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  »  New  Another interesting corrector: Likhnitsky's RX correcto..  Again, the capacitors...  Analog Playback Forum     6  53325  02-10-2005
  »  New  Lamm LP2 phonostage: review of review...  Another stupid Lamm LP2 review....  Analog Playback Forum     2  50722  03-05-2005
  »  New  7788 tube mic pre design..  Read my leaps: Absorb-GEL...  Analog Playback Forum     38  296366  02-14-2006
  »  New  Jonathan Valin smokes Lamm LP2..  Jonathan Valin smokes Lamm LP2...  Analog Playback Forum     0  20982  03-27-2006
  »  New  I need a “second-type” phonostage...  BBC Proms...  Analog Playback Forum     38  285550  05-28-2006
  »  New  The LCR RIAA correctors..  Inductive RIAA link...  Analog Playback Forum     57  599769  07-11-2007
  »  New  A truly cool solution for RIAA re-tuning…...  Dialing in...  Analog Playback Forum     2  23746  08-29-2007
  »  New  The last phonocorrector: “End of Life" Phonostage..  Valvo mesh 0A2...  Analog Playback Forum     301  1491697  11-13-2007
  »  New  An interesting Russian pnonocorrector...  Uber-tweeky phono topologies deconstructed...  Analog Playback Forum     9  68488  03-01-2010
12-11-2004 Post does not mapped to Knowledge Tree
guy sergeant
United Kingdom
Posts 260
Joined on 08-03-2004

Post #: 41
Post ID: 380
Reply to: 375
Re: Still the 834PT is OK.

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Hi Romy,

I don't doubt for a moment that there are plenty of people 'who know' who will wax lyrical about the benefits of open loop eq in feedback circuits. There are people 'who know' who will tell me that valve amplifiers cannot be as good as transistor amplifiers and that transmission lines are the only way to get accurate bass from loudspeakers. Unfortunately I have to go to CES next month and will meet dozens of people 'who know' and who will proudly demonstrate their new mousetrap for me. Ultimately we have to base our opinions on what we hear, experience and find agreeable.

My experience with the 834p stemmed from having one at home for about a year soon after it was launched. I did try different types of ECC83 in it which did change it's balance slightly but not enough to make me like it.

My main problem with it was that it lacked clarity. Everything sounded smeared and hazy. It was overly euphonic (tubey) and fundamentally altered the timbre of instruments it set out to reproduce rendering all with the same signature of even order distortion. It also sounded slow and to my ears undynamic. I think it was moderately popular exactly because it sounded tubey and in most applications (ie as a substitute for the inbuilt phono stage in solid state pre-amps and integrated amps) it was preferable to what it replaced. In absolute terms, imho, it is a long way from being any sort of reference. However, it works for you and that's good.

I'm not really concerned whether passive eq no feedback pre-amps have recently become fashionable. I've been using them for 15-20 years. They've always sounded more natural to me. Most commercial implementations that I see are compromised in many ways, the most fundamental being power supply design.

I would like to try to build a equaliser using the Tango EQ600P LCR modules or the S&B equivalent. I heard one once and it did sound very promising.

12-11-2004 Post does not mapped to Knowledge Tree
Thorsten


United Kingdom
Posts 65
Joined on 12-06-2004

Post #: 42
Post ID: 381
Reply to: 380
Re: Still the 834PT is OK.

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Hi Guy,

 guy sergeant wrote:
My experience with the 834p stemmed from having one at home for about a year soon after it was launched. I did try different types of ECC83 in it which did change it's balance slightly but not enough to make me like it.

My main problem with it was that it lacked clarity. Everything sounded smeared and hazy. It was overly euphonic (tubey) and fundamentally altered the timbre of instruments it set out to reproduce rendering all with the same signature of even order distortion. It also sounded slow and to my ears undynamic.

Hmm, I'm allways being equally abused by one side for my audio absolutism (those are those who fail to read what I write well enough and presume anything I write is an absolute pronouncement and then find statements that appear to be contradicting each other) while the absolutists (among whom I am counting Romy I'm afraid) revile my Audio Relativism which allows that there is actually merit in items that are not too suited to their personal absolutes.

The EAR834P is such a case. I cannot quite relate either the enthusiam of Romy for the original and my mods, neither can I relate too well to your comments. I think it has merit and is a surprisingly effective piece of equipment, if you make sure to buy the cheapest version.

It is IMHO non too difficult to make a better phono stage, but in commercial terms, for the same money, with the kind of margins EAR USED TO give to dealers it would be a hard job.

In some ways the EAR 834P is the DENON DL103 of the Phonostages, to me, not the last word but used correctly it gets enough right that to spend more you need to get something of extremely higher performance, which tends to be not often available.

 guy sergeant wrote:
I would like to try to build a equaliser using the Tango EQ600P LCR modules or the S&B equivalent. I heard one once and it did sound very promising.

S&B now has a 10K version of the same, I'm still waiting for my own, but using a 10K T-Network will make the overall design rather simpler that the 600R Impedance one. From those that have gone out and where phonostages have been build the general effect sonically seems identical to the 600R version.

Ciao T


"It is to Madame Justice that I dedicate this concerto, in view of the holiday she seems to have taken from these parts." V
12-11-2004 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,730
Joined on 05-27-2004

Post #: 43
Post ID: 382
Reply to: 380
More 834PT bravua...

 guy sergeant wrote:
I don't doubt for a moment that there are plenty of people 'who know' who will wax lyrical about the benefits of open loop eq in feedback circuits. There are people 'who know' who will tell me that valve amplifiers cannot be as good as transistor amplifiers and that transmission lines are the only way to get accurate bass from loudspeakers. Unfortunately I have to go to CES next month and will meet dozens of people 'who know' and who will proudly demonstrate their new mousetrap for me.
..and Guy, how many people you heard about that I considered that “they know”? I do not think grand this title easily…Also, there are reasons why you will not see this person at CES…
 guy sergeant wrote:
My main problem with it was that it lacked clarity. Everything sounded smeared and hazy. It was overly euphonic (tubey) and fundamentally altered the timbre of instruments it set out to reproduce rendering all with the same signature of even order distortion. It also sounded slow and to my ears undynamic.

I can only presume that your particular unit might be defective.
 guy sergeant wrote:
I would like to try to build a equaliser using the Tango EQ600P LCR modules or the S&B equivalent. I heard one once and it did sound very promising.

Yes, I had S&B 600R and it was very good.
 Thorsten wrote:
The EAR834P is such a case. I cannot quite relate either the enthusiam of Romy for the original and my mods.

I think the larger part of my enthusiasm derives not from the fact that I use the 834PTs but the ET2-834PT combo. I never listened 834P without a step-up transformer, unless I used Grado needles, whish I did not do for 5 years… I confirm my enthusiasm about it, thought I would not call it enthusiasm but rather a sense of a complete satisfaction. In addition, and it is to my ear, the ET2-834PT combo dose something that none of know to me phonostages can’t do. What whatever reasons the Expressive Transformer does not perform with other phonostages as effective as it does with 834P
 Thorsten wrote:
S&B now has a 10K version of the same, I'm still waiting for my own, but using a 10K T-Network will make the overall design rather simpler that the 600R Impedance one. From those that have gone out and where phonostages have been build the general effect sonically seems identical to the 600R version.

I was under impression that you already got one. T, please keep me posted about it. I did like the LRC result.


The Cat



"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
12-11-2004 Post mapped to one branch of Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,730
Joined on 05-27-2004

Post #: 44
Post ID: 385
Reply to: 380
Ah, the beautify of the passive EQ RC phonocorrectors: Lamm LP2

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 guy sergeant wrote:
I'm not really concerned whether passive eq no feedback pre-amps have recently become fashionable. I've been using them for 15-20 years. They've always sounded more natural to me. Most commercial implementations that I see are compromised in many ways, the most fundamental being power supply design.
You are lucky. I was way less fortunate with the passive EQ phonostages. The last one that I had - Lamm LP2 was… how can I say… if you can understand the language of visual art then you get an idea how it sounded….




"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
12-12-2004 Post does not mapped to Knowledge Tree
guy sergeant
United Kingdom
Posts 260
Joined on 08-03-2004

Post #: 45
Post ID: 391
Reply to: 385
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Wow, how much better would the audio magazines be if we didn't have to tolerate the cliched and ill informed appraisals we are normally subjected to?! I completely understand how you perceived the sound of your Lamm experience from this image.

I'd get much more from reviewers if they communicated like this.

It would be quicker to read the trashy rags aswell! (not that I really ever bother)

I shall be hunting for a suitable image to conjure up my impression of the 834. A rustic scene perhaps. Taken from the lid of a biscuit tin or festive box of chocolates.

01-27-2007 Post does not mapped to Knowledge Tree
Thorsten


United Kingdom
Posts 65
Joined on 12-06-2004

Post #: 46
Post ID: 3566
Reply to: 175
Not getting the LCR thing....
Hi,

Only noticed this now....

> Hmmm - the whole LCR thing, I don't like the idea.

Then don't do it.

> I'll admit to having no experience of it, but in engineering terms, it just gives you a constant
> impedance filter.

Correct.

> The EQ is still done by caps essentially, far as I can tell.

No, the EQ is done by the inductors. The RC sections are literally "zobel" circuits to produce a constant input impedance in the presence of a large inductive reactance. The fact that the Inductors are the frequency shaping devices can be noted from calaculating the timeconstants (L/R) created, 45mH & 600R for example equals 75uS.....

> I see the whole setup as inferior to a low Z split RC network with top quality caps

You tried both then, I take, or are you merely talking in terms of intellectual prejudice?

> The thing to watch with triode input stages

Which I deliberatly did not use, you may note....

Ciao T


"It is to Madame Justice that I dedicate this concerto, in view of the holiday she seems to have taken from these parts." V
06-03-2010 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,730
Joined on 05-27-2004

Post #: 47
Post ID: 13691
Reply to: 41
EMT JPA-66 Phono Control Center
fiogf49gjkf0d

An interesting devise, They allow to adjust the midle point of the RIAA curve. I never have seen it and I wonder why would it be necessary or desierable?

http://www.gha.com.au/pdf/JPA66flyerPrelfVE.pdf

http://www.toneimports.com/emt/jpa66.html

http://www.electori.co.jp/EMT/JPA66.pdf

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
06-04-2010 Post does not mapped to Knowledge Tree
Thorsten


United Kingdom
Posts 65
Joined on 12-06-2004

Post #: 48
Post ID: 13693
Reply to: 13691
EQ Adjustment
fiogf49gjkf0d
Hi,
 Romy the Cat wrote:

An interesting devise, They allow to adjust the midle point of the RIAA curve. I never have seen it and I wonder why would it be necessary or desierable?

Well, a range of mono EQ curves (and only Mono) had turnovers other than 500Hz (AES with 400Hz comes to mind, often used by Rudy van Gelder and then there was Decca with a different turnover each year in the 1950's!). 

AMR's PH-77 also adjusts the middle turnover for such curves. It is quite audible. Lest I am totally mistaken, the FM Acoustic Phonostage with adjustable EQ also adjusts this.

Ciao T




"It is to Madame Justice that I dedicate this concerto, in view of the holiday she seems to have taken from these parts." V
06-04-2010 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,730
Joined on 05-27-2004

Post #: 49
Post ID: 13695
Reply to: 13693
The turnover adjustment – how much would it be sane?
fiogf49gjkf0d
 Thorsten wrote:
Well, a range of mono EQ curves (and only Mono) had turnovers other than 500Hz (AES with 400Hz comes to mind, often used by Rudy van Gelder and then there was Decca with a different turnover each year in the 1950's!). 
AMR's PH-77 also adjusts the middle turnover for such curves. It is quite audible. Lest I am totally mistaken, the FM Acoustic Phonostage with adjustable EQ also adjusts this.

Hold on, are you saying that manufacturers of phonostages who claim that they run RIAA curve with precision of 0.1db are full of shit? Ok, take the Fifths and do not answer this question.

I did not know that middle turnover was a subject of valiance. The curves themselves were pretty much random in that time but I was under impression that they all cross zero at fixed point. If it is not so then it would be VERY VERY difficult to set the proper equalization by ears only.

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
06-04-2010 Post does not mapped to Knowledge Tree
Thorsten


United Kingdom
Posts 65
Joined on 12-06-2004

Post #: 50
Post ID: 13702
Reply to: 13695
More EQ...
fiogf49gjkf0d
 Romy the Cat wrote:
Hold on, are you saying that manufacturers of phonostages who claim that they run RIAA curve with precision of 0.1db are full of shit? Ok, take the Fifths and do not answer this question.
There is nothing wrong with making the RIAA EQ very precise (but not necessarily anything right either)...

 Romy the Cat wrote:
I did not know that middle turnover was a subject of valiance. The curves themselves were pretty much random in that time but I was under impression that they all cross zero at fixed point. If it is not so then it would be VERY VERY difficult to set the proper equalization by ears only.
I have researched the subject of LP Equalisation in some detail. It is not a particulary pretty or inspiring story.The middle turnover has been found as low as 250Hz and as high as 600Hz if we omit the real oddball stuff.As the Mid turnover acts a lot like the old Quad Tilt Control, it is not that difficult to tell the sonic effect.Ciao T


"It is to Madame Justice that I dedicate this concerto, in view of the holiday she seems to have taken from these parts." V
06-05-2010 Post does not mapped to Knowledge Tree
Paul S
San Diego, California, USA
Posts 2,246
Joined on 10-12-2006

Post #: 51
Post ID: 13711
Reply to: 13702
Consistency: A Very Worthwhile "Luxury"
fiogf49gjkf0d
It's ironic that some of us have spent a lot of time and effort building a vinyl playback system that clearly reveals the differences in the recording curves. How sweet would it be to twist an otherwise-non-intrusive knob to set the playback curve correctly for a given label, or a given year of a given label, for that matter?  I have some otherwise-nice recordings of excellent performances that are recorded with curves my system renders in various versions of what I think of as the "coffee can sound".

RIAA is a nice idea, and a good one, as far as it goes, but...

I would hate to be stuck trying to dial in any of the curves by ear!

Feh!

Best regards,
Paul S
10-15-2013 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,730
Joined on 05-27-2004

Post #: 52
Post ID: 20160
Reply to: 41
SP-102 Phono Stage
fiogf49gjkf0d
The positive feedback published a review by Marshall Nack of SP-102 Phono Stage:

http://www.positive-feedback.com/Issue69/vitus_sp102.htm

It is an interesting review despite that some of the Marshall’s comments do not makes sense at all.  I did not hear the PhonoStage under the discussions and never even heard about the company but it sounds interesting, even though the picture of this PhonoStage do not look very stimulating.

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
10-19-2013 Post does not mapped to Knowledge Tree
Stitch


Behind The Sun
Posts 235
Joined on 01-15-2009

Post #: 53
Post ID: 20165
Reply to: 20160
Rowland Cadence with Battery PS
fiogf49gjkf0d
Last year I had the chance to listen to the Vitus SP-102 Phono Stage. When I remember right, it was ok, some of the better modern Phono Designs. It wasn't as thin and dead as Pass Phono for example, but it was also not able to go out of the way in reproduction. The Soundstage was good but it can not give a sonic "Gestalt" (but most of the modern units fail here anyway). It is something about 40k when I remember right, for that I expect a little bit more knowledge about reproduction of the real thing. But, for the readers here who want to spend big money, it is sonically much better than a Boulder 2008.

I listened by accident to a very interesting Phono Stage when I was visiting an Audiophile. It was the Jeff Rowland Cadence, he used it with an external Power Supply and Batteries. That one really creates a room (soundstage with real hight, depth and proper size of instruments). I was impressed from that sonic quality from a more or less "mass-market" Producer. It showed no sonic coloration, the voices had Power and "Gestalt" and it was able to show the different tonal colors of classical instruments (normally they are all reproduced with the same kind of volume, no separation). Gain is 64 and 74dB, with a matching cartridge it is a reliable and good sounding unit. Or, let's say it diplomatically, there is worse out there.


Kind Regards
Stitch
10-29-2013 Post does not mapped to Knowledge Tree
Stitch


Behind The Sun
Posts 235
Joined on 01-15-2009

Post #: 54
Post ID: 20221
Reply to: 20165
Omnigon - The Final Phonostage
fiogf49gjkf0d

A private Project is finished.


OM.jpg


Some record collectors and serious Listeners (RCA Living Stereo, Decca...) wanted the best Phonostage to get what's really in their records. They didn't find something adequate on market what served their demands (No loss of Signal, no coloration, no compression, true tonal color) and decided to build one for themselves, 11 units. With the best parts available, the best technical specs possible, the most advanced RIAA available. Time: 2 years to get all parts and tests.

Decision: Every Part goes to University Lab to get checked for Specs, the first Prototype also to check for isolation of all Parts and cables.



OM 2.jpg


Ultimate Phono preamplifier w/optional line stage. All triode tube design. Full symmetrical.

Unique passive phono EQ. Each tube with its own independent heater supply.

Unique double mono PS with bridge-type tube rectification (8 single-wave rectifiers - 4 each channel) and pure foil CLC-PS.

100 lbs - dual chassis, my 5 Phono inputs (50dB, 63dB, 68dB, 72dB, 77dB pure Phono gain, 81dB Parts also available), Output AES Studio specification, (600 Ω, digital 110 Ω) No- loss-of-Signal-Parts, the best out there (TKD, Silver plugs, Tubes from US Army rocket defensive stations, Silver soldered, Tantal, Caddock, all Parts internal decoupled via Electron microscope devices...)

Result: Superior Detail, accurate specs, no coloration and lifelike Reproduction.The sound ?

Well, it is no longer about sound.

Dynamics, colors, soundstage, 3-dimensionality - yes, all that and much more. But it goes a few significant steps beyond that. Imagine opening the windows of your room on a clear early summer morning. A breeze of fresh air comes in. A communication between the music and the listener.

Then go further in your imagination and tear down the walls of your listening room. All a sudden there is fresh air, the warmth of sun rays on your skin, a world of color, beauty and a flood of details around you.

Touching your senses - with brute directness, unfiltered, unaltered. Involving, dramatic, breathtaking and demanding.

Nothing between you and the nature.


OM back.jpg


You can no longer move your attention away from the music. VERY different from anything else I have ever heard - anywhere.

Quality inspection from Science Lab for every single piece incl. Tubes, final quality report Engineering Lab. 

Never a Mk II version. Tested in University Lab for accuracy before delivered. This one is final.



OM 3.jpg




Kind Regards
Stitch
10-29-2013 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,730
Joined on 05-27-2004

Post #: 55
Post ID: 20222
Reply to: 20221
Interesting…
fiogf49gjkf0d
Interning, I never heard about them. Might I ask you what triodes were used in this thing, how many stages and what “most advanced RIAA available” the unit use? I understand that it is passive EQ but what is so unique about it? Also, if it might act as an optional line-stage then doe this option requires one extras tube stage? What is the copping between the last tube and the output? What does it mean: all “parts internal decoupled via Electron microscope devices”. Does this unit have some kind of galvanic fusion between board layers; I do not think it does as there is no need for it in tube units.  If the unit has 77dB and I can see juts two stages then most likely it has a step up transformer. If so then who did the transformer then?

Doe this Science Lab company has a web site? The unit for sure looks interesting with many typical claims so, I wonder what make it so different. The weight of PS for sure is not something that I would acknowledge as assuring. The individual PS for each heater it is for sure bold, particularly if it were LC not CL supplies. It might be interesting to hear from the unit designer why then feel that individual PS for each heater make some mush different and how the different manifest itself.

Rgs,
Romy the Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
10-29-2013 Post does not mapped to Knowledge Tree
Paul S
San Diego, California, USA
Posts 2,246
Joined on 10-12-2006

Post #: 56
Post ID: 20223
Reply to: 20222
What's the Best
fiogf49gjkf0d
http://app.audiogon.com/listings/omnigon-full-function-tube-preamplifier-phonostage

Looks like a serious effort that has been kicking around for a while.

What tubes are used? Are they twin triode, like 12AX7 or - more likely - 6922?  Both types offer a lot of options in terms of sound via tube swapping, and also via adjusting operating points.

Labels on transformers might be Lundahl?

Is initial gain passive (transformer), or...?

Is this RIAA-only?

Best regards,
Paul S
10-29-2013 Post does not mapped to Knowledge Tree
N-set
Gdansk, Poland
Posts 484
Joined on 01-07-2006

Post #: 57
Post ID: 20224
Reply to: 20221
Any changes
fiogf49gjkf0d
in the construction from the last year: http://www.whatsbestforum.com/showthread.php?6068-Omni-Gon-The-Final-Phonostage&highlight=omnigon ?



Cheers,
Jarek
STACORE
10-29-2013 Post does not mapped to Knowledge Tree
guy sergeant
United Kingdom
Posts 260
Joined on 08-03-2004

Post #: 58
Post ID: 20225
Reply to: 20224
Some interesting history on that thread
fiogf49gjkf0d
Reading through the Whatsbest forum thread it does seem that Stitch/Syntax has a history of praising the efforts/products of Daniel Brakemeier aka Dertonarm from AGon. Some also seem to have paid in advance for some of these items and not to have received them. While their efforts are undoubtedly ambitious, I think I'd be wary of trying to acquire any of this particularly if it required cash in advance.
10-29-2013 Post does not mapped to Knowledge Tree
N-set
Gdansk, Poland
Posts 484
Joined on 01-07-2006

Post #: 59
Post ID: 20226
Reply to: 20225
Question marks
fiogf49gjkf0d
Yes, my question above was not without a reason.
Esp. why Mr. Heisig decided to copy&paste his posting
on Omnigone from so-much-hated WBF here, 1+year after? 



Cheers,
Jarek
STACORE
10-29-2013 Post does not mapped to Knowledge Tree
Stitch


Behind The Sun
Posts 235
Joined on 01-15-2009

Post #: 60
Post ID: 20227
Reply to: 20226
Well....
fiogf49gjkf0d
The reason for posting is in a way relatively simple, some of us got the impression a few years ago, that it is not sufficient to be willing to pay any price to get a real superior unit. No matter what we will pay, in a way any commercial construction has serious flaws. The profit simply rules. And the rule of no loss of any detail is not understood from anyone. In a way, Kondo (the Person) probably, but the sonic layout is not complete for different reasons.
On the other side, we analyzed generally DIY units, not all of course because this is simply not possible, but the very few which were really remarkable were made from extremely clever amateurs with a remarkable technical/musical knowledge. But all of them are not in the Internet communication. More or less based on private contacts....
Finally the question was: Can it be done?
Yes, but it is so expensive that it can be realized privately only, a professional normal calculation would shift it close to the 6- digit area.
Well, why all the rumors? In a way the number of friends don't grow when you don't tell them what you have done and how you did it. There were also serious tries to fish information to implement them into commercial units and last not least, when you show the majority of the DIY guys that they are in real life primitive, time wasting morons, they hate you even more and of course, any negative - what ever it is - will be spread all over. Doesn't matter. 
Final answer: Yes, it was done and some already did listen to it. It never was a commercial unit (the chassis is simply 5k$ too cheap for it), so it is simply an information that something was done with a complex information selection based in Europe and Asia many years ago when High End really served what the name promised.
Why in Goodsoundclub?It is the only website worldwide which shows the rest of the world that modern High End is changed to a Profit Center, cheating the customers with wrong promises and promising abilities about the units they can never serve (and never do). It was a challenge to create a unit which can do where others fail.
Audiophiles.jpg



Kind Regards
Stitch
Page 3 of 4 (62 items) Select Pages:  « 1 2 3 4 »
   Target    Threads for related reading   Most recent post in related threads   Forum  Replies   Views   Started 
  »  New  Another interesting corrector: Likhnitsky's RX correcto..  Again, the capacitors...  Analog Playback Forum     6  53325  02-10-2005
  »  New  Lamm LP2 phonostage: review of review...  Another stupid Lamm LP2 review....  Analog Playback Forum     2  50722  03-05-2005
  »  New  7788 tube mic pre design..  Read my leaps: Absorb-GEL...  Analog Playback Forum     38  296366  02-14-2006
  »  New  Jonathan Valin smokes Lamm LP2..  Jonathan Valin smokes Lamm LP2...  Analog Playback Forum     0  20982  03-27-2006
  »  New  I need a “second-type” phonostage...  BBC Proms...  Analog Playback Forum     38  285550  05-28-2006
  »  New  The LCR RIAA correctors..  Inductive RIAA link...  Analog Playback Forum     57  599769  07-11-2007
  »  New  A truly cool solution for RIAA re-tuning…...  Dialing in...  Analog Playback Forum     2  23746  08-29-2007
  »  New  The last phonocorrector: “End of Life" Phonostage..  Valvo mesh 0A2...  Analog Playback Forum     301  1491697  11-13-2007
  »  New  An interesting Russian pnonocorrector...  Uber-tweeky phono topologies deconstructed...  Analog Playback Forum     9  68488  03-01-2010
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