to oranges.
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, or ears.
You can attenuate the signal with a preamp, analog volume control, or
even some fixed attenuators.
But relying on the Transporter's digital volume control to always work
is not wise.
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a real frequency limit. You should not try to send a HDTV
signal down a cable designed for audio.
All cables are analog.
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$1500 about 6 years ago. I don't think
its available, but I'm sure that Classe has a replacement. I drive it
with my Transporter.
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wanted to sell DSD recording gear to every studio on the
planet. Didn't happen. Some Studios did DSD, most moved to high/wide
PCM. The change would have required a lot of new hardware (ADC/DAC) and
all new software.
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agentsmith wrote:
Price wise it is a little over the top. But I would think the Meridian
F80 in a bathroom would sound awesome.
For that price, it had better sound fabulous and improve your sex life
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.
Can you run balanced?
The pro-audio world has isolation transformers, not cheap for ones with
any prayer of being linear in 20-20kHz
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and
expensive(ie the aformentioned isolation transformer)?
Not likely.
A ground loop is caused by unequal ground voltages between two pieces of
gear. No filter before the two pieces can do anything.
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strip. If you have
one of those, go ahead and try it, plug the TP and the amp/preamp into a
common power strip.
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and natrually, silver solder.
Its fairly tricky to solder, so don't do it at home with your ByBee bullets.
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an audible difference. Ditto the
cable to your 'green bullet' mic to record blues harmonica.
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if you the mic balanced. But, if you're
playing through a tube amp that's not always possible.
Green Bullets are not balanced. And they are high Z.
Normal mics are both balanced and low Z. Cables make nearly zero impact
on them.
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the artist wants it ot
sound like.
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Unlike say speaker wire.
For anything over 10 feet, I use a DI rather than running high Z.
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that the orchestra will not fit
in my listening room.
A chamber group, or a bluegrass band, or a jazz trio will fit, and I can
be fooled into thinking they are really here.
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chips are cheap and designed to play games. Many of them
record only at 48KB, not 44.1
A computer is a terrible place to have quality audio. Much too much noise.
I'd check the pro-audio forums, someone there will have specifics to help
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is in the
computer.
But for converting LPs, one has to think of the budget
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rhyno138 wrote:
does anyone have good advice on how to safely remove the caps so that
the solder pads don't come up with them?
You are trying to hack surface mount stuff?
Did you not see the giant thar be dragons warning?
Of course real men can fix the solder pads. :-)
Transporter, I could not tell which I
liked better, I went with the Transporter for looks, the sound was so
good from both that it didn't drive the decision.
Once you get into good gear, the differences in sound take cubic dollars.
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with the music over constant).
A lot of music sounds better encoded with MP3PRO and played back with
normal MP3.
The ogg folks claim that they sound better than MP3 or WMA
I'm sure that there are more variations that I don't know about
--
Pat Farrell
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radish wrote:
However, if you're looking for the one which sounds most pleasing to
the ears, that's a whole different story.
Stations that care about sound quality can apply EQ, compression and
other preprocessing before they feed it to the MP3 encoder. For most
radio stations, applying a
, a Transporter and a Duet. I like the sound of
all of them. I am not about to replace my Transporter with the Duet in
my main listening room.
Sean says he designed it to sound the same. No one has said that they
can hear differences.
Yet you persist.
Don't feed the trolls.
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a
decent system Classé amp, Sonus Faber speakers, Rel sub. Its about all I
can do with acceptable WAF.
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and of course, given the DMCA that the RIAA wrote for our clueless
congresscritters, we can't even talk about it.
But there are many hosting companies that rent space cheaply.
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wireless200 wrote:
One thing I was
wondering, under what conditions could or would the volume reset to 0.0
dB? Power cycle? Anything else?
Er, I would not phrase it this way.
Sean, knower of all engineering on TP and Squeezeboxen, says you should
setup your amp so that you can run 0 dB
opaqueice wrote:
Edison cylinders... bah! Kids these days, with their new-fangled junk!
Recordings, junk.
Hire a musician, tell them to play, listen.
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bosses at the labels, and
clueless group managers, use the golden rule: he who has the gold, rules.
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feeding my Transporter.
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kazinvan wrote:
Thus, true audiophiles (systems
and ears that can resolve subtle differences) would not consider the
duet an audiophile quality device.
Then why in the world are you wasting your time posting, and my time
reading, since this is SlimDevices's audiophile forum?
You claim to
serious DACs connected to SqueezeBoxen.
RedBook audio is not going to change.
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is sufficiently large.
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, so you could have
a 20 watt amp for the highs and a 400 watt amp for the woofer.
Mostly, I think this is really a way to prove that you have too much money.
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between the woofer and tweeter,
bypassing the internal crossover in the speaker. Where is the (passive)
crossover???
If you happen to have a spare amp or 12, sure, try it. Otherwise, this
is just a way to make dealers rich
--
Pat Farrell
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gharris999 wrote:
seanadams;291122 Wrote:
I've never tuned a piano but... doesn't it rely on lower frequency
hearing - the beat tone between the fork and the instrument?
This is where the black-art stuff comes in, and it's a matter of taste
I don't do it, but every since Well-Tempered
agentsmith wrote:
Trying to burn in my Naim 202/200, but wife would kill me if I blast it
24/7.
So turn it up when you both go to work.
Not sure that burn in is real, but it does help get past buyer's remorse.
Pat
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in the planet is required to take a term of
statistics. You have to understand what these experiments show, an what
they don't show.
I've been looking, and I have seen zero science that says there is
anything delivered in hi-res commercial recordings that can be detected
by humans.
--
Pat Farrell
of scientists claim
that there is no 'science' in computer science.
the failure
of hi-res formats is probably at least in part due to the fact that they
don't actually sound any better than redbook.
The stupid beta/vhs format war didn't help.
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?
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Wandering totally Off Topic
radish wrote:
pfarrell;290717 Wrote:
Did you Masters of E allow you to sit for EIT?
That's a US thing, right?
Yes, in the US, if you claim to be an Engineer, you need to take the EIT
Engineer in Training test, then work in the field, and then sit for the
know. :)
Fey, Engineers (PEs) who use computers are Engineers, not computer
people. They are 'computer users'. Their domain knowledge is
engineering, not computers.
All a computer is to them is a faster slide rule.
http://www.pfarrell.com/misc/sliderule.html
--
Pat Farrell
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/ref/power/ext/ups/typesLineInt-c.html
And of course there are special Audiophile power cleaners that cost as
much as small cars that will do the job.
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tell
you why.
Normally, to be 'significant' you want to probability of it being random
to be rejected at the 95% level.
Even 80% is too close to random for science.
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lack of display.
Just selling the DAC-1 because someone with a SqueezeBox might want it
as an intermediate step up. There is nothing wrong with a DAC-1, and
nothing wrong with mine, I just don't use it.
--
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robster61 wrote:
would a Transporter best my set up sound wise?
I have a Benchmark DAC-1 that I used with my SqueezeBox. When I got my
Transporter, I compared them.
I am using the Transporter now, and the DAC-1 is for sale.
YMMV
--
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at 30IPS?
Some folks love the sound that tapes make, but its a distortion. Humans
like some distortion. op cit: all the tube lovers
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.
In practice, all of the steps in the recording chain, from mic to
preamp, to 2 tape machines are not designed to deliver much about 20-20kHz.
I too am convinced that Sony's push for SACD was purely for DRM, all the
claims about DSD being superior just marketing spin.
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.
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Manelus wrote:
So any transport feeding same DAC would sound the same?
Come on!
Pretty much.
I've never understood why the audiophile magazines drool over
transports. All they are required to do is deliver a bit stream.
--
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.something mHz rate is not much different than 24 bit PCM at 96kHz
the arithmetic is simple, 24 * 96,000 == 2304000
or with commas 2,304,000
Sony did nothing outside of what Shannon and Nyquist predicted.
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opaqueice wrote:
Kris;287919 Wrote:
How much would you bet that you can tell the difference blind? Say,
10/10 times, on a track and system of your choice?
I'd call it a victory at just 9 out of 10.
No need to require 10/10.
--
Pat Farrell
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kmchow98 wrote:
You have mentioned audio logic several times in your spec. Can you
please explain what it is?
for this I refer to the internal DAC and the output stages.
Most folks tend to use standard terms, it helps smooth communcations.
audio logic is a strange combination of terms to my
is real.
Of course, when folks replace the awful two prong plugs with modern safe
ones, it lowers the value of the amp. Sigh
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seanadams wrote:
for your own safety if you can't
figure this stuff out you should not be fiddling with AC line voltage.
AC line voltage can kill, seriously.
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seanadams wrote:
Uh... zero degrees? Or were you asking something else?
Just a guess, the OP is probably asking about which pin is hot on the
XLR outputs. There is no official standard, altho most boxes use pin 2 hot.
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is the way to do your #3. and of
course the others as well.
Once the Receiver is available stand alone, I can't think of anything
that does all three.
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drag CAT6. Its easier and more reliable than dragging two speaker cables.
I generally don't think of whole house audio as being of concern to
audiophiles. I have one audiophile main system (Transporter, etc.) and
secondary systems for more casual listening.
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Pat Farrell
http://www.pfarrell.com
Robin Bowes wrote:
Pat Farrell wrote:
One warning, a lot of gear aimed at touring pros is the audio equivalent
to the Viking restaurant stoves that yuppies put in their houses...
not really designed for residential use. They tend to be big, heavy,
draw a lot of power, give off heat, etc
, but they
are not going to be happy stuck in a closed cabinet.
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, cutting the traffic in half will eliminate half the mangling.
In practice, its much better than that. Smaller packets sneak through
without being clobbered, and can be retransmitted more quickly.
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to many things. Sometimes they cheat on the spacing to
squeeze more spiral turns in (there is only one spiral on a CD).
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As suggested we could solder them in...or we could clean them every 6
months with a suitable abrasive (and then treat with De-Oxit or
whatever) for a better connection...
Maybe even use a little non-corrosive lacquer over the cap AND clip to
seal them yet still be removable, although with a
from the wall to their gear, have they ever thought about the
18 gauge fuse/circuit breaker that is also in series with all this?
I actually ran (or more properly, hired a licensed Electrician to run) a
dedicated 20A circuit just for my stereo. But is just 12 Gauge wire.
--
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opaqueice wrote:
And while I completely agree that in this day and age of cheap storage
there is no reason to use a lossy codec, it would still be nice to know
which lossy codec to use in the event that one has a need for it (think
iPod).
But the issue is fast become irrelevant in any case
'burn in' for
more than a few minutes, if that long.
I do know that stories about 'burn-in' requirements are very effective
at addressing buyers remorse.
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are going to have
the magic of 'stats. They are likely to have much better WAF, and other
good things.
If I had the room, I'd have some Maggies or Quads.
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. At least little in the audiophile world.
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.
So for perfection, you need goldplated coathangers with little ebony
blocks to position them properly to work as interconnects.
Coathangers for speaker cables is unacceptable.
Pat
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Timothy Stockman wrote:
That's the whole point of this thread. If you listened to a
system and did not otherwise know whether the speakers were connected
with audiophile cable or coathangers, would your ears alone reliably
tell you?
And related to this is the widely reported study that
a
percent or two smaller size.
Flac is designed to be easy to decode, at the expense of longer
encoding/compression passes. Because most folks compress one and listen
many times.
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, and that is Off Topic.
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Moving quickly OT:
Eric Seaberg wrote:
We're purchasing two SSL C-200s for our facility and I'll probably fly to the
factory for training.
Wow, those are nice consoles. In round numbers, are the half million a
piece?
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at 20kHz
Its likely to roll off at 6dB/octave or faster, at each step of the
recording process.
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.
The usual definition of one dB is smallest reliably detected change in
loudness.
Nobody worries about fractional dB.
and -70dB cut is considered complete, even when assorted recording
medium claim 96dB or more S/N ratio.
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anywhere in the tracks.
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the master tape step, but no circuits is not going to happen
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pski wrote:
research before you type.
Bull feathers.
Show me one thing that I wrote that is not true.
Amplifiers, preamp, etc. are circuits.
Now if you were recording wax with a cone, there could be no circuits,
but there would be no wires either. And not much frequency response.
--
Pat
the
compressor up to 11.
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mvalera wrote:
JJZolx;270528 Wrote:
I think there's about a one in a million chance of seeing a new
Transporter now that Logitech is pushing the division to crank out
consumer gear that will show a profit when sold by the boat load.
That is a _completely_ baseless statement.
And the rest
it real, it is
not now 'approved' in any sense
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chair. This is, of course, why the Controller was
invented. So I'm not sure how important the display on the unit itself is.
I wouldn't call it an 'improvement' but it might be cool to have a
switchable pair of analog stages, one nice clean solid state, one creamy
tubes.
--
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http
DCtoDaylight wrote:
The new system does bring up one question though. Now that
SqueezeCenter knows my password, just how secure is SqueezeCenter? I'm
guessing I should use an account without administrator access!
Actually, the answer is you should always use accounts without
wheel/admin
Shredder wrote:
I chose the MW TP direct into my amps over the other options, ie nice
Dac into nice pre, TP into nice pre, great Dac w/no pre.
Give it a listen. I suspect most will like it. If not, you will be able
to make an educated judgment.
Glad you like it. As far as I'm concerned,
alekz wrote:
Too often it
shows how bad the recordings are. Not how good the music is.
Isn't this a curse of any accurate audiophile system?
Whatever you do, don't play CSNY's Four Way Street CD. It is terrible.
Out of tune, loudness wars, clipping, etc. I had such grand memories of
that as
.
My Dynaco ST120 amp was upgraded to a Sony receiver. The Sony receiver
was upgraded to a Classe integrated amp.
Plus, I got new faceplates that matched the decore.
IMHO, audiophile gear 'upgrades' are pure snake oil.
--
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harmonic wrote:
Pat Farrell;264306 Wrote:
IMHO, audiophile gear 'upgrades' are pure snake oil.
To understand this rightyou say that the orginal 1973 sondek
lp12 will sound exactly the same as the current full specs sondek
lp12 Se ?
No, I was not talking about turntables. I
be dead and I won't care at all.
You seem to be saying that the case that is perfect today will be
prefect tomorrow and 30 years from now. After you've replaces all the
guts several time. I don't believe it. YMMV
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Phil Leigh wrote:
my next
system is going to be very very different. Might even be top-line Quads
and a big valve amp...or maybe those active ATC's that Clive has...
Quads and tubes are on my Lust speaker list, which belongs in the other
thread. Drool
Pat Farrell
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this stuff.
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Andrew B. wrote:
5. The Lavry doesn't have the armor-piercing blue LED that Benchmark
put on the front of their DAC1 (and that I had to cover with a piece of
black tape!).
I hate that LED, did the same thing on my DAC-1
Even worse is the red one for errors.
--
Pat Farrell
http
-level system. Or if audible,
nothing clearly better or worse.
Sean said its different, but not to be cheaper or worse, the receiver's
no-display changed some voltages internally, which lead to the different DAC
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.
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these days, I'm surprised
anyone is still selling pro-audio gear.
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jt25741 wrote:
But if you have or plan to have true 24 bit recordings, you may not
want to digitally attenuate and start truncating real data bits to
preserve fidelity at all listening levels.
This is impossible.
As soon as you attenuate the signal, you lose low order bits. About one
bit per
jt25741 wrote:
Pat Farrell;262753 Wrote:
jt25741 wrote:
But if you have or plan to have true 24 bit recordings, you may not
want to digitally attenuate and start truncating real data bits to
preserve fidelity at all listening levels.
This is impossible.
As soon as you attenuate the signal
, I'm happy
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kimballhouse wrote:
Does anyone know if the manufacturer is planning on offering a remote
for the Transporter similar to the Squeezebox Controller that is being
released for the SB3?
The Controller works great with a Transporter. I've been using a beta
for months.
--
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are small
and have beautiful wood.
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easier, faster, and
more reliable.
Of course, the CD was designed to be (1) a replacement for cassettes
that lead to rampant bootlegging and (2) read only.
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