Grey

I'm with heypeterman on this one as electrolytic caps and especially those larger ones in the psu and output stages are buggers for drying out due to continued overheat

Don't know what more I can say about it, other than I don't think it will be a problem. If that happens i'll just re-cap it, I recently did a big repair on a CRT monitor for a friend that involved re-capping the video board, now that was a pain.

I suspect i'll upgrade from the reciever to a component system before it ever becomes a problem.

This is my setup: Luxman PD444 w/Luxman TA-1

That Luxman turntable is gorgeous. Never seen one quite like that before.

The N55ES is a nice amp! It uses the same transformer is the N80ES, dosen't it? Any pictures of your setup?

How are you measuring output? Sony's Optical Legato system operates the amp in Class A mode at lower ouput. You realize Class A means it's always on, always producing heat, therefore even more important to have proper ventilation.

 

If you could see how many dried up capacitors our technicians replaces in a day, you may change your mind. Heat needs to leave the amplifier. But I'm not going to tell you what to do with your gear. Just trying to help...

Correct, but only at low output, relative to about ~40% i'd say. To that extent, even operating at Class A it dosen't produce a massive amount of heat and the clearance between the two is more than enough to dissipate any heat built up. I've been using this setup in this exact configuration on a regular basis for 3 years without issue.

I bet that GX90ES was a nice bit of kit though, you don't see too many of those floating around.

EDIT: sorry, ours is a GX90ES but my comment still applies to your receiver.

The GX90ES has a power output of 120wpc, compared to the 80wpc output of the GX909ES which generates much less heat. Furthermore, the 909ES uses Sony's Optical Legato system (which i'm sure you are familiar with) and to take advantage of that I keep the output below 50%, which is more than enough for the size of this room. Maybe if I left it on for a few hours the heat would become a problem, I only use it for the turntable and the longest it's ever on is ~45 minutes. Thanks for the concern.

Not trying to be a prick but your stylus works on vibrations and when you turn your amp up it's going to add unwanted vibrations regardless of how good the isolation feet on your turntable are.

Thanks for the advice. I don't mind comments when they're actually helpful. I keep the volume under control and the Technics has very good isolation, I haven't found it to be much of a problem with the way I use this setup.

this is me, nothing fancy...

Nice, your SL-1300 seems to be in good condition. What kind of cart are you running?

The ignorance of this board.

Spare me.

You might want to get a wall shelf or something else to get your turntable off the top of your amp

The Technics can handle it.

Was just browsing a pics thread on another site and saw a pic of your table from last year within minutes of seeing this!

Ace Frehley struggling to hold Iron Maiden. There's irony here somewhere.

I'm so glad this got a stand-alone release on standard vinyl. I already have an original pressing of Alive 1997 and i've wanted Alive 2007 ever since I started collecting. People said it would be impossible due to the way the album is laid out as one continious piece but I still had hope.

The Carbon is much better. I had (and still have in a box somewhere) an LP120 and had it for less than a year before I wanted something better. I ended up going with a legitimate Technics 1200mk2 (the table the LP120 copies) but the Carbon is a great turntable. You'd have to spend a lot more to really do better.

That wirecutter review is trash and was dubunked over at AudioKarma.

If you read between the lines you'll see that all of the turntables they reccomend, they have endorsement deals with through Amazon, which means they get money whenever someone buys one of those tables through their website. Coincidentally, the Orbit can only be purchased directly from U-Turn. Doing some basic background on the "reviewer", you'll also find he's a guy who co-edits home theatre websites and has no apparent background with turntables.

So much for journalistic integrity.

i am trying to rid myself of this turntable... clearly i dont like it either

If that's not great marketing I don't know what is.

"I don't like this turntable and admit that it's crap, but I still want someone here to buy it"

I really wish I had seen this thread. I also ordered from this trash on the 5th and have since filed a claim after he lied several times claiming that my record had shipped, but then suddenly told me he mixed my order up and haden't shipped anything. I said "fine, give me a refund" and he kept trying to stall me to "wait a few days" after I had already waited 3 weeks.

When I looked at his feedback he only had a couple negatives, and then 3 more showed up after I had paid. I have also now left negative feedback on his account and my Discogs username/profile is the same as it is here.

His feedback is down to 41%, so hopefully no one else will be fooled into buying from this idiot.

WHY EVEN OPEN THIS THREAD JUST TO BE RUDE

DON'T LIKE IT DON'T BUY IT

Considering they're only making one copy chances are no one in this thread will be buying it wether they want to or not.

We use 120V in the US, Japan uses 110V.

You can do anything as long as you BELIEVE IN YOURSELF!

It is a pain trying to the put record back in the gatefold since it is so tight

I had the same issue with the Deluxe version of Dive. I replace all my inner sleeves with MFSL inners and they fit in there a lot easier now.

favorite songs off this record?

L and Dye at the tail end of Side A make a pretty knockout duo.

Dive is a cool double album, but I like that they stuffed more music onto each side for Awake instead of spreading it out.

Are Ghostly still using their awesome mailers with the cellular padding?

Yes. I'm saving it for the next time I ship something expensive.

I never got any shipping confirmation, mine just showed up today in the mail. Nice surprise, and might I add really well packaged.

I really want one of the beige copies. Is anyone willing to sell theirs?

It's not out yet so no one has one yet. I'm sure there will be plenty of scalpers on eBay once it is.

Creating a new catalog number and barcode is easy. But for the record label, it can create a lot of logistical and accounting headaches. For each new catalog number, we need to track sales, expenses, royalty payouts, etc, etc. If we are repressing a title that is essentially the same, it just isn't justifiable to create a new release. If we do a deluxe reissue or it is substantively different, we'll issue a new catalog number and barcode.

 

It can also complicate digital media delivery. You'd have a different product on itunes and spotify than the one that you are selling physically.

 

It would also fuck up sales tracking for a release. If you issue it as a new product, sales for that title start over at zero. (This would be related to sales records that count towards having a record go gold). Obviously not an issue for most titles, but it's something that is taken into consideration by bigger indies and majors.

 

I agree it can be a pain in the ass to make sure you are getting the version you want on ebay and discogs. The worst (on discogs) is that some titles start out as having only one submission for multiple versions, and then the repress is added later as a separate entry. Many of the people selling represses in the OG pressing's listing often don't move them over. I've tried to edit submissions like this to minimize the impact on sellers and buyers, but I got yelled at so I gave up. (Make the entry that 600 people own the common repress, and add the rare OG pressing as a new entry). I understand why they have the rules they do, but it makes it likely that people aren't going to get what they are expecting unless they know what to ask.

This is the sort of response I was looking for, thank you for taking the time to write it. If there's a logistical reason behind it then I can definitely understand why the label would want to keep things simple instead of creating new release numbers for each and every pressing. And you're right about the way discogs tracks new submissions, I was quick to assume that people list things in the wrong category on purpose all the time.

I think the big problem is when the UPC is reused, because that makes it impossible to computerize everything. A UPC is supposed to uniquely identify a record, but I think some labels don't understand this and reuse old artwork when they repress. 

Yeah, exactly. Is it that much of a problem to change a few numbers on the jacket to make it easier to identify?