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Thread: Valuable Singles

  1. #41
    Join Date: Jun 2014

    Location: Chorley Lancs

    Posts: 14,603
    I'm Steve.

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    Quote Originally Posted by Marco View Post
    But hey, none of us are perfect, especially you!

    Marco.
    I never thought I was perfect, I just gave in to popular opinion
    I just dropped in, to see what condition my condition was in

    T/T: Inspire Monarch, X200 tonearm, Ortofon Quintet Blue. Phono: Project Tube Box CD: Marantz CD6006 (UK Edition); Amp: Musical Fidelity A5 Integrated.
    Speakers: Zu Omen Def, REL T9i subwoofer. Cables: Atlas Equator interconnects, Atlas Hyper 3.0 speaker cables

    T'other system:
    Echo Dot, Amptastic Mini One,Arcam A75 integrated, Celestion 5's, BK XLS-200 DF

    A/V:
    LG 55" OLED, Panasonic Blu Ray, Sony a/v amp, MA Radius speakers, REL Storm sub

    Forget the past, it's gone. And don't worry about the future, it doesn't exist. There is only NOW.

    KICKSTARTER: ENABLING SCAMMERS SINCE 2009

  2. #42
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,012
    I'm AudioAl'sArbiterForPISHANTO.

    Default

    Quote Originally Posted by Macca View Post
    Our hearing is not that great, that's why.
    Lol - speak for yourself! As you well know, almost every aspect of my system has been very carefully chosen and assembled on an 'ears only' basis, with almost no consideration for measurements, yet I've somehow managed to assemble a system that's, erm, 'none too shabby'...

    How have I managed to do that then if my hearing isn't any good?

    And that's been my subjectivist approach for the last 30 years, with every system I've owned, and which (although not perfect) has always sounded fab. How often, if ever, have you seen me complaining about problems or expressing dissatisfaction with my system? And yet, with respect, unfortunately you're never happy for long before *something* sets you back. And it goes round in loop.

    Coincidence? I dunno...

    No, I get what you mean about hearing... But I also mean what I mean. Measurements are largely for EEs to fret over, not enthusiasts/end-users, who, IMO, should focus most on 'does it sound any good to me', feck what the measurements say.

    Although some of the aspects are audible, off-centre or warped pressings for example with that wow you get on piano notes. That was also the point I was making about consistency. Not consistency in the set up of the deck, which isn't an issue unless you are using a poorly-designed one, but consistency in the quality of the LP records themselves.
    Sure, but TBH, in a collection of nearly 5000 records, I could count in one hand how many I own that are warped or off-centre, simply because I'm *extremely fussy* about the condition of the ones I buy, new or second-hand. If it's new and arrives in less than perfect condition, it gets sent back for a replacement or refund, and when I buy used records, they're *scrupulously examined* for scratches, warps and everything else, before I buy them, so as a result I have very few 'duds'.

    Therefore, what you're describing is a non-issue for me, and also for others if they're careful of what they're buying

    The claim you made that I took exception to was that vinyl is more accurate to analogue recordings. That was what got us into the technical side of things.
    Yes but I think you misunderstood the point I was making. What I meant was that you'll hear an all-analogue recording more 'accurately' (as in retain the desirable traits of the analogue sound) if it's replayed on an analogue source.

    For example, if said recording has been released both on vinyl and CD, then I contend that the vinyl would be more faithful to the original (analogue) sound, than the CD, simply because as soon as you digitise an analogue recording, you lose (to a certain degree) some of the characteristics of the analogue sound, and subsequently imbue it with a 'digital signature'.

    That's the reason why, back in the day, 'AAD' produced CDs sounded markedly different from 'DDD' ones. Or at least to my ears they did.

    That's what I meant, and I again I could demonstrate it. The same of course happens the other way round... If it's an all-digital recording, then I want the CD or the music file. The vinyl version wouldn't interest me, unless that was the only format the piece of music I wanted had been released on, as it would almost certainly sound worse (or no better) than its digital counterpart.

    Do you see where I'm coming from? Basically, if a recording starts off its life as digital, then keep it digital, and vice versa. For me, that's how you get the best/most 'accurate' sound, i.e. what's likely most faithful to the sound that left the studio. It's certainly what my ears and experience tell me.

    Whatever justified claims can be made about vinyl, it being more accurate as a format is not one of them, for all the reasons I listed. Okay so you say you can spend £5K on a set up and at that point most of those problems become irrelevant in practical terms. I don't disagree. But it's £5K! The cost- reward ratio of that does not add up for me.
    Fair enough, that's your prerogative, but is that vinyl's fault? No, of course not!

    The fact (and the whole point) is that the format is *capable* of doing what we've discussed, if enough time and effort, and yes money, is devoted to the cause. It would be a different matter if regardless of how much you spent, or how fastidious you were in setting things up, vinyl still couldn't eradicate said problems to the degree where they become irrelevant - then it WOULD intrinsically be sonically inferior to digital, but clearly that's not the case!

    Marco.
    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.


    Protect your HUMAN RIGHTS and REFUSE ANY *MANDATORY* VACCINE FOR COVID-19!

    Also **SAY NO** to unjust 'vaccine passports' or certificates, which are totally incompatible with a FREE society!!!


  3. #43
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,012
    I'm AudioAl'sArbiterForPISHANTO.

    Default

    Quote Originally Posted by Pigmy Pony View Post
    I never thought I was perfect, I just gave in to popular opinion...
    Haha - and may I also say how well you hide any notion that you're perfect, and so leave it in no doubt that you're not!

    Ya knows I lurves ya, though...

    Marco.
    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.


    Protect your HUMAN RIGHTS and REFUSE ANY *MANDATORY* VACCINE FOR COVID-19!

    Also **SAY NO** to unjust 'vaccine passports' or certificates, which are totally incompatible with a FREE society!!!


  4. #44
    Join Date: Aug 2009

    Location: Staffordshire, England

    Posts: 37,786
    I'm Martin.

    Default

    And that's been my approach for the last 30 years, with every system I've owned, which has always sounded fab. And how often, if ever, have you seen me complaining about problems or dissatisfaction with my system? And yet, with respect, you're never happy for long before *something* happens to set you back...

    Coincidence? I dunno.


    Just been unlucky with some second-hand equipment going faulty, that's all. I've never chucked large amounts of money at hi-fi like you have. My thing is all about achieving a top sound for the least amount of expenditure. And I managed that once, and that entire system only cost me £1500. So I'll get there again.

    Sure, but TBH, in a collection of nearly 5000 records, I could count in one hand how many I own that are warped or off-centre, simply because I'm *extremely fussy* about the condition of any records I buy, new or second-hand. If it's new and arrives in less than perfect condition, it gets sent back for a replacement or refund, and when I buy used records, they're *scrupulously scrutinised* for scratches, warps and everything else, before I buy them, so as a result I have very few 'duds'.

    Therefore, what you're describing is a non-issue for me, and also for others if they're careful of what they're buying


    I bet you have quite a few that are off centre, not really noticeable with some music though, but they will be. No way to avoid that, pretty much impossible to check for when buying, and it is a common issue. Again this is all just additional hassle that is not for me. Chasing down the best pressings, sending stuff back because it is warped or damaged or off-centre, paying serious money for just one album. I'm done with all that. The CD just works perfectly every time.

    Okay so I don't consider them as precious artefacts like I do with my vinyl records, there's no emotional value in them for me. But for practical purpose of just playing music with no hassle or aggravation to get in the way the CD works better for me. Plenty of people go a step further and have streaming from a service. No physical media, not even a hard drive full of music files. They don't seem to think they are missing out on much and they're probably right.

    Yes but I think you misunderstood the point I was making. What I meant was that you'll hear an all-analogue recording more 'accurately' (as in retain the desirable traits of the analogue sound) better if it's replayed on an analogue source.

    No I didn't. All a recording is is a variation of voltage over time. It's a waveform, frequency vs amplitude. There's no 'digitisation process' you are just transferring that waveform from one format to another with no loss. So with an analogue recording the closest you will get to playing the master tape of that is to play a digital copy of it as that will be an exact copy. The vinyl version is not an exact copy. This may be largely academic for practical purposes but it's still a fact. And unless your LP of the analogue recording was pressed before 1980 odds are that the signal was already 'digitised' when the record was cut.

    I could sneak into your house and stick an AD-DA conversion in after your phono stage and you'd never notice. I could probably put a few in. That's how transparent it is. The whole 'analogue purity' thing is just a myth.
    Current Lash Up:

    TEAC VRDS 701T > Sony TAE1000ESD > Krell KSA50S > JM Labs Focal Electra 926.

  5. #45
    Join Date: Jun 2014

    Location: Chorley Lancs

    Posts: 14,603
    I'm Steve.

    Default

    Quote Originally Posted by Marco View Post
    Haha - and may I also say how well you hide any notion that you're perfect, and so leave it in no doubt that you're not!

    Ya knows I lurves ya, though...

    Marco.
    Please, no public displays of affection, I thought we'd agreed on that after that y'know, incident...

    Seriously, it's a lonely business, having a brain the size of a planet, and playing dumb just so other folk don't feel intimidated is bloody hard work. I think perhaps I overdo it sometimes though
    I just dropped in, to see what condition my condition was in

    T/T: Inspire Monarch, X200 tonearm, Ortofon Quintet Blue. Phono: Project Tube Box CD: Marantz CD6006 (UK Edition); Amp: Musical Fidelity A5 Integrated.
    Speakers: Zu Omen Def, REL T9i subwoofer. Cables: Atlas Equator interconnects, Atlas Hyper 3.0 speaker cables

    T'other system:
    Echo Dot, Amptastic Mini One,Arcam A75 integrated, Celestion 5's, BK XLS-200 DF

    A/V:
    LG 55" OLED, Panasonic Blu Ray, Sony a/v amp, MA Radius speakers, REL Storm sub

    Forget the past, it's gone. And don't worry about the future, it doesn't exist. There is only NOW.

    KICKSTARTER: ENABLING SCAMMERS SINCE 2009

  6. #46
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,012
    I'm AudioAl'sArbiterForPISHANTO.

    Default

    We're in agreement then apart from this bit:

    Quote Originally Posted by Macca View Post
    [No I didn't. All a recording is is a variation of voltage over time. It's a waveform, frequency vs amplitude. There's no 'digitisation process' you are just transferring that waveform from one format to another with no loss. So with an analogue recording the closest you will get to playing the master tape of that is to play a digital copy of it as that will be an exact copy. The vinyl version is not an exact copy. This may be largely academic for practical purposes but it's still a fact. And unless your LP of the analogue recording was pressed before 1980 odds are that the signal was already 'digitised' when the record was cut.
    Sorry, I get where you're coming from, but that's not what my ears tell me.

    How come then, as I stated, back in the day when CDs were marked as either 'AAD', 'ADD' or 'DDD', to denote which part of the recording process took place in the analogue or digital domain, 'AAD' discs always sounded markedly different to their 'DDD' counterparts, and (for me) always in the same way regardless of the type of music or how it had been recorded: with the latter sounding tonally brighter, thinner and lacking in the important desirable traits I associate with analogue sound.

    In essence therefore, the intrinsic sonic signatures of analogue and digital respectively, ALWAYS shone through regardless, and therefore accordingly altered the sound of the recording.

    Have you never done that comparison yourself, back when CDs were marked that way, and heard the difference? If so, and you didn't, then we'll simply have to agree to disagree, because I believe that there's more going on than you think, or that to date has been measured in that area.

    I've still got 'AAD' marked CDs from the 80s and 90s, and trust me, they have a sound all of their own, and which is markedly different to commercial CDs produced today, which are 'DDD' by default.

    I could sneak into your house and stick an AD-DA conversion in after your phono stage and you'd never notice. I could probably put a few in. That's how transparent it is. The whole 'analogue purity' thing is just a myth.
    In your opinion maybe, not mine. What you suggest may work initially, as I'd have no reason to suspect that anything was wrong, but much like many things/changes [say cables or whatever] I've assessed in my system in the past, over a period of time, your ears eventually tell you when something is wrong/doesn't sound right, and it usually corresponds with a disinterest in listening to music...

    That's when I'd investigate and discover what had happened! And given how hypersensitive I am to the subtlest of perceived sonic degradation in my system, I suspect it wouldn't take long before that investigative process began!

    Marco.
    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.


    Protect your HUMAN RIGHTS and REFUSE ANY *MANDATORY* VACCINE FOR COVID-19!

    Also **SAY NO** to unjust 'vaccine passports' or certificates, which are totally incompatible with a FREE society!!!


  7. #47
    Join Date: Jan 2009

    Location: Essex

    Posts: 31,861
    I'm openingabottleofwine.

    Default

    So what have you done with the Sex Pistol records? Put them in boiling water and re-fashioned them into flower pots?
    Barry

  8. #48
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,012
    I'm AudioAl'sArbiterForPISHANTO.

    Default

    Oh, and btw in terms of this:

    Quote Originally Posted by Macca View Post
    Just been unlucky with some second-hand equipment going faulty, that's all. I've never chucked large amounts of money at hi-fi like you have. My thing is all about achieving a top sound for the least amount of expenditure. And I managed that once, and that entire system only cost me £1500. So I'll get there again.
    No worries, and that's cool. But I'm sure you'd also agree that there are loads of folk who've spent FAR more money than I have on countless different systems over the years, but haven't really got anywhere and are largely still dissatisfied, yet continue on a never-ending box-swapping journey, which unless they're very lucky indeed, will be fruitless and end in disappointment.

    I've watched in happen on forums for years... It's one of the reasons why the classifieds sections are the most popular!!

    Why? Because people like that may know what they want (are striving for), but unfortunately have no real clue exactly HOW to achieve it, so they end up going round and round in circles, on a continual spending spree. They never learn their lessons and simply keep making the same mistakes. That's not me.

    Generally I do something once and get it right, simply because I research things properly, and most importantly have total faith in my senses and gut instincts (no matter what 'the science' says) - and rarely do they let me down!

    Marco.
    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.


    Protect your HUMAN RIGHTS and REFUSE ANY *MANDATORY* VACCINE FOR COVID-19!

    Also **SAY NO** to unjust 'vaccine passports' or certificates, which are totally incompatible with a FREE society!!!


  9. #49
    Join Date: Aug 2009

    Location: Staffordshire, England

    Posts: 37,786
    I'm Martin.

    Default

    Quote Originally Posted by Marco View Post
    We're in agreement then apart from this bit:



    Sorry, I get where you're coming from, but that's not what my ears tell me.

    How come then, as I stated, back in the day when CDs were marked as either 'AAD', 'ADD' or 'DDD', to denote which part of the recording process took place in the analogue or digital domain, 'AAD' discs always sounded markedly different to their 'DDD' counterparts, and (for me) always in the same way regardless of the type of music or how it had been recorded: with the latter sounding tonally brighter, thinner and lacking in the important desirable traits I associate with analogue sound.

    In essence therefore, the intrinsic sonic signatures of analogue and digital respectively, ALWAYS shone through regardless, and therefore accordingly altered the sound of the recording.

    Have you never done that comparison yourself, back when CDs were marked that way, and heard the difference? If so, and you didn't, then we'll simply have to agree to disagree, because I believe that there's more going on than you think, or that to date has been measured in that area.

    I've still got 'AAD' marked CDs from the 80s and 90s, and trust me, they have a sound all of their own, and which is markedly different to commercial CDs produced today, which are 'DDD' by default.



    In your opinion maybe, not mine. What you suggest may work initially, as I'd have no reason to suspect that anything was wrong, but much like many things/changes [say cables or whatever] I've assessed in my system in the past, over a period of time, your ears eventually tell you when something is wrong/doesn't sound right, and it usually corresponds with a disinterest in listening to music...

    That's when I'd investigate and discover what had happened! And given how hypersensitive I am to the subtlest of perceived sonic degradation in my system, I suspect it wouldn't take long before that investigative process began!

    Marco.
    AAD will sound different to DDD because one is recorded on tape and the other on a computer. Although the one that is recorded on computer may have tracks that were recorded on analogue.

    The reason almost everything is DDD these days is because recording and mastering in analogue is rare.

    I've got plenty of the old AAD CDs from the 1980s, I disagree that they have some sort of intrinsic 'signature' beyond the original recording - there's no reason why they should. One difference to a lot of modern recordings and re-masterings is that the dynamic range will likely be noticeably higher. So they might sound a little thin if not played at sufficient SPL.

    I agree that you might hear the AD-DA loop in your system if there was some degradation as a result. My point was that there wouldn't be any degradation for you to hear. Not just my opinion, it's been tested more than once.
    Current Lash Up:

    TEAC VRDS 701T > Sony TAE1000ESD > Krell KSA50S > JM Labs Focal Electra 926.

  10. #50
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,012
    I'm AudioAl'sArbiterForPISHANTO.

    Default

    Quote Originally Posted by Macca View Post
    I've got plenty of the old AAD CDs from the 1980s, I disagree that they have some sort of intrinsic 'signature' beyond the original recording - there's no reason why they should.
    Well, on that we'll simply have to agree to disagree. I've already outlined a reason why they *could*, and I don't believe it's impossible.

    I agree that you might hear the AD-DA loop in your system if there was some degradation as a result. My point was that there wouldn't be any degradation for you to hear. Not just my opinion, it's been tested more than once.
    But that doesn't make it universally a fact, simply a fact in the circumstances in which it was tested. Based on my experience and intimate knowledge of how my system sounds, plus hearing acuity, I'd be confident that I'd identify some degradation, even if it wasn't instantly.

    Marco.
    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.


    Protect your HUMAN RIGHTS and REFUSE ANY *MANDATORY* VACCINE FOR COVID-19!

    Also **SAY NO** to unjust 'vaccine passports' or certificates, which are totally incompatible with a FREE society!!!


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