The Sound Counsel - News, Reviews & Special Offers

The Sound Counsel

Well-known Member
AVForums Sponsor
@Lesmor many thanks. It was a long drive but worth it to make sure the swap over happened correctly. Sometimes its just not worth the risk with the couriers. Really nice to see you again albeit briefly because of the quick turnaround to get back to Edinburgh in time.

Dan
 

The Sound Counsel

Well-known Member
AVForums Sponsor
Technics_Logo.svg.png


Technics SL-1210 Mk7 In Stock

mk7c.PNG


We now have stock of the new Technics SL1210mk7 DJ Turntable. This completes the full range of Technics turntables which we have on display in the showroom. This currently includes the SL-1200C, SL-1210G, SL-1210GR and the soon to arrive limited edition SL-1210GAE.

Our SL-1200C has been slightly modified for display with some upgraded Isonoe Isolation feet and an Audio Technica AT618a disc stabaliser. We also have several cartridges to demonstrate including the Sumiko Pearl, Moonstone & Blue Point Special alongside the Audio Technica ATOC9XSL Cartridge.

Should you wish to have a demonstration of any of the Technics turntables please contact us at the shop. We can also offer a cartridge fitting and turntable set-up service for your existing or new turntable, just get in touch.​
 
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The Sound Counsel

Well-known Member
AVForums Sponsor
NAD T778 Stock

Capture.JPG


We have more stock if anyone is looking. Most of these are sold but we do have three or four spare.
 

panman40

Distinguished Member
Just want to give a big shout out to Dan for going above and beyond expectations in personally delivering 2 x SVS SB16 Ultras yesterday all the way from Edinburgh up to NE Scotland
Wow that’s some serious Bass there Andy, I bet your having fun with those!
 

The Sound Counsel

Well-known Member
AVForums Sponsor
Hegel H95 Vs Hegel H90

Hegel-H95-front-scaled-1.jpg


The Basics
From a distance the H90 & H95 look almost identical. They have the same chassis and front panel, same position for the headphone output and the remote is the same RC10 used in the H90.
Inside both share the Hegel H1 platform design. This is essentially a design map of where things sit in relation to each other in the chassis. This conceptual design groundwork plan stems from the original Hegel H1 amplifier and is still in use to this day. While the amplifiers are not the same in terms of complete design, they still share this Hegel proof of concept within their footprint.
The back panel on the H90 and H95 also look identical, sharing analogue pre-out, 2 x analogue line in, speaker terminals for a pair of speakers, one coaxial, three optical a USB and finally a network port.
They also share the same characteristics on the digital input board. The Network, Coaxial & Optical accept signal up to 24/192khz the USB input is limited to 24/96khz. The reasoning behind this is the UBS receiver chip Hegel use gives the utmost definition in sound quality, while not costing the earth. So even if the playback in the USB input is ultimately limited, the money saved could then be ploughed into investing into the digital to analogue converter, bringing larger sonic benefits overall whilst maintaining the price point.

Dual Transformers
The new H95 sees the inclusion of a dedicated smaller transformer. The larger transformer still drives the amplifier and digital to analogue converter, but with the addition of the second smaller transformer it enables the amplifier to have a dedicated single transformer for switching the amplifier on and off. This means that the H95 has a proper standby mode in which it only uses 1w in this state. This helps consume less power making it better for the environment, improves safety but more importantly means there is a buffer to stop any minute distortion of the sound during operation.

Streaming & Digital to Analogue Conversion
The largest difference between the H90 and the H95 is in the digital domain. The new H95 has received a brand-new streaming board and a completely new digital to analogue converter. The new streaming board is the same streaming board used inside the reference H590 amplifier. This means on launch the H95 will have Spotify Connect, but most importantly it leaves the door open to add features later. The DAC is also massively improved, and is the same unit utilised in the H190 model, a far more expensive DAC than found in the older H90. The H95 has a far superior analogue stage, which helps shape the sound of the amplifier but there is also a new Asahi Kasei Microdevices DAC chip with far better re-clocking. So, if you are using a digital source, the upgrades over the H90 are significant.

Headphones
Another large upgrade moving from a H90 to a H95 if the headphone output. The principal design is the same. The amplifier re-routes the output from the speaker terminals delivering plenty of power for headphones which require it. Where the H95 differs is how that signal is treated and the signal to noise ratio in this circuit has been vastly improved giving a superb black background for headphone listening.

Power Output
The main power supply of the Hegel H90 and the new H95 is identical as are the basic functions of the power amplifier and will give 60 WPC into 8 Ohms and 107 WPC in 4 ohms.

Sound Engine 2
The new Hegel H95 features the second version of Hegel’s Sound Engine chip and is one of the main reasons why Hegel amplifiers sound the way they do. The Sound Engine 2 is really an analogue computer. The analogue computer takes a sample of the incoming signal entering the amplifier and compares it to the signal exiting the speaker terminals. By comparing the two signals it can subtract the difference, this being the noise generated by the amplifier circuit. Usually this is unwanted distortion. Sound Engine 2 can detect this distortion and play it back in reverse phase effectively cancelling it before it exits the speaker terminals. Leaving you with a mirror image of the signal coming into the amplifier and ultimately, better, cleaner sound.

Conclusion
The outgoing H90 was one or our best-selling products over the last 12 months and we have no doubt the new H95 will follow on from that mantle. The H95 should be with us this week on demonstration. Should you have any questions relating to this article or if you would like to place an order, do not hesitate to get in touch with us directly.​
 

The Sound Counsel

Well-known Member
AVForums Sponsor
celex.jpg


Celexon High Contrast Dynamic Slate ALR Cinema Screen Review

ALR or Ambient Light Rejecting screens have had a cult following for the last few years driven by customers looking to get the ultimate black level from their projected image. It makes sense that the enemy of the projected image, is unwarranted light diluting and washing contrast out of the visible image. Active ALR screens can stop these unwarranted light impacts on the screen by only accepting light from a narrow source angle. The Draper React screens were extremely popular for several years but their attention to detail and build quality just did not add up, even if the React material itself was dynamite. Celexon hope to fill the hole in the UK after Drapers closure of their UK offices. So, is it any good?

All their ALR screens are borderless as standard, 0.8 Gain and come complete with IR & RF Remote, plus wall brackets. The bracket system they deploy is the same as the Grandview, which is a great design, very quick and easy to install. The mains cable is captive into the unit itself; my unit had an EU plug which I quickly snipped off and replaced with a UK one. I am told an adaptor should have been in the box so new units should come with this from now on. If the attached cable is too long, you can shorten the cable and add your own plug. Any incorrect wiring of the plug though will invalidate the warranty if it is damaged.

IMG_9824.JPG


Once up, the unit can be controlled either by the included RF remote or alternatively there is an included IR remote and small IR receiving dongle which plugs into the left-hand side, near to where the mains cable exits. A little annoying this is not built in, but not the end of the world.

IMG_9827.JPG


Firstly, the motor is incredibly quiet. Almost silent. A huge improvement over the Grandview which was a very clunky in operation. Once the screen unfurls it unrolls to the pre factory designated end stop. The screen does come with an adjustment tool for the end stop like most others, but within the manual there are no instructions for setting it. This is when the first issue arises. Upon speaking to Celexon it appears that due to the nature of the material, you cannot adjust the end stop without ruining the screen. If the screen does not fully unfurl you can get waves in the material around a foot in width, and once you have them, they are impossible to get out. Where I originally had the screen installed there was not an option to leave it coming down that far, I needed to change it. After a big warning from the manufacturer, I adjusted it and sat back. 3 days later I saw the tell-tale signs of the first wave in the top right-hand corner. Quickly, I zipped the screen into its case and re installed further out from the wall to enable the screen to run out fully and returned it to its original end stop. The wrinkle disappeared. The tensioning system in the Celexon is also significantly better than the Draper, woven into the screen material. It incorporates itself better than the stuck down tabs on the React which invariably would become unglued over time.

IMG_9826.JPG


Once the screen was in its final spot, I fired up the Epson EH-TW9400W with some native 4K content. First impressions were amazing, the visible contrast was vastly improved over the standard white screen and although the brightness of the overall image was effected due to the lower gain, you can visibly see the black floor increase over the standard white screen, considerably. Most importantly the shimmer and moire effect from the active material was almost unnoticeable. More pronounced than on a white screen but that comes with the territory and is one of the downsides of an ALR screen.

Upon extended viewing though, some familiar issues raised their head. One of the main reasons Draper started doing borderless screens is the fact that ladder lines were a huge problem with electric ALR screens. This was due to the softness of the viewing fabric when it met the black bonded header and border. Unfortunately, even without a border minor ladder lines are still visible with the Celexon, mainly on the top half of the screen. This is clearly from where the material attaches to the roller. These are very subtle and cannot always be seen and are also worse at the top of the screen, decreasing to none at the bottom. The solution is that you need to run the image right to the bottom bar, that way you miss the ladder lines most pronounced at the top of the screen and they are then 99% unnoticeable. The main issue with this is that the factory set drop on the screen is quite long, combine that with not being able to adjust the end stop and you need a projector with very flexible lens shift to be able to set it like this. Luckily, the Epson is such a unit, a lot of other manufactures, are not.

In conjunction with this, one of the advantages of a borderless screen is that you can maximise image size by running the image right to the edge. On my review sample, this was not possible. Even with correct adjustment of the tensioning system the right and left hand edges curl ever-so slightly toward the seating position, combine this with the active nature of the ALR material and if you run the image right to the edge the outside two centimeters are visibly darker than the main screen. Not a huge problem as you can reduce zoom, so the image falls inside this, leaving you with around a 2cm gap at the edges.

Once I have got this all set, the image for 4K & 1080P was particularly good. If you were to watch with ambient lighting in the room, there is no doubt that the Celexon screen performs to its strengths as this is how all ALR screens designed to be used, with the lights on or with some natural ambient light. It is a fallacy however to suggest you gain this contrast without sacrificing image detail in a dark room. Projection of SD material shows this up all too well and the screen does not perform well with lower resolution content. It preforms even worse in the dark. The active nature of the material adds noise into the image alongside the noise form the already scaled low-resolution image. The standard white screen from Grandview was a lot more forgiving with challenging content.

IMG_9830.JPG


In summation, the Celexon screen would be particularly good if you have a cheaper DLP projector which has a naturally poor black floor and reasonable lens, The Optoma DLP units spring to mind. It also needs to be used as originally intended, in ambient light. The main restrictions come from lack of flexibility with the positioning and the softness of the screen material. It is actually quite an effort to get it within its operation window, which seems to be narrow unfortunately.

All in all, it was an interesting exercise, which has convinced me that in my situation a good quality white screen is the way to go whilst controlling the environment I project in. Should you have any further questions relation to Celexon screens or Ambient Light Rejecting screens do not hesitate to contact us at the office.

RRP's and sizes as follows;

177 x 99 cm - £829
199 x 112 cm - £869
221 x 124 cm - £919
243 x 136 cm - £1049
265 x 149 cm - £1149
298 x 168 cm - £1249


screen image.JPG
 
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The Sound Counsel

Well-known Member
AVForums Sponsor
PJ-Audio-Systems-Logo-black.jpg


Signature-12-3.jpg


We have now expanded our display in store to include a range of turntables, electronics and accessories from Project audio systems. Alongside Technics in our turntable range, this fills the gap we had for a traditional approach to turntables, covering models for pretty much all pockets. I'm particularly interested in the Project RS Phono Stage which I will be putting up against my current Primate R15 at home on the LP12/Sumiko to see how it measures up. Review to follow.​
 

The Sound Counsel

Well-known Member
AVForums Sponsor
lehmannaudio_logo.gif



decade.jpg



Further burgeoning our investment in turntables also comes phono pre amplifiers from well respected brand Lehmann Audio, manufacturers of the infamous Black Cube. Again we will have demonstration stock of some of the Lehmann range so don't hesitate to get in touch.​
 

The Sound Counsel

Well-known Member
AVForums Sponsor
Technics_Logo.svg.png


Technics Turntable Servicing & Custom Finishes

We are now able to fully service any Technics SL12** series turntable. There isn't any condition one of these turntables cant be resurrected from. I've added below an example of a before and after to give you an idea. We can take a destroyed SL1210 and fully re-work it including custom parts, finishes and even re-wire the tone arm which was arguably the weakest part from an audiophile perspective.

We can also take any current turntable be it a Mk7, G or GR and give it a custom finish of your choice.

Given the custom nature of these refurbs price is on application. please don't hesitate to contact us.

Before
Capture.JPG


After
Capture.PNG

 
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The Sound Counsel

Well-known Member
AVForums Sponsor
PJ-Audio-Systems-Logo-black.jpg


I have just set up a totally new turntable combination in the office at home. The Linn LP12 is for sale and Primare R15 has been shelved for a few weeks and im currently testing a fully modified original Technics SL-1210MK2 and Project RS Phono stage. The Technics MK2 is actually my own, bought when I was 18. It has undergone a complete renovation including arm re-wire, plinth restoration along with pitch fader upgrade. I've still kept the Sumiko Blue Point Special III which is by far the best cartridge in its price range, it really is stunning. Not even the equivalent Dynavector could keep up with it. Ill be reviewing the Project RS with a view to doing a write up on it in the coming weeks. Watch this space.

Technics  Pject.PNG
 
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The Sound Counsel

Well-known Member
AVForums Sponsor
anthem-mca-20-power-amp-_4_-1730-p.jpg

MRX & AVM 2020/21

960x0.jpg


Nick and I have been working with Anthem since before the launch of the original MRX300, cutting our teeth on the mighty impressive D2V back in 2006 at The Home Cinema Centre. As one of the UK’s longest standing Anthem dealers we have high expectations of the new range and where would a key product launch be without an attractive opening gambit? If you have purchased an AV amplifier or processor from us at The Sound Counsel we will give you 100% of its purchase price* against any upgrade to the new Anthem MRX or AVM products. For those who have shopped with us before but not at The Sound Counsel we are offering a great returning customer promotion and for anybody looking for a new dealer with years of experience and a different approach to service we have plenty to offer you as well. Contact us for a tailored package.

*The amplifier must be in full working order with remote​
 

DodgeTheViper

Moderator
View attachment 1394122
MRX & AVM 2020/21



If you have purchased an AV amplifier or processor from us at The Sound Counsel we will give you 100% of its purchase price* against any upgrade to the new Anthem MRX or AVM products. For those who have shopped with us before but not at The Sound Counsel we are offering a great returning customer promotion and for anybody looking for a new dealer with years of experience and a different approach to service we have plenty to offer you as well. Contact us for a tailored package.

*The amplifier must be in full working order with remote​

Oh my word :thumbsup:
 

Lesmor

Distinguished Member
I am loving the new styling of these AVR's if I hadn't just changed my subs I would be all over it :)
 

Phil1975

Distinguished Member
Hi,
Returning customer but not for The Sound Counsel. ... 🤔
 

Russ 66

Well-known Member
View attachment 1394122
MRX & AVM 2020/21

View attachment 1394120

Nick and I have been working with Anthem since before the launch of the original MRX300, cutting our teeth on the mighty impressive D2V back in 2006 at The Home Cinema Centre. As one of the UK’s longest standing Anthem dealers we have high expectations of the new range and where would a key product launch be without an attractive opening gambit? If you have purchased an AV amplifier or processor from us at The Sound Counsel we will give you 100% of its purchase price* against any upgrade to the new Anthem MRX or AVM products. For those who have shopped with us before but not at The Sound Counsel we are offering a great returning customer promotion and for anybody looking for a new dealer with years of experience and a different approach to service we have plenty to offer you as well. Contact us for a tailored package.

*The amplifier must be in full working order with remote​
Just sent you an email 👍🏻
 

Lesmor

Distinguished Member
Well that didn't last long I've upgraded already
so thanks yet again to Dan for his second trip up to NE Scotland to deliver 2 x SVS PB16 Ultras
as always its a pleasure to do business
Regards
Andy
 

The Sound Counsel

Well-known Member
AVForums Sponsor
Thanks Andy,

Good to see you again. Ill probably be able to hear the PB16's from here!

All the best
Dan
 

The Sound Counsel

Well-known Member
AVForums Sponsor
Dayton UMM-6 USB Measurement Microphone

61T1+gvTwCL._AC_SL1500_.jpg

61mlSbG9XAL._AC_SL1500_.jpg


Now in stock, the Dayton Audio REW/DIRAC Measurement microphone.

These measurement microphones have a wider calibrated frequency (18hz) than the equivalent MiniDSP UMIK units and also come with their own calibrated file for each microphone.

IMG_0402.JPG


IMG_0404.JPG


Product Highlights
Precision condenser microphone for critical measurement and recording applications
Connects to your PC or Mac via USB port
True omnidirectional pattern with calibrated flat frequency response
Rugged construction with high-quality components
Compact design; includes sturdy carrying case with foam insert
Compatible with most industry-standard measurement software


£129

 
Last edited:

The Sound Counsel

Well-known Member
AVForums Sponsor


Technics_Logo.svg.png



b781b031a4e15cea12fd054dfaeeecac.jpeg


SL-1210GAE LIMITED EDITION FROM TECHNICS

We currently have one final unit in stock and given the speed of sale of the previous limited edition units, I suspect these wont hang around for long. Should you be interested in securing one drop us an email at; [email protected]

These limited edition units are priced at £3999 and my understanding is that all of the stock units are now gone at Technics.​
 
Last edited:

The Sound Counsel

Well-known Member
AVForums Sponsor
Capture.JPG


Panasonic 75" LED Screen


IMG_0330.JPG


We have a limited offer on the Panasonic TX-75HX940 LED Screen, I have two of these for sale. One on display in our Edinburgh Showroom and one brand new in a box. Both come with a free 5 Year Warranty.

£1299 for the Demo unit - SOLD
£1399 for the Boxed unit


At these prices they are collection from the store, but we could arrange delivery for a small amount locally or offer a UK delivery service with our private courier. Contact us with you address details for a quote​
 
Last edited:

The Sound Counsel

Well-known Member
AVForums Sponsor
Long - With Tagline.jpg


Now On Demonstration

We have recently had a couple of additions to our demonstration stock. Bolstering the main stereo we have the fantastic, peerless, Hegel H30 Power amplifier, along with the Anthem STR Pre-amplifier and Trinnov ST2 DAC & Room Optimizer.

IMG_0388.JPG

Hegel H30 - £11,000

IMG_0387.JPG

Trinnov ST2 - £5450
Anthem STR Pre Amplifier -£3495​
 

colinstone

Member
View attachment 1371256

Celexon High Contrast Dynamic Slate ALR Cinema Screen Review

ALR or Ambient Light Rejecting screens have had a cult following for the last few years driven by customers looking to get the ultimate black level from their projected image. It makes sense that the enemy of the projected image, is unwarranted light diluting and washing contrast out of the visible image. Active ALR screens can stop these unwarranted light impacts on the screen by only accepting light from a narrow source angle. The Draper React screens were extremely popular for several years but their attention to detail and build quality just did not add up, even if the React material itself was dynamite. Celexon hope to fill the hole in the UK after Drapers closure of their UK offices. So, is it any good?

All their ALR screens are borderless as standard, 0.8 Gain and come complete with IR & RF Remote, plus wall brackets. The bracket system they deploy is the same as the Grandview, which is a great design, very quick and easy to install. The mains cable is captive into the unit itself; my unit had an EU plug which I quickly snipped off and replaced with a UK one. I am told an adaptor should have been in the box so new units should come with this from now on. If the attached cable is too long, you can shorten the cable and add your own plug. Any incorrect wiring of the plug though will invalidate the warranty if it is damaged.

View attachment 1393924

Once up, the unit can be controlled either by the included RF remote or alternatively there is an included IR remote and small IR receiving dongle which plugs into the left-hand side, near to where the mains cable exits. A little annoying this is not built in, but not the end of the world.

View attachment 1393925

Firstly, the motor is incredibly quiet. Almost silent. A huge improvement over the Grandview which was a very clunky in operation. Once the screen unfurls it unrolls to the pre factory designated end stop. The screen does come with an adjustment tool for the end stop like most others, but within the manual there are no instructions for setting it. This is when the first issue arises. Upon speaking to Celexon it appears that due to the nature of the material, you cannot adjust the end stop without ruining the screen. If the screen does not fully unfurl you can get waves in the material around a foot in width, and once you have them, they are impossible to get out. Where I originally had the screen installed there was not an option to leave it coming down that far, I needed to change it. After a big warning from the manufacturer, I adjusted it and sat back. 3 days later I saw the tell-tale signs of the first wave in the top right-hand corner. Quickly, I zipped the screen into its case and re installed further out from the wall to enable the screen to run out fully and returned it to its original end stop. The wrinkle disappeared. The tensioning system in the Celexon is also significantly better than the Draper, woven into the screen material. It incorporates itself better than the stuck down tabs on the React which invariably would become unglued over time.

View attachment 1393926

Once the screen was in its final spot, I fired up the Epson EH-TW9400W with some native 4K content. First impressions were amazing, the visible contrast was vastly improved over the standard white screen and although the brightness of the overall image was effected due to the lower gain, you can visibly see the black floor increase over the standard white screen, considerably. Most importantly the shimmer and moire effect from the active material was almost unnoticeable. More pronounced than on a white screen but that comes with the territory and is one of the downsides of an ALR screen.

Upon extended viewing though, some familiar issues raised their head. One of the main reasons Draper started doing borderless screens is the fact that ladder lines were a huge problem with electric ALR screens. This was due to the softness of the viewing fabric when it met the black bonded header and border. Unfortunately, even without a border minor ladder lines are still visible with the Celexon, mainly on the top half of the screen. This is clearly from where the material attaches to the roller. These are very subtle and cannot always be seen and are also worse at the top of the screen, decreasing to none at the bottom. The solution is that you need to run the image right to the bottom bar, that way you miss the ladder lines most pronounced at the top of the screen and they are then 99% unnoticeable. The main issue with this is that the factory set drop on the screen is quite long, combine that with not being able to adjust the end stop and you need a projector with very flexible lens shift to be able to set it like this. Luckily, the Epson is such a unit, a lot of other manufactures, are not.

In conjunction with this, one of the advantages of a borderless screen is that you can maximise image size by running the image right to the edge. On my review sample, this was not possible. Even with correct adjustment of the tensioning system the right and left hand edges curl ever-so slightly toward the seating position, combine this with the active nature of the ALR material and if you run the image right to the edge the outside two centimeters are visibly darker than the main screen. Not a huge problem as you can reduce zoom, so the image falls inside this, leaving you with around a 2cm gap at the edges.

Once I have got this all set, the image for 4K & 1080P was particularly good. If you were to watch with ambient lighting in the room, there is no doubt that the Celexon screen performs to its strengths as this is how all ALR screens designed to be used, with the lights on or with some natural ambient light. It is a fallacy however to suggest you gain this contrast without sacrificing image detail in a dark room. Projection of SD material shows this up all too well and the screen does not perform well with lower resolution content. It preforms even worse in the dark. The active nature of the material adds noise into the image alongside the noise form the already scaled low-resolution image. The standard white screen from Grandview was a lot more forgiving with challenging content.

View attachment 1393927

In summation, the Celexon screen would be particularly good if you have a cheaper DLP projector which has a naturally poor black floor and reasonable lens, The Optoma DLP units spring to mind. It also needs to be used as originally intended, in ambient light. The main restrictions come from lack of flexibility with the positioning and the softness of the screen material. It is actually quite an effort to get it within its operation window, which seems to be narrow unfortunately.

All in all, it was an interesting exercise, which has convinced me that in my situation a good quality white screen is the way to go whilst controlling the environment I project in. Should you have any further questions relation to Celexon screens or Ambient Light Rejecting screens do not hesitate to contact us at the office.

RRP's and sizes as follows;

177 x 99 cm - £829
199 x 112 cm - £869
221 x 124 cm - £919
243 x 136 cm - £1049
265 x 149 cm - £1149
298 x 168 cm - £1249


View attachment 1371259
Just got the 243cm. Surprised how much darker the material is compared with my 2000 Harkness High Contrast Grey screen.
Absolutely stunningly sharp picture - and I've just gone to prescription glasses - so everything at 3-4m is now pin sharp, which it wasn't before.
Watch ITV4 HD Great Art Monet programme. The paintings were fantastic with such sharp detail. Dark scene black detail also tremendous. 4K image also pinsharp. Try and find 8K!!
I'll lower my old screen, still in situ behind it, and try and do some comparison pics with the same source and the Mehanik test patterns.
Shame about the comments about reducing drop. For some reason this screen has a 20cm further drop than the MHWT.
The power cable is too short, and too thick. I've suggested to Visunext that 5m of 0.5mm2 (720 watts) would be sufficient for 138 watts.
 
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