Så langt så godt - i dag fik jeg første trin på vejen til mit Mono setup - ikke et 78er men et LP mono setup.

En koksgrå LEAK tl 25 Plus med mulighed for enten KT66, EL84 eller 5881 rør i udgangen

Jeg på tænker at købe en Ortofon OM D25M mono pickup - den skulle koste ca. 450 kr - dvs en tiende del af den SPU mono jeg gerne vil have men ikke har råd til :-))

Jeg leder stadig efter en mono forfostærker og lidt i tvivl om der skal være riaa i eller ej? - var alle mono LP Riaa equalizeret eller noget tilsvarende.

Jeg står mellem valget af at bruge en Lenco L75er, en Garrard LAB 80 eller måske en endnu ældre Garrard til foremålet - bliver det Lenco bliver det nok med en Lustre GST arm

Højtaleren bliver nok et hjørne horn med to Coral Flat 10" - det bliver godt nok kun 4 OHM men det er der en Jumper på Leak'en der kan klare og driftseffekten bliver vist endnu lavere når mean paralelkobler to enheder eller er det en skrøne? (de har en drifts effekt på 1 watt og kan klare 55 watt)

Gode råd - erfaringer med Mono - alt muligt andet er velkomment i denne tråd




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for tiden afspiller jeg meget musik - det lyder godt

Det er godt nok et spørgsmål, men: Hvorfor mono?

monkeboy: fordi gamle monoplader har en anden opbygning end stereoplader og derfor lyder klart bedre hvis de bliver spillet på et mono setup med en pickup med en større  diamant og opbygning der kan klare den dynamik der er i rillen - en Stereo pickup vil typisk få meget mere støj med - derudover er der mange kunstnere der aldrig er indspillet i stereo og de senere "rechammeled for stereo"-LPer lyder ikke særligt godt - derfor Mono

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for tiden afspiller jeg meget musik - det lyder godt

OK, jamen det er da rigtigt spændende. Nu ved jeg godt du håbede på ekspert-input og i stedet får dumme spørgsmål, men er alt udstyret så 50 år gammelt eller ældre, eller produceres der stadig mono-udstyr?
 

Ortofon, Denon, Lyra, Benz, og flere andre laver stadig mono pickupper
Der laves en hel del effektforstærkere som Monoblokke - de finder som regel anvendelse i set som stereo - legeledes kan man jo nøjes med at købe en Højtaler så er det også mono
Den ene Garrard jeg har i tankerne er over 50 år gammel - lencoen er fra 72 og Garrard LAB 80 fra midt tresserne 

__________________
for tiden afspiller jeg meget musik - det lyder godt

Hvad med en af de der nye MP3 afspillere i stedet?

(Det er en joke!)

vi prøver lige en gang til:

Så langt så godt - i dag fik jeg første trin på vejen til mit Mono setup - ikke et 78er men et LP mono setup.

En koksgrå LEAK tl 25 Plus med mulighed for enten KT66, EL84 eller 5881 rør i udgangen

Jeg på tænker at købe en Ortofon OM D25M mono pickup - den skulle koste ca. 450 kr - dvs en tiende del af den SPU mono jeg gerne vil have men ikke har råd til :-))

Jeg leder stadig efter en mono forfostærker og lidt i tvivl om der skal være riaa i eller ej? - var alle mono LP Riaa equalizeret eller noget tilsvarende.

Jeg står mellem valget af at bruge en Lenco L75er, en Garrard LAB 80 eller måske en endnu ældre Garrard til foremålet - bliver det Lenco bliver det nok med en Lustre GST arm

Højtaleren bliver nok et hjørne horn med to Coral Flat 10" - det bliver godt nok kun 4 OHM men det er der en Jumper på Leak'en der kan klare og driftseffekten bliver vist endnu lavere når mean paralelkobler to enheder eller er det en skrøne? (de har en drifts effekt på 1 watt og kan klare 55 watt)

Gode råd - erfaringer med Mono - alt muligt andet er velkomment i denne tråd


__________________
for tiden afspiller jeg meget musik - det lyder godt

r-l-b skrev: monkeboy: fordi gamle monoplader har en anden opbygning end stereoplader og derfor lyder klart bedre hvis de bliver spillet på et mono setup med en pickup med en større  diamant og opbygning der kan klare den dynamik der er i rillen - en Stereo pickup vil typisk få meget mere støj med - derudover er der mange kunstnere der aldrig er indspillet i stereo og de senere "rechammeled for stereo"-LPer lyder ikke særligt godt - derfor Mono

Jeg glæder mig til at følge denne tråd. Kan desværre ikke bidrage med erfaringer - er stadig blot en glad novice på Vinyl . Begynder jeg at tale om et mono-setup herhjemme - tror jeg dæleme, jeg bliver 'sat for døren' . Jeg har netop hørt en Realm/Oriole RM157 - JOHN COLTRANE ON WEST 42nd STREET i MONO og det rykker da bare. Der er masser af liv og perspektiv trods mit ydmyge stereo set-up . Så afspillet på det du har gang i r-l-b - kan det da kun blive exceptionelt .   

Go' dag.   

__________________
Tandberg TA-300M, TR-200, TR-1000, TR-1040P, TR-1055, TR-2075, TD-165, HifiSystem15 og 17.
Sansui AU999, Marantz 2252B, Luxman R1500, Beolab/master 5000, Tungsram-3F T3535, Dynaco A25X, TD124MKII.

Her er lidt forskelligt af mulig interesse

http://cgi.ebay.com/HEATHKIT-PREAMPLIFIER-X2-Mono-TUBE-Pream p-vintage-Audio_W0QQitemZ120423673894QQcmdZViewItemQQptZVint age_Electronics_R2?hash=item1c09cf7026&_trksid=p3286.c0. m14&_trkparms=72%3A1205%7C66%3A2%7C65%3A12%7C39%3A1%7C24 0%3A1318%7C301%3A1%7C293%3A1%7C294%3A50

http://cgi.ebay.com/Eico-HF-65-Mono-Tube-Preamplifier-1958-N ew-Tubes_W0QQitemZ390054007152QQcmdZViewItemQQptZVintage_Ele ctronics_R2?hash=item5ad107d170&_trksid=p3286.c0.m14& ;_trkparms=72%3A1205%7C66%3A2%7C65%3A12%7C39%3A1%7C240%3A131 8%7C301%3A1%7C293%3A1%7C294%3A50

http://cgi.ebay.com/Leak-Point-one-Mono-Vacuum-tube-pre-ampl ifier-near-mint_W0QQitemZ270393076188QQcmdZViewItemQQptZVint age_Electronics_R2?hash=item3ef4aee9dc&_trksid=p3286.c0. m14&_trkparms=72%3A1205%7C66%3A2%7C65%3A12%7C39%3A1%7C24 0%3A1318%7C301%3A1%7C293%3A1%7C294%3A50

http://cgi.ebay.com/Leak-Point-one-Mono-Vacuum-tube-pre-ampl ifier-near-mint_W0QQitemZ270393081771QQcmdZViewItemQQptZVint age_Electronics_R2?hash=item3ef4aeffab&_trksid=p3286.c0. m14&_trkparms=72%3A1205%7C66%3A2%7C65%3A12%7C39%3A1%7C24 0%3A1318%7C301%3A1%7C293%3A1%7C294%3A50

http://cgi.ebay.co.uk/Fisher-80-R-Mono-tube-phono-preamp-tun er_W0QQitemZ360132129934QQcmdZViewItemQQptZVintage_Electroni cs_R2?hash=item53d98c348e&_trksid=p3286.c0.m14&_trkp arms=72%3A1683%7C66%3A2%7C65%3A12%7C39%3A1%7C240%3A1318%7C30 1%3A1%7C293%3A1%7C294%3A50

 

Tak Bjerager 

X-ray - skulle du komme på disse kanter (evt for at stikke snuden i vintagelageret ) må du meget gerne tage den coltranplade med under armen - den må jeg bare have optaget


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for tiden afspiller jeg meget musik - det lyder godt

Lidt interessant læsning på englesk om MONO ( fra http://www.regonaudio.com)

Mono: The Purest Of the Pure?

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The recent burst of widespread interest in single-ended triode amplifiers, whether justified overall or not, has certainly served to point out the audible virtues of simplicity. We might do well to take this as a reminder in other directions in audio, too. Simplicity of recording technique is what I have in mind here. Ideals, and especially theoretical ideals, have to admit the modifications of experience. Finding a theory in audio that works out exactly as expected is rare, and there are many magnificent recordings that fly in the face of not just theory, but even the general idea of simplicity of microphone technique. Still, as we near the landmark of the hundredth issue of TAS, it is worth taking a moment to remind ourselves of our roots, of the bedrock concepts on which High End audio rests. One of these is purist microphone technique. And this reminding seems especially timely in that audio is entering a time when "surround sound" threatens to alter the very foundations of reproducing music. [Note June 2005: This is not to say that surround sound cannot work if it is done right! Obviously, I believe strongly in our surround work in the recent, purist-miked Waterlily Mahler 5 and Shostokovich 7 recordings.]

We often think of the introduction of stereo as the beginning of the modern era of high fidel1ty and as the first period of recording history that remains of other than historical-musical interest. But from the viewpoint of purist microphoning, there is a type of recording that is purer than the purest stereo, namely, one-microphone mono. And here, even more than in early stereo, Mercury led the way. Anyone who has not listened carefully to the Mercury monos has just not heard the ultimate in 'a certain kind of sonic purity.

The Mercury monos were made with a single (mono) omnidirectional microphone, in a carefully chosen central location above and in front of the orchestra. (I am writing here about the Mercury series that started with 50000 numbering, the beginning of the Living Presence, but before stereo. The Mercury recordings before that did not have the unique sonic properties I am discussing, at least not uniformly.) And there is a sense in which these recordings, played back by a single speaker with an amplification chain capable of complete information transmission, give the most accurate picture of actual symphonic sound possible. Actually, the ideal here would be to use a single one-driver speaker, but more on that another time.

Now let me admit the obvious from the start: Something is lost in mono, and a certain psychological adjustment has to be made. But at the same time, if one does make this adjustment, it will become apparent that something is gained, too.

To encourage you further, let me point out from the start, too, that there is some very great music indeed on these early Mercuries. In particular, the recordings of Kubelik conducting what was then his Chicago Symphony (before he was hounded out by the scurrilous critic Claudia Cassidy) are of special interest. Great as the Chicagoans were under Reiner, they were also great under Reiner's predecessors, and Kubelik was a conductor of remarkable gifts. These recordings would be worth seeking out on musical grounds alone.

Note June 2005: Some of the classic Mercury 3-mike stereo recordings are being reissued on SACD with the three mike feed in separated channels, not mixed down to two channels as they were for stereo. So you can hear purist one-mike , one speaker mono simply by listening to the "center" channel on a single speaker. Try this! I think you will be impressed, perhaps even converted.

But it is the sonic situation that I want to discuss primarily. This is not the time and place to recapitulate all the articles that I and others have written for TAS on what microphones and various microphone techniques do to sound. To begin to appreciate the extraordinary clarity and realism of the Mercury monos, all you need to do is listen. After you have listened, though, you might wonder why you heard what you heard, namely a kind of coherence and lifelikeness that is not usually available in stereo recordings. Instruments sound completely natural and coherent. The sense of listening directly to real sound, albeit through an opening of restricted size, is startling. By comparison, stereo tends to sound slightly ghostlike, spread out appropriately in space, it is true, but insubstantial, almost dematerialized.

Thanks to the remarkable summer concert season here in Copenhagen (where I am writing this), I have been hearing live music something like four times a week recently (not counting my own playing). Of course, obvious tonal balance differences exist between live and most recorded music. But another feature of live sound which one is strongly reminded of by frequent exposure is its natural solidity.¹ This has nothing to do with loudness, nor is it an easy concept to articulate. But in effect it seems to arise from the simultaneous perception of the complete sound as a whole, the exact opposite of fragmenting a sound by picking it up with many microphones and playing it back by several multiple-driver speakers. Of course, surround sound is the latest and by far worst in nonsolidity, carrying the fragmentation to the point of making nonsense of music to my ears. [ Unless it is done right-cf. Waterlily Mahler and Shostokovich, "my" surround recordings ] But even stereo extracts a bit of a price in this regard.

Suppose someone offered you a device that would inject into each of the left and right channels of a three-channel system a time-delayed, phase incoherent version of the center channel, down, say, 10 dB in level. Would you regard this as an improvement? If an amplifier, say, did a comparable contamination of the signal, it would be a laughing stock. And yet this is precisely what three-channel stereo (mixed down to two) does to a centered instrument. All right, so that is polemics. But there is a definite grain of truth, too, to be found there. And more subtle but equally valid objections can be raised to coincident-miked stereo (Blumlein) or other stereo microphone patterns. [If only in a restricted frequency range; Blumlein works correctly up to around 2 kHz, June 2005 ] With a multitude of microphones, the results are potentially just chaos. Paradoxically, with tight multi-miking, which amounts to just mono pan-potted, one recovers some of the clarity of purist mono (though not all, because of the double arrival from the two speakers). But of course there is little naturalness of timbre nor balance, and no real sense of space.

Purist (one omni microphone) mono suffers from some restrictions, beyond the obvious one that it is mono. First, there is no possibility of adjusting anything except the position of the microphone. Nothing can be "fixed in the mix" because there is no mix! And second, there is no blending of different microphone types, therefore, the colorations of the one microphone are laid bare for all to hear. The Mercury people were most adept at microphone placement, and the one-microphone Mercury monos are admirably balanced--the first problem is in their case no problem. But their microphones were not ideal, having (to judge by listening) some mid-treble frequency resonance problems and, above that, little extended high frequency response. But this should not distract one from the other strong points. And indeed such a coloration should be--and, to me, is--fairly easy to listen around. (We all listen around such resonance problems and worse with virtually any speaker you can name.)

I am not really advocating a return to mono. Rather, one reason to hear the Mercury monos is that one can better appreciate just what concessions had to be made with stereo. In particular, one can understand the whole double-arrival business that was the rationale of Carver's Sonic Hologram, in which the left speaker to right ear (and vice versa) connections were canceled.² Unfortunately, this cancellation is possible only for clamped-head listeners, or close to that. And the reason for understanding that business is in turn mostly just to show yourself how awful things could be with even more channels, with no even halfway sensible idea of how they should be used. [ Of course, once again, if you do it right, with a good idea…]

If you really want to nail this in the abstract, put on a mono pink noise signal on your stereo system and move your head around a little. Most people's reaction is: "Is this for real? Is this what's been happening to my music?"

Back on the purely musical front, of course I really like stereo, just as you probably do. The gains outweigh the losses, when the recording is done right. But if we really want to understand what we are hearing, we need to understand what is possible with purist mono. The Mercury monos are a window on a new vision of musical reality, or new to most of us at least. It is, to my ears, a vision with a compelling musicality of its own. Next time, I'll talk about how some of this purity does manage to make it through stereo, too, when things go right. But the Mercury monos do show that not everything survives. In one way, they and other single-microphone recordings represent the purest form of recorded music.

1 I am far from being the only person to notice this feature of live sound. In particular, I am indebted to Max Townshend for an interesting and encouraging conversation about blurring from multiple arrivals of high frequencies and so on after a concert last summer at Royal Albert Hall.

2 In Blumlein stereo, the interchannel-interaural crosstalk is part of the theory up to around 2 kHz. Beyond that, the head shadow is supposed to handle the problem, but it doesn't really quite do it.

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for tiden afspiller jeg meget musik - det lyder godt

r-l-b skrev: Jeg leder stadig efter en mono forfostærker og lidt i tvivl om der skal være riaa i eller ej? - var alle mono LP Riaa equalizeret eller noget tilsvarende.

Det må blive tilsvarende, men de fleste må lande på noget nær Riaa.

http://en.wikipedia.org/wiki/RIAA_equalization

Leaks forforstærker har faktisk forskellige kurver for afspilning. Mht. strøm fungere de nogle gange fungere de via strømudtag fra effekttrinet, det skal man lige tænke over hvad der så passer sammen. De kan umuligt være specielt dyre i UK.

Varioslope II

http://44bx.com/leak/Varislope_II.html

Point one
http://44bx.com/leak/Varislope_II.html

Leak generelt
http://44bx.com/leak/index.html

jeg har budt på et par af de forforstærkere, men for ikke at blive revet med havde jeg lagt et fast bud ind og kiggede så gørst da augtionen var slut - den billigste røg så til 150 USD i Canada

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for tiden afspiller jeg meget musik - det lyder godt

 

Hej.

Den der båndoptager du donerede til mig fik jeg kigget lidt på.

Den indeholder en monorørforstærker af ukendt fabrikat.

Jeg aner dog ikke om den funker, men du kunne da få den tilbage til dit mono setup.

Den er måske ikke så interessant for den består af to dele - forstærker og strømforsyning på hver sin plade. ( jeg tænker på det visuelle)

Hilsen

øhh .... lidt åndsvagt indlæg

Du har jo forstærkeren sorry - sov vist lige.

Hvad med min Delphon pladespiller. Den er jo skabt til mono.

Ellers interessant tråd i forhold til bestræbelserne på, at nå tilbage til 40'ernes highend.

Hilsen Jesper

r-l-b skrev: jeg har budt på et par af de forforstærkere, men for ikke at blive revet med havde jeg lagt et fast bud ind og kiggede så gørst da augtionen var slut - den billigste røg så til 150 USD i Canada

Nå ja, men de kommer i en lind strøm:
http://cgi.ebay.co.uk/Leak-Point-One-Pre-Amp-Good-Condition_ W0QQitemZ320377646807QQcmdZViewItemQQptZUK_AudioTVElectronic s_HomeAudioHiFi_Amplifiers?hash=item4a97feeed7&_trksid=p 3286.c0.m14&_trkparms=72%3A2108|66%3A2|65%3A12|39%3A1|24 0%3A1318|301%3A0|293%3A2|294%3A50

Priserne på slags må da været steget de sidste par år, huske ikke monoudgaverne som særlig dyre.
Har lige set på brugte tonearm et stykke tid, og de er da også steget en hel del i forhold til sidst jeg så efter den slags.

Ok, det her må da være et rigtig godt mono link:

http://members.myactv.net/~je205d/mono.htm

Hvis sælger kan overtales til at sende til Danmark var dette måske noget: Grommes 207A.

Den har netop også forskellige equaliseringskurver, til afspilning af diverse formater.

wow, jeg vil også have mono!

Dvs. det har jeg jo allerede:




Og i fuld figur med 9710 basboksen og diskant højttaleren (tuneren er siden sat til side):



Den fine Philips AG9009 mono (men bi-ampli) OTL forstærker har også tre forskellige riaa-kurver.

Jeg mangler bare en passende (samtidig) grammofon med en monopickup.

Når det er på plads, laver vi en monoklub!

PQR



__________________
Masser af vintage grej.

www.vintagehifi.dk

Åh nej,

Kom lige i tanke om at jeg ved, hvor der vist står en Garrard 88/4:



Det var den vintage ro.

PQR



__________________
Masser af vintage grej.

www.vintagehifi.dk