Yay. You are right. But he got the boards that need to be deilled manually. Just through the middle somewhere šI can't see M16 ground bolt .......
I heard both. Both have their flavours. Xono is harder to build nowadays. Pearl 3 is a rather simple build though versatile with opamps changing. But if its possible, why not first repair the Xono? She is a beautiful Phobo pre
Hello Dirk,
I fully agree with Fabian85. The differences between a good Xono - clone and a well built PEARL 3 are small. It is also a question of taste.
I can not switch directly between my Xono and the PEARL3. So a comparison is more out of memory. Also if you listen to the same Vinyl-track very often it is difficult to say, which one is better.
At the moment I prefer the PEARL 3. It is a dual mono built, offers the possibility for OPAmp rolling and you can realize a really good PEARL 3-build
for a few hundred bucks.
I called the PEARL 3 a 'giant killer'. I confirm my statement.
Cheers
Dirk
I fully agree with Fabian85. The differences between a good Xono - clone and a well built PEARL 3 are small. It is also a question of taste.
I can not switch directly between my Xono and the PEARL3. So a comparison is more out of memory. Also if you listen to the same Vinyl-track very often it is difficult to say, which one is better.
At the moment I prefer the PEARL 3. It is a dual mono built, offers the possibility for OPAmp rolling and you can realize a really good PEARL 3-build
for a few hundred bucks.
I called the PEARL 3 a 'giant killer'. I confirm my statement.
Cheers
Dirk
I for one have compared them.
Still prefer my X-Ono clone, but as others have said.... the difference is "little league".
If someone had switched the two in my rack without me knowing, IĀ“m not sure, I would have detected the swap right away.
After some days of intense listening to the two, I still do prefer the X-Ono.
Really??
IĀ“m sure you donĀ“t work for free,
Kind of tired of comments from people, who doesnĀ“t appreciate other peopleĀ“s skills.
Having been in this "game" for a living until I retired, your comment feels kind of condesending,
Nobody knows the fault finding time, repair time, maybe sourcing of obsolete components.
Maybe the 300 EUR was a worst case option (@Dirk1 could maybe explain further)??
@Dirk1 and @Boydk raise the dilemma of getting audio equipment fixed. As a tape person, both reel and cassette, have spent countless hours and thousands of dollars trying to get specialized equipment fixed by available professionals. Over the years it has become increasingly difficult and now, in a town as large as Phoenix, AZ, there are no repair pros available that can handle difficult tasks.
So in this environment, those of us needing repairs will pay a bunch and Dirk's price seems trivial.
There is another approach and one I have been developing for almost 10 years.
It is, of course, DIY. You start by defining equipment that you can fix -- this includes equipment complexity, parts availability, and online threads that can help with the unknown.
For my tape needs I have centered on Onkyo cassette decks. For pro studio needs, Otari tape decks. And for home R2R, Revox A77 decks.
My philosophy is to buy numerous decks, learn how to maintain and service them, then move into rebuilding as I learn their specifics. Have learned enough to find the suppliers and struggle through the technical issues as they arise.
Would I prefer to spend a good amount of money for a real pro? You bet I would. But shipping equipment to a foreign person is fraught with additional problems.
Here's the success story. Am now listening to a great recording of Barber's Adagio for Strings by Marriner and the ASMF. Recorded in all analog by Argo and reissued by Barclay-Crocker with Dolby B in 1976 duplicated from the original master. The famous crescendo sends chill up your spine when played on a Revox A77 through the Wayne 2018 preamp, Pass Aleph 30 monoblocks, and Tekton Double Impact speakers. And if the Revox gives out? Got two more in the closet and know how to replace those exploding caps.
Identify the model you can repair, then purchase several and use them for parts. Only way I can get the all-analog world to operate.
So in this environment, those of us needing repairs will pay a bunch and Dirk's price seems trivial.
There is another approach and one I have been developing for almost 10 years.
It is, of course, DIY. You start by defining equipment that you can fix -- this includes equipment complexity, parts availability, and online threads that can help with the unknown.
For my tape needs I have centered on Onkyo cassette decks. For pro studio needs, Otari tape decks. And for home R2R, Revox A77 decks.
My philosophy is to buy numerous decks, learn how to maintain and service them, then move into rebuilding as I learn their specifics. Have learned enough to find the suppliers and struggle through the technical issues as they arise.
Would I prefer to spend a good amount of money for a real pro? You bet I would. But shipping equipment to a foreign person is fraught with additional problems.
Here's the success story. Am now listening to a great recording of Barber's Adagio for Strings by Marriner and the ASMF. Recorded in all analog by Argo and reissued by Barclay-Crocker with Dolby B in 1976 duplicated from the original master. The famous crescendo sends chill up your spine when played on a Revox A77 through the Wayne 2018 preamp, Pass Aleph 30 monoblocks, and Tekton Double Impact speakers. And if the Revox gives out? Got two more in the closet and know how to replace those exploding caps.
Identify the model you can repair, then purchase several and use them for parts. Only way I can get the all-analog world to operate.
Actually in DIY most of the times I āwork for freeā or just a small obulus. The only thing I really take is money for replacement parts and shipping. Then usually we listen to the repaired Equipment together.
I didnt want to attack you. I usually only fix stuff from DIY friends.
When I am at work I am also fixing stuff. I dont feel getting paid adequately tooā¦ Especially standing 3hs at night for a gastric perforation š (or any other kind of surgery emergency)