@poseidonsvoice ,
no, bal ZM IP is a project in the future ;-)
3 x ACA mini is one for me (for the desk speaker) and the other two are for my grandchildren on their next vacation in Berlin (for rainy days in autumn). ;-)
I have only ordered together to save shipping / custom costs.
no, bal ZM IP is a project in the future ;-)
3 x ACA mini is one for me (for the desk speaker) and the other two are for my grandchildren on their next vacation in Berlin (for rainy days in autumn). ;-)
I have only ordered together to save shipping / custom costs.
A current favorite of mine for all the reasons you mention
Duo 2 is as good…maybe better
I emerge from my listening cocoon for coffee, food, and to report back:
On Friday afternoon I finally received my delivery of D-series RCA jacks and wired up single-ended output of my Balanced Iron Pre. Now don't get me wrong: the reason I built the Balanced IP was that I have a pair of Classic Aleph 60 monoblocks where I've set up switchable SE or balanced inputs, and the last week has been fun with the IP driving those balanced inputs. The balanced input really does reduce the noise. I can have the volume up, nothing playing, put my ear on the horn-tweeter and ...nothing. You can't tell the amp is even on. Then you press play...
But then I switched to the SE input of the Alephs driven by the IP's SE output. Yes, you can now tell the amp is on by putting your ear to the tweeter. But it is, relatively speaking, still so quiet. Then you press play... and the speakers start throwing auras into the room. The top end is so smooth and open; the recording venue's sounds decay and bounce around; all the audio-review clichés become reality (palpable presence, bloom, whatevs). Friday night was spent in the zone, like when your golf swing just clicks and suddenly it's long straight drives into the fairway and smooth irons to the green. Putt, putt, par. I just sat there trying to read a book yet following sonic threads in and out of the music. My theory about the balanced is that the common-mode rejection eats into the sonic presentation. That could be utter bullocks and ignorance, but my other experience with a balanced pre (a Classe Thirty) is the same: the signal is trying to break through; can't breathe.
Saturday morning I moved the M2X (Ishikawa front end card) into the room. Now here's an amp I love. It sings, it is beauty, it is the very definition of musical, of space, of timbre, of lilies. But it can't control the bass. And I like deep and tight bass. Not deep and boomy, not out of control, but articulated. Not loud bass, but "just right" bass. Synthesizers and real drum kicks. Thunder. Something the Alephs just dominate with. Until now. The Iron Pre SE tells the M2X what to do down there. And with that foundation solid, the rest of the M2x does what it does best, and sings. Curtains are drawn back, sun shines through, accents are identified, off key vocals have nowhere to hide, and you can see George Harrison grin as he sings "no one alaihhhhhhrr-tedyieux" on My Guitar Gently Weeps from the Beatles/Cirque de Soleil "Love" album. A minute later and Metallica's Master of Puppets' screaming Marshalls, toms, and cymbal crashes are tight, powerful. Metallica and M2X were not meant for each other in the past. But they're headbanging together now. Iron Pre SE pulled a lot out of the M2x that had been hidden.
And that's why we build these things.
I really need to work on the case of this thing instead of leaving it open and exposed on a carboard box in the listening room with wires running everywhere. But there's too much listening to do. Why not? It's been raining here in Maine for the last week (the heat came on this week) and I'm in a honeymoon mood.
On Friday afternoon I finally received my delivery of D-series RCA jacks and wired up single-ended output of my Balanced Iron Pre. Now don't get me wrong: the reason I built the Balanced IP was that I have a pair of Classic Aleph 60 monoblocks where I've set up switchable SE or balanced inputs, and the last week has been fun with the IP driving those balanced inputs. The balanced input really does reduce the noise. I can have the volume up, nothing playing, put my ear on the horn-tweeter and ...nothing. You can't tell the amp is even on. Then you press play...
But then I switched to the SE input of the Alephs driven by the IP's SE output. Yes, you can now tell the amp is on by putting your ear to the tweeter. But it is, relatively speaking, still so quiet. Then you press play... and the speakers start throwing auras into the room. The top end is so smooth and open; the recording venue's sounds decay and bounce around; all the audio-review clichés become reality (palpable presence, bloom, whatevs). Friday night was spent in the zone, like when your golf swing just clicks and suddenly it's long straight drives into the fairway and smooth irons to the green. Putt, putt, par. I just sat there trying to read a book yet following sonic threads in and out of the music. My theory about the balanced is that the common-mode rejection eats into the sonic presentation. That could be utter bullocks and ignorance, but my other experience with a balanced pre (a Classe Thirty) is the same: the signal is trying to break through; can't breathe.
Saturday morning I moved the M2X (Ishikawa front end card) into the room. Now here's an amp I love. It sings, it is beauty, it is the very definition of musical, of space, of timbre, of lilies. But it can't control the bass. And I like deep and tight bass. Not deep and boomy, not out of control, but articulated. Not loud bass, but "just right" bass. Synthesizers and real drum kicks. Thunder. Something the Alephs just dominate with. Until now. The Iron Pre SE tells the M2X what to do down there. And with that foundation solid, the rest of the M2x does what it does best, and sings. Curtains are drawn back, sun shines through, accents are identified, off key vocals have nowhere to hide, and you can see George Harrison grin as he sings "no one alaihhhhhhrr-tedyieux" on My Guitar Gently Weeps from the Beatles/Cirque de Soleil "Love" album. A minute later and Metallica's Master of Puppets' screaming Marshalls, toms, and cymbal crashes are tight, powerful. Metallica and M2X were not meant for each other in the past. But they're headbanging together now. Iron Pre SE pulled a lot out of the M2x that had been hidden.
And that's why we build these things.
I really need to work on the case of this thing instead of leaving it open and exposed on a carboard box in the listening room with wires running everywhere. But there's too much listening to do. Why not? It's been raining here in Maine for the last week (the heat came on this week) and I'm in a honeymoon mood.
Thank you so much for that excellent review of the Iron Pre - and also with the M2X. I have an M2 clone (similar to the Ishikawa of course) and my Iron Pre SE kit is on the way. I was therefore thrilled to read that you found it to be a good combination.
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Are there any rules regarding XLR chassis mount connectors if you use male or female?
My DAC has XLR-male out. Would it be natural also to use XLR-male in on IronPre BAL version?
What is the common standard?
I will order some Neutrik RCA chassis mount connectors for Iron SE and to prepare for a future BAL version I would like to order some Neutrik XLR connectors also.
My DAC has XLR-male out. Would it be natural also to use XLR-male in on IronPre BAL version?
What is the common standard?
I will order some Neutrik RCA chassis mount connectors for Iron SE and to prepare for a future BAL version I would like to order some Neutrik XLR connectors also.
think Cold and Hot, same logic as mains connectors
input XLR connector's contacts needs to be protected from fingers, so female .......same as live side of mains connectors need to protect fingers touching contacts (to avoid yadayada!!! )
what's left for output XLR are other ones
Real Sissies are using Square Law OS M2
@Toadroller - I love your comments and agree wholeheartedly! However, there is one thing I've never experienced... If you'd be so kind as to help me understand how this is achieved...
My DAC does too. Another reason I built the Balanced IP.
Most XLR cables are male at one end, female at the other. So male connector out of DAC leads to male end of cable going into female input on pre; male output of pre leads to male end of cable going into female input on amp.
Standard pinouts are
1 = ground
2 = positive
3 = negative (balanced? signal)
35 years of effort come together for about 4-5 holes. What an ROI! Lessons-wise, YouTuber Shawn Clement helped me make the mental understanding leap of what the golf swing really is.
Whereas my oldest son has a handicap of about 2 better than par, and wins tournaments, his 5'9 meaty frame smashing 300+ yard drives, etc. It's fun to witness a real golfer.
well, it can happen only on DiyA
1300++ posts, almost 150 kits .......... and simply no single trace on Store pages
we've done it sort of incognito
1300++ posts, almost 150 kits .......... and simply no single trace on Store pages
we've done it sort of incognito
which reminds me of perfect DIYer solution - leave that one singing on the cardboard, while fully assembling another one ........ that way no pause in ironpresssnessss, doubledouble pleasure
Checked out his page. I dig his style. Thanks!
Watching 'real' golfers play is amazing. Distance is one thing, but to me, it's more remarkable how they can control the flight. Shot tracer on TV has helped a ton, but in person... wow! My favorite is college events or high-level amateur. Senior Tour events are nice too. We get the 3M event nearby, and we get great events at Hazeltine, but I liked it better when the Seniors/Champions Tour or the LPGA passed through. The US Amateur at Hazeltine was one of my all-time favorite events. Big Tour events are not my favorite... They're usually insanely crowded, and I have a 5' 7" <cough> 'meaty' frame <cough>, so seeing over everyone is not in my cards. The main reason I like amateur events, is that you can typically walk the fairways with the players and get close enough to hear their discussions with their caddies. Most of them would never make the cut at a Tour event, but it's still awfully impressive.
On a more realistic level... I had a match play event the other day, and my friend brought his son out with him. He'd just finished up his freshman year in college and plays to a +1. That power / speed is massive. It makes my back hurt just thinking about it.
Back on topic... I'll take golf soundtracks for 2000, Aleks. 😉
You need the super-duper secret password...well, it can happen only on DiyA
1300++ posts, almost 150 kits .......... and simply no single trace on Store pages
we've done it sort of incognito
View attachment 1182555
I thought the secret password is "ZenModIsAGenius" 🙂
