[]eep]

Who cares? Take a hint and post pictures.

I wonder, ... what does your signature mean? Seems like no-one gets it. :rolleyes:


And, uhm, can anyone explain to me what a POS is? Permanently Out of Service?

I know a good reason not to go on and on and on and on about those dusty, scratchy 'vintage' TT's. They are ugly and not fit for a photo thread. They have, as they say, a good face for radio.

No way on earth I will use them to play anything that was digitally recorded or remastered.

That is just being snob, silly and unrealistic. 'Digital' masters and -remasters from the 80-90 are dull sounding rubbish. But properly done modern recordings and remasters sound anything like rubbish. They can sound very good, sometimes even better than old masters.

 

[analogsurviver]

I wonder, ... what does your signature mean? Seems like no-one gets it.

And, uhm, can anyone explain to me what a POS is? Permanently Out of Service?

I know a good reason not to go on and on and on and on about those dusty, scratchy 'vintage' TT's. They are ugly and not fit for a photo thread. They have, as they say, a good face for radio.
That is just being snob, silly and unrealistic. 'Digital' masters and -remasters from the 80-90 are dull sounding rubbish. But properly done modern recordings and remasters sound anything like rubbish. They can sound very good, sometimes even better than old masters.

I am merely trying to be - realistic.
 
As much as I do love analog, I can not deny that its downfalls do not destract from the "perfect" experience. If the recording is originally digital - it IS best played on digital gear; at least no analog problems added to the mix.
 
Where there is signal recorded to the analog disc using analog recording containing frequency response past 20 kHz - then I would tend to go with analog. And, YES, one does need a super performing cartridge in order to extract the most out of the disc - or, more realistically, at least not damage the grooves on HOT treble - where all the action in phono cartridges really is.
 
As most normal carts CAN NOT COPE with "balls out - full throttle" ( to quote Chuck Yeager ) signal on disc, the overall level of information cut into the groove gets diminished - by 6 dB or even more in the practice - so that "it will track with most average equipment". Reducing signal to noise ratio and dynamics by the same amount in the process.
 
Magazine Audio in Germany has issued - MANY full moons ago - a test "record" in a most demanding and honestly produced manner imaginable : LP, CD and analog cassette - all containing the same technical signals and music. That cassette must be THE BEST pre-recorded cassette ever issued - and it takes one hell of a lot better performing cart than, say, a Koetsu (whatever model ) - IF that reproduction off disc is supposed to at least compete with this superbly recorded cassette.

 

[bbophead]

This would depend on what cassette player they were using?  Any wow and flutter spec has to be at  least .12 or less.  No?

 

[analogsurviver]

 
This would depend on what cassette player they were using?  Any wow and flutter spec has to be at  least .12 or less.  No?

I will scan one day the "papers" that came with this set of test disc, tape and CD.
 
Cassette decks were top Revox machine
http://www.hifiengine.com/manual_library/revox/b215.shtml
, specially selected from the production run, sent to the "record plant", where they have been further once more calibrated by the Revox staff. Then the duplication begun - 1:1, real time, on so and so many cassette decks, until the number of copies desired had been reached. Tape used was from BASF, noise reduction was Dolby ( B IIRC ) - and with BASF being by FAR the quitest tape ever, the dynamic range is nothing short of phenomenal. 
 
The precision of tape calibration on this test tape has CLEARLY shown that Technics cassette decks were - very precisely, with almost zero difference among samples - calibrated using a tape that had approx 2-3 dB difference between right and left channel. And, because of that, always sounded "off" on prerecorded tapes. Here comes the "best" : Technics, in order to provide best quality possible, went to the Nakamichi for calibration tape. And that resulted in the above ... - this is NOT what I call fair play! After seeing what latest Technics decks were capable of, the only course they saw open was to ********* the calibration tape ...

 

[bbophead]

Nice story!

You know much more about this than I do.
 
From personal experience, the shop I worked for had both Revox and Nakamichi, I would take almost any of the Naks over the Revox.  They were more reliable and frankly exceeded the specs of the Revox.  I have owned several Naks over the years and the BX-300 I have now still works beautifully.
 
Now, back to photos.
 

 

[esco]

After 7 long years of dreaming, saving up, setbacks, and grad school, I've finally decided it was the right to invest in my first turntable (roommate had a basic turntable back then in college.) My eyes were first set on the P3-24, followed by the RP3 when it was subsequently released.


After recently finding a deal for $1,000, I'm now the happy new owner of the RP40!

 

[bbophead]

Clean set up and a beauty table.  Congratulations!

 

[bbophead]

Here's a new jazz album on vinyl, Jerome Sabbagh on tenor sax (sometimes sounds like Dexter Gordon).  Mastered by Doug Sax from two track analogue.  Two LPs at 33 for all the music.  180 gram quiet pressings in QRP sleeves.  Excellent, realistic sound.  His website lists $25 plus domestic shipping.  http://www.jeromesabbagh.com/  I was a kickstarter contributor, otherwise, no connection.
 
      

 

[rmullins08]

  Here's a new jazz album on vinyl, Jerome Sabbagh on tenor sax (sometimes sounds like Dexter Gordon).  Mastered by Doug Sax from two track analogue.  Two LPs at 33 for all the music.  180 gram quiet pressings in QRP sleeves.  Excellent, realistic sound.  His website lists $25 plus domestic shipping.  http://www.jeromesabbagh.com/  I was a kickstarter contributor, otherwise, no connection.
 
      

 
I ordered this after reading Fremer's review.  Looking forward to receiving it.

 

[]eep]

I wen't to the goodwill 2ndH store yesterday as I usually do, and they had some new records. Obviously from someone with taste who did not have a lot of money but took good care of his records. Some were still in the plastic sleeve from the shop that has been gone for decades now.
Some Deccas (1 old gold/orange LXT), a lot of Philips (1 plum label), 2 French HMV FALP (Beeth 9 Furtwängler), DGG Tulips and some often underrated Vox/Turnabout. I'm a big spender (not!), cost me all of €20. :rolleyes:

 

[bbophead]

Quite a deal!!!

 

[Simon Templar]

 
 
 
 
 
 
....sT

 

[]eep]

Quite befitting a saint I would say...

 

[bbophead]

 
 
 
 
 
 
 
....sT

I thought I remembered that moniker.  I used to own Atma-Sphere MA-1 MKII (the golden face plates) and an MP-1 MKII.  Never went all the way to SoundLabs but I was tempted.  Went through some Martin Logans and Innersound along the way, not to mention QUAD 57/63 and so forth.  Nice looking vinyl set up you have.  Bet it sounds MAH-velous.  

 

[Simon Templar]

 
I thought I remembered that moniker.  I used to own Atma-Sphere MA-1 MKII (the golden face plates) and an MP-1 MKII.  Never went all the way to SoundLabs but I was tempted.  Went through some Martin Logans and Innersound along the way, not to mention QUAD 57/63 and so forth.

 
 
 
Yes, it's me.
 
Mine are the Atma-Sphere MA-1 MkII.2 Silver Edition's (the first pair of Silver's that Ralph shipped.....full Class-A, no switch like the rest)
 

 
 
I looked at ML Monoliths (the Prodigy's hadn't come out yet at that time) and Innersound Eros' too for awhile.  I see you're using Zeroes....I had a pair of the boxed Zero's for a couple years but ultimately decided they weren't really doing anything for me in my installation so I sold them off.
 
 
 
 
....sT