I consider it a classic.
Even 5 years after i have designed it i do not have much ideas how i can improve it.
The only issue is that it needs quite a few 2SJ74BL.
They are hard to get now and i found that the Linear Systems substitudes are not quite as good as the original Toshibas.
The main feature of the sound is enormous dynamics.
That is quite unusual for a design that is based on a J-Fet input.
Even 5 years after i have designed it i do not have much ideas how i can improve it.
The only issue is that it needs quite a few 2SJ74BL.
They are hard to get now and i found that the Linear Systems substitudes are not quite as good as the original Toshibas.
The main feature of the sound is enormous dynamics.
That is quite unusual for a design that is based on a J-Fet input.
How does the Gerhard MC Pre compare to the Paradise, soundwise?
Also, i would think the High Z version sounds better, since it doesn't need coupling?
Also, Low Z and High Z are quite diffuse for me - low is around <15 High is >20?
Generally i don't like opamps alot, but it still would be fun to try a serious design like this, not just simple designs.
Also, i would think the High Z version sounds better, since it doesn't need coupling?
Also, Low Z and High Z are quite diffuse for me - low is around <15 High is >20?
Generally i don't like opamps alot, but it still would be fun to try a serious design like this, not just simple designs.
We compared the Paradise to the Rauschfrei several times.
Problem is that the various Paradise incarnations sonded very different.
The most extreme example was Andrejs version with a huge tube PSU that had a particular robust tone.
Some liked that better then the Rauschfrei, others not.
They said that the Rauschfrei is more neutral.
It certainly goes into the direction of wire with gain.
Also it matters if you use the Canvin buffer or not in the Paradise.
Again the Calvin sounding more robust then the original buffer that i designed.
High Z is gates in, Low Z is sources in.
You could also say transconductance ( High Z ) and transimpedance ( Low Z ).
Problem is that the various Paradise incarnations sonded very different.
The most extreme example was Andrejs version with a huge tube PSU that had a particular robust tone.
Some liked that better then the Rauschfrei, others not.
They said that the Rauschfrei is more neutral.
It certainly goes into the direction of wire with gain.
Also it matters if you use the Canvin buffer or not in the Paradise.
Again the Calvin sounding more robust then the original buffer that i designed.
High Z is gates in, Low Z is sources in.
You could also say transconductance ( High Z ) and transimpedance ( Low Z ).
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But i take it that low z is for low impedance cartridges, and high z is better for high impedance one. So what i meant with that was approx how low Impedance would you need to make it work better with the low z version, or the other way around.
With my paradise, i still have a few things i need to fix - to make it optimal, but so far it sound very good. Very low noise even though i dont have tonearm cable shielded (forgot to lift the terminal from mains ground). And i did go with the calvin buffer directly from start.
With my paradise, i still have a few things i need to fix - to make it optimal, but so far it sound very good. Very low noise even though i dont have tonearm cable shielded (forgot to lift the terminal from mains ground). And i did go with the calvin buffer directly from start.
I mostly use the High Z version.
The advantage is that this version is DC coupled and you can adjust the load.
I life mainly on a diet of Lyra and Ortofon cartridges so i can not say much about other cartridges.
Both use low impedance coils of under 10 Ohm.
I designed the Low Z version " because i could ".
Some think that transimpedance has better bass and "PRAT".
Maybe that is because the upper high treble will be a bit damped on a transimpedance input.
MC´s have some low inductance that can form a low pass filter with a very low input impedance simulations by Frans and me have shown.
What we then actually hear may be just the effect of the frequency response.
The advantage is that this version is DC coupled and you can adjust the load.
I life mainly on a diet of Lyra and Ortofon cartridges so i can not say much about other cartridges.
Both use low impedance coils of under 10 Ohm.
I designed the Low Z version " because i could ".
Some think that transimpedance has better bass and "PRAT".
Maybe that is because the upper high treble will be a bit damped on a transimpedance input.
MC´s have some low inductance that can form a low pass filter with a very low input impedance simulations by Frans and me have shown.
What we then actually hear may be just the effect of the frequency response.
Thanks, that gives me a bit better understanding.
Today i have Zyx Airy 4D-S and Sumiko Palo Santos Presentation, which is 4ohm, and 12ohm, so they are "quite" low. I have also owned Lyra Argo i long ago, and i bought a Kleos which i had for some time, but it wouldn't work that good with my Clearaudio tangential arm (TT3), so i sold it - probably because it has to high compliance.
It would be fun to try Kleos again now, because i bought a special version of the "carriage" in Acrylic instead of aluminum, which makes it approx 5gm lighter, so it would maybe work better now i think.
I've also been thinking about getting another arm, like SME 309 or 312S to be able to use wider range of cartridges. I actually integrated dual inputs on the Paradise build, to make this possible.
Anyway, this will probably be a later project to try the Rauschfrei - i have some other projects going on before, like a balanced tube headphone amplifer 🙂
Today i have Zyx Airy 4D-S and Sumiko Palo Santos Presentation, which is 4ohm, and 12ohm, so they are "quite" low. I have also owned Lyra Argo i long ago, and i bought a Kleos which i had for some time, but it wouldn't work that good with my Clearaudio tangential arm (TT3), so i sold it - probably because it has to high compliance.
It would be fun to try Kleos again now, because i bought a special version of the "carriage" in Acrylic instead of aluminum, which makes it approx 5gm lighter, so it would maybe work better now i think.
I've also been thinking about getting another arm, like SME 309 or 312S to be able to use wider range of cartridges. I actually integrated dual inputs on the Paradise build, to make this possible.
Anyway, this will probably be a later project to try the Rauschfrei - i have some other projects going on before, like a balanced tube headphone amplifer 🙂
Tough I am no expert at all, I strongly advise you to have a look at the Holborne Dualpivot. It is by far the best tonearm I know of and quite affordable :
http://www.holborne.ch/wp-content/uploads/2014/01/datasheet-dualpivot-Mk2-D-E.pdf
I have never heard the tangential arm of Clearaudio do any good to any cartridge (Lyra/Myabi/Koetsu/Jan Allaerts and then some). It is a pain in the *** to set up, and very prone to wear and tear. I happened to have one 🙁
http://www.holborne.ch/wp-content/uploads/2014/01/datasheet-dualpivot-Mk2-D-E.pdf
I have never heard the tangential arm of Clearaudio do any good to any cartridge (Lyra/Myabi/Koetsu/Jan Allaerts and then some). It is a pain in the *** to set up, and very prone to wear and tear. I happened to have one 🙁
Merijin: Do you have the older TQ-i, or the later TT-2/TT-3 arm?
There is a BIG difference between the older TQ-i (3-wheel carriage on quartz-glass rods) and the new TT-3 (2-wheel carriage riding inside glass tube), the latter does work with more cartridges, and is easier to setup. Also, it keeps settings really good. I haven't had any big trouble with "wear and tear", only have to clean the quartz tube inside with cotton buds maybe once a year.
The older TQ-i also didn't work good at all, with cartridges over 7gm. Worked best with lighter ones around 4gm.
VTA is extremely simple to adjust once set up, just use the top screw - you can even adjust while playing!
Check out "opus3 cantus" tonearm, which was made by Swedish hifi "legend" Bo Hansson, it's his design clearaudio "stole" the idea from, when made the new TT-2/3 arms. The difference, is that the Clearaudio arms are alot better engineered, the Cantus works fine, but setup and usage is alot worse.
There is a BIG difference between the older TQ-i (3-wheel carriage on quartz-glass rods) and the new TT-3 (2-wheel carriage riding inside glass tube), the latter does work with more cartridges, and is easier to setup. Also, it keeps settings really good. I haven't had any big trouble with "wear and tear", only have to clean the quartz tube inside with cotton buds maybe once a year.
The older TQ-i also didn't work good at all, with cartridges over 7gm. Worked best with lighter ones around 4gm.
VTA is extremely simple to adjust once set up, just use the top screw - you can even adjust while playing!
Check out "opus3 cantus" tonearm, which was made by Swedish hifi "legend" Bo Hansson, it's his design clearaudio "stole" the idea from, when made the new TT-2/3 arms. The difference, is that the Clearaudio arms are alot better engineered, the Cantus works fine, but setup and usage is alot worse.
Its the first series, 3 wheels on glass... Now needing some serious repairs becaus the wheels have broken down. Its nice in the displaycase though 😀
On the main table I have a Goldnote B7 Titanium arm and even knowing tangential should be theoretical better I just enjoy the ease of setup and the improved sound.
The Cantus is a famous arm, they made a nice tangential arm with an airbearing too. Not too bad, just a little fiddly...
Hello JG
Thank you for your generous postings,so many schemes.I'm only at page 223.
I'm in the process of collecting parts for the Transformer Coupled Inductive Riaa #1762.Big thank you to Sowter Transformers for your inductor.It arrived yesterday.I have a Benz Micro Ebony TR.-.1mV,40 ohms impedance.Stevens and Billington TX103 Transformers.
I have AD797 and OPA627, which is your advice for OP1?
In #2210 you mention that NE5534 Workaround has input noise voltage of 1nV/qHz,equivalent to the AD797.Could you adapt it for either position in the inductive riaa.
PS have you a working schematic for the NE Workaround?
Cheers Joe
Thank you for your generous postings,so many schemes.I'm only at page 223.
I'm in the process of collecting parts for the Transformer Coupled Inductive Riaa #1762.Big thank you to Sowter Transformers for your inductor.It arrived yesterday.I have a Benz Micro Ebony TR.-.1mV,40 ohms impedance.Stevens and Billington TX103 Transformers.
I have AD797 and OPA627, which is your advice for OP1?
In #2210 you mention that NE5534 Workaround has input noise voltage of 1nV/qHz,equivalent to the AD797.Could you adapt it for either position in the inductive riaa.
PS have you a working schematic for the NE Workaround?
Cheers Joe
Now you are talking, that is what I like about this. You do know what I think about audio devices (any, that is including the room, the LS's, the Amp's, The player, the carrier, cables, the microphone, the instrument's etc (what ever you can think of)) they are all musical instruments. But then, what I want to do is give you access the sound of these instruments, the question being, does this include all stuff on the reproduction side, and is any, what stuff does it include and what definitively not?