Is this why my analog rig isn't so hot?

Raoul, just because *you* do not understand what I'm stating does not mean that it doesn't make sense. You don't even know where Dan Wright placed the Black Gate capacitors in my transport and you spin off with a stupid comment that only makes you look like an ignorant smart ass.

Your 'contribution' has no place in this thread. If you had a little common sense you would stop at the comment that someone with a $10K Nottingham Anna Log TT has kept it in the box because his digital rig is sounding soo good. That's the same person who told me I needed to get into belt drive transports and sent me the link of the classified that advertised the unit I currently own. Knowing this person has owned expensive TTs (both belt & DD) I followed his advice.

I suggest you follow your own 'advice' on "learning to learn" and find out how these people with higher belt drive transports get great music ( that's how I learned ). I'll tell you that my modded transport is plugged to a Clear Image T4 filter via an AudioPrism Super Natural 9.5 power cord. The T4's construction quality makes the BPT filters look like toys. The T4 shares the outlet with an Audio Power parallel filter. The T4 is fed via a 220V/110V ONEAC CB 2338 isolation transformer/filter (30 amp, 220V dedicated line, BTW). The T4 is supported by a set of Goldmund Cones which pierce a board of non resonant, Caribbean Moca wood, with an 18" x 18" rubber/cork/rubber slab under on an IKEA Lack table. Oh, my transport is also supported by Goldmund Cones with Moca wood and an 18" x 18" rubber/cork/rubber slab. The digital cable is a 1.5 m VenHaus Pulsar that Sean cooked for a full 30 days on two different cable cookers (one a modded Mobie, one mimicking a digital signal) @ 1 week alternate cycles. My modded 1200 sits on a similar layout, but with a Dennensen Air Suspension and a massive granite slab over the air pistons. This is WAY out of your league, Raoul.

Los niños hablan cuando las gallinas mean.

***

Psychic,

Is your friend going to keep his TT? Just curious.

Michael

Dear psychicanimal: Till now you speaks only about hardware and " salsa ", I ask you about live music and you choose for a " dead silence ".
I'm sure you are seatting " nowhere " and you are not only confused but completly ignorant about music reproduction and in all topics about audio systems ( I'm sure you are " a no brain animal ", like you say: no offense ) and this affirmation is not mine its yours, let me to explain: next I will write many things that you post on this forum:

- Hooking high output MC to low MC stage: " I don't know if I'm altering the sound.." Sure, you don't know nothing at all.

-One of your threads: " Totally confused about home theather ". Only home theather?

- In the time that you were looking for a new cartridge you post this " incredible " thread: " which material is best for a cartridge body ? What a question: it is the most important parameter in a cartridge: WOW.

-Thread: totally confused about analog: about the 1200 tonearm : " The silicone fluid will provide....damping...I'm getting a cartridge/tonearm resonance point of 15Hz.The damping will bring that figure down a couple of Hz ( 13 Hz ). Right on the sweet spot. "
Where do you learn this? I'm sure that your teachers are of the no-brain animal type.

-" But am wary of copper " warmth ".." Who told you this?

-When you change the power cord on the power supply of the 1200: " evident that the Creature ( 1200 ) is now faster than my phono stage ". WOW¡

-In 08-13-03 you write: " I don't see any major improvements in analog over the past twenty years. Not in TT and not in cartridges. " It is clear that in your " black hole, where the no-brain animals lives ", nothing happen and can't understand anything about it.

-" I want analog and digital in balance ". " I want my digital and analog rigs to sound as close to each other as posible ". Sure, a " no-brain animal " can't distinguish between " apples " and " bananas ".

Dear friend not because when you was 20 years old and works in an audio store, you really learn: you can't learn because you won't it. BTW, it does not matter what you do on your CD rig you only have 16 bits of info and this is why this medium is inferior to the analog rig: when you understand this subject then you can say: " I know about audio systems ", not before.Period.

All those information that you write in this forum is only a small example of many many stupid threads and answers that has your name on it and that confirm that you are a faboulous " no-brain animal ".

But all of us in this forum already learn one thing about you: what not to do, ever.

Yes, maybe I'm ignorant ( like you say ), but I learn and live every day thanks to my ignorance, something that you can't understand.

Regards and always enjoy the music.
Raul.

My apologies, George, for having this thread go off course. But, as you already know, it’s late August—back to school days! As you can see, one of them schoolchildren is in dire need of remedial lessons!

George, if you could come to my living room and hear the “creature on steroids” you’d know what I’m talking about. We could change the musical presentation into ‘analog’ sounding by bringing something like a Rega P25 or Music Hall 9, a nice moving coil and a tube phono stage. I would plug these into my power delivery/noise control rig, just like w/ my DD/moving magnet/solid state phonostage. The sound would change to what some would describe as ‘warm’, ‘three dimensional’ and ‘textured’. I would use the terms ‘noisy’, ‘bloated’ and ‘sluggish’. It’s important to use the positive attributes of CDs as the standard for vinyl reproduction—not another turntable. Power delivery/noise control is my area of expertise in audio and now that my belt drive transport finally broke in I’m going to have one hell of a time working on further lowering the noise floor of my analog. It’s going to take Bybees on hot, neutral and ground of my phonostage’s outboard power supply, as well as a trip to the cryo treatment facility and some special cryo’ed silver DC cabling in between. The phono preamp circuitry is definitely going to end up in Danny Boy’s hands.

Raoul, you just don’t know when to quit. If instead of searching through years of my previous posts you’d spend your time learning English! Again, I don’t care what you think. I have some serious people helping me and *your* input is not up to speed. For your information, I have been a Beta tester for KAB Electroacoustics and VenHaus Audio. Perhaps you think Kevin and Chris are not knowledgeable enough. Truth is they know I’m a radical, innovative thinker with a good ear and a great, neutral sounding solid state setup. Chris is a tube guy and he wanted to try the Pulsar in a grain free, glare free, dead quiet, 100% solid-state high-end system. He knew my feedback would be objective and relevant. After I gave him my feedback he offered to try his new capacitors before they were released on the market, but I had to say no because I don’t solder. If I stay here in Toledo the upcoming Sason loudspeaker (Ridge Street Audio) will be set up in my system for evaluation. When its designer first heard my analog rig he got goose bumps immediately. He later dialed in speaker positioning and the results were spectacular. I’m open to new ideas and suggestions—from people who really know what they’re doing. Set your ego aside and think this through. Oh, before I forget, the objective of a stereo system is to reproduce *recordings of music*, not live music. There's a big difference, Raoul...

That’s it, hope my info is useful, George. I think you can reach what you want if you sort things out and do things systematically. Ken Lyons really knows what he's doing. I can help you in the power delivery/noise control and high performance direct drive departments.

***

you need a better phono stage, period!