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Found 8 results

  1. One Sennheiser HDVA600 headphone amplifier, in perfect condition. I have owned it since new. The amplifier has both balanced and "single ended" analogue inputs. The amplifier will also drive headphones in balanced mode, which is the way I have been using it with my HD800-S 'phones. I've been very happy with the amplifier. As you can see from the photos, the amplifier comes in its original packaging (the CD contains the manual and other information). Please be aware that this is a pure analogue amplifier, and is *not* the very similar looking HDVD800 which has a digital input in addition to the analogue ones. The amplifier cost about 1100 GBP when new, and I bought it from a local dealer (Basically Sound, near Norwich). I am looking for about 650 GBP for the amplifer, but will consider offers. The reason I am selling the HDVA-600 is that I am now using a Benchmark HPA4, in part because I also wanted a pre-amp (to drive a power amp and then speakers). I'm happy to answer any questions you might have.
  2. I am changing my Viv Labs Rigid Float 7" Tonearm (Black Version). I have all the original packing box etc etc. Would consider £1700 or best offer. Due to the oil float it would be a collection only or a sensible meet halfway. As a previous owner of an SME20/3 with a SME V (Kondo Wired), we all know the SME V, particularly when Kondo Wired, is a great tonearm. However when I heard the Rigid Float it blew me away, it was far more vibrant (not bright), dynamic and engaging so the purchase was a no brainer. I am considering changing for a Kuzma 4point 14" Tonearm, as I already have an Kuzma XL4 motor soon to be DC turntable. Awards Recommended Component Award 2014 by Stereophile magazine (USA) October 2014 Product of the Year 2013 Award by image hifi magazine (Germany) December 2013 Most Wanted Component 2013 Award by The StereoTimes (USA) December 2013 Review extracts Eric Charlot, Digit-Hall France (Apr 2015) wrote: “Last test on the Blackbird Feickert turntable was with a Viv Lab Rigid Float tonearm where we find the same sound aesthetic as the Ortofon RS-212D tonearm. But the result is now a vibrant mix of incisors and transients, coupled with a power of analysis that one would not have guessed using the other two tonearms – Ortofon RS-212D and a 10″ Reed 2A. With the Viv Lab, all records are perfectly integrated, the bass is released and found a joint and a power of analysis that we did not suspect. The harmonics in the highs add new information and cymbals on “Saturday Night At The Montmartre”, astonishing in their power.” Beside the quality of reproduction it offers, the most significant advantage of Rigid Float is ultimately the incredible comfort it provides and the opportunities it opens by allowing us to forget the eternal tonearm compatibility issues with cartridges. “You already have the cartridge of your dreams? Introduce him the Viv Lab, he will extract the best. Cannot decide on the choice of the cartridge, or you have more than one? No need to have thirty six tonearms; the Viv Lab tonearm will do ” (it would be also well able to resolve recurrent problems faced by lovers of atypical cartridges such as Decca London, I would have liked to test with). Sure it sounds like a bad slogan for toothpaste promising you a bright smile. One could also add “try it and adopt” . I tried it and I immediately adopted. In short, to put it bluntly: ! THIS UNIT IS A KILLER. Run, listen, and be prepared to revise your trigonometry!” Roy Gregory, The Audio Beat (Feb. 2015) wrote: “…hearing a record with the Rigid Float has a gloriously unimpeded sense of energy and momentum. Dynamics are quick and crisp, and forward motion has the sort of speed, freedom and grace that I normally associate with sliding on ice. If a really good conventional tonearm is able to corner better, like a sports car on low-profile tires, the Rigid Float makes it seem like there are no corners at all. Musically speaking, this thing just glides through the track…” Michael Fremer, Stereophile (Aug. 2014) wrote: “…the midrange was gloriously smooth and images were rock-solidly three-dimensional. Bass was meaty and full bodied, yet well controlled…” “…my take is that the Rigid Float – either because of its underhung geometry, or its non-grounded bearing system, or both – has a singularly smooth, lush sound that some listeners will instantly crave…” Clement Perry, StereoTimes Publisher’s note (Jan. 2014): “…I too must concur with Stephen’s assessment of this unique and innovative arm. Mine is the 9″ variation and it provides a remarkable sense of neutrality coupled with scale and textures never realized from my analogue rig…” Thomas Schmidt, LP Magazine Germany (Nov. 2013) wrote: “…I cannot say exactly which of the innovations makes the difference, but the Rigid Float tone arm is without a doubt an absolutely, uniquely exceptional phenomenon in analog sound reproduction…” “…the Rigid Float tone arm improves even the best systems to a quality that hasn’t been heard before – and that by high (such as Van den Hul The Condor) or by extremely low (Miyajima Shilabe) compliance…” Stephen Yan, The StereoTimes (Oct. 2013) wrote: “…the RF tonearm can be very strongly and enthusiastically recommended!” “…because it is so transparent and neutral, it will brutally and honestly tell you what you may not know about your system, …it’s like an implacable polygraph device…” “You will, definitely and most assuredly, thank the RF for giving the truth to you, at a price which, while not cheap, actually costs less than many high end pick-ups on the market nowadays. From this perspective, and considering the amount of technology and innovation packed into this device, I believe my use of the word ’bargain’ is not misplaced…” “…so in case you were interested, yes, I bought the review sample…” Mal Kenney, Part-Time Audiophile – THE Show Newport Beach (June 2013): “…there’s no fixed pivot, no offset, no anti-skate, and a combination of power and subtlety that you’d guess would require a lot more engineering than letting a tonearm float in magnetic oil. Whether the arm’s ability to track without the familiar microdistortion is based on its strange pivot or whether it’s down to the damping… this arm is clearly a performer!” Uwe Kirbach, Image HiFi Germany (Jan. 2013) wrote: “…this arm is nothing short of an audiophile sensation! …the recordings sound strikingly direct and immediate, with intense dynamics. Drums and percussions come without restraintment, lively, with great three-dimensionality, depth and micro details…” “…even when not perfectly setup the Rigid Float always played clean and clear, powerful with authority – it was always immediatley obvious that we have something special here…” “…I know of no other similar superior, compatible tone arm. I can’t say what percentage of this is due to the genius bearings and what percent is because of the the skating-free straight arm… The resulting impression of ordinary tone arms is comparable to perfectionizing the chassis of a car on a gravel road, while the Japanese arm glides on asphalt, or better said, on oil.”
  3. Luxman PD-171AL Elite Audio is proud to announce that we now carry five new brands. Luxman, Quad, Wharfedale, audiolab and Naim. To learn more about the Luxman PD-171AL or any of our new stock, click here to visit our brands page or here to contact us to talk to us. Since the highly admired introduction of the PD-171 into the market in 2011, Luxman turntables have been renowned to deliver a sense of atmosphere that can only be achieved through the medium of vinyl, that every vinyl enthusiast strives to achieve. The PD-171AL now has a highly rigid main chassis and heavy base ensuring stable rotation. Additional improvements to the motor, drive circuit and bearing section have also been made.Features Electric Circuit Introduction of newly developed high-torque AC Motor Motor drive uses similar circuit structure to high power amps High-precision clock controlled generator circuit with 32-bit microphone embedded Reflective view type LED stroboscobe useful for adjustments to speed Mechanism Belt drive aluminium machining heavy turntable (5.0kg) utilising high inertia moment (approx 0.7t.2) Hanging vibration-damping structure with 15mm thick machined aluminium plate High-rigidity 16mm spindle with ball bearing for stable rotation Wear-resistant and load-bearing polyether ketone (PEEK) material used in the bearing section Floating mounted power transformer and AC motor Hybrid vibration-damping structure with wood and metal Large-sized insulator with height adjustment function directly secured to aluminium chassis Exterior Traditional wood-paneled design AC inlet on rear panel for easy replacement of power cable Detachable high-intensity LED stylus light Cam support for 4mm acrylic dust cover (opens and closes via light)
  4. PE 1010 Turntable: From: £1,653 German turntable manufacturers Perpetuum Ebner become the 30th brand in Elite Audio's portfolio. The company was first established in 1911 as "PERPETUUM" by Josef Steidinger. Since then it has been evolving and creating high-end audio components for audiophiles across the world. The plate changer PE 10 was introduced in 1949, and is still available today in it's upgraded form, the PE 1010. The brand operated for decades, all the way up to 1973, when it was no longer in operation. Over four decades later the brand was rejuvenated by Wolfgang Epting and WE Audio Systems. The PE 1010 and PE 4040 became the flagship products that brought Perpetuum Ebner back to life. With former engineers from Dual (a brand started by Gebrüder Steidinger) coming on-board, Perpetuum Ebner was back in full-swing. With four different turntables* on its roster, WE Audio Systems is truly reviving the legacy of Josef Steidinger and the rich history of Perpetuum Ebner. Elite Audio is the official UK distributor of WE Audio Systems. We offer an excellent 30-day, no risk trial on selected products allowing you to try out audio components at home with your own system. A generous part exchange is also available allowing you to upgrade for less. To find out how much your old hi-fi components are worth, take our part exchange challenge now. Alternatively, you can contact Elite Audio via email: info@eliteaudiouk.com or telephone: 020 3397 1119 for more information. *The PE 1000 is coming soon. Keep your eyes on our website.
  5. Perreaux Audiant VP3 MM/MC Phono Preamplifier, RRP: £1,990.00 Hi-Fi News have recently awarded the Perreaux Audiant VP3 Phono Preamplifier with the ‘Highly Commended’ badge.The phonostage, which offers a separate MM and MC amplifier, impressed reviewer Nick Tate, with its flexibility of allowing users to adjust settings to suit a wide range of cartridges. “...a pretty balanced, accurate and grown-up sounding device that has few obvious weaknesses and a host of endearing traits.” Not only does the Phono Preamplifier allow for customisation, it also offers dynamic sound and a sleek design. Users are also able to switch between the normal RIAA and IEC RIAA equalisation curves and select a Mono input. Thanks to this and the balanced (XLR) and unbalanced output connections, the Perreaux Audiant VP3 can ensure compatibility with almost every cartridge. “I was impressed by how accurately each individual strand of the mix was located spatially - they seemed as if bolted down in different parts of my listening room.” The Audiant’s layout is also setup to separate the power supply from the preamplifier, further reducing noise in the output. When Tate moved to a moving coil cartridge, he said; “Suddenly it seemed as if I were listening to a direct feed from the mixing desk, with the music appearing in front of me.” Even with a scratched up vinyl record of Augustus Pablo’s 1976 King Tubby Meets Rockers Uptown, the Audiant VP3 phono stage’s speed and neutrality was able to play the record without any obvious crackling. “...the Perreaux Audiant VP3 offers an appetising package.” The full review can be read in the February 2017 issue of Hi-Fi News. Elite Audio is the official UK distributors of Perreaux hi-fi components. We offer an excellent 30-day, no risk trial on selected products allowing you to try out audio components at home with your own system. A generous part exchange is also available allowing you to upgrade for less. To find out how much your old hi-fi components are worth, take our part exchange challenge now. Alternatively, you can contact Elite Audio via email: info@eliteaudiouk.com or telephone: 020 3397 1119 for more information.
  6. For years I have aligned cartridges on my 9” and 12” PU7 arms (both use Linn-type mounts) using the handy single-point universal cartridge protractor that comes with them. However convenient, universal single-point (or even 2-point) alignment protractors work by simplifying the arm’s actual tracking geometry, and are therefore a bit hit-and-miss. Arc protractors, on the other hand, are in theory more accurate because they specify a made-to-measure arc for any arm with a given pivot-to-spindle distance, with bespoke alignment grids calculated specifically for that arm. I therefore invested some time this BH weekend to find a simple way to create and use arc protractors for cartridge alignment, with simple DIY tools. This post is to share my experience in the hope that others will find it useful. (I haven’t searched the forum – it may be that I’m repeating what’s already covered elsewhere). This note only covers the steps I took for cartridge alignment; it assumes that you already have adjusted azimuth, VTA and VTF correctly. I used the latest version of Conrad Hoffman’s free Arc Protractor template generating programme – link here http://www.conradhoffman.com/chsw.htm Choose “Custom arc template generator …..”. I found it extremely easy to use, and very accurate. The download comes with detailed instructions. All I had to do was to measure the pivot-to-spindle distance for each arm accurate to 0.5mm or better, choose the alignment algorithm (the programme calculates Lofgren A (Baerwald) or Lofgren B or Stevenson) and print out the calculated arc protractor on photo paper using my cheap home inkjet. The printout comes with alignment marks at 100 and 200mm – I checked them with a steel ruler to make sure the printout was at exactly the right scale. It was, without any printer adjustment whatsoever. Alignment using the included instructions was equally simple. Interestingly – for both arms and two different cartridges with quite different construction – the arc protractor’s optimal alignment had about 3-5mm difference to the universal protractor I used to use. It took about 20 min to complete. Did it make a difference? Yes – particularly on records with grooves stamped closer to the spindle. There was a clearly audible decrease in end distortion, particularly on the 12” arm, and background noise was lower right through the records. Very well worth trying IMO!
  7. Apologies if this topic has been covered before - I could not really find anything insightful using the search function My father in law used to have a TT many moons ago and still has his record collection. He is looking to get back into vinyl, but does not want to go overboard from the off. So budget is up to £1.5k max incl arm and cart. Second hand could be an option, but buying for someone else, I tend to lean towards a good value new deck to play it safe - I was thinking the Clearaudio Concept looks interesting, has anyone had any experience with these and what are your thoughts? - Is there anything else out there (new or 2nd hand), incl arm and cart for up to £1.5k that will beat it hands down - and that doesn't need too much faffing about setting it up and keeping it singing? Many thanks Chivas
  8. Soundsupports Rega armboard for Techy 1200/1210. RB250/RB300 only. http://www.soundsupports.com/page16.htm £20 inc p+p.