Dear @last_lemming @jaym759: Other gentleman mentioned Ayre phono stage and I can add SimsAudio but you mentioned Parasound JC3 ( all these 3 manufacturer designs are SS units and better than any tube unit no matter what. ). and posted: """ No a super high end name but there’s a lot to the unit. "" well the JC in the model are the designer name ( all the Parasound/Halo units are designe by him. ) letters that's no one less that the great John Curl a true hystorical icon in the audio industry from many years. Here we can read about: https://www.stereophile.com/phonopreamps/640/index.html http://www.tonepublications.com/analogaholic/the-vendetta-scp-2-phono-stage/ in those times this one was my dream for a phonolinepreamp but I never had the kind of money to buy it but I had the rare opportunity to listen this 3 chasis JC top design that as his Vendetta and his BlowTorch designs outperforms any today tube units and many today top and very expensive SS designs: http://www.topclassaudio.com/web/eng/used_product_details.jsp?gid=7960 So you have a unit with a " super high end design ", nothing less. Of course Parasound builded at a price point parts. Btw, this is the audio system that Michael Fremer used in those times and we can see tubes everywhere on it as almost every famous reviewers of the time: """ Sidebar: Michael Fremer's Associated Equipment LP Source: VPI TNT Mk.3 turntable; Transfiguration Temper, Lyra Parnassus DC, AudioQuest Fe5, Grado Reference, Goldring Excel phono cartridges. the Ayre/Adcom there were under review. From some years now he mainly uses SS electronics, he learned. Obviously that he is a very well regarded reviewer and made and makes reviews on everything of technologies including tubes but the electronics he bougth and are the main ones comes from Dartzeel full SS designs. Look at this music lover and audiophile audio system he owns. Can you see any tube down there?. Of course not because MUSIC deserves the best for it be honored: https://systems.audiogon.com/systems/615 Regards and enjoy the MUSIC NOT DISTORTIONS, R. |
If you have no Lp's now, why go into analog, the learning curve is very slow.The vinyl-deny-ers just don't get it. It's not about convenience or practicality. It's about getting involved. You have to hunt for good records and when you find them, you can touch them and see them and store them tangibly. The turntable is a simple mechanical device that you can touch, adjust, and understand. All of this goes away with digital. Back on topic, the OP ought to understand that turntables, phono stages, and cartridges all have flavors. So does the wiring in the tonearm and the phono cable from tonearm to phono stage if applicable (my Reed 3P has one continuous cable from cartridge pins to phono stage-the way all tonearms ought to be :-) ) OP-my suggestion of Gem Dandy Polytable with Jelco arm, Chinook phono stage, and Denon D103R will render rich tone like a Rembrandt painting. Many vinyl rigs that aim for retrieving detail are just not particularly euphonic or fun to listen to. I very much appreciate Raul's affirmation of my gear recommendation but his tagline of "play music and not distortions" is divorced from reality. There is no getting away from distortion. It must be instead accommodated in your favor. If you ignore every other thing I say, fine, but please don't ignore my suggestion that your first new table needs to have an arm that can be easily adjusted in the real world by which I mean on your equipment rack without the necessity of removing it to some laboratory type setting ;- ) The purpose of having a pro set up your table the first time is so that you can hear first-hand how good your deck can sound providing you a reference point but you don't want to end up being in a position where you are helpless without the pro each time your deck no longer sounds up to par. Go Into this with eyes wide open that set and forget does not apply to vinyl. The suspension that holds the cantilever in placer changes with time. You need to be able to detect it and adjust accordingly. If that is not satisfactory, than the quote above does apply validly to you. |
Dear @fsonicsmith : ""
music and not distortions" is divorced from reality. There is no getting away from distortion. """ agree, we can't avoid several kind of room/system distortions. The target is: first learn to identify what is distortion from the signal we are listening it this is: what in reality is not part of the audio recorded signal but developed distortions. Second how to avoid the development of those distortions or at least to put at minimum through room/system changes but before this " actions " we need to identify where is the source of those different kind of distortions. Mny times trying to eliminte kind of distortion the chnges we did it strts to develps nother kind of distortion . The issue here is that always exist trade-offs and we have to decide wich trade-off makes less harm to the music signal. R. |
