Is there some particular reason I cannot or should not connect one Preamp line source signal out/RCA to another different Preamps RCA input. I E Aux input verses CD input of the second Preamp?
Why do I feel the need to due this, long story but will explain if you care to know...
Thks for comments, advice pro and cons not that knowledgeable when it comes to spec. electronics but have a general concept and basic experience with home Music and AV system configurations.
Help am connecting multi turntables, plus analog/digital source units with RCA outs to a bi-amped setup.
Really need both Preamps connected, one to the other, but seems like this will create a real problem.
Please see added entry below...
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Thks for the reply so soon was hoping that was the deal.
Additional Info on the Primary preamp being connected to:
Max Apt Holman signal input levels:
All line inputs are 50 kΩ in parallel with 330 pF.
Unselected inputs are terminated with 2.2 kΩ.
Maximum input level: 10 V RMS (+20 dBV or +22 dBm).
3 line-level inputs. 2 tape monitor loops.
1 external processor loop, for a total of six line-level with two phono inputs!
Outputs:
Two MAIN Output Levels 2 V RMS
Also as listed: From the users manual.
“The Phono 2 input feeds the selector switch thru a series of jumpers, #1 thru 4 on the circuit board. These bypass the connector for the pre-preamp function & must be cut if a pre-preamp or special network is installed.”
Special network: I E define this terms probable definition?
I.E. The Jolida JD9 Mk II is a versatile hybrid phono-tube pre-stage/preamp.
What relationship does the above design aspect have to do with the possibility off connecting another Preamp main out, to this Preamp phono2 input, with these jumpers disconnected?
Additional Info on the Primary preamp being connected to:
Max Apt Holman signal input levels:
All line inputs are 50 kΩ in parallel with 330 pF.
Unselected inputs are terminated with 2.2 kΩ.
Maximum input level: 10 V RMS (+20 dBV or +22 dBm).
3 line-level inputs. 2 tape monitor loops.
1 external processor loop, for a total of six line-level with two phono inputs!
Outputs:
Two MAIN Output Levels 2 V RMS
Also as listed: From the users manual.
“The Phono 2 input feeds the selector switch thru a series of jumpers, #1 thru 4 on the circuit board. These bypass the connector for the pre-preamp function & must be cut if a pre-preamp or special network is installed.”
Special network: I E define this terms probable definition?
I.E. The Jolida JD9 Mk II is a versatile hybrid phono-tube pre-stage/preamp.
What relationship does the above design aspect have to do with the possibility off connecting another Preamp main out, to this Preamp phono2 input, with these jumpers disconnected?
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Yes I understand this was actually another question really. I was look'in up the Apt Holman
spec on the inputs even thu I might not fully understand the numbers.
When I remembered this part in the manual about the phono2 input I have a Jolida MK II that has both a pre-pre out and a line signal out. The fact that the Apt mentions this extra function of connecting a phono pre-pre signal got me thinking doesn't by passing these jumpers effectively chg the phono2 inputs to something else. I E another line source input?
spec on the inputs even thu I might not fully understand the numbers.
When I remembered this part in the manual about the phono2 input I have a Jolida MK II that has both a pre-pre out and a line signal out. The fact that the Apt mentions this extra function of connecting a phono pre-pre signal got me thinking doesn't by passing these jumpers effectively chg the phono2 inputs to something else. I E another line source input?
Overall system design goals, this info provided as mentioned above:
My Muti turntable (3)/Cassett analog signal plus digital(CD/MD/SACD) Pro EQ/Xover Bi-amp design.
I E: This is an original setup developed by me in an attempt to solve several home stereo sound quality conflicts in a limited listening space. ( These tower units will utilize 8 individual drivers per channel plus a single 8inch sub)
Primary turntable Yamaha PX3 linear tonearm with HiFi AK(handbuilt) mid gain/MC cartridge, via hybrid/tubed phono line stage, then to 31 band 1/3 octave Pro EQ, into 2nd tier (Hi/Low)ProXover unit with silver conductor XLR balanced leads.
Split stereo signals are then bi-amped for Hi/Low feeds (Counterpoint hybrid/Rotel solidstate 2 channel amps) to what amount’s to a bi-wired (tower L/R) speaker set. Utilizing two Yamaha NR500s large 3way bookshelf plus a set of Sansui (old school) 4way bookshelf (5 drivers per) speakers working together as one left tower/one right tower delivered via a 1st tier 105watts (Counter point 12A for the Low side) signals to the Yamaha’s, 2nd tier 60watts(Rotel-Hi side) signals thru the Sansui 5 speaker portion plus a mono 8” slotted subwoofer via (300watts peak), Carver cube, bridged LF control power amp. I E (60 Hz and below so as not to load up the tower L/R speaker sets with these important low freq. signals ). Note stereo LF subs would be preferred but I’m completely out of space in this current listening (room) environment.
Peggy backed preamps being a Audio Illusions 2 early gen (tube) connected to a very nice condition Apt Holman. The Audio Illusions will carry two turntables, a Nakamichi single CD & Pioneer CT-F950 cassette to the Apt Holman aux input, while the A/H pre will support a Jolida MK II line stage MC turntable in the other aux input, two digital recordable media units (CD/MD) one in each tape loop plus a SAE 5000A pop/click unit in the sound processor loop.
Hope this works without adding too much switching/connection noise?
My Muti turntable (3)/Cassett analog signal plus digital(CD/MD/SACD) Pro EQ/Xover Bi-amp design.
I E: This is an original setup developed by me in an attempt to solve several home stereo sound quality conflicts in a limited listening space. ( These tower units will utilize 8 individual drivers per channel plus a single 8inch sub)
Primary turntable Yamaha PX3 linear tonearm with HiFi AK(handbuilt) mid gain/MC cartridge, via hybrid/tubed phono line stage, then to 31 band 1/3 octave Pro EQ, into 2nd tier (Hi/Low)ProXover unit with silver conductor XLR balanced leads.
Split stereo signals are then bi-amped for Hi/Low feeds (Counterpoint hybrid/Rotel solidstate 2 channel amps) to what amount’s to a bi-wired (tower L/R) speaker set. Utilizing two Yamaha NR500s large 3way bookshelf plus a set of Sansui (old school) 4way bookshelf (5 drivers per) speakers working together as one left tower/one right tower delivered via a 1st tier 105watts (Counter point 12A for the Low side) signals to the Yamaha’s, 2nd tier 60watts(Rotel-Hi side) signals thru the Sansui 5 speaker portion plus a mono 8” slotted subwoofer via (300watts peak), Carver cube, bridged LF control power amp. I E (60 Hz and below so as not to load up the tower L/R speaker sets with these important low freq. signals ). Note stereo LF subs would be preferred but I’m completely out of space in this current listening (room) environment.
Peggy backed preamps being a Audio Illusions 2 early gen (tube) connected to a very nice condition Apt Holman. The Audio Illusions will carry two turntables, a Nakamichi single CD & Pioneer CT-F950 cassette to the Apt Holman aux input, while the A/H pre will support a Jolida MK II line stage MC turntable in the other aux input, two digital recordable media units (CD/MD) one in each tape loop plus a SAE 5000A pop/click unit in the sound processor loop.
Hope this works without adding too much switching/connection noise?
I'm also considering having the volume poti's in each stated preamp chg over to "Japan ALPS RK27 VOLUME potentiometer Dual 50K ROUNDED" poti's. Just to cleanup potential signal noise in these vintage units??
I looked into the step SMD attenuators (DACT/GOLDPOINT) but needing at least two different one's there expensive and plus labor to install. Cannot really find any recent info on these SMD verses Alps poti's. I know the attenuators better the pot's but a set of Golppoints are over $300.00. Just seems overkill...
I looked into the step SMD attenuators (DACT/GOLDPOINT) but needing at least two different one's there expensive and plus labor to install. Cannot really find any recent info on these SMD verses Alps poti's. I know the attenuators better the pot's but a set of Golppoints are over $300.00. Just seems overkill...
AS promised!
Even thu I seems to be IMing myself...
Yaqin with gold RCA upgrades MSRP $225.00
Passive Preamplifier Dale Resistor Stepped attenuator
http://i187.photobucket.com/albums/x305/audioonsale/B9uoK9WkKGrHqVi8EzNNUWFpBM6pduleiw_12.jpg
OMG I've actually complicated the above system outline again.
Even thu I seems to be IMing myself...
Yaqin with gold RCA upgrades MSRP $225.00
Passive Preamplifier Dale Resistor Stepped attenuator
http://i187.photobucket.com/albums/x305/audioonsale/B9uoK9WkKGrHqVi8EzNNUWFpBM6pduleiw_12.jpg
OMG I've actually complicated the above system outline again.
OK just to bore everyone again!
My Muti turntable (3), Cassette, analog playback (Nakamichi single CD/Sony MD/Philips CD/CDrecorder) running thru muti-preamps with a (volume stepped attenuator final passive control switching unit)feeding two separate Hi/Low signal SAE para EQ/31 band Nady Pro-EQ to lndividual SAE Xover/Nady Pro-Xover then Hi/Low signals Bi-amped.
Primary turntable Yamaha PX3 linear tonearm with HiFi AK(handbuilt) mid gain/MC cartridge, via hybrid/tubed dedicated Jolida MK II phono line stage, with the other mentioned source units directed thru two separate preamps all switched controlled from the above mentioned custom passive control unit with the signals being split to the SAE EQ/Xover (Hi-side) and to the 2nd tier 31 band 1/3 octave Pro EQ/ProXover(Low-side)units.
Split stereo signals are then bi-amped from Hi/Low feeds (Counterpoint Tubed Hybrid/NAD2200 solidstate “commutating” 2 channel amps) into what amount’s to bi-wired (L/R) 16 driver speaker towers. Utilizing a set of Yamaha NR500 large 3-way bookshelfs positioned on top of the Sansui (old school)4-way bookshelf speakers working together as one left tower/one right tower system. 1st tier 105watts (Counterpoint Hi-side) signals delivered to the Sansui 5 speaker portion and the 2nd tier 140 watts (NAD 2200 Low-side) signals going to the Yamaha 3-ways with nice carbon fiber 12” woofers plus an additional mono 8”Klipsch slotted subwoofer driven via a (300watts peak), Carver Ma202, bridged LF control power amp. I E (65 Hz and below so as not to load up the Yamaha L/R speaker set with these important lowest freq. signals). Note stereo LF subs would be preferred but I’m completely out of space in this current single listening room environment.
There’s also a full 7.1 Yamaha AVR with a Sony BD/SACD and Sony (5 disk changer)present in this same entertainment space sharing the front tower speakers with a KEF iQ6 center Bi-amped (Rotel 960BX/Kenwood), with three sets of rear surround speakers (Nakamichi, Yamaha & Advent mini towers) run on a separate Kenwood 6 channel amp plus it’s own 1200watt Definative Tech SC4000 dedicated subwoofer for entertaining separately…
I E: This is an original setup developed by me in an attempt to solve several home entertainment/stereo sound quality conflicts. These tower units will be utilizing there 8 individual drivers per channel plus a single 8inch slotted sub. My dedicated music stereo reproduction sound system.
My Muti turntable (3), Cassette, analog playback (Nakamichi single CD/Sony MD/Philips CD/CDrecorder) running thru muti-preamps with a (volume stepped attenuator final passive control switching unit)feeding two separate Hi/Low signal SAE para EQ/31 band Nady Pro-EQ to lndividual SAE Xover/Nady Pro-Xover then Hi/Low signals Bi-amped.
Primary turntable Yamaha PX3 linear tonearm with HiFi AK(handbuilt) mid gain/MC cartridge, via hybrid/tubed dedicated Jolida MK II phono line stage, with the other mentioned source units directed thru two separate preamps all switched controlled from the above mentioned custom passive control unit with the signals being split to the SAE EQ/Xover (Hi-side) and to the 2nd tier 31 band 1/3 octave Pro EQ/ProXover(Low-side)units.
Split stereo signals are then bi-amped from Hi/Low feeds (Counterpoint Tubed Hybrid/NAD2200 solidstate “commutating” 2 channel amps) into what amount’s to bi-wired (L/R) 16 driver speaker towers. Utilizing a set of Yamaha NR500 large 3-way bookshelfs positioned on top of the Sansui (old school)4-way bookshelf speakers working together as one left tower/one right tower system. 1st tier 105watts (Counterpoint Hi-side) signals delivered to the Sansui 5 speaker portion and the 2nd tier 140 watts (NAD 2200 Low-side) signals going to the Yamaha 3-ways with nice carbon fiber 12” woofers plus an additional mono 8”Klipsch slotted subwoofer driven via a (300watts peak), Carver Ma202, bridged LF control power amp. I E (65 Hz and below so as not to load up the Yamaha L/R speaker set with these important lowest freq. signals). Note stereo LF subs would be preferred but I’m completely out of space in this current single listening room environment.
There’s also a full 7.1 Yamaha AVR with a Sony BD/SACD and Sony (5 disk changer)present in this same entertainment space sharing the front tower speakers with a KEF iQ6 center Bi-amped (Rotel 960BX/Kenwood), with three sets of rear surround speakers (Nakamichi, Yamaha & Advent mini towers) run on a separate Kenwood 6 channel amp plus it’s own 1200watt Definative Tech SC4000 dedicated subwoofer for entertaining separately…
I E: This is an original setup developed by me in an attempt to solve several home entertainment/stereo sound quality conflicts. These tower units will be utilizing there 8 individual drivers per channel plus a single 8inch slotted sub. My dedicated music stereo reproduction sound system.
INFO Only:
NAD 2200 “commutating” 2 Channel amp 140W @ 8Ω avg. THD 0.03%
In short this is “one hell of” a 2 channel stereo amp…
Believe it or not I am the current owner of a pair of these wonderful NAD 2200 amps. This one cost me $200.00 but worth three times that much. Check this out this amp was definitely upgraded by this previous owner. Boy this guy really hooked me up but I spent a total of $500.00, still for what I got it’s also a steal. Looks like I plan to only use this one; I just picked it up off an ebay seller who sold me the passive pre and tube buffer also. This amp will definitely be supporting my Bi-amp (low Freq.) Mid/Bass signals with the Yamaha NS 500’s operating at an avg. 6Ω loading factor.
With the single tube/buffer unit inline with this amp, now both the bi-amped units will have that warm tube touch… WOW Best buy ever if this run’s flawlessly… NAD 2200 upgraded+(tube buffer)/Counterpoint SA-12 with matching sets of NOS superior quality tubes. Would love to upgrade the RCAs and have both units pwr cords chg to plug-in upgraded (audio-quality) AC cables.
2nd NAD 2200: I absolutely stole this off Ebay for $175.00 delivered from Hawaii no less. However it is vintage in age & was up till recent just purchased as a unknown (storage auction) “fingers crossed” it’s in excellent mechanical shape with little prior heavy use. 4/24/2013 date of MNF for both units separate limited years of production on this model (1987/1989).
Review/Spec’s:
Reproducing musical signals, the NAD 2200 routinely delivers over 500 watts per channel into typical
nominal loudspeaker impedances. Working as a A class and then later a A/B class as power requirements go up.
http://imageshack.us/a/img685/4668/dsc01356.jpg
In actual measurement with speakers of complex impedance and lower-than-average sensitivity, the
2200 produces peak sound pressure levels exceeding 115 dB SPL(Sound Pressure Level) in a medium to
large room, with no audible or measurable distortion.
Counterpoint SA-12 Hybrid: The first impressive aspect of the SA-12's capabilities to materialise was its effortlessness with suitable speakers. While I mentioned that the SA-12 showed no strain driving either the Sonus Fabers or the Celestions -- neither of which work well with gutless amplifiers. Within this context, the SA-12 is an ideal choice for top-quality, small monitors, and it eliminates any craving for purchasing an overkill design.
The most revealing test for this characteristic is the way it amplifies delicate signals -- solo instruments for example -- to exceptionally high levels without losing any of its sparkle and without manifesting any traces of being overdriven. The SA-12 rose to the challenge. And remaining delicate and sweet-sounding at high levels is a virtue which shouldn't be underestimated.
NAD 2200 “commutating” 2 Channel amp 140W @ 8Ω avg. THD 0.03%
In short this is “one hell of” a 2 channel stereo amp…
Believe it or not I am the current owner of a pair of these wonderful NAD 2200 amps. This one cost me $200.00 but worth three times that much. Check this out this amp was definitely upgraded by this previous owner. Boy this guy really hooked me up but I spent a total of $500.00, still for what I got it’s also a steal. Looks like I plan to only use this one; I just picked it up off an ebay seller who sold me the passive pre and tube buffer also. This amp will definitely be supporting my Bi-amp (low Freq.) Mid/Bass signals with the Yamaha NS 500’s operating at an avg. 6Ω loading factor.
With the single tube/buffer unit inline with this amp, now both the bi-amped units will have that warm tube touch… WOW Best buy ever if this run’s flawlessly… NAD 2200 upgraded+(tube buffer)/Counterpoint SA-12 with matching sets of NOS superior quality tubes. Would love to upgrade the RCAs and have both units pwr cords chg to plug-in upgraded (audio-quality) AC cables.
2nd NAD 2200: I absolutely stole this off Ebay for $175.00 delivered from Hawaii no less. However it is vintage in age & was up till recent just purchased as a unknown (storage auction) “fingers crossed” it’s in excellent mechanical shape with little prior heavy use. 4/24/2013 date of MNF for both units separate limited years of production on this model (1987/1989).
Review/Spec’s:
Reproducing musical signals, the NAD 2200 routinely delivers over 500 watts per channel into typical
nominal loudspeaker impedances. Working as a A class and then later a A/B class as power requirements go up.
http://imageshack.us/a/img685/4668/dsc01356.jpg
In actual measurement with speakers of complex impedance and lower-than-average sensitivity, the
2200 produces peak sound pressure levels exceeding 115 dB SPL(Sound Pressure Level) in a medium to
large room, with no audible or measurable distortion.
Counterpoint SA-12 Hybrid: The first impressive aspect of the SA-12's capabilities to materialise was its effortlessness with suitable speakers. While I mentioned that the SA-12 showed no strain driving either the Sonus Fabers or the Celestions -- neither of which work well with gutless amplifiers. Within this context, the SA-12 is an ideal choice for top-quality, small monitors, and it eliminates any craving for purchasing an overkill design.
The most revealing test for this characteristic is the way it amplifies delicate signals -- solo instruments for example -- to exceptionally high levels without losing any of its sparkle and without manifesting any traces of being overdriven. The SA-12 rose to the challenge. And remaining delicate and sweet-sounding at high levels is a virtue which shouldn't be underestimated.
Big changes today ZU Audio Union Loudspeaker in Honey Walnut (factory Demo). Factory 600 hr burn-in; 10' coaxial tower speaker set walnut veneer, award winning full range single axis focal image with Zu-Griewe box loading technology. There are no ports as used in a bass-reflex design (Helmholtz resonators in all their forms) but cabinet finger ports that see the acoustic space of the room and load the cabinets. These will be replacing the vintage Sanasui SP5500 mentioned earlier supporting the Hi side freq groupings. This is a major upgrade to the overall system continuity of stereo soundstage quality and instrument local focus.
P S the above mentioned low freq sub support should have quoted more like 30 hz to 55 hz
P S the above mentioned low freq sub support should have quoted more like 30 hz to 55 hz
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Bump
Still interested is any comments related to having one of these amps: I E Hi verses Low (main amp) modified to balanced XLR inputs.
So while taking into account that RCAs interconnects will be involved from the source signals, thru to the preamp, then at the EQ/Xover change to XLR cables and subsequently delivered via XLR to a modified main amp balanced XLR input.
Which side of a (Hi/Low) bi-amped freq. group would probably benefit more the Low side or the High side freq. grouping in modifying the amp to balanced XLR inputs?
I have no glue whether mod the amp inputs would achieve anything!!!
Not that Knowledgeable about this subject. Please consider commenting.
Thks
Still interested is any comments related to having one of these amps: I E Hi verses Low (main amp) modified to balanced XLR inputs.
So while taking into account that RCAs interconnects will be involved from the source signals, thru to the preamp, then at the EQ/Xover change to XLR cables and subsequently delivered via XLR to a modified main amp balanced XLR input.
Which side of a (Hi/Low) bi-amped freq. group would probably benefit more the Low side or the High side freq. grouping in modifying the amp to balanced XLR inputs?
I have no glue whether mod the amp inputs would achieve anything!!!
Not that Knowledgeable about this subject. Please consider commenting.
Thks
Add to the above: I actually acquired a Tube Buffer unit and a second NAD 2200PE amp that was upgraded from this same individual on Ebay, as the previously mentioned passive preamp bottom of pg 2. One of the main reasons I went with this passive over others was the deal on the Buffer & amp. Very nice guy I can't wait till I can firer this system up! But alas still acquiring a third rack to stuff this get'up into a sm condo living room plus need a few things to still be delivered.
Also found someone out of Illinois, making some really great costume cables for very affordable prices and they also specialize in certain amp/equip. upgrades or repairs. will list contact info to anyone thru IM if requested.
Thks Jeff
Also found someone out of Illinois, making some really great costume cables for very affordable prices and they also specialize in certain amp/equip. upgrades or repairs. will list contact info to anyone thru IM if requested.
Thks Jeff
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BUMP:
Still work'in on initial configuration/setup have a major left leg injury and recovery is slow'in my progress considerably...
Still hopeful for input by anyone caring to discuss specifics or answer to issues brought up regarding this overly complex configuration. Still believe this will sound amazing due to the superior quality of most of the components.
Thks Jeff
Still work'in on initial configuration/setup have a major left leg injury and recovery is slow'in my progress considerably...
Still hopeful for input by anyone caring to discuss specifics or answer to issues brought up regarding this overly complex configuration. Still believe this will sound amazing due to the superior quality of most of the components.
Thks Jeff
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