As the little blue AP logo on the graphs suggests, indeed we use an AP, a SYS2722 to be precise. Actually we've got 3 of them, but one suffices
Cool, 60 k€ in measurement equipment (and more other stuff I´m sure).
I have to live with a 2522.
yeah, i wish the smps600 was a little lower and would fit an a 1U unit, very modern and small
but i think the smps400 is as good as the 600 but with the difference of a lower voltage regulation which is now done on the ncore and makes a lttle additional heath which is otherwise being made on the smps600; am i right? is there no sounddifference between smps400 and smps600? for this makes a 1U amp possible which would look great.
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don't mention it, I just hope it will be of use.
I like a simple and elegant case but a totally blank one is too "generic" and screams DIY. I made it since I'll be using a hifi2000 case and they offer engraving and ink filling beside drilling.
I'm a fool for the slim cases myself, nothing I hate more than a large, half-empty case.
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Hi,
When I look at the website then the Galaxy is only 40 mm in height? How did you fit the SMPS600 with this limited height or did you order the "Galaxy Maggiorato" which is 80 mm in height?
Just decided to order 5 NCore400 modules and 5 SMPS600 modules in order to support Dutch economy, "Koopt Hollandsche Waar", at Hypex is it not possible to order anything:DUE TO A TECHNICAL ISSUE AT UPS IT IS CURRENTLY NOT POSSIBLE TO PLACE ORDERS.
IT IS EXPECTED TO BE RESOLVED SOON, IN THE MEANTIME WE APOLOGISE FOR THE INCONVIENCE.
IT IS EXPECTED TO BE RESOLVED SOON, IN THE MEANTIME WE APOLOGISE FOR THE INCONVIENCE.
I just recently ordered from them and it took them about 3 days before they sent me an invoice. The invoice had an error for my shipping address so i emailed them and have not had a response. Possibility that they don't have anybody that speaks english there?
no, I haven't but there are enough people here who got their cases.
I sent them an email a while back and they answered pretty quickly in decent English as far as I remember.
I wonder what kind of unbalanced cable can be so good that overall it actually performs better than a normal, decent balanced one. Even if we accept that certain construction details can have an audible effect, is it likely that they can make up for the gross problems fundamentally associated with unbalanced wiring, such as letting ground currents mix with the music?
I mean, to each his own, but people simply underestimate the advantage of balanced wiring (including balanced cabling with RCA on the source end). On the other hand they have been led by a parasitic audio accessories industry to woefully overestimate the differences between competently designed cables. One reason being that said industry produces a lot of disastrous products, like unshielded cables (e.g. Nordost or Anti-Cable), "pseudo balanced" cables or cables so sensitive to noise that you can use them as microphones. Well of course you get lost in the woods and of course after picking a favourite you'll hang on to it for life. But that's because one is made to believe that good cables are a rarity. Well, if cables do sound that different between them, this means only one thing: that those guys have no idea what they're on about. I don't concur with the naïve objectivist point of view that cables don't make a difference, but I do insist they shouldn't. This puts the onus on electronics builders to minimize the sensitivity to cables (provide balanced I/O with low output impedance and high common mode input impedance) and on the manufacturers of cables to get the basics right (shielding, symmetry, microphonics).
Fitting RCA's instead of XLR's because one is bamboozled by snake oil salesmen into thinking that not using their cable is going to eat into the improvement offered by a better amp is a retrograde step. You may think you're preparing the amplifier to fully receive the benefits of a special cable but instead you're limiting its potential by forcing one of the signal wires to carry chassis currents as well.
I mean, to each his own, but people simply underestimate the advantage of balanced wiring (including balanced cabling with RCA on the source end). On the other hand they have been led by a parasitic audio accessories industry to woefully overestimate the differences between competently designed cables. One reason being that said industry produces a lot of disastrous products, like unshielded cables (e.g. Nordost or Anti-Cable), "pseudo balanced" cables or cables so sensitive to noise that you can use them as microphones. Well of course you get lost in the woods and of course after picking a favourite you'll hang on to it for life. But that's because one is made to believe that good cables are a rarity. Well, if cables do sound that different between them, this means only one thing: that those guys have no idea what they're on about. I don't concur with the naïve objectivist point of view that cables don't make a difference, but I do insist they shouldn't. This puts the onus on electronics builders to minimize the sensitivity to cables (provide balanced I/O with low output impedance and high common mode input impedance) and on the manufacturers of cables to get the basics right (shielding, symmetry, microphonics).
Fitting RCA's instead of XLR's because one is bamboozled by snake oil salesmen into thinking that not using their cable is going to eat into the improvement offered by a better amp is a retrograde step. You may think you're preparing the amplifier to fully receive the benefits of a special cable but instead you're limiting its potential by forcing one of the signal wires to carry chassis currents as well.
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Good post Bruno.
Now if you could actually persuade people to properly wire XLRs (see Pin1), that would make more sense...
If someone has a source/preamp with unbalanced outputs I'd probably put a pair of quality transformers inside the power amp for the SE->BAL conversion and then send the (now balanced) signal to the NCores.
Active devices could also be used (e.g. THAT1646) but then you have the added complexity of having to provide said devices with power.
Now if you could actually persuade people to properly wire XLRs (see Pin1), that would make more sense...
If someone has a source/preamp with unbalanced outputs I'd probably put a pair of quality transformers inside the power amp for the SE->BAL conversion and then send the (now balanced) signal to the NCores.
Active devices could also be used (e.g. THAT1646) but then you have the added complexity of having to provide said devices with power.
The XLR connector is from it's invention up till now by far the best and most reliable device there is. The RCA was only designed to have a cheap connection method for home audio as an alternetive for the Din plug, which is crap also. If you use decent ( Neutric) XLR's with a quality cable from Tasker ( C128) you will have the best solution you can have!
My two cents...
Regards Gerhard
My two cents...
Regards Gerhard
OK I'd like to share my first impressions of the ncore amplifier.
Setup is a Tentlabs DIY CD player + Tribute autoformer volume control + NCore into a pair of mint Quad ESL 57 electrostatic loudspeakers (fully refurbished). An all dutch setup as it appears. Previous amplifiers auditioned in this setup are, amongst others, Marantz 8b, Lynn Olson's Karna (PP 300B), SE 300B, PP 6V6, SE GM70, Marantz pm80, and Hypex UcD400.
The first two things I noticed are sound stage and details,details,details. Sound stage is big, stable and has good depth. The music is 'in the air' and does not collapse into the speakers during difficult passages. With details I'm not referring to 'hearing sounds that you never noticed before', but more like everything is better defined. Sounds are more easily recognizable and on several occasions I had the 'aha, so that's what that sound is' experience. Studio effects like artificial refurb stand out more as you can hear deeper into the background. Complex orchestral works do not become a garbled mess, you can still follow each melody and instrument without effort, or just sit back and enjoy.
Compared to the Hypex ucd I would not call the NCore a small improvement. From my experience with the UcD there was a hint of glare in the mids and the highs sounded a bit dirty/aggressive. Not anymore with the NCore. The highs sound natural and clean. No smearing, sibilance or harshness at all.
I've owned the Tentlabs CD player for 3 years now so I know this player well. What I like about it is the low coloration, cleanness and naturalness. It does not have that digital restless and dirtiness to it. The NCore amplifier for me is the perfect match as it has the same qualities.
So far the NCore has made an extremely positive impression!
Setup is a Tentlabs DIY CD player + Tribute autoformer volume control + NCore into a pair of mint Quad ESL 57 electrostatic loudspeakers (fully refurbished). An all dutch setup as it appears. Previous amplifiers auditioned in this setup are, amongst others, Marantz 8b, Lynn Olson's Karna (PP 300B), SE 300B, PP 6V6, SE GM70, Marantz pm80, and Hypex UcD400.
The first two things I noticed are sound stage and details,details,details. Sound stage is big, stable and has good depth. The music is 'in the air' and does not collapse into the speakers during difficult passages. With details I'm not referring to 'hearing sounds that you never noticed before', but more like everything is better defined. Sounds are more easily recognizable and on several occasions I had the 'aha, so that's what that sound is' experience. Studio effects like artificial refurb stand out more as you can hear deeper into the background. Complex orchestral works do not become a garbled mess, you can still follow each melody and instrument without effort, or just sit back and enjoy.
Compared to the Hypex ucd I would not call the NCore a small improvement. From my experience with the UcD there was a hint of glare in the mids and the highs sounded a bit dirty/aggressive. Not anymore with the NCore. The highs sound natural and clean. No smearing, sibilance or harshness at all.
I've owned the Tentlabs CD player for 3 years now so I know this player well. What I like about it is the low coloration, cleanness and naturalness. It does not have that digital restless and dirtiness to it. The NCore amplifier for me is the perfect match as it has the same qualities.
So far the NCore has made an extremely positive impression!
Agree, and you're not a high-end salesman who only make some changes with coloration.
What's interesting is whether Ncore can compete with the best linear amplifiers, which seems to be class A. Or if class D will ever quite get there. It certaintly would be very nice to not need amps that operate like baking ovens.
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