Mike F

Really! Wow...but then again with a half second of contemplation I'm not suprised. I've never paid for it myself (umm, at least not up front with currency that is ) but the prospect of doing it with someone who might be secretly despising me is one of many turn offs. Of course I don't know what I'm talking about really. I would hope that the best is a much better than your typical boring porn star.

Lack of funds shouldn't be an obstacle in a city with a "very healthy & diverse" population. I guess you learn to make ends meet when without (money). Yeah some blowjobs....suck. In those circumstances, without letting on ("what ARE you doing?") and bringing a negative in, it's good to seem anxious to move on to better things...which under those circumstances it is. Talent surely varies but I think it's genuine passion that makes or breaks it sometimes; it's how much she enjoys it and there's lots of variables.

I've got it and it's conventional in writing...if not in content. I've spoken to him on the phone, he's a speed talker who won't quit but a very nice guy and likes to laugh. Cultural references fly fast and furious and I'd recommend lots of caffeine prior if you want to keep up.

I guess mine would have to be Sin City. There were things I loved about it such as the look (and BTW, why was it not nominated for anything like visual effects, makeup, screenplay, costume design, art direction? The Academy sucks!) and things I didn't, which I don't feel entirely justified in criticising. I bought it a few days ago and will see it again. I liked the first story with Mickey Rourke most. Oh yes, I really did like Batman very much. A massively welcome infusion of humanity with it's flaws and emotional displays in the character. Excellent acting by the supporting cast especially that old man gangster,Tom Wilkinson and Gary Oldman. Caine, Freeman and Neeson were typically Caine, Freeman and Neeson. One favourite episode was the getting gased, falling from the building on fire in the rain and needing to be rescued scene. Every movie I saw in 2005 was of the eye candy variety and I'm hankering for greater substance; numerous times I'd say "let's go to the movies" and when I looked at what was playing, we'd not bother. I guess I should see Capote.

:laugh:

I returned it. I wasn't fatigued whatsoever before. I don't know...blame a -$500 box with lots of lights or my $4000 amp and $4000 speakers (not that price guarantees excellence!), who's primary hallmarks are tonal accuracy? Nah the thing was too bright for HIFI. Like I said before it'll probably be great in an AV system---TECHNICOLOUR!

Did you tell him the truth? He was offended when I thought the X2 a "little better" than the X1. I'm in no position the play with DACs now but I do want to try some different digital cables. I wish I had three DACs for different moods. I only have three moods?

http://www.10audio.com/diy_power_conditioner.htm You may want to check out that link. For me a notable statement was "The well-reviewed - and deservedly so". There was a thread about it at headfi. My take on the Hydra is that it's simple (simple is good) and works well, but is just overpriced. But aren't most things audio overpriced? My UPC-200 is probably overpriced.

Thanks CD44hi. I am already rewired, although the Incognito may be better. Someone out there also does some structural mods as well. My upgrade philosophy is to skip the modest upgrade, if I can afford to, and step up to the one that I live with for the long term, maybe permanently and forget the angst. My audio tech friend says unless I lay out $1500 there's no point in upgrading from the RB250. I hate the idea of that and hope he's just being too general. He's hilarious though and likes to show me things in high-end audio shops like expensive turntable platters that wobble slightly or expensive wobbly racks that he puts my hand on and raps on a different shelf says "you feel that? Garbage!" As for the "people in a'gon and AA" I've been using the search function for weeks, which is what I usually do before posting for help. I usually get a fairly good picture of whatever I'm researching but the tonearm is proving ellusive. I've even looked at opinions on older arms. Here's an interesting post "oldskool" tonearms" http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1133728840&openflup&4&4#4 ------------------------------------------------------------------------------------------------- "Dear Dazz: I can't speak for other " vintage tonearms " lovers but I can speak for my self: +++++ " Are these tonearms better than most of the contemporary siblings? " +++++ My answer: absolutely, yes. +++++ " Do these audiophiles like them because of their (oldfashioned) sound? " +++++ There is no " oldfashioned " sound on them, there is only " right sound ". +++++ " Or because the fact that they are very difficult to get nowardays? " +++++ No, I don't think so. Let me to explain my answers: - From my 18 tonearms, 14 came from Japan and all these but one ( Ikeda ) are " vintage " tonearms. The other ones: one from USA and three from Europe, two " vintage " and two current models. - In the great time when the japanese were the leaders on the manufacture of tonearms, this people were the best of the best building a mechanical device like a tonearm and they make their design, almost always, not only with full skill/love and know how but with a great creative effort. ( I'm not saying that today designers have not that creative and skill for make tonearms ). In that time they really have to be " the best " because each manufacturer had a great ( in quality and quantity ) competition. - Take a look for example, SAEC : its patented double knife Edge bearing design, its pipe itself is constructed of a special light alloy, a byproduct of French aeronautical technology, and their high-purity / high density headshell ( ceramic ) are unique in the tonearm industry. Micro Seiki: the Gyroscopic bearing of the MAX 282/237 IS A TOUR DE FORCE AND A UNIQUE BEARING DESIGN. Lustre GST 801: the variable magnetic flux type stylus force application system and its variable magnetic flux type anti-skating mechanism along with its vibration-proofing of stainless steel arm pipe and its high precision radial bearings, makes this tonearm one of the great ever made. Dynavector DV 505: Its unique Bi-axis system ( horizontal magnetic type ) and the double damper method ( inertia controlled dynamic damping plus electro-magnetic damping type ) shows the creative brain of these people. Technics EPA 100 MK2: Its unique variable dynamic damping shows the creativeness on the tonearm design along with an extremly stable 4-point gimbal employing ruby ball bearings with a friction of less than 3mg for movement in any direction and the use a metal pipe alloy of boron and titanium. Extremly hard to beat. Satin AR-1S: The best unipivot ever made. Period. I can talk and talk about those great great!! vintage tonearms, other like: Ortofon RS 212, Fidelity Research, Audiocraft AC 4400, Sumiko The Arm, Mission The Mechanic ( the only tonearm build from a single piece of aluminum. Not casting like the SME V/IV ), Stax UA-7, Denon Da 401, etc, etc. I own all these tonearms and I owned some of todays tonearms and I can say that with my cartridges in my system nothing can beat them and you can have some of this superior tonearms for a fraction of the today tonearms price. And let me tell you something: almost all my tonearms are still with its internal original wire, just imagine how could be improve each one when I change this internal wire !!!!. I respect to all designers but nothing that I know can beat those tonearms at any price with any kind of design. It is not only my opinion: read what Tom ( a person that I highly respect ) post here about the MAX 282 against the Triplanar. Btw Tom, I have all the diferent arm wand on my MAX 282, what a tonearm!!!! Regards and enjoy the music. Raul." -------------------------------------------------------------------------------------- He could be correct? Right or wrong I tend to go with recent things when in doubt.

PS Audio UPC200. The funny thing is I can't say much about it as it went in about the same time as a Nordost Vishnu power cord who's impact is greater (I now have two Vishnu). With the glass half full point of view the good news is the UPC200 hasn't bothered me. I wasn't expecting any really big things from it other than protection from surges, etc (something I don't know is a realistic fear to begin with! ). I consider it a really good power bar.

EDIT/MODIFY 3/7/06: Through speaking with a variety of people I've decided on the JMW-9. Wisdom no longer sought! (thanks?) (I'll try to condense as much as possible). I had a terrible accident a few weeks ago which ruined my cartidge's stylus (Clearaudio Aurum Beta S Wood moving magnet) and due to the scheme (scam?) of when trading in an old cart for a new, I went with the much greater discount offered by choosing a more expensive cart-Dynavector Karat 17D2 MK.II moving coil. The discount offered for a cart of similar or just a little more value than the Beta S was too small. I recognized what was happening but didn't protest as it was my plan to move eventually to a higher performing moving coil anyway (time flies when you're clumsy!). So what troubles me is the idea that the cart is being held back by the relative skills of the tonearm and table which is a Rega RB250 mounted on a Nottingham Horizon. I consider them decent mid-level components but with a few non-audio pots on the financial stove right now I can't make the step up to the next level such as a VPI Scoutmaster or Nottingham Spacedeck (tables considered "mid-level" for some). I do consider the RB250 the weaker of the two and am researching high and low for it's replacement. (The moment I saw it's crummy RCAs I walked it up the street to my nearest audio shop and had it rewired with Cardas/Eichmann plugs). The Horizon is OK and can run with other under 2K tables. One arm that catches my eye is VPI's entry level $900 JMW-9 which comes standard on the Scoutmaster (and Aries?). It would seem a good fit if I were to eventually get one of those tables. I do have a very interesting, possibly troubling, offer from a local guy in the form of the reportedly great sounding but super quirky fiddly 47 Labs RS-A1 tonearm for $500 CAD. http://www.enjoythemusic.com/magazine/equipment/0701/rslabs.htm This seems to offer the most bang for the buck musically with the drawback being "it might drive you crazy" in the words of the guy selling. So kind of an open question to anyone who wants to share their thoughts on tonearms. Due to the popularity of the VPI tables I am hoping for some feedback on the JMW-9. Thanks

Considering the moderating style at headfi Edwood has been holding this one in for a looooooooooong time! Sweet relief?

Mint chocolate chip (from the beginning or whenever the ice cream renaissance of a variety of flavours arrived) in a milkshake, shaken not stirred.

Oh.......thanks very much. I've never had much response, unless negative, and contrary to what I assumed were appearances to others, wrestling is one of my least favourite sports. (Really)

I had a H15 (or was is H10?) for a four day audition. I'll give it the benefit of the doubt and say is was simply wrong for me in a system dependant way. It was great in short term listening and I had made up my mind to keep it but in an intentionally longer three hour session at generous volume, it became very fatiguing. Even prior to the longer session I knew it lightened music tonally. It could be great in a darker or muddier system or an AV, as I think it is intended, rather than HIFI set-up.