Brax has asked the same question and has received answers at least 50 times now, it does not matter , this sonic trait is prevalent regardless of DAC used or amount of monies spent , its whats most noticeable when comparing the two and comparisons are done with panel not in isolation.
TT,
AR ES-1
Linn LP-12
VPI Classic
Thorens TD-124
Kenwood KD650
Phono stage: qty 4
Threshold Fet-9e
Threshold Fet-10
Custom Fet phono stage
The trouble, a.wayne, is that you're confusing your experiences with what is - "I can't go to the moon, therefore it's impossible for anyone else to have been there" type of thinking.
From the sound of it the listening sessions have had equipment not properly sorted out - a Ferrari with a flat tyre is never going to impress ...
So best for you is with input transformer ?
Johns version ....
Parasound Halo JC 3 phono preamplifier | Stereophile.com
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Take your meds PCfrank , your comprehension is way off, you are the one confused, that analogy is not even in the same solar system ....
Yes, no question.
The least amount of hum and hiss.
I also took advantage of the floating input ( a tranformer plus moving coil is not ballanced,
that whould require a center tap. Anyone willing to make a cartridge with center tap ? ).
As i said in my design i use the transformer secondary in a ballanced shunt feedback loop.
So i have two RIAA components per side.
To avoid cancelation and optimize CMR i trim with teflon trimmers.
Martina sais that this stage gives the best result, especially with complex classic opera.
Les congestion for example on ancient Furtwänglers she loves so much.
It sounds as if there where less compression.
Big Choir with solo voice as an example.
What is also important is double mono design and floating supply.
Any disturbance on the ground or RF ingress in a no no.
The least amount of hum and hiss.
I also took advantage of the floating input ( a tranformer plus moving coil is not ballanced,
that whould require a center tap. Anyone willing to make a cartridge with center tap ? ).
As i said in my design i use the transformer secondary in a ballanced shunt feedback loop.
So i have two RIAA components per side.
To avoid cancelation and optimize CMR i trim with teflon trimmers.
Martina sais that this stage gives the best result, especially with complex classic opera.
Les congestion for example on ancient Furtwänglers she loves so much.
It sounds as if there where less compression.
Big Choir with solo voice as an example.
What is also important is double mono design and floating supply.
Any disturbance on the ground or RF ingress in a no no.
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Well, technically it is the same solar sytem ...
Your posts imply that people who have money to throw around, creating very blingy components, also understand what's crucial to high quality sound - my experience is otherwise, highly ornate devices are usually more a piece of jewellery, if that's your bag. The two, engineering and flash factor, sometimes come together, like in the best MBL - but no guarantees. And it doesn't flow through automatically to lower level components - the mid-range MBL I heard recently had very pedestrian sound, no cigar there ...
The point to emphasise, yet again, is that just throwing together expensive bits of kit, and getting 'miracle' sound is in the region of likelihood of a prize in the next lottery - most people doing it don't understand what's truly important - and hence fail ... yes, they'll get sound, even 'impressive' sound, but ... ...
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Rainer Werner Fassbinder Foundation
The 1972 production.
i did not get the content but it was a fascinating listen.
The 1972 production.
i did not get the content but it was a fascinating listen.
Classic deflection. No, I'm not of the view that you're the only one with the opinion you mentioned. Plenty of people use substandard DACs and blame the format rather than the equipment.
Never going to happen - as even with a 'good analog setup' I'll need software to listen to. Even if I could find all the vinyl to replace my digital collection (seems highly doubtful) I'd not have the storage space.
You are aware those favoring analog have excellent CD playback while those favoring digital for the most part have no analog whatsoever...
Can you say Prejudicial bias with placebo gum gum ...
Yes, the subjective is hard to objectify, ... so tricks and techniques are quite necessary: the Art of Listening to audio needs to be cultivated - and part of that art is to listen as if you're listening to live sound - you ignore that it's supposed to sound like something - say, an audio system - and listen to it as if it is real ...
As an example, put on a solo piano piece - mentally, it is a piano ... ... hey! That's miles from a piano - oh dear, far too much distortion, more work to be done ...
And so it progresses ...
... so tricks and techniques are quite necessary: the Art of Listening to audio needs to be cultivated - and part of that art is to listen as if you're listening to live sound - you ignore that it's supposed to sound like something - say, an audio system - and listen to it as if it is real ...As an example, put on a solo piano piece - mentally, it is a piano ... ... hey! That's miles from a piano - oh dear, far too much distortion, more work to be done ...
And so it progresses ...
Examples please of the 'excellent CD playback' that the analog favourers have ?
Well to be absolutely honest :
Very good digital gets me exited.
Vinyl gets me in a state of bliss sometimes though.
I also can sleep better after a session with vinyl.
Maybe that is just that i have grown up with FM radio, tape and vinyl.
Somehow my brain has learned to ingnore the deficiencies and appriciate the advantages.
Most of us analog designers are dinosauers anyway.
It will be a lost art in 50 years.
Very good digital gets me exited.
Vinyl gets me in a state of bliss sometimes though.
I also can sleep better after a session with vinyl.
Maybe that is just that i have grown up with FM radio, tape and vinyl.
Somehow my brain has learned to ingnore the deficiencies and appriciate the advantages.
Most of us analog designers are dinosauers anyway.
It will be a lost art in 50 years.
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