Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & reg mods]. Funk Firm APM Achromat/Nagaoka GL-601 Crystal Record Weight/Isonoe feet & boots/Ortofon RS-212D/Denon DL-103GL in Denon PCL-300 headshell with Funk Firm Houdini/Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp/Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new, by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. LDR Stereo Coffee. Power Amps: Tube Distinctions Copper Amp fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.
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[QUOTE=User211;868893]Is there a phono stage in existence with more flexibility than the EMT?
Has anyone ever had one at home to evaluate?
I loved this - epic.
And totally agree with Peter and Justin, on Scalford, education and the overall 'experience' I'm glad I went. For all that a huge chunk of stuff left me cold, it's so huge that there was more than enough to my taste to drool over or even plot and scheme about.
Still my favourite thing of the whole trip (a notch even above the Thoress stuff) was the Fortepiano demonstration!
All ages and sizes catered for
TIDAL.
There (was) no doubt in my mind that TIDAL make some of the best conventional speakers. At least in 2011 I was seriously impressed with them. In 2014, still good, but not so much. In 2017, with the biggest TIDAL speaker I have experienced so far, an associate and I were not impressed.
Just a blend of components that didn't go well together? TT not up to the job? In there at unfortunate times? I am reluctant to blame the speaker, though this finish doesn't appeal to my tastes visually.
Last edited by User211; 29-05-2017 at 10:15.
TT porn interlude... I've missed out about 8 Transrotor snaps as I appear to have decided I only like the one I posted earlier.
This Hanss thing bought direct from China isn't bad value considering the engineering. Which looks very good quality wise.
New one on me.
Not a great pic and I am not sure of the model but Harbeth did sound remarkably decent I thought, at least when I was in there.
Location: Wales, UK
Posts: 315
I'm Simon.
God, those Harbeths look quaint and out of place amongst the other monster speakers.
Simon.
That's Martina Schoener's slightly expensive Transcription Reference version of Loricraft's Garrard 501. Review here.
I did think Loricraft when I looked at it. It was in the Harbeth room.
Anyway, I've decided I really like Engstrom amps.
The Marten video I featured earlier uses the new Engstrom Eric monos, based on the new KR T100 tube, good for 70 Watts a channel. It sounded great in both Marten rooms.
If the Eric had a tad more power, I'd try and dem a pair at home. That is, until I found out the retail, which I suspect isn't cheap.
And the Engstrom Lars was fantastic in this system as shot by me 6 years ago. F*&kin' great, this system, I thought, in a huge room with you on a very high chair. You had to stand to listen to this one to make it work. Although this video was shot with a camera with poor mics to say the least.
The last time I searched for Musique Concrete on YouTube, I got this. And again today.
Enjoy