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aussievintage last won the day on October 7 2019

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  1. It will work, with the slight foible I mentioned of the input impedance changing (and maybe slight non-linearity in the rate the volume changes but I doubt you'll notice it) You initially asked what was the best way, but we have reached a reasonable compromise here.
  2. This is going to bug me. When you view the fuse, how? When I hold a fuse, I can turn it upside down, back to front, or anyway I like. Is the left hand side marked in some way. What if I am left handed, do I need to buy a converse fuse to match my ears?
  3. Just terminology. No metter really. That circuit has MANY gain stages within it. However, not really something you probably want to mess with internally. IF you put a pot in front of it (and yes it has a 100k resistor in there to give it 100k input impedance) and say that pot is 100k itself, the resulting input impedance will be something less than 100k, and will change with volume, until at full volume, it is 50k
  4. depends what we are talking about. The whole preamp is a gain stage, but may consist of internally separatable stages. What you listed as a "line stage" above, in one of my typical preamps, may consist of one or two gain stages, followed by a unity gain follower to give the preamp a lower output impedance. In my example the volume control can be anywhere between the input gain stage and the output follower.
  5. Not necessarily, as long as it's before the last stage, which may not be a gain stage. It might just be a unity gain cathode follower (or eqv.)
  6. Yes. Better to have a final low output impedance stage driving the outputs. Put the pot in the middle between stages to "isolate" it so it cannot affect the output (nor the input)
  7. Yep. The inner null point being closest to the end of the playing surface for this algnment (an approximation since all records are different) - alignment being more critical near the end of the recorded surface. Not VTA so much, but alignment is what matters. Where you set the two null error points is important. Then after that, better stylus shape can eliminate even more of the distortion. In fact with something like a microline/microridge stylus any of the standard alignment schemes will effectively eliminate audible distortion due to tracking error and closeness to the end of the recording.
  8. I think of Vincent Price in the Abominable Dr. Phibes.
  9. I maintain that a reference recording must exhibit a wide variety of examples of the things you think are important in the sound of a music system. Then, for it to work, you need to be thoroughly familiar with how that recording sounds on a variety of systems. From this perspective, I agree, the recording had better be something you like to listen to
  10. None of this matters if the capacitors are reaching the design DC voltage and maintaining it. Basically, it depends how much ripple is left on the DC and how much audio signal is able to be imposed on the DC rail during large dynamic transients. Saying it a different way, if the power supply is designed correctly, any safe power cable meeting the Aussie standards can do the job as well as any other.
  11. An isolation transformer will not get you a constant voltage supply on it's own.
  12. I agree, borrow some and try them, that way you can prove for yourself that they don't work. (just resetting the expectation bias )
  13. Still, there have been times, sitting listening to my mono system - even playing some good condition 78s, or 45 rpm singles, that I have realised I could live with mono quite easily. One thing it helps with are room nodes cancelling the bass.
  14. Hey maybe find them all on youtube and make a playlist of everyone's suggestions. There's quite a lot of them I am going to explore myself.
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