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!!!
Location: Seaford UK
Posts: 1,861
I'm Dennis.
All art depends on social norms, ie. a context, to have a significance or relevance to the receiving audience, and this is probably in the case of our media a statistically determined set of events. In music it is well know that for example, a single may be released and fail to chart, but when released later it then resonates more with the psychology of the population and is a success. This actually happened with David Gray's White Ladder.
I have been, long before The Repair Shop, doing such things to a similar standard for decades. (I made a pair of calf hide pads for my Wharfdale Isodynamic headphones in 1985 for example.
I have been working at my personal development, other than career that is, for about 50 years, and relatively, very little stimulates me further. I have no trouble avoiding the brain to porridge scenario, and having been very selective, find increasingly that fewer and fewer programmes stimulate me, I think because of my psychological development.
Though science is very interesting, there is a limit to the amount I can tolerate of absorbing scientific facts, and also watching endless programmes on nature, although I love nature in the raw.
For similar reasons I do not read nursery rhymes, or do quadratic equations any more, and need to have another go at Kant's Critique of Pure Reason.
Location: Seaford UK
Posts: 1,861
I'm Dennis.
Sorry, don't know what you mean?
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!!!
Location: Seaford UK
Posts: 1,861
I'm Dennis.
Toole (JBL and Revel), did research into speaker preferences in both schooled and unschooled populations.
He formalised the notion that we are in a difficult position with assessing any speaker because the material with which we assess has been recorded using another speaker, and it will inevitably have inaccuracies correlated with the errors of that speaker; as a result there is no absolute reference with which to assess.
It can be Googled.
This surely applies to visual media as well; with those three posted pics, unless we know the nature of the original real situation, we cannot know which most closely approximates to it.
Ah yes, I see what you're getting at now. However, the very same applies with hi-fi.
None of us know "the nature of the original situation", as in what the recording sounded like when it left the studio, but that doesn't stop us striving for some notion of 'sonic accuracy' (based on our judgement of such), or what we consider sounds best, with our audio systems.
And the same applies for home-cinema enthusiasts, seeking to obtain the most lifelike image on their screens as possible, based on their notion of 'visual accuracy', or what they like the look of best. Within that goal, the role of a calibration engineer is simply to optimise the screen (TV) for best performance, based on the light conditions present where the screen is being used, using his or her calibration apparatus.
However, much as with striving for our notion of 'accuracy' with audio, or simply what we like the sound of best, using our ears as the final arbiter, regardless of what any equipment deems as best, in terms of optimising the picture on our TV screens, OUR own eyes must act as the final arbiter, as far as ascertaining what WE like the look of best, as ultimately that's the only 'best' that matters!
Therefore, if/when I arrange for a calibration engineer to call and (attempt) to optimise/further improve the picture on my TV, and in the final analysis I don't consider what he or she has done as an improvement, then I'll revert to what I had before, but I'm really not expecting that to happen
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!!!
Totally on board with this.
Appreciate the value of things here, so why not get the best out them?
Most of us here aren't satisfied going to Curry's, buying a Bluetooth soundbar and saying Well, that's the music system sorted!
Shared interest in improving the experience, whether from better interconnects, trying tube amps, open baffle speakers, better vinyl setups, vintage kit....
Diffferent boats to float for different folks,
What they enjoy and what we get out this hobby of ours.
More in common than is different, just different flavours sometimes.
Enjoy AV as well as hifi here,
had a 5.1 setup back in the day but got rid of it all when I worked out (for what floats MY boat) that big surround sound at home distracts from the experience,
Would have been different if I had a huge dedicated cinema room, but no, just a normal living room.
A good well sorted 2 channel sound setup ticks the audio box, but the REAL cinematic immersion comes from the Visuals.
Before I got my Sony OLED had a 50" Pioneer plasma,
and that, calibrated,.with a D65 backlighting setup just drew you into the movie in a way my "big" 5.1 sound setup only distracted from.
With OLED it's a big step up again,
And because of how it works (Black's are pixels that are switched OFF) along with HDR, Dolby Vision and the like) make for an amazing experience.
But not everyone wants or needs that, which is OK.
Maybe they'd rather upgrade their Car, Espresso machine, or even a nice Holiday for them and the better half.
Whatever tickles you Pickle I say.
unlike loudspeakers there is an industry standard for screen calibration, I mentioned it further up the thread. So circle of confusion does not apply.
Current Lash Up:
TEAC VRDS 701T > Sony TAE1000ESD > Krell KSA50S > JM Labs Focal Electra 926.
Agree with Martin,
But as with everything its not always black and white.
As far as Callibration goes...
AV folks talk about "getting as close to the Directors original vision" with tweaking picture to a "standard'.
That's a great thing,
But there's no such a thing as a Directors "Original Vision"!
The 'Directors original vision" is a marketing term, given a lot of the time (unless your Christopher Nolan) a Director is up against others who push against him till final cut?
He doesn't always get what he wants.
And even if he does,
What if you find the colours muted, or just too much like a video game cut scene?
Like in a music recording,
Unless you have a detailed breakdown of players, setting and intent of the recording, there's just too many variables to know (or care) about.
Just enjoy it!
And if it means turning down the treble on that Oasis album...to enjoy it better.. what's wrong with that?
AC POWER
Hardwired 10kVA balanced mains powering entire system
AMPS
Meridian 557 power Amp (Modded) / PS Audio BHK Preamp (Modded)
SPEAKERS
Wharfedale Evo 4.4
DAC
PS Audio Directstream (Modded)
TURNTABLE
Pro-Ject X8 balanced output via XLR / Ortofon Quintet Blue cartridge
PHONOSTAGE
Pro-Ject DS3 B balanced Input (TT and Phonostage powered by Pro-Ject Power box RS2 linear psu)
DIGITAL
OPPO 203 (Modded: Linear PSU, i2s output to Dac) - Roon Endpoint, HDMI input used for all things Streaming/ PS5 /AppleTV ... also good for movies apparently?
MUSIC PLAYBACK
Tweaked AP-Linux based Roon Server into Oppo 203 as Roon endpoint
Ipad Roon Remote.
Apple Music/ YouTube via AppleTV, fed to Dac via Oppo HDMI input/i2s output to Dac.
SPEAKER CABLES
Biwired: Duelund DCA10GA (Bass) Duelund DCA16GA (mid & treble) Duelund 12DCA used as jumpers (On "Blackcat Cable" Chris Sommivigo's advice - yup, even with biwire it sounds better - and it does)
INTERCONNECTS
All Balanced: Ghost+ recording studio XLR cables
Indeed, but as I've just said, ultimately it still comes down to what YOU prefer, industry standard or not. That's why, although I'm not expecting it to happen, if when an engineer calls and sets up my TV to said industry standard (or whatever else he suggests will improve the picture I've got), and I prefer the way it was before, then I'll revert to that. Simples.
However, I want to see what that looks like first, so at least I know I've tried it, and therefore can't get any better than I've managed to achieve so far myself
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!!!