A little forward sounding but good IMHO. It reminded me the violin sound of my Cube Audio Nenuphars. Violin sound is hard to repruce it can easily become too soft or too harsh.
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Renssellaer’s Altec system with 211 amps and Garrard
- Thread starter bonzo75
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It is soft in this case for this recording, but still the overall piece sounds enjoyable. As said in the first post on the thread, "Sure with more budget one can experiment with preamps in the chain, other amps, you could experiment with tweeters or zingy carts like vdh and Dava, but just overall very difficult to beat the ability of this system (at a budget) to let you just sit back and experience the musical performances without focusing on any system hifi attribute."
I like this version of Brahm's Double Concerto the best. The sound of the system is improving, but I still think it sounds a bit closed in, not open and present enough. Bonzo hints at possible reasons in the opening post.
Thanks. It’s good, both of us preferred the Heifetz Piatigorsky, Heifetz is electric. At some time I will record that with the Ferras Tortelier for compare
I have a re-issue of the Heifetz. Comparisons are always good thanks for getting to it when you have the time.
Thank you also for this glimpse into Mark’s system and the variety of recordings.
Amplifier with volume pots that he designed to match the output of my phono stage, if that is not the same as “integrated”, I thought they were slightly different?
Unlikely. I do have a Decware Sarah 300B on order, which also uses volume pots, but may be integrated in design, I don’t know.
No I mean theoretically. If you were to change your phono, does it make the amp not as usable?
I see your point. When I gave Ken Uesugi (of Soundgate) the output impedance (200 ohms) and maximum output voltage (5V peak) of the Ypsilon VPS100, it wasn’t asked for. I supposed it might be useful as I worry about potential problems (£500 shipping each way). I did not know it such is pretty much standard amongst phono stages or not.
I just looked up the specs for the Allnic H-7000 phono “phono pre-amp” and it also has an output impedance of 200 ohms (doesn’t list output voltage) so I am guessing they are pretty much standard (the Decware Sarah I ordered also uses volume pots without a pre-amp gain stage in their amps for running phono or DAC straight in). I suppose the amp would not be desired by anyone who has a favourite pre-amp that they want to keep.
I just looked up the specs for the Allnic H-7000 phono “phono pre-amp” and it also has an output impedance of 200 ohms (doesn’t list output voltage) so I am guessing they are pretty much standard (the Decware Sarah I ordered also uses volume pots without a pre-amp gain stage in their amps for running phono or DAC straight in). I suppose the amp would not be desired by anyone who has a favourite pre-amp that they want to keep.
Dear @bonzo75 and @Rensselaer incompatibility problems start to show up when input impedance of integrated amp drops below phono stage’s driving capability. Normally tube amplifiers have considerably high (100Kohms) input impedance and some newer examples have solid state kind of 50Kohms. It is still high. Lower input impedances like 20Kohms or 10Kohms are usually found on solid state amplifiers. IMHO you are safe considering you will keep using same tube amplifier. What happens if it’s (phono) connected to an unmatched solid state? Nothing much, only bass response slightly changes. Besides the change on bass response it’s highly unlikely to encounter driving difficulties IMHO unless it’s poorly built.
My phono stage has a selector on the back to match the preamp’s or integrated amplifier’s input impedance.
My phono stage has a selector on the back to match the preamp’s or integrated amplifier’s input impedance.
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Tim, if you could keep but one, which of these three (or is there another) couldn’t you part with?
Keeping in mind these are the same performance, different pressings, I'd probably choose the oldest assuming equal condition.
Don't believe that was in my reply.
I referred to different pressings. I don't believe any of those three are remastered. When I say oldest, that refers to closest in time to the cutting of the master thus closest to early stampers. First/early pressings as it were. Given the issuance in different years, the oldest is likely that.
On the other hand if a new stamper is made from the master tape, the above still applies although issuance date may not be the tell.
For me these are all used records, so yes given condition one may sound better than another based on use/condition. What I was describing in my original message is my practice of looking for an earlier edition if I like the performance -- iow looking for an earlier pressing.
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