@jimk04 Well I'll be damned, every version is unavailable to me,. So it's personal then. I will contact customer support to find out, there are many items with this problem.
Actually, I know what it is - Chairman Xi Jinping is upset with me. I banned him from my Only Fans.... filthy dictator 😉
Actually, I know what it is - Chairman Xi Jinping is upset with me. I banned him from my Only Fans.... filthy dictator 😉
Yes I just put the 1963 in my basket and also got all the way to payment stage.
Wierd
Wierd
Is it possible to directly connect the i2s pins of a raspberry pi board to the input of this AD1862 DAC board? Or does it affect the sound in a bad way. If so are there any better options to connect a raspberry pi?
Yes you can but no it isnt the most optimal way. There are various other ways to do it, from using the USB into an XMOS/Amenero board, to using an i2s isolator or reclocker after the Rpi .
Minds greater than mine will reply with better detail I am sure.
Minds greater than mine will reply with better detail I am sure.
Depends on the distance, 5-10cm - possible.
But it is better of course with a galvanic isolation.
Alex.
I think so. But are there still reclockers available? Allo is out of business. I don't know of any appart from Ian, but those are quite expensive
I'd be interested in seeing a better layout for the 4701/3301 on a similar footprint (15x25mm) that includes an easy heatsink mount and a DIY-friendly Vout configuration using onboard pads.
Unfortunately, I don't have measuring equipment at home to confirm this, but we tested it in two different DACs in all positions, from the receiver, the filter and the DAC IC itself. The integrated reg were from the ADP71.. series and the ADM7150 located right next to the ICs themselves on the same PCB. With the scope, you can see the noise reduction in the power supply especially in the MHz range and you can also feel the difference in the sound for the better.
That's why I currently have eight shunt regulators in my DAC and I have no intention of changing them anymore only possibly improving them. For the new DAC that I will work on soon all regulators will also be shunts with a range from 3.3V to +/-15V.
I have to mention once again that it is a shunt reg not a serial one and that they were made with the support of Walt Jung himself with his low-noise references.
Igor
Miro, very interesting! What about this fully discrete regulator I found on the net, please have a look here:
Thanks for the offer.
Still early days though. I'm still want for my AD1862 board to arrive.
An other option is to replace the pi4 in my allo boss2 player with the pi zero 2 and use the pi4 with an usb interface for the AD1862.
... Or just find a better quieter Rpi3 🙂 second hand 🙂 !
Hi Everyone. A few months back I felt like selling out a bit, took up an offer form Burson to try a set of their opamps - given to me as a samples in exchange for an honest writeup. Below is a comparison between a set of Burson V7 Vivid's, OPA627's, and OPA1655's. Initially I planned to use the set I received from Burson for the miroAD1862 DAC, but had little idea of their size. When they arrived I found the caps in the way, about 30 minutes after heating up my soldering iron and getting out soldering wick I said nuts to that. There was an already built miroTDA1541A set of boards on the marketplace which I picked up, it had the offending caps on the underside 🙂. I cased and powered that, originally using the waveIO board. Soon I noticed odd artifacts with that setup. Recently got the jlsounds board, setup using two external power supply method. The rest of my system is a ZM Iron Pre SE, and a Pass F6 clone. Speakers used for testing were a set of Dahlquist DQM-9C's, which I've found to be very revealing.
Marcus Wyatt & The ZAR Jazz Orchestra - Into dust - Show You
OPA627 - Natural, cohesive. Everyone on the same stage. No sense of anything missing.
Burson V7 Vivid- More space between instruments. Some energy imparted to the sound, snappier sense of attack and decay. More detail overall.
OPA1655 - First thought I had as I turned it on was that it's a bit lean and boring compared to the two above. But nothing terribly wrong with it, nice sense of dynamics, though at the same time not as lively.
Mariam Matossian - In the Light - Narineh
Mariam has a lovely voice that is a very soft and airy, however the recording is at times not optimal - with a sort of hardness present in the upper mids.
OPA1655 - Nice sense of softness, dynamics.
OPA627 - Fuller midrange compared to the 1655, more forward. Good sense of rhythm and swing (this not exactly swinging jazz music here).
Burson V7 Vivid - More open, better sense of space and reverberation of the vocals. A bit of a sizzle to the guitar in a very nice way. The same effect highlights the hardness in the vocal, tolerable but at time bordering on grating.
Murcof - Cosmos - Cuerpo Celeste
This is like a space opera well deserving of the album title. Essentially electronic, but crosses into modern classical spaces here and there.
Burson V7 Vivid- A very strong sound, open, brassy, not over the top in any sense. Solid bottom end and well detailed in higher frequencies. Really shows what it can do in this track.
OPA1655 - the quietness of this opamp gives a nice sense of movement in the stereo image. A good sense of space, the ringing effect of the instruments. The bass is not unsatisfactory, but not at the level of the other two.
OPA627 - Missing the big bottom end of the Burson. It excels in presenting everything in a cohesive manner, all elements are interacting with each other on a single stage, at times crossing each other's space. Perhaps a bit too laid back for this track and lacking details up top.
The Burson Vivid scored well overall. Highly detailed, solid bottom end, lots of space between instruments. They can bring out some upper-mid energy in the music, almost like a filter which has "drive" turned up a notch or two. It gives them a lively nature, but can be a bit much with some recordings. I found it to excel with electronic music, and give a nice sizzle to guitars and (well recorded) horns. At some point I might pickup a set of their "Classic's," see how they compare.
The OPA627 is easy to live with. What I liked about it is a sense of cohesiveness to the recording. The Burson's did well in giving more space around instruments but this at time made them sound like they were playing in a space separate from the other instruments. The 627's were more natural in this regard. I should say the Burson's were on the DAC for a week straight, I did not have this impression at all until I plugged in the 627's. They (the 627's) are a bit round on the edges, and might accentuate the warm and fuzzy bits of the TDA1541A a bit too much.
OPA1655 in one word - polite. Its midrange is a bit sucked out. It can be involving at best, drawing in the listener, asking them to tune in. At worst, it's lean and uninteresting. This was especially highlighted when I plugged either of the other two opamps. I was generally pleasantly surprised by it, it has its own character.
Marcus Wyatt & The ZAR Jazz Orchestra - Into dust - Show You
OPA627 - Natural, cohesive. Everyone on the same stage. No sense of anything missing.
Burson V7 Vivid- More space between instruments. Some energy imparted to the sound, snappier sense of attack and decay. More detail overall.
OPA1655 - First thought I had as I turned it on was that it's a bit lean and boring compared to the two above. But nothing terribly wrong with it, nice sense of dynamics, though at the same time not as lively.
Mariam Matossian - In the Light - Narineh
Mariam has a lovely voice that is a very soft and airy, however the recording is at times not optimal - with a sort of hardness present in the upper mids.
OPA1655 - Nice sense of softness, dynamics.
OPA627 - Fuller midrange compared to the 1655, more forward. Good sense of rhythm and swing (this not exactly swinging jazz music here).
Burson V7 Vivid - More open, better sense of space and reverberation of the vocals. A bit of a sizzle to the guitar in a very nice way. The same effect highlights the hardness in the vocal, tolerable but at time bordering on grating.
Murcof - Cosmos - Cuerpo Celeste
This is like a space opera well deserving of the album title. Essentially electronic, but crosses into modern classical spaces here and there.
Burson V7 Vivid- A very strong sound, open, brassy, not over the top in any sense. Solid bottom end and well detailed in higher frequencies. Really shows what it can do in this track.
OPA1655 - the quietness of this opamp gives a nice sense of movement in the stereo image. A good sense of space, the ringing effect of the instruments. The bass is not unsatisfactory, but not at the level of the other two.
OPA627 - Missing the big bottom end of the Burson. It excels in presenting everything in a cohesive manner, all elements are interacting with each other on a single stage, at times crossing each other's space. Perhaps a bit too laid back for this track and lacking details up top.
The Burson Vivid scored well overall. Highly detailed, solid bottom end, lots of space between instruments. They can bring out some upper-mid energy in the music, almost like a filter which has "drive" turned up a notch or two. It gives them a lively nature, but can be a bit much with some recordings. I found it to excel with electronic music, and give a nice sizzle to guitars and (well recorded) horns. At some point I might pickup a set of their "Classic's," see how they compare.
The OPA627 is easy to live with. What I liked about it is a sense of cohesiveness to the recording. The Burson's did well in giving more space around instruments but this at time made them sound like they were playing in a space separate from the other instruments. The 627's were more natural in this regard. I should say the Burson's were on the DAC for a week straight, I did not have this impression at all until I plugged in the 627's. They (the 627's) are a bit round on the edges, and might accentuate the warm and fuzzy bits of the TDA1541A a bit too much.
OPA1655 in one word - polite. Its midrange is a bit sucked out. It can be involving at best, drawing in the listener, asking them to tune in. At worst, it's lean and uninteresting. This was especially highlighted when I plugged either of the other two opamps. I was generally pleasantly surprised by it, it has its own character.
I finally finished the Tube I/V after some trouble shooting. The build went well and I was able to dial the plate voltages in with no problem. Connected to the DAC and there was music from the right channel, but a few popping sounds in the left. After checking the voltages again I was getting power supply but the voltage on the one plate was very low. It turns out the R4 went bad. There were no telltale signs of failure, but the resistance was way off. I replaced the resistor and dialed the voltages in. Now I’m getting sound from both channels and it sounds nice. I may replace the other so they are matching, but since it is not in the signal path I’m in no rush.
Also, I installed the grid stoppers underneath very close to the pins.
Thanks for the great sounding I/V.
Also, I installed the grid stoppers underneath very close to the pins.
Thanks for the great sounding I/V.
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