Tape hiss , scrape flutter , how different is this to nail dragging thru a vinyl canyon..
Yet it all sounds good , imagine that ............
It's in Fremer's Analog Corner, February 2012. I just read it twice through and saw no mention of any evil opamps
What was mentioned was the "more than 1500 surface-mount parts, some proprietary, including the two 480-pin MusIC chips, both mounted on an eight-layer board along with some 500 other parts."Some claims to fame: symbol-domain RIAA including supposed phase correction based on Wadax's study of cutter head responses; optional calibration based on one's particular cartridge/tonearm/'table, using a provided LP, or referencing the cartridge type based on Wadax's studies of existing parts.
Mikey liked, although he complains that low level things --- "decays of instruments' sounds" --- dropped "prematurely" into the "black". He still prefers his Ypsilon VPS-100, but suggests that "many vinyl fans will find that swapping out their phono and line preamps for the Wadax will produce a significant step up in analog sound."
He then disappeared in a puff of pink smoke.
Tape hiss , scrape flutter , how different is this to nail dragging thru a vinyl canyon..
Yet it all sounds good , imagine that ............
I took emphatic exception with Sean O. recently on FB when he described a Sarah Vaughan cut on a CD compliation as sounding as if it had been recorded from vinyl, owing to the clicks and pops, and said that perhaps this would make it sound better to aficionados of LPs. I deemed this notion horse$h**. It's in spite of dirty, worn, and poor-to-begin-with-pressings LPs, not because of them, that vinyl sounds good, and characterizing people who continue to prize it as merely nostalgic and antiquarian is rubbish. And I hear that notion a lot, especially from people who have never heard good vinyl playback.
Having said that, I have no idea why vinyl, at its best, sounds as good as it does, and as well have no reluctance to listen to symbol-domain media.
I noted that part with considerable interest - it made me think 'dither' and 'ADC/DAC non-linearity' as possible culprits. But the pics I've seen (Wadax website has some nice ones) aren't hi-res enough to pick out individual device names.
Because all the studio grade vinyl cutting machines are out of spare parts?
Now, really, the LP from a DSD might sound worse - especially the sibilant vocals:
http://www.emusician.com/techniques/0768/mastering-vinyl/134677
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Hi,
While "all analogue" LP's do exist, you would be surprised how many actually went through a 14 Bit/48Khz digital delay (IIRC - it may have been 16 Bit) during cutting to automatic control of groove spacing...
Ciao T
While "all analogue" LP's do exist, you would be surprised how many actually went through a 14 Bit/48Khz digital delay (IIRC - it may have been 16 Bit) during cutting to automatic control of groove spacing...
Ciao T
In my experience DSD sounds very much like the analog. Maybe more than the 24/96 PCM, but even that is extremelly close.
PS: I am old enough and grew up with LP and reel-to-reel, so I am not talking from my imagination. But never listened to a high end LP player (k$ range), owned just decent ones or had access to very good ones (players) transfered to reel-to-reel.
PS: I am old enough and grew up with LP and reel-to-reel, so I am not talking from my imagination. But never listened to a high end LP player (k$ range), owned just decent ones or had access to very good ones (players) transfered to reel-to-reel.
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GI took emphatic exception with Sean O. recently on FB when he described a Sarah Vaughan cut on a CD compliation as sounding as if it had been recorded from vinyl, owing to the clicks and pops, and said that perhaps this would make it sound better to aficionados of LPs. I deemed this notion horse$h**. It's in spite of dirty, worn, and poor-to-begin-with-pressings LPs, not because of them, that vinyl sounds good, and characterizing people who continue to prize it as merely nostalgic and antiquarian is rubbi
Having said that, I have no idea why vinyl, at its best, sounds as good as it does, and as well have no r
eluctance to listen to symbol-domain media.
I'm with you , can't figure why limited bandwidth poor signal to noise ratio nail dragging analog sounds as good as it does , All I can say is that I still have my LP12 and AR table saved for those special moments when I'm not too lazy to reach for my digital remote ....
Hey that's me , reel tape and all ..................
Which is exactly what Dan d'Agostino did and used them for, a very complex arrangment.
For audio, I usually swear by BF 720/721 - a transistor with uncommonly low distortion and actual, effective Ft. But I find that two parallelled MPSA 42/92 devices actually beat him all around, albeit by just a little. Also, their price is so ridiulously low that you can easily afford a large population from which to select them easily. In a handy, TO-92 package.
I've just spent around two years developing headphone amps. Let me suggest you try a little test.
Use ANY ONE of the wonder op amps nominally capable of delivering 50 mA of current to compare with an OPA 37 with just a single pair of higher current trannies, like the MPSA 56/06, or better yet, BC 639/640.
Put them together and measure away, and audition away, chances are that if you got the circuit right, EACH AND EVERY time the OPA 37 setup will do better than your "high current" op amp.
If you really want to cover all your bases, your worst case load impedance will be the older Beyer Dynamics 48-A headphones, considered by quite a lot of people as the best headphone ever made, with only one fault - it used to have a 5 Ohm impedance. I see they have now changed that to 250 Ohms. But I did mine to be able to drive them without a hitch, reasoning that if they can do that, then the usual fare of 30 Ohms and more will be fun and games to drive.
Sure, I used 50W devices, why not? Is mine more expensive than an op amp based design? It surely is. But it also delivers better sound, I believe in no small part because I overdid so many things.
Oh man, you shouldn'ta, hadn'ta, oughtn'ta said that ...
You just proclaimed that the revered LP has not been all analog for a long time.
That was MEAN!
Do you mean some servo motor control to move microphone in anechoic chamber? Digital control of analog delay, very audiophiley!
There very possibly is, Brad. Perhaps you should investigate, if you're interested.
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