Source upgrade
Jun 25, 2003 at 5:44 PM Post #46 of 113
That looks like a great deal.
 
Jun 25, 2003 at 5:44 PM Post #47 of 113
Mod-ing audio gear is nothing new. It's been done since the dawn of audio, done by people here in fact all the time. No doubt about it though, if your chief concern is warranty issues, obviously you shouldn't consider modifications.

OTOH, if you are buying used gear through audiogon, I think you potentially decrease your chances (don't know by how much) of having a robust warranty situation anyway.

Mark
 
Jun 25, 2003 at 5:59 PM Post #50 of 113
Quote:

Originally posted by tom hankins
Solude, why would what radrd hears or thinks of one player compared to another be any less credible than what you think?


Who said it wasn't? It's a preference, radrd prefers the less dynamic(quiet and loud not as far apart), drier(less overtones) sound of the Music Hall. Nothing wrong with that and he's certainly in good company but being dynamic and having overtones doesn't make a player harsh it makes it dynamic with overtones
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Whether you like it or not is a different matter.

I simply qualified his opinion to that of someone who prefers the live, away from the stage sound. Nothing wrong or discredible about that. Could be synergy too, the A-T cans are pretty warm and have good overtone ability on their own. The Gilmore is very dynamic too. Maybe the Arcam/Gilmore/A-T combo just takes it over the top into the realm of harsh.

I don't know, I'm guessing since radrd didn't really qualify his opinion with what his ideal is. But harsh? I think JMT, Jude, every reviewer so far, me and the rest of the Arcam team might have to disagree there. Also even radrd himself liked the Arcam as close as a few months ago calling it a nice sounding player and a great value
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Jun 25, 2003 at 6:41 PM Post #52 of 113
Quote:

Originally posted by pigmode
BTW, what are overtones?


I'll try to explain it as best I can, no promises that I make sense though
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Basically overtones are anything that is part of the recording but that isn't the primary note itself. Some obvious ones would be fingers sliding across a fret board, the sound of picking at a string, the impact of kick on bassdrum, the stick to cymbal... Those are obvious and comes down to preference if you want to hear these things or not. The less obvious variety is the snare on a drum becoming seperate for the actual snare drum hit, sound of a hand stop on a cymbal, fret board buzz from string to fret vibes, pick vs. tap on solos, 2 people playing in slight delay vs. using delay patch effects. And into the point of damn hard to point out... the previous note continues to decay while a new one comes into being the primary, i.e. chords are less one noted and more collection of independant notes with decay. I guess you could call overtones, a combination of detail retrieval, air around notes, dynamics and prat. Let's just refer to it as Dr. Aan D. Prat
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Jun 25, 2003 at 9:39 PM Post #55 of 113
I've seem some commments to the effect that the FMJ can have a little too much energy in the upper registers. Having auditioned the FMJ in my own system for a few weeks I found no evidence of this, and I am very sensitive to too much highs and too much air. It could be the system or it could be personal preferences.

The FMF is refined player with a great chassis and power supply. I wouldn't try to compare it with these lower cost players.
 
Jun 25, 2003 at 10:32 PM Post #59 of 113
IMO you are getting a very good player for 950.00. Congrats on your purchase, and I hope it works out for you.
 
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