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Old 24th June 2012, 09:56 AM   #31
Desmo is offline Desmo  Denmark
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Quote:
Originally Posted by QSerraTico_Tico View Post
Hi, how does the sound of the Hashimoto HM-3s compare with the Cinemags?
That's an intesting question I don't know yet, just installed the Hashimoto's yesterday and I have only listened to test if my implementation is without hum (and it is).

I'll get back with update when I have had the chance to break in the Hashimotos...
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Old 24th June 2012, 10:02 AM   #32
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Quote:
Originally Posted by QSerraTico_Tico View Post
Hi, how does the sound of the Hashimoto HM-3s compare with the Cinemags?
Yes, I too like to know the comparison. Review please?
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Old 24th June 2012, 10:13 AM   #33
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Quote:
Originally Posted by QSerraTico_Tico View Post
Hi, how does the sound of the Hashimoto HM-3s compare with the Cinemags?
Yes, I too like to know the comparison. Review please?
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Old 24th June 2012, 10:18 AM   #34
Desmo is offline Desmo  Denmark
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I'll get back with an update, but since I have updated both the step-up's, the coupling caps and some of the internal wiring it's hard to say exactly where improvements come from...
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Old 24th June 2012, 11:51 AM   #35
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I picked up something excellent from your project, that is a copper shielding around the signal wires. I quickly dug up an old Canare i/c, stripped the excellent and thick copper shielding, spent the last hour doing what you did, and on test now. A quick cranking up the volume w/o signal impresses on me with lower noise floor. For now, I think its as quiet as can be. Excellent tip you've shared! I suppose every bit does help.
Its a Cinemag external box. Just shielded the input wires for now. SUT wires remain factory length and didn't shorten them to minimum required although some may disagree as not right during a build. Anyhow, its still within desirable performance and lowest noise achieved so far.
On another note, I've compared the Cinemag vs UTC A-11 numerous times, the Cinemag impress having more mid range presence and overall musicality.
I've no opportunity to audition any Hashimoto, keen to know.

Last edited by coolmaster; 24th June 2012 at 11:57 AM.
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Old 24th June 2012, 12:07 PM   #36
Desmo is offline Desmo  Denmark
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Great..! and thanks for sharing

On The Vinyl Song it's difficult to make a good connection to/from the connectors and switches on the back because the back panel is connected to the top cover. Hence when the top is off the back panel is ''loose'' as seen in my pictures. This means that the wires needs to be quite flexible to allow for movement of the back panel.

First I tried to run the silk insulated silver wire inside a mesh screen, that was again inside a thin plastic tube (needed to prevent the shield to make shorts on the connectors and switches when the back panel is installed). But this was not flexible enough and put a lot of stress in the thin silver wires.

Instead I used the good old trick of making a twisted pair where one of the wires is used as screen. I used ordinary flexible copper hook up wire and it gives excellent screening. Just remember just to connect at one end only. If you look at my pics you will notice that the black (shield) wire is not connected at the RCA end.
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Old 24th June 2012, 12:44 PM   #37
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Originally Posted by Desmo View Post
If you look at my pics you will notice that the black (shield) wire is not connected at the RCA end.
Agreed, thats a very important point for shielding. In my case, the Cinemag black, white, new shield wires are all directly terminated at the box ground lug. No contact with the box or RCA jacks. The two cans are permanently bolted upright (body direct contact with box) to the box. The ground lug is isolated and no electrical contact with the box. An external wire connects this lug to the active phono stage. The ground lug can easily be bolted on with or without box contact. Its technically an approved UK branded binding post made with external plastic. The same type used in my active phono stage.
An added implementation whether it made any difference, was to solder a piece of 100pF polystyrene caps at the SUT output jacks. All capacitor optional loading at the active phono stage is switched off by implemented dip switch. I felt nearest and direct loading at the output jack was best.

I've included an earth lift switch which shorts the RCA jack outer terminal to the ground lug. This is necessary for compatibility with stock Rega tonearm which is my other TT.
Since I'm with MC cartridge indefinitely , I believe it works best with all external cabling be 2 wire shielded mic cable up to the active phono stage and line level(using canare L2T2S) with the shield grounded at the TT chassis and others at one point. Never looked back since. For years, always thought any good audio grade interconnect would do, learnt much later its not always the case with MC, just have to go the extra mile with shielded cable. (echoing from someone in Audio Asylum who also realized this). Proper grounding techniques is so important and lift its performance.
Another matter which I realized, SUT size does matter. I happen to have those Beyerdynamic peanut sized SUT. They just don't offer the more wholesome and bigger bodied sound of the Cinemags. Output volume seemed much lower too but thats not a high issue. Amazingly the UTC and Cinemag very similar sonic dimensions despite its vast different in physical size. No more wanting peanuts

Last edited by coolmaster; 24th June 2012 at 01:01 PM.
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Old 15th July 2012, 10:16 AM   #38
Desmo is offline Desmo  Denmark
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Final update to The Vinyl Song LCR...

The only thing that I have been missing with this phono stage compared to what I have owned before is the possibility to easy adjustments of the loading of MC cartridges. So I have made this What I have now is 23 steps of loading in the range of 7 ohm and 70 ohm on the cartridge. This is with the Hashimoto step up's in the 1:40 ratio. The lower end of the loading range match my Ortofon MC 70 Anniversary and the higher range match my VDH Canary.

I did not want to compromise sonic, so I wanted short wires and good resistors for this. The solution is, that I have located the switch just next to the inputs of the circuit boards and the knob out the bottom. This gives relatively easy access to the know and the shortest possible wiring. I have used Shinkoh tantalium as the resistor on the RIAA input and Takmann metal film resistors on the attenuator.

Flexibility with this phono stage is now as good as I need it to be

BTW... Also installed a pair of Jupiter Beeswax HT to try them out. I hear good things of them, and that they should have a very natural and spacious sound. I would love to use Duelund here also, but there is no room...

Click the image to open in full size.

Click the image to open in full size.

Click the image to open in full size.

Click the image to open in full size.

Last edited by Desmo; 15th July 2012 at 10:20 AM.
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Old 24th August 2014, 07:05 AM   #39
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Hi,

I have to dig out this old thread and hope that someone is still tracking it ;-)
I have just finished the kit (after some issues - wrong tubes supplied + resistors on the PCB interchanged). The sound is great - however I got some hum. As I only use MM this should not happen. I plan now to rebuilt the kit in a bigger cabinet (the supplied one is totally unpractical) and to use a custom made torroid. I also intend to switch both of the big caps , the one on the PCB (2,2 uF) and the other which is soldered on the lugs (0,68 uF). Desmo used different values for those so my question is if the 2 caps are not crucial for the phono equalisation. The 2,2 uF I am shure it is not, but with the 0,68 uF I am not really sure if this is also just a coupling cap.

I hope that someone can help.

Thanks
Peter
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Old 7th November 2014, 02:00 PM   #40
Desmo is offline Desmo  Denmark
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They are both coupling caps :-)
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Regards, Morten
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