http://www.cwhdallas.com/good-audiophile/
Good Audiophile
 |
 |
Chie Ayado "Good Life" Japan Audiophile DSD Hybrid SACD CD Brand New Sealed 綾戶智繪 |  |
 |
US $34.99 | 18d 19h 10m |
 |
used tested good 6U8 / 6U8A (audiophile 6GH8s) vacuum tubes $2 each | |
|
US $2.00 | 5d 3h 46m |
 |
BETH HART - 37 DAYS (GOOD AS IT GETS,JEALOUSY) 180 GRAM AUDIOPHILE 2LP FREE SHIP | |
|
US $49.99 | 28d 19h 29m |
 |
AUDIOPHILE SHEFFIELD LAB HARRY JAMES COMIN' FROM A GOOD | |
|
US $24.99 | 28d 8h 1m |
 |
LED ZEPPELIN GOOD TIMES BADTIMES NM PIONEER JAPAN AUDIOPHILE 45 PICTURE SLEEVE | |
|
US $39.99 | 26d 20h 21m |
 |
Lee Lessack : IN GOOD COMPANY Audiophile 24Bit 192KHz Premium Records | |
|
US $16.99 | 26d 14h 2m |
 |
OTIS SPANN Good Morning Mr Blues. Sealed CD AcousTech Audiophile | |
|
US $39.99 | 25d 1h 23m |
 |
SEALED Audiophile Nautilus LP: The Cars - Elektra 135 Let The Good Times Roll | |
|
US $44.99 | 23d 5h 38m |
 |
SEALED Audiophile DCC CD RUTH BROWN Help a Good Girl Go Bad - Unmarked | |
|
US $5.99 | 20d 23h 52m |
 |
JOHN JARVIS PROMO LP "So Fa So Good" 1986 MCA Audiophile vg++ | |
|
US $15.96 | 19d 23h 44m |
 |
maxine sullivan lp good morning life-audiophile ap-193 | |
|
US $9.99 | 18d 23h 4m |
 |
DIRECT Disc AUDIOPHILE Trad Jazz LP ROSIE O'GRADY Good | |
|
US $19.00 | 15d 7h 14m |
 |
CHUCK MANGIONE Feels So Good AUDIOPHILE JAPAN LP NM | |
|
US $19.99 | 11d 3h 18m |
 |
Audiophile, Audiophile, Very Good | |
|
US $59.96 | 10d 22h 42m |
 |
Audiophile: The First Compact Disc Sampler, Various Artists, Very Good | |
|
US $8.47 | 9d 2h 28m |
 |
OHM Acoustics PRO-42 Monitor Speakers AUDIOPHILE EGG TWEETERS Working GOOD SOUND | |
|
US $750.00 | 2d 22h 48m |
 |
Living Stereo Audiophile Sampler, Various, Good | |
US $5.00 | 1d 19h 7m |
 |
Good Vibes For Kurt Weill by Warren Chiasson (CD, Aug-1994, Audiophile Records) | |
|
US $16.09 | 1d 35m |
 |
Good Morning, Life! by Maxine Sullivan (CD, Audiophile Records) | |
|
US $16.10 | 1d 34m |
 |
AUDIOPHILE / STRAVINSKY / PETRUSHKA / FIREBIRD / STOKOWSKI / SP 8407 / GOOD | |
0 Bid | US $2.99 | 7h 29m |
 |
HIFI Audiophile Main SCHUKO Power Cable P5 EURB IN GOOD CONDITION 1.5M | |
12 Bids | US $13.50 | 13h 40m |
 |
FATTBURGER good news LP Mint- Promo SJ 73287 DMM Audiophile Promo | |
|
US $12.00 | 21d 21h 48m |
 |
A Pair YYW Audiophile Hi-end Speaker Cable 2.5 meter in good condition | |
2 Bids | US $1.25 | 3d 13h 2m |
 |
BRYAN ADAMS SO FAR SO GOOD 2 VINYL LP GERMANY PRESSING 1993 AUDIOPHILE | |
0 Bid | US $14.95 | 5d 7h 53m |
| Powered by phpBay Pro |
| Account limit of 2000 requests per hour exceeded. |
You want to listen to your old vinyl records, but you need a turntable. If you have an old record player, then you are all set. Otherwise, you will need a turntable. If you are buying a new or used turntable, then you will need to check your amplifier first to see if you have inputs labeled "PHONO." If you do not, then you will need to buy a Phono Preamp ($$). If you try to connect the turntable directly to your amp, then you will be very disappointed in what comes out of your speakers. The Phono Preamp is the component that will bring the music to life. It is connected between your turntable and your amplifier. Now you can enjoy listening to your vinyl.
New Vinyl owners may want to consider the Project Debut III turntable; Old Vinyl owners should consider Rega P3. Please consider buying a quality turntable. If you skim, then your vinyls will get worn faster and could get scratched. Protect your investment. Needles have come a long way over the past 10 years. Before you buy a turntable, check out the cartridges that will fit your turntable. Write down which ones will fit and keep the list in a safe place. This will save you lots of time when it comes to replacing your needle or cartridge.
Thinks to consider prior to playing vinyl. Clean your record of any dust particles and fingerprints. This will add a longer life to your vinyl and needle. Never clean your record while it is on the turntable. Last 3 is a good product to consider for wet cleaning your vinyl. For dry cleaning, consider an Audioquest record brush.
Audio Lab are audiophile experts in home audio components especially turntables, cartridges, stylii, and needles. Audio Lab, Inc has been in business since 1965. We sell quality home audio components, do repairs in-house, and do local home theater installs. Visit us at http://www.TheAudioLab.com.
Audio Lab, Inc.
36 JFK St.
Cambridge, MA 02138
617-864-1144
22 Tips to Obtain Better Sound in a High End Audio System - PART II
9. Grounding the Metals for Static Electricity; especially in wet weather and in fully carpeted listening environments, static electric become an issue. The carpet is charged with static electric which can be passed through the electronic equipments via the rack and/or via human touch. Static electricity on the carpet is such powerful that when checked in the morning before somebody walks on it, can be clearly seen by simple tools sold in Radio Shack
In order to eliminate the effect, the loudspeaker stands and the equipment racks should be connected to earth by a thin wire. Moreover, the loudspeaker cables and interconnects should be lifted away from the floor due to the same effect.
What benefits you may expect from this tweak is I don't know why but less blurry and more tide lower bass.
10. Loudspeaker Distance from the Front Wall; Loudspeaker producers generally recommend the distance of the speaker by the front wall (the wall behind the speakers). Generally speaking, the speaker should be located as far as possible from the front wall. (Side walls as well) If they are so close to the wall, bass standing waves will be reinforced (explained in article five) and mid/treble band will be compressed due to excessive bass energy.
Some audiophiles find the desired bass volume by placing them closer to front wall which is not correct. One thing should be considered that such bass increase is not due to the original sound but it is the consequence by the room response called coloration.
11. Auto former / Transformer Passive Line Stages; The new developed technologies in hi-end industry made the pre-amplifiers questionable.
Before end, the reason of a preamplifier was stipulated in four basics;
a- To connect more then one unit together
b- Recording to tape from some sources
c- Low volume output and inverted polarity signal of turntables (as the only source component)
d- Bass, treble adjustment requirements
Nowadays, CD, SACD units can provide 5-8 Volts of outputs which are more than enough for the power amplifiers. Audiophiles are not interested in tone adjustments but focused on simplicity anymore. Dedicated phono stages are in common usage, hence, the majority of the requirements are not valid anymore.
The main and the only basic job of a modern pre-amplifier is to lower the volume level, not step it up !!
Just try to imagine a pure signal from a CD, or DAC through the power amplifier, then cut this link, add four plugs, four female plugs, a pair of interconnects, lots of resistors, capacitors, tubes, transistors and all that stuff in the link. How can you keep the signal purity and can you make something better then its original !
An active line stage demolishes the neutrality and the purity of the original sound. Such a corruption may not be so evident in most of the lower resolution systems or disregarded by some people on purposely. Every active line stage has its own tonality and coloration. As a matter of fact, audiophiles generally use line stages to balance their tonality problems in systems. For instance, a tube line stage is used to calm down a firm sounding solid state power amplifier or a treble rich line stage is used to compensate the treble poor power amplifier and vice versa. If this is the case in a system, fully natural line stage and lack of coloration will not be regarded by the audiophile.
Following me, the consideration should be to change the power amplifier till finding the desired sound rather then playing with pre-amplifier. In other words, to deal with the original problem rather then trying to mask the problem.
It is almost in consensus that using a very simple volume pot adds so much neutrality and purity to sound. But in such cases, some other problems appear. A volume pot which is either a potentiometer or a stepped alternator works with the resistance principals. Every volume step adds different resistive path to signal, thus lowers the volume. Due to the complexity of the music signal ( 20 Hz-20 kHz), such a resistive load will act like a barrier for different frequencies. For instance when turning down the volume level, the treble is lowered and the bass is condensed or when you increase the volume, mids are excessive or vice versa. Not to forget to mention is the lack of dynamic range as well. A line stage eliminates these problems.
Due to these facts, volume control pots or analogue volume controlled CDs can not be used stand alone as line stages
By the new technology, new auto former and transformer passive line stages are developed for volume control.
Such units do not work with resistance principals and do not add resistance to the signal path. The only resistance of such amps is approximately 200 Ohms due to the cable in windings.
Transformer passive line stages consist of two transformers, one for the left channel, and one for the right. They have one primary winding and multiple (12-24 steps) of secondary windings. Their principal is to lover the volume by changing the volts, rather then adding resistance. Up to my knowledge, there are only three producers of such line stages. I used two of them. Both of them are providing extra ordinary natural, calm and undistorted sounds.
I heavily modified the Antique Sound Lab myself which is very good product and quite cheap too, (don't underestimate its price) but Audio Consulting's Silver Rock made of pure silver is something else.
It should be also mentioned that such a passive line stages can not be suitable for every system. In such a case, input impedance of power amp should be driven directly by the output stage of DAC or CD player. Input impedance of the power amp should be as small as possible. The best way to learn this case is to write the impedance values to producer and request assistance prior to purchasing.
12. Good Tubes (NOS Tubes); is it logical to pay 100? to and old tube while the new one costs 10 ? I believe it is. A good tube can change the characteristics of a tube electronic as if you replaced the entire unit. Nos tubes are not easy to find, quite expensive but worthwhile to use. Especially the upper frequency hiss is quite lower with Nos tubes.
13. Very Easy Polarity Finding Method; Generally speaking, European (German) standard AC plugs do not have the signal direction. US, UK, Swiss AC plugs have one way to connect to AC, so + and - phases can not. So in such cases, it is not easy to find out the correct polarity.
Electronic components can work properly regardless of the polarity. Our televisions, refrigerators, bulbs, computers everything. Why the AC polarity is quite important in Hi-Fi !
Electricity arrives from (+) passes the electronic circuit and departs from (-) Generally the mains current arrives in the power supply of the unit first then reduced to desired voltage by of the electronic circuits. At this case, mains is automatically filtered by the power supply section. The transformer of the power supply section behaves like isolation transformer, input and output currents are physically separated. If the polarity is not correct, the mains will arrive to system directly from the back door and will carry all the pollution like RFI/EMI into the unit. Due to the fact, it is important to find out the correct polarity.
Most of the electronic' polarity is similar. If the unit has detachable power cord and IEC kind of input, the right hole should be the (+) mains when do you look at the plug front the front face (as seen below)
Another simple method is to check the mains fuses. If the unit is equipped with an exterior protection fuse, release the fuse and check it by an electricity check pen while the unit was connected to mains. It should be (+) signal. If not, reverse the AC plug from the wall
14. Listening Volume Level; It is for sure nobody's business to tell you that what the correct listening volume setting is. Some audiophiles like very low listening level, some turn on the volume till the windows are broken.
If the outcome is to achieve the ambiance of the recorded venue, volume level should be adjusted accordingly but not more or not less. This case is applicable to acoustic instruments only but not to electronic music, jazz or disco etc.
What ever the listened record is, correct volume setting should be the one which does not enlarge or shrink the original instrument. Higher volumes may For instance a guitar should be played with the original volume of a guitar by correct volume setting. If volume level is increased, the body of the guitar will became bigger in obsolete terms, on the other hands, full body of a Mormon chorus will not be so realistic at low volumes
15. Warming Up the Speakers and Cables Before Critical Listening; Apart from the theory that "Solid state electronics provide their best sound for a few minutes till the transistors became warm." every single audio equipment needs a warm up time. This time is at least 1/2 hour or even 1 hour in spite the manufacturers recommend less. Up to my knowledge, the reason behind this is the specifications of the resistors, capacitors, tubes and other stuff vary if they are cold or warm. Manufacturers make final settings when the units are warm, otherwise they would play perfect for the first half an hour and worse after warmed up.
That principal is applied by every audiophile for the electronics but not always for the speakers and the cables.
Speakers are quite important since their passive components should be warmed up such as crossover resistors. Their voice coils should be warmed up as well. The cables are also important. Warm up term may not eligible for the cables but the cables should be run for sometime till their dielectrics are charged.
As a result, the warming up time should be completed by playing (may not be listening) the entire system.
16. Proper Loudspeaker Selection for Listening Room; Loudspeaker should be selected in conjunction with the listening room dimensions. Unfortunately the general tendency in audiophiles particularly in US is "the bigger is better"
It is like some new starting skiers that choose the best ski equipments prior to learning and facing with so many problems afterwards.
Big loudspeakers are difficult to position, difficult to drive, affected more from the room boundaries. If the speaker is bigger for the room, excessive bass energy will diminish rest of the sounds. The bigger speaker means bigger problems. Driving big speakers requires challenge, experience, sources, time and money.
About the Author
Ozhan Atalay President
http://www.nonamehifi.com
Good Car audio brands?
im new to this "crazy ass loud fucking stereo shit" and was wondering what some good, reliable brands are. When it some to car audio im lost since i only really know about home audio etc. I will soon be able to get a car, and im somewhat of an audiophile.
recommendations on good speakers (into the bass but the other sound is still important to me) and a good amp, stereo would be great.
whoops, thought i got all those "dirty words" out, guess i messed that up.
please don't recommend blose speakers, i hate their sound
There are a ton of good brands, here are some of my favorite:
JL Audio - Great sounding subs, good but expensive amps
Alpine - Nice decks, good subs, PDX amps are top notch
Morel - Really good speakers (component sets)
Focal - Expensive but great speakers, subs, and amps
MTX - Good subs and amps
Kicker - Amps are good deals usually not a fan of the square though.
Pm me if you need specific help
CDs with cause & effect
Are you motivated to invest in entertainment that also benefits a worthy cause? If so, get primed for the CD and DVDs topping today's new releases roundup.
Thanks for visiting!
