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Thread: Phonomac AT-1010 Tonearm review

  1. #1
    Join Date: Nov 2015

    Location: Wolverhampton

    Posts: 6,568
    I'm Oliver.

    Default Phonomac AT-1010 Tonearm review

    As per usual I am going to break this down into segments. I find it easier that way.

    Angus (Phonomac of this forum) got in touch not long after I posted my thoughts in regards to the Alphason and Mission tonearms I was playing with. I had already remarked on the aesthetic appeal of the AT-1010 when I saw one on Montesque's re-plinthed Garrard 401. The email was simply to ask if I would be interested in having a listen to his modified version of the same arm. I was of course going to say yes!

    Lets start with looks,

    I think its a very 80's idea of what the modern (2000's) arm would look like. I don't know when the AT-1010 came in to production but to me, that's how it feels. They were wrong of course BUT its a very nice looking arm all the same.

    10/10 : I love the looks. Very different and very me ha!

    Build quality,

    Well to look at the arm, you would presume it would feel....Cheap. You know what I mean when something Metal is actually lightweight and flimsy feeling, but no, Its satisfyingly heavy. Its rock solid. The black bar which supports the rest and the arm-lift lever is a metal die-casting, only the clip and lock are plastic, it still has a very good quality feel to it. The arm lift is reassuringly firm and smooth in operation. The bias weight, anti-skate weight and counterweight are all feel very well made and a visual inspection shows that they are very well machined and look the part. The arm lock is very effective too. I am impressed by the quality so far, but wait! What's this I have spotted? Its a casting ridge. The bearing housing is a cast piece of metal which, when done usually produces a ridge or seam where the cast moulds meet. These are usually sanded off and left to look like they never existed. The Phonomac AT-1010 has a slight ridge. This isn't a concern in terms of performance or an indicator that its not up to scratch but it does show that​ Audio Technica's QC should have been more diligent. Shame that, It was going so well!!

    9/10, The ridge on the bearing housing has let the finish down a bit but its still incredibly well engineered. I've seen another two of these arms and neither have a blemish. Just mine, Typical! hahaha.

    Set-Up,

    It looks a bit of a doddle. Angus has this set up to perfection in a little over 10 minutes. Yes, 10 minutes. No special tools, just a laminated alignment protractor print out from Conrad Hoffman’s arc protractor software, a mirrored azimuth checker and a few allen keys and we are ready to go. I am sure a manual and 30 minutes would have me reach the same standard of set-up so no fear there. So, beginner friendly? Definitely. I set this up personally in less than 25 minutes and to the same level as done by the expert. Its a really easy arm to set up. I love the detachable headshell.

    10/10 Its easy enough for a beginner but has many areas for adjustment that the Audiophile can spend hours adjusting it. Excellent.

    Sound,

    Well where do I start?

    It feels like we have turned the focus ring on the Camera lens and everything is cuttingly sharp and accurate. This means there's excellent levels of separation between instruments. Crescendos are clear and completely smear free. Its very precise and coherent. I am taken aback at how poised and completely under control the arm is. There's no smudging of the soundstageand even in the busiest parts of the track, it is all completely audible and easy to follow. Bass is tight and full of impact. The drum rolls and kick drum really stir up a lot of atmosphere and the sound and motion of the skin flexing on the drum roll travels from left to right in a totally realistic manner. The attack of the drums is accompanied by what I can only describe as the possibly the cleanest soundstage I have personally heard. It sounds like i have now got a focused sound. Pinpoint and deliberate. Transient repsonse is clean and delivered with attack and shimmer.

    It's powerful too. I noticed an immediate increase in the output when I dropped the needle for the first time. Angus suggests this is due to the Cantilever delivering more signal due to the rigidity of the arm and the ultimate stability of the bearings which means less effort is required from the cartridge to stabilise the arm. It has a very firm grip of intonation and the flat wound strings on McCartney's bass really thud rather than boom. I am also happy to report that the very bottom end is as articulate as the midrange and treble. Balance throughout the frequency band is superb and nothing flies out in front. Very even delivery.

    I recently heard anOrtofon RS-309D 12" tonearm and felt that it was pinpoint accurate, neutral and incredibly detailed. The Phonomac AT-1010 is equally as good according to memory. I would like to do an A/B but as I don't have £2000+ lying around, that's not gonna happen!

    This arm is doing a great job at opening up the sound stage, The sound is coming from around the speakers rather than from the front and this is giving a real sense of space. It's very easy to be lost in the track and be totally absorbed into the ambient noises in the background of the track. These noises aren't usually this apparent or vivid but here they are, sucking me in. I feel like I am on a journey through time and space, listening to “Dark side of the Moon” Cliche I know, but still a great album. Guitar notes travel from way beyond to up front and centre as Jimi Hendrix takes me on a drug fuelled trip around his mind. It really is conjuring up mental images and flaring my imagination.

    So tonally, we are in dreamland. A perfectly balanced presentation and what feels like utter transparency ensues when we strap an Ortofon Vienna to the Phonomac AT-1010. Acoustic guitars are spot on and attack is very punctual. Decay is swift and doesn't linger which makes way for the next note. I actually feel like I have more time to listen to the track such is the timing. Odd sensation. It's kind of like the turntable is no longer rushing through the track. Rather taking its time to get everything right. Rhythmically, its a foot tapping fest. Its no slouch just "sniper" accuracy and precise. Always under control. The Ortofon Vienna shows me exactly what the arm is capable of in the hands of a top class cart. Stunningly good.

    Imagine a room full of people under pressure whilst chaos and panic ensues. There is always one person, cool, calm and collected, a Bond like figure. This is Bond.
    It reveals everything and hides nothing. Detail retrieval is obviously a strength and I am hearing, very clearly, two track vocals which have been over-laid and then the harmonies are there for your listening pleasure too, also very well separated. Its a fantastic listen. Everything is individually audible but part of a bigger, well drawn, picture. 12 string guitars are portrayed accurately and believably.

    Vocals on Fleetwood Mac have me questioning how Stevie Nicks ever got the job as lead singer. It not that the arm isn't portraying her voice well, its actually showing me all the flaws and poor breathing technique she used. She's out of air so can't stop the note from wavering and its all a little shaky. The truth is the arm is really displaying more detail than I am used to and it very revealing. Onto a better vocalist (Sarah Jarosz) and we have glorious tone and timbre. A brief listen to Mozart – The Toronto Chamber Orchestra and the Orchestra is full, flowing and delicate. There's drama and emotion with wonderful balance and tonal superiority. Violins are audible at the right balance with the Basses and wind instruments. It really is very good.

    10/10 Simply stunning performance. Very hard to fault anywhere, unless you are Stevie Nicks!


    In my opinion, in my setup, the AT-1010 a superior arm to anything ive owned or heard. Quite surprising really but thats the only conclusion i can come to after listening to it relentlessly. If you doubt it, i suggest you let Angus show you what you're missing. I'd expect this to be difficult to beat for any tonearm under £2500 (based on the Ortofon i previously mentioned). Yes, any.

    Conclusion.

    Angus tells me the price of this modified arm is £825 including supply of the original arm. I am a little surprised that an AT-1010 would cost so much (a recent standard AT-1010 sold for £400ish on eBay recently).

    We have a chat about how the price is evaluated. The level of work which goes into the bearing upgrade is quite shocking. We have one piece of plastic, part of the bearing assembly, which is a moulded piece. Angus takes this out and remakes it with better materials. A process which has over 20 different machining operations to make it, demonstrates the level of attention to detail he goes to. It also creates a larger area on which to attach to. This increases the rigidity of the arm. More is done to the arm but at the risk of exposing his methods, I decided not to share them. Suffice to say, when you take into account the materials used, new parts sourced, all the machining it goes through and labour, £825 is looking a bit cheap! Angus might be a one man band, working out of his garage/workshop, but his quality control is top notch. The adapter plate made to fit the AT to my Toshy is as professional as anything available anywhere.

    In an ideal world, I would like to hear how the standard AT-1010 and the Phonomac AT-1010 compare. This could happen and if it does I will update this thread.

    I am confident to say that this is a real world priced, Top class tonearm. Upon hearing it, even the most dedicated brand buying consumer couldn't argue. I was suitably impressed with the Ortofon RS-309D, I am in love with the Phonomac AT-1010

    P.S, the car horn on “Country Honk” - Rolling Stones, just made me look out the front room window. Outstanding lol."

    This review was written PRIOR to me purchasing a Phonomac AT1010 and i have received no financial/gift incentive to review this arm. All views expressed are my own and are only my opinion. Always try something yourself before purchase



    Pictured on the Toshiba on which the review was done.
    Last edited by Bigman80; 11-10-2017 at 12:12.
    Analogue: Technics SP10 MK2 > Phonomac AT-1010 MK5 tonearm > Ortofon Kontrapunkt b > Bigbottle Jfet MC Valve Phonostage (Telefunken Valves)
    Digital: NONE
    Amplification: Nelson Pass DCB1 with Khozmo 48 Step Series Attenuator & Krell KSA100 MK2 Amplifier
    Cables: Fisual S-Flex Speaker Cable & SPOTFIRE IC Cables & NEW SPOTFIRE Tonearm cable
    Speakers: Pioneer CS-77A

  2. #2
    Join Date: Apr 2011

    Location: London

    Posts: 3,255
    I'm Robert.

    Default

    Quote Originally Posted by Bigman80 View Post
    As per usual I am going to break this down into segments. I find it easier that way.*

    Angus (Phonomac of this forum) got in touch not long after I posted my thoughts in regards to the*Alphason*and Mission*tonearms*I was playing with. I had already remarked on the aesthetic appeal of the AT-1010 when I saw one on*Montesque's*re-plinthed*Garrard*401. The email was simply to ask if I would be interested in having a listen to his modified version of the same arm. I was of course going to say yes!*

    Lets start with looks,*

    I think its a very 80's idea of what the modern (2000's) arm would look like. I don't know when the AT-1010 came in to production but to me, that's how it feels. They were wrong of course BUT its a very nice looking arm all the same. *

    10/10 : I love the looks. Very different and very me ha!
    *
    Build quality,*

    Well to look at the arm, you would presume it would feel....Cheap. You know what I mean when something Metal is actually lightweight and flimsy feeling, but no, Its satisfyingly heavy. Its rock solid. The black bar which supports the rest and the arm-lift lever is a metal die-casting, only the clip and lock are plastic, it still has a very good quality feel to it. The arm lift is reassuringly firm and smooth in operation. The bias weight, anti-skate weight and counterweight are all feel very well made and a visual inspection shows that they are very well machined and look the part. The arm lock is very effective too. I am impressed by the quality so far, but wait! What's this I have spotted? Its a casting ridge. The bearing housing is a cast piece of metal which, when done usually produces a ridge or seam where the cast moulds meet. These are usually sanded off and left to look like they never existed. The*Phonomac*AT-1010 has a slight ridge. This isn't a concern in terms of performance or an indicator that its not up to scratch but it does show that Audio*Technica's*QC*should have been more diligent. Shame that, It was going so well!!*

    9/10, The ridge on the bearing housing has let the finish down a bit but its still incredibly well engineered. I've seen another two of these arms and neither have a blemish. Just mine, Typical!*hahaha.*

    Set-Up,*

    It looks a bit of a*doddle. Angus has this set up to perfection in a little over 10 minutes. Yes, 10 minutes. No special tools, just a laminated alignment protractor print out from*Conrad Hoffman’s arc protractor software, a mirrored azimuth checker and a few*allen*keys and we are ready to go. I am sure a manual and 30 minutes would have me reach the same standard of set-up so no fear there. So, beginner friendly? Definitely. I set this up personally in less than 25 minutes and to the same level as done by the expert. Its a really easy arm to set up. I love the detachable*headshell. *

    10/10 Its easy enough for a beginner but has many areas for adjustment that the Audiophile can spend hours adjusting it. Excellent.*

    Sound,*

    Well where do I start?*

    It feels like we have turned the focus ring on the Camera lens and everything is cuttingly sharp and accurate. This means there's excellent levels of separation between instruments. Crescendos are clear and completely smear free. Its very precise and coherent. I am taken aback at how poised and completely under control the arm is. There's no smudging of the*soundstage*and even in the busiest parts of the track, it is all completely audible and easy to follow. Bass is tight and full of impact. The drum rolls and kick drum really stir up a lot of atmosphere and the sound and motion of the skin flexing on the drum roll travels from left to right in a totally realistic manner. The attack of the drums is accompanied by what I can only describe as the possibly the cleanest*soundstage*I have personally heard. It sounds like i have now got a focused sound. Pinpoint and deliberate. Transient repsonse is clean and delivered with attack and shimmer.

    It's powerful too. I noticed an immediate increase in the output when I dropped the needle for the first time. Angus suggests this is due to the Cantilever delivering more signal due to the rigidity of the arm and the ultimate stability of the bearings which means less effort is required from the cartridge to stabilise the arm. It has a very firm grip of intonation and the flat wound strings on McCartney's bass really thud rather than boom. I am also happy to report that the very bottom end is as articulate as the midrange and treble. Balance throughout the frequency band is superb and nothing flies out in front. Very even delivery. *
    *
    I recently heard an*Ortofon*RS-309D 12"*tonearm*and felt that it was pinpoint accurate, neutral and incredibly detailed. The*Phonomac*AT-1010 is equally as good according to memory. I would like to do an A/B but as I don't have £2000+ lying around, that's not*gonna*happen!*

    This arm is doing a great job at opening up the sound stage, The sound is coming from around the speakers rather than from the front and this is giving a real sense of space. It's very easy to be lost in the track and be totally absorbed into the ambient noises in the background of the track. These noises aren't usually this apparent or vivid but here they are, sucking me in. I feel like I am on a journey through time and space, listening to “Dark side of the Moon” Cliche I know, but still a great album. Guitar notes travel from way beyond to up front and centre as*Jimi*Hendrix takes me on a drug fuelled trip around his mind. It really is conjuring up mental images and flaring my imagination.*

    So tonally, we are in dreamland. A perfectly balanced presentation and what feels like utter transparency ensues when we strap an*Ortofon*Vienna to the*Phonomac*AT-1010. Acoustic guitars are spot on and attack is very punctual. Decay is swift and doesn't linger which makes way for the next note. I actually feel like I have more time to listen to the track such is the timing. Odd sensation. It's kind of like the turntable is no longer rushing through the track. Rather taking its time to get everything right. Rhythmically, its a foot tapping*fest. Its no slouch just "sniper" accuracy and precise. Always under control. The*Ortofon*Vienna shows me exactly what the arm is capable of in the hands of a top class cart. Stunningly good.*

    Imagine a room full of people under pressure whilst chaos and panic ensues. There is always one person, cool, calm and collected, a Bond like figure. This is Bond.*
    It reveals everything and hides nothing. Detail retrieval is obviously a strength and I am hearing, very clearly, two track vocals which have been over-laid and then the harmonies are there for your listening pleasure too, also very well separated. Its a fantastic listen. Everything is individually audible but part of a bigger, well drawn, picture. 12 string guitars are portrayed accurately and believably.*

    Vocals on Fleetwood Mac have me questioning how*Stevie*Nicks ever got the job as lead singer. It not that the arm isn't portraying her voice well, its actually showing me all the flaws and poor breathing technique she used. She's out of air so can't stop the note from wavering and its all a little shaky. The truth is the arm is really displaying more detail than I am used to and it very revealing.
    Onto a better vocalist (Sarah*Jarosz) and we have glorious tone and timbre. A brief listen to Mozart – The Toronto Chamber Orchestra and the Orchestra is full, flowing and delicate. There's drama and emotion with wonderful balance and tonal superiority. Violins are audible at the right balance with the Basses and wind instruments. It really is very good.*

    10/10 Simply stunning performance. Very hard to fault anywhere, unless you are*Stevie*Nicks!*


    In my opinion, in my setup, the AT-1010 a superior arm to anything ive owned or heard. Quite surprising really but thats the only conclusion i can come to after listening to it relentlessly. If you doubt it, i suggest you let Angus show you what you're missing. I'd expect this to be difficult to beat for any tonearm under £2500 (based on the Ortofon i previously mentioned). Yes, any.*

    Conclusion.*

    Angus tells me the price of this modified arm is £825 including supply of the original arm. I am a little surprised that an AT-1010 would cost so much (a recent standard AT-1010 sold for £400ish on eBay recently).*

    We have a chat about how the price is evaluated. The level of work which goes into the bearing upgrade is quite shocking. We have one piece of plastic, part of the bearing assembly, which is a moulded piece. Angus takes this out and remakes it with better materials. A process which has over 20 different machining operations to make it, demonstrates the level of attention to detail he goes to. It also creates a larger area on which to attach to. This increases the rigidity of the arm. More is done to the arm but at the risk of exposing his methods, I decided not to share them. Suffice to say, when you take into account the materials used, new parts sourced, all the machining it goes through and labour, £825*is looking a bit cheap! Angus might be a one man band, working out of his garage/workshop, but his quality control is top notch. The adapter plate made to fit the AT to my Toshy is as professional as anything available anywhere.*

    In an ideal world, I would like to hear how the standard AT-1010 and the Phonomac AT-1010 compare. This could happen and if it does I will update this thread.*

    I am confident to say that this is a real world priced, Top class tonearm. Upon hearing it, even the most dedicated brand buying consumer couldn't argue. I was suitably impressed with the*Ortofon RS-309D, I am in love with the Phonomac AT-1010*

    P.S, the car horn on “Country Honk” - Rolling Stones, just made me look out the front room window. Outstanding lol."*

    This review was written PRIOR to me purchasing a Phonomac AT1010 and i have received no financial/gift incentive to review this arm. All views expressed are my own and are only my opinion. Always try something yourself before purchase



    Pictured on the Toshiba on which the review was done.

    Nice one Oliver !!

    I can relate to what you've written, particularly the bit highlighted.
    Can only add that when you hear the warts and all / the 'truth' of a recording ie: your comments about Stevie's vocals for example, you know you've really entered the realms of high fidelity.

    This for me is what it's all about and worth all the pain along the journey
    My System:
    Amplification - Sansui AU-alpha 707 DR
    Turntable - Modified Technics SL1210 MK5G
    Mike New precision bearing, bearing base plate, ETP Platter
    Micro Seiki MA-202 tonearm, rewired, hybrid ceramic bearings
    Ortofon Cadenza Black moving coil cartridge
    Yannis Tome 423.5 Silver-Litz tonearm cable with KLEI Pure Silver Harmony plugs
    Ebony armboard
    Audio Technica MS-8 Magnesium headshell, Ortofon pure silver headshell leads
    Isonoe Isolation Feet
    Paul Hynes SR7EHD PSU (plus regulator modules), DCSXL pure-silver DC lead with Jaegar low impedance connector
    CDP - Pioneer PD-91
    Speakers - Spendor D7
    QED Silver Spiral speaker cable, Airlock plugs - bare wire amp end.
    Mains - Ultra Pure silver plated un-switched socket, Missing link EPS 500 silver plated plugs with Hi-Fi Tuning gold plated silver ceramic 13 amp fuses

  3. #3
    Join Date: Jan 2008

    Location: Forest of Dean, Glos

    Posts: 10,292
    I'm Jerry.

    Default

    I used to have a standard AT-1010.
    Very nice, I loved it.
    Do you know in what ways yours has been modded by Angus? It looks pretty much the same, iirc.
    Jerry

    Qobuz 16/44 streaming >> Acer laptop >> Halide Bridge USB (with AQVOX USB power) >> Wadia 151 PowerDAC >> Podium 0.5 speakers & 2x Jamo SW200 subs.

    'Resting' - Herron VTSP2 preamp, Trigon TRE50M monoblocks, MBL 116f speakers, Topping D30 DAC

    Cables: Wireworld Starlight USB, Ixos Ixotica i/c, W&M speaker cables, Belden 19364 mains cables

    Headphones: Fostex TH600, Audeze EL-8, Wharfedale Isodynamic, Philips Fidelio X2
    Headphone amp: Denon DN-A 100 integrated amp

  4. #4
    Join Date: Apr 2011

    Location: London

    Posts: 3,255
    I'm Robert.

    Default

    Quote Originally Posted by jandl100 View Post
    I used to have a standard AT-1010.
    Very nice, I loved it.
    Do you know in what ways yours has been modded by Angus? It looks pretty much the same, iirc.
    Angus,

    Re-wired my Micro Seiki MA-202 and fitted new hybrid ceramic bearings. Wouldnt be surprised if he's fettled / improved Olivers AT-1010 similarly.
    My System:
    Amplification - Sansui AU-alpha 707 DR
    Turntable - Modified Technics SL1210 MK5G
    Mike New precision bearing, bearing base plate, ETP Platter
    Micro Seiki MA-202 tonearm, rewired, hybrid ceramic bearings
    Ortofon Cadenza Black moving coil cartridge
    Yannis Tome 423.5 Silver-Litz tonearm cable with KLEI Pure Silver Harmony plugs
    Ebony armboard
    Audio Technica MS-8 Magnesium headshell, Ortofon pure silver headshell leads
    Isonoe Isolation Feet
    Paul Hynes SR7EHD PSU (plus regulator modules), DCSXL pure-silver DC lead with Jaegar low impedance connector
    CDP - Pioneer PD-91
    Speakers - Spendor D7
    QED Silver Spiral speaker cable, Airlock plugs - bare wire amp end.
    Mains - Ultra Pure silver plated un-switched socket, Missing link EPS 500 silver plated plugs with Hi-Fi Tuning gold plated silver ceramic 13 amp fuses

  5. #5
    Join Date: Nov 2015

    Location: Wolverhampton

    Posts: 6,568
    I'm Oliver.

    Default

    I know that the bearing housing is replaced with a better material and there are high quality super smooth bearings. A larger surface area is created for the bearing to be sited. It's all very Technical. Lots of work goes in to it.

    Sent from my EVA-L09 using Tapatalk
    Analogue: Technics SP10 MK2 > Phonomac AT-1010 MK5 tonearm > Ortofon Kontrapunkt b > Bigbottle Jfet MC Valve Phonostage (Telefunken Valves)
    Digital: NONE
    Amplification: Nelson Pass DCB1 with Khozmo 48 Step Series Attenuator & Krell KSA100 MK2 Amplifier
    Cables: Fisual S-Flex Speaker Cable & SPOTFIRE IC Cables & NEW SPOTFIRE Tonearm cable
    Speakers: Pioneer CS-77A

  6. #6
    Join Date: Jul 2010

    Location: Cheltenham

    Posts: 786
    I'm Charlie.

    Default

    The Audio Technica AT-1010 and AT 1100 were beautifully made and were expensive in the early 80s when they came out - easily twice the cost of the press darling Grace 707. I bought an AT1100 new back then and kept it until 3 years ago. It was great arm and a perfect match for my ultra low output Micro Seiki LC80w MC cartridge (I wish I had kept that).
    R2R: Studer A820 1/2 inch 2 track; Otari MTR-12 1/4 inch 2 track; Sony APR 5003; Sony APR 5002; Studer A807/II. Vinyl: Platine Verdier Allaerts MC1B/Schroeder Model 2 Decca C4E/Hadcock 228 TRON Seven Reference phono. Other analogue source: Nakamichi Dragon with ANT4066 mods. Amplification: TRON Meteor preamp TRON Voyager 20B SET power. Speakers: Avantgarde Duo. Digital: does not compute

  7. #7
    Join Date: Nov 2015

    Location: Wolverhampton

    Posts: 6,568
    I'm Oliver.

    Default

    Quote Originally Posted by topoxforddoc View Post
    The Audio Technica AT-1010 and AT 1100 were beautifully made and were expensive in the early 80s when they came out - easily twice the cost of the press darling Grace 707. I bought an AT1100 new back then and kept it until 3 years ago. It was great arm and a perfect match for my ultra low output Micro Seiki LC80w MC cartridge (I wish I had kept that).
    I'm really impressed with mine. It's a permanent fixture here. It'll never be sold. With Angus's mods it's a special beast. I haven't heard a stock version but it's on the horizon to do so. Excellent arm.

    Sent from my EVA-L09 using Tapatalk
    Analogue: Technics SP10 MK2 > Phonomac AT-1010 MK5 tonearm > Ortofon Kontrapunkt b > Bigbottle Jfet MC Valve Phonostage (Telefunken Valves)
    Digital: NONE
    Amplification: Nelson Pass DCB1 with Khozmo 48 Step Series Attenuator & Krell KSA100 MK2 Amplifier
    Cables: Fisual S-Flex Speaker Cable & SPOTFIRE IC Cables & NEW SPOTFIRE Tonearm cable
    Speakers: Pioneer CS-77A

  8. #8
    Join Date: Mar 2017

    Location: Seaford UK

    Posts: 690
    I'm Dennis.

    Default

    "I can relate to what you've written, particularly the bit highlighted.
    Can only add that when you hear the warts and all / the 'truth' of a recording ie: your comments about Stevie's vocals for example, you know you've really entered the realms of high fidelity."

    This revelation of reality is where we know we have moved forward, and I have been having this with my ADAMs.
    There's no going back psychologically when you know you've heard more than ever before.

  9. #9
    Join Date: Nov 2015

    Location: Wolverhampton

    Posts: 6,568
    I'm Oliver.

    Default

    Quote Originally Posted by Pharos View Post
    "I can relate to what you've written, particularly the bit highlighted.
    Can only add that when you hear the warts and all / the 'truth' of a recording ie: your comments about Stevie's vocals for example, you know you've really entered the realms of high fidelity."

    This revelation of reality is where we know we have moved forward, and I have been having this with my ADAMs.
    There's no going back psychologically when you know you've heard more than ever before.
    It was an eye-opening moment when the Phonomac AT1010 went on. It really blew my expectations. I couldn't afford one when I heard it but I just knew I couldn't send it back. It was a struggle but I'm rewarded daily!

    Sent from my EVA-L09 using Tapatalk
    Analogue: Technics SP10 MK2 > Phonomac AT-1010 MK5 tonearm > Ortofon Kontrapunkt b > Bigbottle Jfet MC Valve Phonostage (Telefunken Valves)
    Digital: NONE
    Amplification: Nelson Pass DCB1 with Khozmo 48 Step Series Attenuator & Krell KSA100 MK2 Amplifier
    Cables: Fisual S-Flex Speaker Cable & SPOTFIRE IC Cables & NEW SPOTFIRE Tonearm cable
    Speakers: Pioneer CS-77A

  10. #10
    Join Date: Apr 2011

    Location: London

    Posts: 3,255
    I'm Robert.

    Default

    I was over by Angus's on Tuesday for the first time and heard his AT-1010 within the context of his system.

    Playback was simply excellent ! - Not sure what the cart was but the rest as you know being on his SP-10, through the Sansui AU D11ii, out of a pair of Monitor Audio GS-20's
    My System:
    Amplification - Sansui AU-alpha 707 DR
    Turntable - Modified Technics SL1210 MK5G
    Mike New precision bearing, bearing base plate, ETP Platter
    Micro Seiki MA-202 tonearm, rewired, hybrid ceramic bearings
    Ortofon Cadenza Black moving coil cartridge
    Yannis Tome 423.5 Silver-Litz tonearm cable with KLEI Pure Silver Harmony plugs
    Ebony armboard
    Audio Technica MS-8 Magnesium headshell, Ortofon pure silver headshell leads
    Isonoe Isolation Feet
    Paul Hynes SR7EHD PSU (plus regulator modules), DCSXL pure-silver DC lead with Jaegar low impedance connector
    CDP - Pioneer PD-91
    Speakers - Spendor D7
    QED Silver Spiral speaker cable, Airlock plugs - bare wire amp end.
    Mains - Ultra Pure silver plated un-switched socket, Missing link EPS 500 silver plated plugs with Hi-Fi Tuning gold plated silver ceramic 13 amp fuses

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