re doing a crossover.
  12. Bargain excellent speakers?

    She is absolutely right Actually with your contacts, Fred, you could source the drivers, knock up the crossovers yourself, get someone local to make cabs and still have change to spend on music. You could specify better cabs too. I'm sure the drawings and spec are on Lansing Heritage, no doubt peoples builds too. These were a bargain https://www.ebay.co.uk/itm/VINTAGE-JBL-L65-JUBAL-SPEAKERS-077-Blue-Tweeters-126a-Driver-Full-Working/112853406076?hash=item1a4696517c:g:YHUAAOSwH~1aid20
  13. Bargain excellent speakers?

    Well, since we're getting our dicks out, I've been playing semi pro on a variety of instruments in a variety of bands since I was 17 - nearly 50 years - and am still gigging regularly. I've released two CDs which got good reviews and worldwide airplay, and earn the rest of my living in a way which depends on my having a particularly discriminating ear and being able to act upon that information. I had my first hi fi at 17 and have had and heard a wide variety of gear since, including many of the speakers on your list. Having played with more than one or two drummers over the years, I'm well aware of what being in the same room as drum kit sounds like. And I'm well aware how how far short of that reality 99.9% of Hi Fi falls. If you think that any of the speakers on your list get anywhere near this, we're just going to have to differ. The only ones with anything like a studio pedigree are the 801s, but they were only used for classical monitoring at Abbey Road. Why? Because the engineers there knew very well that they weren't dynamic enough sounding for rock monitoring, neither were they robust enough to stand up to the sound levels required. If you think " Art Decos, the IMFs the LNB, the PMC the B&W 801s (also used at Abbey Road when they came out) the Celestion Ditton 66s" are up to this, well, you just go on thinking it. I'm not going to change your mind. Funny how studios didn't/dont use them, though, isn't it? I mean you'd save a few quid on Westlakes using a pair of old IMFs, wouldn't you? You'll be telling me next that Isobarik Professional Monitoring Speakers were the bees knees. Can you name one studio that used them? One? Mind you, if we're talking numbers, maybe you can give a figure for how many studios used those flakey, coloured old Lockwood Tannoys. How many classic albums were recorded on them? Or those low WAF Ureis, which ousted the JBL's which ousted the Tannoys. Funny how despite there being many, many pairs of Ureis sold to many studios, they come up so rarely? You'd almost think studios were hanging on to them! Sentimental old fools... Funny that - they must have had something going for them, or the studios would have tooled up with Ditton 66s, wouldn't they?. Yamaha NS10's? Todays Auratones. You're not seriously telling me anywhere any good relies on them for anything other than checking a mix will work on a mid level stereo? We are, as audiophiles very fortunate, as studio's moving away from far-field monitoring to near field with actives has seen some of this old gear appearing on the market. Now, they may not be to your taste, Uzzy, but for many discriminating people they hit the spot. I think I know the sort of sound you like, and fair enough, it takes all sorts. I surmise our sonic priorities are different. Look, answer this if it makes you happy, but this is me done - I won't be engaging further.