What? This is preposterous. Managing high integrity 1's and 0's being fed from and to other chips built in exquisitely tightly controlled factories is going to be more consistent than a wobbly disc of plastic with a groove cut into it being spun around in circles?
Preposterous, I say. Simply preposterous.
To some degree I agree with SY - in the fact that data integrity is easier to achieve, than mechanical integrity, due to reasons he states.
However, in this case, where audible differences were intended (and implied) - minor changes to mechanical behavior of a turntable, due to temperature (within room temperature realm) or minor wear would not noticeably change the 'sound' of a turntable.
an LP12, sounds different to a Xerxes, because of their basic design, not because of wear or temperature changes of a few degrees.
Furthermore, the analogue section of a complete DAC unit and its filters has (perhaps) more influence on the final sound of a DAC than its choice of DAC chips.
So many things can change the sound.
It has been proven to most of us, that we can live with small amounts of audible surface noise or hum, or even wow or flutter, but even minute amounts of third harmonic distortion is very disturbing.
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Well and an LP12 is an AR rip off with added hype and PRAT 😛
Again with the 'proven'. How much is minute?
Again with the 'proven'. How much is minute?
thanks for the link
so which means there should be no audible diff regardless of cable LCR, as long as the amp is working stable/no oscillation?
You missed my point. The Linn won't sound the same from day to day, much less sound like (fill in the blank).
Cite?
Interesting, you can hear differences in the sound of a Linn on a day to day basis, because of minor changes in temp. or minor day to day wear - yet, saaay an Asus Dac sounds the same as a Weiss to you. (for example)
My bad.
I meant to those of us who have lived with quality LP systems, playing through a good tube amp, and also had heard an average Jap. transistor amp of the 70's - 80's , you know, one of those bright amps with extra third harmonic distortions.
I rather suffer a bit of surface noise and hum than listen to those cheap Realistic amps.
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For speaker cables no. Note that Nelson, along with JC pioneered DC to daylight amps that could double for welding duty.
In UK classic NAIM amps did not have an output Zobel, so NAIM insisted you bought their special controlled L cable to keep things from oscillating.
He didn't say that. But anything with rubber in it will vary with temp and humidity. Or do you listen in a humidor?
OK, so your statement about 3rd order distortion was completely pulled out of thin air, with no data to support it?
The "minute" amounts you were talking about?
I haven't compared the two DACs you mentioned, but assuming that the Weiss's filters aren't set to change the frequency response, I doubt that I could hear the difference between the super-expensive one and any of the cheaper units I have on hand without peeking. Has anyone done so, ears-only?
The "minute" amounts you were talking about?
I haven't compared the two DACs you mentioned, but assuming that the Weiss's filters aren't set to change the frequency response, I doubt that I could hear the difference between the super-expensive one and any of the cheaper units I have on hand without peeking. Has anyone done so, ears-only?
does sound like someone never read analog mag tape specs - the vast majority of stereo LP having been mastered on tape
it turns out that "0 dB" on quality master tape was generally speced at the magnetization level that gave 3% third harmonic distortion due to saturation
and analog recording practice allows signal above 0 dB as a matter of course
you can find modern digital mastering engineers that consider "bouncing to tape" as just another tool in the effects box for sound production for the "natural compression"
it does happen that technology and fashion in art interact - a media's limitations may become expected, sought after
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Let me clarify even though others have replied. Because of basic physical complexity there is every reason for LP playback to sound different from instance to instance for any number of reasons i.e. SOTA DAC playback is far less complex rather than more complex. This is where I disagree.
Would you agree that DAC playback, however complex IS more controlled though? I think we all accept that even a little 8-legs is a complex beast with a LOT of engineering behind it just to even get to a usable process.
Thank you for that, I did a quick search, but I could not confirm your figures.
It looks like (according to my limited search) that distortion was tape dependent.
0 dB was 250nW/m - and even a home recorder such as Revox A77 managed 2% or less at full level for total harmonic distortion, and not just the odd ones.
My point was, that a bit of background noise is much easier to swallow, than odd harmonics, say 5db and 3db audible increase accordingly.
perhaps you could point me to an article or some spec sheets for some of these recorders.
Of course.
Digital solved a lot of problems, $ for $ , digital is much cheaper to produce similar quality sound to analogue. It is much more convenient and user friendly.
Only mass far-east production techniques could afford us such a little marvel.
The technology is much more advanced and robust compared to LP or tape playback.
I didn't think that was the question though.
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thanks
to me, no cable will be the best cable (LCR being exact zero)
i do agree with physics and i also think that the LCR variation between the common multistrand cables i measured should be just too small to cause oscillation (there is Zobel is my amp), or any audible diff
but there is a problem: i can hear the diff, so whats going on?!
Instead of silly little replies why don't you provide some substance to your comments...