Smw30yahoocom (Sandra), glad to see you continuing your posts! Thanks for sharing. It's really good to hear from a fellow traveler along this path.
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Foster, if you're ever in the Philadelphia area, I'd enjoy having you over here to share some music and share with you how things are sounding here. I, too, am not a big tweaker in the sense that I'm not inclined to experiment with a lot of different variations. Redkiwi amazed and impressed me with his dedication for trying so many different variations to determine what he thought worked best. And I love that he shared so much of what he learned in the process since I don't have that degree of patience or willingness to fiddle. Nonetheless, I sincerely believe that great sounding systems get that way because someone IS paying attention to all the small details in fine tuning the set up. And that does include the right combination of tweaks, vibration/resonance control, etc. So in that sense, I am a tweaker. If I can get a 1% improvement here, and 2% there, pretty soon I've accomplished a pretty significant improvement in the overall sound of the system. I've become convinced over the years that many people just don't get the full benefit of the sound their systems are capable of delivering, and it's because they don't pay attention to the details of system set up and fine tuning. Thanks for sharing your endorsement of the DCC reissue of ANATO! Regards, |
Rushton, I'm delighted to hear the improvement was that palpable. From what you and quite a few others have said about the handy work of Lloyd Walker in past, I'm not surprised that it took 10 seconds or the fact that Ann and yourself are not looking to try a myriad of other ideas. My approach was a blend of what a local friend was doing (that worked) and some of the information from an old lengthy set of threads from redkiwi concerning shelf design experimentation from back in 2000 on AÂgon that made a lot of sense. I truly believe that itÂs a matter of coupling or decoupling depending on the circumstance and a variation of sorbothane seems to do the trick for me under the amp maple block platforms. One major improvement is weÂre hearing a level of low frequency textural detail from RalphÂs amps now that was not fleshed out before, and by the way, I have never heard from any other valve or SS power amp in my house regardless of set up! I donÂt see myself as a real big tweaker, but that said, my amp set up stands in contrast with my use of a Neuance Platform and wall mounted, spiked rack for the Linn Sondek Lp12 and Aurios classic isolation bearings under the chassis of the Aesthetix Calypso and Rhea. These forms of isolation I have tuned out to what IMHO is a very fine resolve, a group of very different isolation philosophies that all have their place. I will be looking forward to hear how things work out for you two with this amp stand project, as it seems in this hobby, there is always something more to learn and I just want to hear how good things sound over at your place too. Cheers! As for the Queen "Night at the Opera" I can't speak for the EMI version at all. I was on a real DCC kick back when the records were prevalent and of course... it sounds spot on. I'll leave it at that and spare you the details. It is truly hard to buy one of everything nice... |
Rush I have not heard it or know who mastered it but someone on Steve Holffman's site stated they could not get through more than two songs. It is supposedly extremely bright sounding. More than likely it's been remastered in a digital workstaion, transferred to a DAT and cut from that. I would save up for the DCC and if that's not possible look for a UK original which is much cheaper. I also believe that it was issued a few years back when EMI was celebrating their 100th anniversary. They released various titles with some being from analog tapes and others from digital masters. According to some info I just found The EMI Millenium series LP CENT 1 TO 20 are digital and LP CENT 21 and on are analog. Queens's ANATO would be from a digital master since it's catalog number is LP CENT 12. Here is a partial discography for this title excluding the latest 30th edition. LP EMI EMTC 103 UK LP EMI DC-10 (France white vinyl) LP EMI 5C 06297176 (Netherlands white vinyl) LP EMI EMTC 102 (Israel, Hebrew text) LP ELE 7E-1053 (US, Australia) LP EMI P 10075 (Japan) LP MFSL MFSL 1-067 (US, half speed remaster) LP EMI LPCENT 12 (EMI 100th anniversary 1997, remastered) Tom |
Has anyone listened to the Queen: "Night at the Opera" reissue from EMI? Half-speed mastered, 180 gram. Does anyone know who mastered this or where it was pressed? The master tape is only mediocre, so I'm not prepared to pay the premium price for the oop DCC reissue of this, but I'd love to have a better sounding copy than my old domestic US pressing. . |
Foster, I forgot to confirm that this is for the Atma-Sphere MA-2 amps, as you surmised. We also have an older home with thick oak flooring. Our speakers (Eidolons) are also spiked using Walker Audio Valid Points on resonance control discs, to very considerable improvement over the stock spikes. At this point, the 3" butcher block is sitting on some special variation of sorbothane that Lloyd has found to work in some applications better than he ever expected. We plan to next experiment with replacing the sorbothane with Valid Points on resonance control to see what change occurs. . |
Hi Foster! We've been thinking about amp stands for some time, but have never moved forward until now. We're testing out some of Lloyd Walker's amp stands: 3" maple butcher block and Valid points. For a picture, see the 2005 Brutus Awards article at Positive Feedback Online (scroll down about 10 screens, with comments and more pics about 18 screens down). We haven't compared these to any other alternatives, but the improvement has been so instantly apparent and so material, that I don't expect to pursue other options. Ann and I used the last 6 minutes or so of the 45 rpm Classic reissue of the Mercury/Firebird as our principal listening test. About 10 seconds after I dropped the needle, we looked at each other and said "Oh, yes." The rest of our listening has simply confirmed that first 10 second gestalt take. We're hooked. Lloyd has worked his magic again. . |
Rushton, What's up with the new amp stands, I would presume, for the Atma-Sphere mono blocks? IÂm all-ears. Did you and your fellow audiophile wife (lucky guy) get down to some SERIOUS comparative listening this holiday? Presently I have MA-1 Mk2.3 Silver editions on Rock Maple laminated cutter blocks (18x24x2.5") with granite (18x24x4") slabs below and Bright Star Isonodes between. Lots of folks say the granite rings when used directly below amps, with this current arrangement we only hear the maple and it is nice tonally. The combination of materials seem to best decouple the amps from the hard wood floors of my old house (circa 1926) as the amps are located in near proximity to my Coincident Total Eclipse speakers that are on brass points. I've tried many different setups and nothing else cuts the resonance to the amp chassis. Let me know what you glean from this new arrangement. Cheers! Foster I'm playing Chad's Miles Davis and the Modern Jazz Giants 45's tonight followed by a beautiful copy of Yusef Latef -Eastern Sounds on TransAtlantic UK. Yusef and I share the hometown of Detroit and I had the distinct pleasure of seeing (and hearing) him at our historic Detroit Orchestra Hall years ago. Very nice! |
Warming the system up this morning preparing to check out some amp stands, here's what's been playing: Buxtehude, Organ Works Vol. 1 with Michael Chapius, Telefunken 6.42001 Bill Evans, Portrait in Jazz, Riverside 1162, Analogue Productions 45 rpm reissue - outstanding! Coleman Hawkins and his Confreres, Verve MG VS-6110, Speakers Corner reissue - outstanding! British Band Classics, Vol 2, Fennell/Eastman Wind Ensemble, Mercury SR 90197, Speakers Corner reissue - this is the first time I've heard this and it fully merits all the hype I've read over the years! Now, if Ann is ready we can get down to some SERIOUS comparative listening... . |
Tonight: polyurethane (fifth coat)--I've been finishing my newly-purchased Teres 160 over the last week. I think five coats is about all I can take before assembling the table tomorrow so I can play some records! I haven't even used my Thorens 125/II in the last couple of days, though will have to give it a goodbye spin or two tomorrow. Joshua |
Bdgregory, That first America album is nice indeed. I have a white label promo copy of it, yet I find the stock first press copy to be outstanding. When that record came out in 1972 it influenced many great musicians such as Crosby, Stills, & Nash and the Eagles amongst others. The strange chord progressions, texture, and detail that were captured in America's music made it one of the most innovative and nicest sounding records of the time. A great pick! Happy Listening! |
Hmmm, I haven't listened to my copy of America in years. Thanks for the suggestion to pull it out again to listen! Tonight... Bill Evans Trio: "Portrait in Jazz" Riverside 1162 (Analogue Productions 45 rpm reissue) (simply superb!) Doors: "Morrison Hotel" Elektra (German reissue) (the sound quality of this recent reissue is very good, matches that of the similarly reissued LA Woman) Beethoven: Symphony No. 9, Solti/CSO, Decca 6BB 121/2 (one of my favorite performances of this work in great sound: recorded by the master, Kenneth Wilkinson) . |
America - their first, self-titled album. I had this album when it was first released in the early 70's. I sold it while in college because I had worn it out. I recently purchased a copy at my local used record store. This is such a good album, and I can't believe the fidelity on my newly set up vinyl rig. I can't understand why there isn't more discussion about this album on A'gon. The music, the performance, and the fidelity are reference quality IMHO. |
Smw30yahoocom (Sandra), Congratulations! I'm happy to have you with us in the world of vinyl-lovers. Cleaning your records will absolutely give you better sounding results and will protect them from unnecessary wear. My recommendation for superb cleaning results is to purchase the Disc Doctor "Miracle Record Cleaner" (scroll down a page) solution and brushes and then follow Disc Doctor's recommended manual cleaning procedure. I prefer the original "Miracle" formula that requires a distilled water rinse to the new no-rinse "Quickwash" formula. You can buy directly from Disc Doctor or from various mail order companies, such as Acoustic Sounds. Disc Doctor works very well in a purely manual cleaning regimen, and you can add a RCM later for convenience if your chose. The RCM adds convenenience, but it won't improve the cleaning result you can get from the manual Disc Doctor procedure. . |
I have 2 systems, one "reasonably priced" Pioneer SX580 receiver, Sony MB100H speakers, and my new Sony PS LX250 turntable. I wanted to try it with my small system and if I liked playing records, I will eventually get a real nice turntable to use on my other, more expensive system. I just absolutely love it. I had been buying records mostly at the Goodwill stores for 3-4 years so I have quite a few. I'm listening to Marty Balin "Hearts" album right this minute. I can't believe how much I like it. I'm wondering what is the cheapest, best solution for cleaning the records as I can't afford a record cleaning machine for awhile. Thanks, Sandra |
Smw30yahoocom, congratulations on getting your turntable! If this is your first venture into vinyl welcome, hope you will continue to share your music explorations with us. Tonight thus far... The Julian Bream Consort: "Elizabethan Music", RCA LSC 3195 Ensemble Musica Antiqua de Vienne: "Concerts et Danses de la Renaissance", Harmonia Mundi HMU 938 Clemencic Consort: "Feast of the Ass" Harmonia Mundi HM 1036 . |
Rush, You're right, it's NOT a good thing. The "Soular Energy" LP after it was more like it should be. Maybe my ears were still in work mode for the Bach. Needless to say, I was not a happy camper with a 10 foot high cello resonating around the listening room. The arm continues to change with each LP, so I think we have a way to go yet. I noticed an even leaner bass presentation today with the Mendelssohn (only about 7 hours on the SST), but the Ray Brown had the depth and snap you would expect. The VTA is nowhere near dialed in yet. Next up, the ultimate Slipknot1 test of soundstage: Holst's "Savitri" |
OK boys and girls, here's tonights line up: Mendelssohn "Mendelssohn In Scotland "Fingal's Cave"" Maag/LSO (Decca SXL 2246) Speaker's Corner 45 rpm reissue Bach "Suites For Unaccompanied Cello Complete" Starker (Mercury SR3-9016) Speaker's Corner 200g reissue Ray Brown Trio "Soular Energy" (Pure Audiophile PA-002) 200g blue vinyl Arm is starting to dial in. VTA will be needing some attention. However, in a d'oh! moment, I have managed to lose the set screw for the counterweight. I have been crawling around the floor with a Maglite trying to find the little bugger to no avail. I have both a large and small counterweight for the arm but the screws are not interchangable (that would make too much sense) One thing is for sure: the JMW Signature arm sounds NOTHING like the stock arm. As good as the soundstage was, it is much wider now. The Bach Cello Suites almost sound movie monster size huge. |
Tonight... "Louis Armstrong meets Oscar Peterson," Verve VS 6062 (Speakers Corner reissue) "Coleman Hawkins and his Confreres," Verve MG VS-6110 (Speakers Corner reissue) "Going Back to Acoustic," Buddy Guy & Junior Wells, Pure Pleasure PPAN001 (excellent acoustic blues by two masters, reissue) Up next... Purcell: "King Arthur" Deller/DellerConsort, Harmonia Mundi HM 252/53 . |
Today, so far. The new arm is going through it's run-in. After about 10 hours or so, the highs are still forward and the bass is a tad lean, owing mostly to the burn in needed on the Nordost Valhalla wire and the 20 or more hours needed to cure the Walker Extreme SST on the cartridge pins. running things right now with the mechanical anti-skate in use, no damping fluid in the well and the VTF on the Shelter set at just a nick under 2g. Will leave the VTA as is till things have about 50 hours on them. Enescu "Sonata No. 3 Op.25 in Rumanian Folkstyle (Wilson Audiophile W 8315) Stravinsky "Rite of Spring" Maazel/Cleveland Orchestra (Telarc DG 10054) Miles Davis "Kind of Blue" (Columbia CS 8163) Classic Records 45 RPM reissue |
The only thing on my platter tonight are lttle beads of sweat from installing the new JMW 9 Signature tone arm. Requires a complete dismantling of the stock arm down to the plinth, retaining parts, and screws from it and a complete reinstall of the new arm. One LP so far: Ray Brown and Laurindo Almeida "Moonlight Seranade" (Jeton 33 004) Tons of bass and good string tone. Large soundstage, more forward than the stock arm. still a little raw sounding. My guess is a need to play with the VTA a bit, as well as the need for the Walker Extreme SST treatment on the cart pins to cure and the Nordost Valhalla wire in the arm needs to burn in a bit. |
Tonight thus far... Sir Arnold Bax: Symphonic Poems: "Tintagel", "The Garden of Fand", "Northern Ballad No. 1", Boult/LPO, Lyrita SRCS62 (Tintagel is one of my favorite works by Bax, just a delightful work, and this performance by Boult is top drawer. Of course, having Kenneth Wilkinson as the recording engineer certainly helps the sonics!) Sir Arnold Bax: Symphony No. 2, Fredman/LPO, Lyrita SRCS54 (a wonderful piece of music! Excellent engineering again by Wilkie.) Mozart: Overture to Lucio Silla; Interludes from "Thamos, Konig in Agypten", Maag/LSO, Decca SXL 2196 (SpeakersCorner reissue) . |
Boa2, hang in there with us! As I'm sure you've noted, many of the recordings discussed are available in a digital media format. So I hope you'll enjoy the focus on the music in this thread. And, while I'm a committed vinylholic, I'd never want to encourage someone who doesn't already have a vinyl collection to dive into these waters without a lot of reflection on the cost, hassle and expense of playing vinyl in any high quality way. I read others encouraging that move, but I think moving to vinyl (from no vinyl) is a significant move that should not be undertaken lightly. . |
Last night: "A Baroque Trumpet Recital" (music by Cazzati, Fontana, Marini, Telemann), Gerard Schwarz, trumpet, Albert Fuller, Harpsichord, and Leonard Sharrow, bassoon, Nonesuch H71274 (lovely recording produced by Teresa Sterne, who always delivered excellent recordings) William Alwyn, Fantasy-Waltzes for Piano (1956), and Twelve Preludes for Piano (1959), John Ogdon -pf, Chandos ABRD 1125 (John Ogdon is one of my favorite pianists: love tohear him play! This is a digital recording but with excellent sound; I'd never noticed before but some of the best Chandos recordings in my collection have been mastered by Willem Makkee who is doing such fantastic work with the Speakers Corner Mercury reissue series.) "Proensa" (songs of the troubadours), Paul Hilliard, tenor, with Andrew Lawrence-King, harp/psaltry, ECM 1368 (another Willem Makkee mastering with great sonics) . |
Tonight began with some recordings by the outstanding recording engineer Bob Auger: Brahms, Sextet, Alberni Qt, CRD 1034 CPE Bach, Concertos, Pinnock/EngConcert, CRD 1011 Bach, Flute Sonatas, Preston -fl, Savall -vadg, Pinnock -hpd, CRD 1014/5 And is finishing with Janos Starker performing Brahms' Sonatas 1 & 2 for Cello and Piano, Mercury SR 90392 . |
