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One and a half

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About One and a half

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  1. For isopropyl (diluted 1:6) the jury is still out and far from settled. Is it safe to clean vinyl records with alcohol? 8 easy and affordable ways to clean your vinyl records by hand
  2. I rather spend money towards music than buy a record cleaning machine in this case. I don't have an extensive record library, so really cannot justify the expense, not find a place to store the RCM, and it bothers me that the cleaner sold with the machine or device can't be swapped with something else.
  3. Not willing just yet to buy a really expensive record cleaning machine, the web is full of ideas for cleaning records, from applying PVA wood glue, pressure washing, WD-40 and various other techniques. The recipe for the cleaning solution seems to be consistent across the web which is encouraging. I did try a few drops of dishwashing liquid in the solution, but found it didn't create enough suds to lift the dirt out and even repeating the process, so tried something different and this worked really well. Equipment: Shur-Line Paint Edger (Be sure to condition the edger by spraying the solution on the pad, scrub vigorously to remove any loose fibres, then rinsing with water) 2 x Plastic refillable spray bottles, one for demin water, the other for the solution Solution Microfibre cloths (at least 4) two should be the larger foot square type - Remove the dicky label to avoid scratching the record surface plain cotton bath size towel Label saver/protector Solution 1 part 99% ISOPropyl alcohol 6 parts distilled or demin water 10 drops or a foot long x 2mm wide steam of Meguiars Gold class Car wash Method Lay a cotton towel flat on a bench close to the kitchen sink Place a microfibre towel on top of the cotton towel Fit the label protector on the record, both sides Spray the solution over both sides of the record, this gets messy, so hold the record over the sink with the label saver Use the paint edger on the record and follow the groove, add a little pressure, wipe back and forth and on the edges. Flip over the record to repeat, spray solution on the paint edger again. Rinse the soap and scum off the record with tap water. If there is hard water about, spray the demin water to rinse. The record should now bead water drops. Shake off excess water Remove the label saver and place the record on the microfibre towel Place another microfibre towel on top of the record and pat the towel onto the record. This will displace the water from the record into the towel. I use this technique for drying car paint after a wash, there's no effort and the paint is dry. Remove the top towel and with another microfibre cloth to wipe the excess water off. Hold the record to the light to see if any blemishes are about. Sometimes the plastic sleeves leave a residue on the surface, use the isopropyl directly to remove. The record is good to play, and remove those paper and hard plastic sleeves and replace with the MOFI record sleeve protectors, they are great and cheap. The above works for about 6 LP records, then change out the microfibre towels as they get wet and aren't effective in retaining water. The records stay clean for quite a number of plays, and the dust doesn't settle as quickly. For records I bought from 1972, and all those years of dust and grime lift right out, and there are no pops or crackles, dead silent, except of course for those dunderheads that added scratches, and the vendor didn't mention them....... If you have other chemicals or methods that worked, by all means share the info.
  4. What's the spec on the resistors, carbon, wire-wound or metal film? This Metal Film from Mouser is rated for 50ppm drift, so when push comes to shove, the resistor may not break down and the image should be pretty good. Also found an article that explains when HPs can be connected directly to power amps, others require resistors as above. Interesting topic.
  5. @Nenon, "Done with the messy thermal compound paste that goes on the CPU, copper pipes, and all over you and the case!!! :)." Yes, horrible stuff that ends up everywhere no matter how hard to keep it from anything other than heatsinks. Plain ol' WD40 works well to remove the gunk and clean up with IsoPropyl.
  6. FWIW, I use a Lumin U1 with Accuphase DC-950 DAC with AES3. Roon is set to allow 1000 ms settling time for sample rate changes. Temporarily, this is set to 0 ms, and in playing redbook, DSD128, 96 and back again in very quick succession, the DAC switches to the new sample rate without issues. True, there is no adjustable setting in the Lumin app, could not find it. So the setting if anywhere from 0 to 1000 ms still works on AES3, longer is probably better for USB. I do share your concerns in that the figure should be available, maybe there's a 'retry' mechanism that complicates the actual number, I don't know for sure. If USB output was used, that could be a different matter entirely. Since USB and DACs not quite the best of chums at times as far as drivers are concerned, let alone noise propagation, that issue is avoided with AES3. I did try USB otput in the early days of the Lumin U1, but AES3 is less 'noisier', realistic, sound stage and the rest, haven't looked back TBH.
  7. After living with an Oppo-95, their products were of no interest any more.
  8. One trick is to extend the buffering time in the computer’s player a little longer. Give the time at least 5s , then reduce until the tick is audible, then set one more second. This is called a number of things, transition, dwell or buffer are some.
  9. Valued digital - Lumin streamers after fluffing about with USB for too long, Ethernet streaming is sonically superior, wins hands down. - Roon for the RAAT protocol Valued analog - Technics 1200GR (have one) - KEF LS50 - Sony WH-1000MX3 headphones high end No comment Thought police are stifling commentary.
  10. Perhaps a better solution is to analyse the setup between the source files and the (present and future) DAC and reduce the crud in the signal. The new DAC can then be bought on its merits, rather than try to cope with crud which will have a different signature with even the *same* DAC at the dealer and at home.
  11. If it wasn't for the RAAT protocol, which works seamlessy over many devices, I would using something else other than Roon. The handling of metadata really does have its holes. The box set identification mentioned before is really poor and a major gripe. There's examples like this which send me to despair... Dusty Springfield's "Am I the same Girl" on the Collection of A and B sides shows a link to three other versions in my library. The same title is found on the Dusty Anthology disc 2, Swing out sister's Live in Tokyo 2005 and 1992 Get in touch with yourself. Fine. When a query is entered into JRiver, there are two entries found. "Am I the same Girl" and "Am I the same Girl?" The title with the ? is found on UMG Masters best of Swing out Sister, Dusty Anthology disc 2, and 1992 Get in touch with yourself. In examining the tags for the latter three entries, JRiver is correct in picking up the ? from the tag information. Roon fails in correctly picking up the ? as it makes a mish mash of results. Either list all "Am I the same Girl" or "Am I the same Girl?" or as results are typed into the query box make the distinction, it doesn't. This is just an example, many times I see, I wonder if another artist has covered, and I'm sure there is, but there are no links. Why bother. Also not fun are the critic's reviews, don't care about them, any extra information can be searched online and many are missing from my collection anyway, leaving a huge empty space. The worst feature is the Artists browsing page, where a photo of the artist (if it's not a grey tile) is a recent photo. This yanks my chain, since when Jriver browses the Artist, the cover pages of the album are shown which are far more familiar. So I use Jriver to browse Artists or search for specific titles and play them in Roon.
  12. I would not be surprised if the EtherRegen has a feedback sensing circuit which monitors noise, impedance levels, perhaps, between the B connector and the NIC in the digital audio device. It's like a load monitor if you like where the B connector source measures and compares to a set of parameters, where optimally noise is the lowest. Not sure how this is actually implemented, but John is clever enough to be aware that an open system has its drawbacks and would vary with the type of NIC used, traffic throughput and effects of reflections and the cable. From what users describe, the experience is much the same from person to person when connected directly (Connector B to NIC), other than adding in the Baaske or Emo, where the sound becomes worse. When the Baaske or Emo transformers are installed between the B connector and the NIC in the load device, this isolates the load monitoring, and the correction circuits in the Etheregen 'max' out since it tries to correct for something that's missing. Consequently audible results would be apparent. There's no need to raise an alarm, since an open circuit on the B side can occur and shouldn't have any nuisance value. As far as the A side is concerned, there wouldn't be any monitoring at all, no need to, really only look for for valid data, router signals much like a regular switch. When the Baaske or Emo is installed on the A side, the noise is reduced from the source due to the transformers built into these units. They also provide valuable overvoltage protection, which would be recommended in any case, no need to uninstall them!
  13. 😮 WOW, thanks for the write up here, doesn’t make choices any easier!
  14. I'm thinking the same lines here. The Elektra is a dual 'coaxial' type construction, with each conductor wrapped in a separate shield. If one of the shields is not connected to a ground, there would be hum induced. You could bell out each conductor and it would show a healthy state and trick the readings. @photonman, I would return the Electra cable for another one. The Isotek EVO3 Premier Power Cable(C7) is a non shielded design, so fields can escape, but depends on how the symmetry of the conductors is built that can reduce these impacts.
  15. When experimenting with different USB cables and sub USD200 DACs, its possible to simulate the hole in the middle due to collapse of the sound stage. My guess is, the content of course, and poor timing between channels, introduced with USB and DAC combo. Removing USB altogether, adding a linear supply and using a 'better' DAC fixes that issue. Well, if you're multi channel, then the effects would be worse. A great example of stage height is Michael Jackson's Thriller, the EPIC SACD or Blue Martini Jazz, "The Night we called it a Day". With height comes width and spread of the image in front, vocals and instrument placement is very satisfying. In any case a starting point for speaker placement is what the manufacturer recommends. Here's a guide from KEF, seems straightforward and works as described.
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