Unfortunately, that's per single 😱
However, since you mentioned it and if you feel you'd like to give a review, we will sell you a pair for price of one. On top of that, if you are not completely satisfied you can return them for 100% refund (providing you don't cut the wires and transformers arrive back in a new condition). After all, if it is not good enough product, we have no any desire to sell it.
For details please contact me at:
ribbonmic(at)comcast(dot)net
Best, M
Lotsa wiring for those autoformers 😀 We did not think about them and not sure how much market would be for such product.
While for the chokes it is possible to laser cut toroidal core for a gap, unfortunately, it is impossible to do it in tape wound cores--the ones we use.
Best, M
Sounds great.. Budget should permit sometime pretty soon.. It should be a lot of fun..
I am not sure if this thread is appropriate for talking about prices. I'd think the commercial sector might be more suitable for it (please let me know if I am wrong and I will be happy to post it here). You can also contact me privately, or email to:
ribbonmic(at)comcast(dot)net
From the experience, while those characteristics are important, in no way they do reflect the actual sound. Very often two pieces of equipment with seemingly similar characteristics can sound completely different.
We don't use software and have B&K 2032, HP 3561 and 3580 analyzers, HP 4274A LCRZ bridge, HP 3457 8 digit multimeter, HP 4800A vector impedance meter. Yes, in R&D stage we make extensive measurements. We have collected data from numerous vintage and modern transformers and found that phase and impedance responses (both, terminated, and unterminated) are much more useful in predicting transformer behavior and sound. Only analyzing, interpreting, and comparing all of this data can give any more or less meaningful idea as for what to expect.
Personally, I am also a classically trained concert pianist (I hold DMA in piano performance) and much more trust my ears, as they tell me what no any equipment can (and of course, vice versa). Once we start listening, we completely forget the measurements, as there are only two criterias--1) it sounds good, and 2) it does not sound good 🙂eek: 😀).
Cool! Let me know.
Best, M
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Sounds interesting. I'd be interested in a couple. I'm just finishing my second phono amp. It has a gain of about 45 dB, so I can get by with 1:10, or 1:20. I'd tend to prefer the latter, just for its lower noise at a given final output.
Sheldon
Sheldon
the performing musician credit is less relevant to most audiophiles, they are often unimpressed with musician's audio setups
the claim is that musicians focus on performance/musical interpretation aspects of the music rather than audiophile concerns such as “detail”, "air" soundstage...
… which are mostly added as effects by mic selection/positioning and mix/eq by the mastering engineer
there is little reason to think that live audience listening experience or multiple miced, multitrack mastered mixes are at all similar to the sound at the pianist's ears on the bench during a performance
and modern standards for occupational hearing loss would require you to be wearing attenuating earplugs anyway during performances
still I'm sure its good salemanship to try to make a claim to superior subjective evaluation skills and to insit that subjective values have the final say when marketing to audiophiles
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Little more on the noise. Any resistance is a noise and the problem with high step up transformers is the primary resistance gets multiplied by the square of the turn ratio. At the same time the signal (minus losses) gets amplified only by the ratio. In the end, the noise increases "faster" than the signal.
That's why the low copper DCR is so important.
Best, M
Agree on the low copper DCR. But the higher ratio may still be a benefit, depending on the noise inherent in the following amp. It's not all due to input noise.
Sheldon
Hello JCX,
Hopefully, you did not intend to discredit my "evaluation ability".
I found your remarks very broad and since I met... let's say, quite a few musicians, all I can say, your generalization is incorrect. Yes, I have met the once for whom multi-thousand setups and $20 boombox sounded the same. But on the other hand, I also met musicians with highly sophisticated "ears", who easily could note the details most of audiophiles could not.
Likewise, I met many "audiophiles" with whose setups I was... let's put it diplomatically... unimpressed.
If you are talking about mastering and multi-track recording, let's talk about it. I service, design and (soon to come) produce microphones (both, ribbon and condensers). As such, every day of my life I spend countless hours of listening, evaluating, matching, comparing, and catching every microscopic detail of the sound. I also work as a recording and mastering engineer. I produced some dozen of commercial CDs of pretty big stars.
You mentioned something about:
“detail”, "air" soundstage... … which are mostly added as effects by mic selection/positioning and mix/eq by the mastering engineer
as well as:
live audience listening experience or multiple miced, multitrack mastered mixes are at all similar to the sound at the pianist's ears on the bench during a performance
So what would you like to know about it?
If you wish, you can visit my website:
Samar Audio Design
and have some reading. I apologize, this is a preliminary trial site and by no means a final version. It will be updated and completely revised with new graphics and design soon, but you will find all the information about me there. Make sure to go to the "recording" section to read what others say, which might help you to form little more balanced opinion about my "evaluating abilities".
Oh... sorry... NOW that was a salesmanship plug-in. But since you asked for it, hopefully, you will forgive me.
Best, M
Hopefully, you did not intend to discredit my "evaluation ability".
I found your remarks very broad and since I met... let's say, quite a few musicians, all I can say, your generalization is incorrect. Yes, I have met the once for whom multi-thousand setups and $20 boombox sounded the same. But on the other hand, I also met musicians with highly sophisticated "ears", who easily could note the details most of audiophiles could not.
Likewise, I met many "audiophiles" with whose setups I was... let's put it diplomatically... unimpressed.
If you are talking about mastering and multi-track recording, let's talk about it. I service, design and (soon to come) produce microphones (both, ribbon and condensers). As such, every day of my life I spend countless hours of listening, evaluating, matching, comparing, and catching every microscopic detail of the sound. I also work as a recording and mastering engineer. I produced some dozen of commercial CDs of pretty big stars.
You mentioned something about:
“detail”, "air" soundstage... … which are mostly added as effects by mic selection/positioning and mix/eq by the mastering engineer
as well as:
live audience listening experience or multiple miced, multitrack mastered mixes are at all similar to the sound at the pianist's ears on the bench during a performance
So what would you like to know about it?
If you wish, you can visit my website:
Samar Audio Design
and have some reading. I apologize, this is a preliminary trial site and by no means a final version. It will be updated and completely revised with new graphics and design soon, but you will find all the information about me there. Make sure to go to the "recording" section to read what others say, which might help you to form little more balanced opinion about my "evaluating abilities".
Oh... sorry... NOW that was a salesmanship plug-in. But since you asked for it, hopefully, you will forgive me.
Best, M
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I did not notice that before 😀
For the 1:10 transformer terminated with Pri 10 Ohm, Sec 47KOhm paralleled with 150pf:
The impedance 1.108 KOhm and is flat from 100Hz till 30K, slightly raising to 1.213 KOhm on 100KHz.
The phase response is flat between 500Hz and 10KHz, raising to 7* @100KHz, and 7.6* @100Hz
Pri DCR=0.51 Ohm, L=150mH
Sec DCR=10.12 Ohm, L=13.7H
Best, M
I'm cursed with noticing things like that. 😀
Thanks!
What's the maximum rated input level (i.e. at 1% THD) at 20Hz?
se
At @20Hz we've got 100mV (in).
That's however the area, where the things can turn into unnecessary marketing tricks. While this is an important piece of information, IMO, if we are talking about MC transformer that would be quite meaningless.
What is the highest output of MC cartridge? 0.3mV on 1KHz? Considering the RIAA equalization, the output on 20Hz is already 20dB lower, i.e. 0.03mV. I am yet to see ANY tiniest core to even remotely start saturating with those levels. Mind you, the 100mV (in) results in 1V (!!!) out (on 20Hz!!!)
Best, M
Agreed
However my application isn't MC step up, but rather line level applications. So I'm looking at something more like 2V RMS.
se
With bigger core that would not be a problem. Let me know the specs you are after.
Best, M
At present, the CineMag CMMI-10C has been working quite well for me so that would be the baseline.
By the way, how are you managing to get a 1k ohm input impedance on a 1:10 trannie with a 47k ohm load?
se
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