So digging deeper, seems that are two series:
VAR series, that is naked Z-Foil, audio grade
Z201 series, that is plastic cased
Same question remain, have you used VAR series or Z201 for your I/V resistors?
Have a great weekend!
Alex.
NSL32SR2S???
You could try one of these to see what it sounds like in this very low power position.
You could use NSL32SRS that I use in the "Lightspeed Attenuator" and fix the led brightness to it to give the R value you want. Many including myself believe they sound better than any type of resistor, being made from CdS (Cadmium Sulphide).
And you could vary the R on the fly by changing the led brightness to find your optimal listening preference.
Cheers George
You could try one of these to see what it sounds like in this very low power position.
You could use NSL32SRS that I use in the "Lightspeed Attenuator" and fix the led brightness to it to give the R value you want. Many including myself believe they sound better than any type of resistor, being made from CdS (Cadmium Sulphide).
And you could vary the R on the fly by changing the led brightness to find your optimal listening preference.
Cheers George
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Yes and the led works on 5vdc in the Lightspeed , which you have inside most dacs, so no power supply need to be built.Hey,
Someone should give this a go, it very strange I didn't think to try it, before doing the AD844 http://www.diyaudio.com/forums/digital-source/227677-using-ad844-i-v.html for I/V stage.
Cheers George
If you want it to sound miserable, the problem being an awful presumption that digital 5v+ power lines
are suitable for LDR's - go ahead
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That's a bit rich coming from the one who tried pushing this "miserable" opamp pass transistor idea onto the unsuspecting.
http://www.diyaudio.com/forums/solid-state/195532-op-amps-pass-transistors.html
Cheers George
http://www.diyaudio.com/forums/solid-state/195532-op-amps-pass-transistors.html
Cheers George
Attachments
Vishay's bulk metal foil material comes in several grades, the Z1 foil is their current most stable material, the rest is mostly in packaging to absolutely minimize temperature coefficient. Bulk foil, thin film and wirewound resistors are all typically made of nickel-chrome alloys (with 'secret' ingredients); the foil is much thicker than metal films and has a much better voltage coefficient. This is an advantage shared with wirewounds over thin film, especially very high resistance films. High stability wirewounds may rival bulk foil resistors in sound quality, and I tend to think of bulk foil resistors as miniaturized wirewounds.
There are some very stable metal film resistors, such as Vishay/Dale PTF series, that approach foil resistors in temperature stability. These may sound better than run-of-the-mill 100 ppm TC metal film resistors.
Vishay offers enhanced stability grade Z-foil resistors that are 'pre-aged' to remove the last traces of drift (generally below .005%), and hermetically sealed in oil to further enhance stability by eliminating moisture and oxygen from affecting the foil and to heat sink the resistive element. They'll be priced accordingly and I wouldn't bother with them, just that those resistors are probably the 'ultimate' in stability over time and environment, where absolute value is important, as in metrology applications.
I don't think there are any great differences between metal foil resistors that are rated by tolerance, such as 1%, .1% or even .001%; just that they are stable enough to hold that tolerance over time. That's slightly more desirable.
I've found RNR series metal film resistors that are hermetically sealed in glass with argon (or helium?) and gold leads, but these are just metal film resistors with a military/ aerospace grade reliability and environmental protection. The resistor element and end caps are clearly visible through the glass package (no paint) . I doubt they are 'special' in any audible sense, but I don't think audiophiles have yet 'discovered' these parts and have tried listening to samples.
There are some other materials used as resistive elements, such as tantalum nitride that may be of similar quality to nickel-chrome alloys, but they are uncommon and I've never used those types.
There are some very stable metal film resistors, such as Vishay/Dale PTF series, that approach foil resistors in temperature stability. These may sound better than run-of-the-mill 100 ppm TC metal film resistors.
Vishay offers enhanced stability grade Z-foil resistors that are 'pre-aged' to remove the last traces of drift (generally below .005%), and hermetically sealed in oil to further enhance stability by eliminating moisture and oxygen from affecting the foil and to heat sink the resistive element. They'll be priced accordingly and I wouldn't bother with them, just that those resistors are probably the 'ultimate' in stability over time and environment, where absolute value is important, as in metrology applications.
I don't think there are any great differences between metal foil resistors that are rated by tolerance, such as 1%, .1% or even .001%; just that they are stable enough to hold that tolerance over time. That's slightly more desirable.
I've found RNR series metal film resistors that are hermetically sealed in glass with argon (or helium?) and gold leads, but these are just metal film resistors with a military/ aerospace grade reliability and environmental protection. The resistor element and end caps are clearly visible through the glass package (no paint) . I doubt they are 'special' in any audible sense, but I don't think audiophiles have yet 'discovered' these parts and have tried listening to samples.
There are some other materials used as resistive elements, such as tantalum nitride that may be of similar quality to nickel-chrome alloys, but they are uncommon and I've never used those types.
Very good specifications, closely approaching bulk foil resistors; adding them to my list since their form factor is nearly identical (probably intentional).
Caddock makes excellent thin film and possibly thick film resistors with excellent specifications and some audiophile popularity; my only quibble is their larger size and somewhat limited availability. Doubtless there are more resistor types out there from cost-effective to expensive high performance types.
--Damon
Bro, I do the same thing
Wirewound rhopoint gg102a for below 100
TX2575 above that
I think these are relevant and instructive vs the choice of resistor types:
"http://www.analog.com/media/en/training-seminars/tutorials/MT-019.pdf"
http://www.analog.com/media/en/training-seminars/tutorials/MT-019.pdf
"http://www.ti.com/lit/ug/tidu022/tidu022.pdf"
http://www.ti.com/lit/ug/tidu022/tidu022.pdf
The inductance of a wire wound resistor in series with a nul point input would tend to filter digital glitches but there are many better ways, the best of which would probably be a sample and hold.
"http://www.analog.com/media/en/training-seminars/tutorials/MT-019.pdf"
http://www.analog.com/media/en/training-seminars/tutorials/MT-019.pdf
"http://www.ti.com/lit/ug/tidu022/tidu022.pdf"
http://www.ti.com/lit/ug/tidu022/tidu022.pdf
The inductance of a wire wound resistor in series with a nul point input would tend to filter digital glitches but there are many better ways, the best of which would probably be a sample and hold.
Hi ... I have listened to both the squaristor and Charcroft version of the TX2575 and they are somewhat different to my ears. The Charcroft is very clean and open - extended - and appears to have very little coloration, neutral. The squaristor (again to my ears) has more midrange tonal bloom & level, however, seemed to have an upper midrange/treble "tizziness" compared with the Charcroft. Very musically sounding.
Cheers,
Jesper
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