gagelle Posted August 3, 2011 Share Posted August 3, 2011 I bought a Music Hall 5.1 for my son and we're both very happy with it. Excellent sound with deep bass from the Goldring cartridge. It tracks almost any record, no matter how warped. Quote Link to comment Share on other sites More sharing options...
Rick Posted August 3, 2011 Share Posted August 3, 2011 The 5.1 is a great turntable, and the one that I really wanted when I just purchased a new one. Then I came across a deal on a brand new in box 2.2 le in Ferrari Red that I couldn't pass up ($299). It is an excellent budget unit in its' own right and I'm very happy with it, though I may one day upgrade the cartridge... Quote Link to comment Share on other sites More sharing options...
RRFL Posted August 3, 2011 Share Posted August 3, 2011 What Cask05 wrote makes a lot of sense to me. ------------- Orchestral strings and well-recorded piano are great tests of a turntable/tonearm/cartridge. So, what good LP's of orchestral strings or solo piano would one recommend as top-shelf record player auditioning material? I'll suggest the RCA Living Stereo pressing of Mahler's "Das Lied von der Erde" for strings and vocals (and orchestral bells, and...). I also like the mid 1970's Deutsche Grammophon LP of Beethoven Symphony 6 conducted by Karl Boehm, but that wouldn't be a popular choice. Solo piano? Hmmm... The Max Wilcox produced RCA Living Stereo Artur Rubinstein recordings are well regarded. Chopin Ballades, anyone? I agree with both of you and the brass is used as an example of what a stylus has to deal with. I was always amazed that the brass could be cut into the groove let alone reproduced with a stylus. It's so looks like a string of asteriod craters. I found it most interesting watching the lathe cut the lacquers from the recordings we had made at our studio. I used the stylus microscope to look at the groove in records and I could see the impact damage of a mistracking stylus. Like someone scraping a knife across the surface of your chocolate coated doughnut and spoiling it. I'm trained as a classical musician and have spend many hours next to piano strings, practise for exams. That's why I choose Klipsch ever since I first heard them when I worked in the HiFi shop in early 1975 where we had a pair of Klipschorns decorators finish $1,800.00 AU for the pair. I played them to everyone. Like them they all did. I always wanted a pair for myself but went for the LaScala in 1976 since I could use them to live mix bands. Now, I'm getting what I have always wanted in the Jubilee. Those recording you have mentioned are part of my fathers collection and I bet they will most likely be first requests from my father on my jubs and it will be the rega 3 with the garrott bros P77 as the source. Quote Link to comment Share on other sites More sharing options...
rongon Posted August 3, 2011 Share Posted August 3, 2011 I would really like to hear a pair of Jubilee. That huge Tractrix mid horn looks like it should sound wonderful. You know, you're right -- a really well-recorded brass section *is* a great test of a turntable/tonearm/cartridge setup. I was just thinking of how good a well-recorded big band can sound, and how that same record can sound dreadful if played on a poorly setup system (spitty, blatty, etc.). I was thinking of a Telarc LP of the Mel Lewis Orchestra (modern big band jazz)... That's a pretty serious test of a system. I should go listen to it... Quote Link to comment Share on other sites More sharing options...
RRFL Posted August 4, 2011 Share Posted August 4, 2011 I would really like to hear a pair of Jubilee. That huge Tractrix mid horn looks like it should sound wonderful. You know, you're right -- a really well-recorded brass section *is* a great test of a turntable/tonearm/cartridge setup. I was just thinking of how good a well-recorded big band can sound, and how that same record can sound dreadful if played on a poorly setup system (spitty, blatty, etc.). I was thinking of a Telarc LP of the Mel Lewis Orchestra (modern big band jazz)... That's a pretty serious test of a system. I should go listen to it... I have not heard the Jubilee myself and I'm looking forward to my pair. I choose the jubs from what jub owners have said and from reading the AES Volume 48 Number 10 2000 October Authors Paul W Klipsch & Roy Delgado and considering their intentions and the results they produced. The ambition of Paul to expand on the Khorns and produce a 2 way for more accurate reproduction. My very fond memories of the Khorns in the HiFi store in 1975 that I connected every amplifier available to to explore the differences and all the turntables and cartridge combinations, before I got my safe gov't job, and my outstanding 1976 LaScala. I have the need for speed and only a fully hornloaded system of compact dimensions will satisfy me. I have ordered the jubs exactly as Roy has recommended so they will be pure Klipsch as designed and intended by the designers. Quote Link to comment Share on other sites More sharing options...
RRFL Posted August 4, 2011 Share Posted August 4, 2011 o some degree, piano recordings follow the same behavior, except that I find a LOT of really poor piano recordings, even by the major labels, The brilliance and richness of upper piano harmonics is an easy test for quality of pianos themselves and the resulting recordings. I find that many piano recordings are miked too closely (no room ambiance) or too far away (no high frequencies on the attacks), and don't capture the richness of the live performance. This is so such the case. One of my favourite techniques was to use 2 condensers in an x configuration directly above the performers head simulating a set of ears just out of the way but as close as possible to where the head is when leaning forward with the piano lid on the long post. To capture what the pianist is hearing. I also did this with drums adding a mic in front of the bass drum. I felt this provided a more natural sound stage rendering the speakers invisible. The x mics were not mixed together they were distinct left and right channel. In live mixes with my LaScala my favourite was again to use 2 condensers from either side of the drum kit below the cymbals as distinct left and right channels with a bass drum mic. We would stand back and enjoy the speed and accuracy of the LaScala as they were invisible until turned off and then people became astonished and wanted to know everything about those little yellow speakers that sounded so natural when compared to all the other huge black ones other people had. The secret was simple great mics great amp and great speakers. People were again astonished when I said it was my stereo. Each LaScala was the equivalent of the drum kit in sound pressure and sounded the same as the drum kit when turned on and off for comparison in the sound checks. We always did the drum solo in the second last song to make sure the pub patrons stayed till the end. Quote Link to comment Share on other sites More sharing options...
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