Mightyrajh

No. But you could add an inline fuse if you wanted to.

The signal is travelling at the speed of light (nearly). I don't think even the most golden of ears is going to hear a difference in a few inches or even feet.

"You can see clearly that CDs contain nothing above 20KHz, while LPs may have content to 60KHz and beyond." Yes, I know that CDs cut off at just over 20khz and pretty darn sharply. That is because the sampling rate was chosen specifically to get to 20 khz which , at the time, was at the top of a standard frequency range ie. 20-20,000 hz. I did some re investigating and when mastering for vinyl the bass was mixed to mono and often but not always run through a high pass filter set between 50 and 70 hz (even more for KTel). I suppose the Deutch Gramophone recordings or other high end pressings were special but really low bass seems to be difficult to cut and play back. Those ultra low notes (sub 20 hz) absolutely have to be filtered out because the resonant frequency of the tonearm was between 15 and 20 hz. My mention of the vinyl was just so that I didn't get accused of being "Back in the good ole days" when I queried the necessity of the growing number of speakers and amplifiers required to playback a movie. My real reason for starting this thread was to question the need for a centre channel when you already have 4 discrete channels which would give you the same information. I also wondered why I am supposed to have a subwoofer which for the THX spec runs between 20 and 80 hz. My other drivers will do all but the very last octave which appears to be used soley for effects. It just seems that someone thought that what was necessary to run PA to a 500 seat cinema was the same system needed to give the same effect in a regular sized room.

Islander The rumble filter was for turntable rumble. It would filter out noise from the drive wheel and also take care of record warp. It was pretty common to see a demo setup with a direct coupled amp driving the woofer from stop to stop at about .5hz (33.3 rpm) even in the quiet passages..

Hi, I have been an audio aficianodo since the late 60's. I was around for Quadrophonic in vinyl and broadcast (WWWW in Detroit). I have set up my home with reasonable equipment but I have yet to see the use of all those speakers and amps. Don't get me wrong,I'm not some old fuddy duddy. I don't think that Heritage and tubes sound any better than the true horn sound and analogue warmth of steel needles on shellac. But this B.S. of a centre channel and two subwoofers is driving me nuts. Stereo was invented to give a 3 dimensional representation of a performance. The left and right channels combined in the centre to give a three dimensional effect with the mixing engineer setting the positions of the players. The lead vocal was mixed mono and appeared in the centre. Why do I need a centre channel to reproduce the same thing that stereo was invented to solve? Subwoofers are another problem. The entire idea of a subwoofer was that the lower octaves were non directional. By building a single box that only reproduced the lower octaves then the rest of the system needed only to reproduce the upper octaves where all the seperation was perceived. Now I see specifications (7.2) calling for yet another subwoofer. Apparently non-direction frequencies still need a point source.The only reason for the subwoofer channel is to give those ersatz explosions and phoney gunshots. Real music sources very seldom get down near 20 Hz. For those members running Heritage speakers with "Heritage" equipment. The first thing that a recording engineer did before sending a master for pressing was chop off anything below 70 Hz. Digital fixed that but the only real activity below 35 Hz is just Hollywood nonsense. My real point is that the 5.1 + specification is silly unless applied to truely subgrade equipment. Real speakers can give the whole effect with only 4. Are there any real sound engineers out there that can explain why we need 6 speakers to do the job of 4?

I didn't have a sound pressure meter at the time but "police at the door" loud the day that I bought them. Iggy Pop would have been proud.

That is just soooooo right. Do you think that the studios which record your marvelous masterpieces use Monster Cable? From the ones that I've been in it looks more like power cable. There is no difference in wires in the couple of feet that you are running. If you want to run cables 200 miles well maybe but 10-20 feet, get real. The same thing goes with the fabulous snake oil of bi-wiring. The logic seems to be that one run of cable is good, two must be better. That barely works on paper and in the real world Tektronix will be working on a new meter that could remotely support this.

In response to yourinitial post, if the turntable is properly grounded then try checking the headshell connections and even the clips that go to the cartridge itself. Just give then a little wipe with the eraser on the end of a pencil and the cartridge leads just give then a little wiggle. There may be a ground connection to your headshell too, make sure it is clean.

I did 4 years in Germany in the 70/80's and I know the stuff. It is a preamp for moving coil cartridges which had lower outputs and (I think) much lower impedances than moving magnet cartridges. I also brought tons of equipment home (to Canada but the same power). The preamp power supply power transformer may have 4 terminals on the input side which can simply be rewired from series (220) to parallel (110). I don't know how much electronics you know but any electrical tech could tell you straight up. If it only has two terninals then you want to look for a low power110/220 autotransformer. It will be cheap and give you the 220 without causing any grounding problems because it's not isolated. The power supply will just change the 220V ACdown to around 12V DC anyway and the frequency has absolutely no effect on the operation.