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Showing content with the highest reputation on 03/08/13 in all areas

  1. 10 points
    That's right... after 4 weeks wait, i was called to my door by a delivery person "large parcel, signature here please". With 2 large boxes in my view & a rather large smile on my face, i quickly scribbled my sig & got to work unpacking my Ascension Summoner 1093SHTL's.... As everyone says, pics just don't do them justice. The detail & colour within the Blackwood finish made my jaw drop :o , i couldn't wipe the smile ​ from my face while unpacking. Totally exceeded my visual expectations. My custom designed grill cover, to maximize the Blackwood finish shown. With just under 20 hours on them, they are really starting to sound exceptional. The Horn Ribbon Tweeter is absolutely remarkable! so smooth & detailed. I'm hearing so many sounds iv'e never heard before, with amazing clarity. The mid range is super smooth, then there's the bass...... so smooth, detailed, tight & extended. Will only improve further with use. The sound stage is huge & imaging is excellent. My Marantz PM-80 SE seems to match very well. I'm very very happy with my purchase. that's enough rambling on, it's time to get back to my favorite chair & spin some more tunes.
  2. 3 points
  3. 2 points
    With my recent sound lounge renovations and relatives visiting I'm starting to go through some serious reviewing withdrawals, and that is not pretty! Finally I have managed to find the time to give a Timekeeper a quick comparo with its older relative, the PP-160. Both these amps were driven by the Burson Conductor and that was fed from my Consonance cd120 (which was also performing DAC duties as I am finding the Conductor just a bit too smooth for my liking). The PP-160 comes across as an enthusiastic amp in my new room, a bit of front but a little hesitation in follow through and as I upped the volume it tended towards a slight brightness (it did stop short of sounding harsh). It was confident in the highs and the lows but didn't pay quite as much love to the mids and the transition between them. The signature Burson air was present in the highs but it seems my new room doesn't present the crisp snapiness of sound that I have enjoyed so much from the Burson gear in the past. I'll have to do something about that, and I'll get right on to it just as soon as I figure out what that something should be. The Timekeeper gives the love to the mids without sacrificing the highs at all, vocals came through very similar but they were a little easier to hear, as if they were more effectively separated from the rest of the performance. The bass is a nice improvement, I would call it just a little deeper but much smoother and with better definition throughout each bass note. I'm not sure if the Timekeeper has a slightly lower noise floor than the PP-160 or has better definition or better separation (or a small amount of all three) but it is, IMO, a nicer amp to listen to in pretty much every aspect. It sounds a little more confident and a little more refined than its older relative, I guess that makes perfect sense since it is a third generation piece of gear. if I had the room done and was back to using my grading system I'd say the Timekeeper would be a full 1 point ahead of the PP-160 in the mids due to its sweetness and definition, and the transient capability, probably a full point in the bass as well as that smoothness really rounds out the bottom end. And one half a point for the superior vocals. The highs I'm not so certain of, the unfinished room makes things difficult here, maybe half a point . Now that may not sound like (pun intended!) much of a difference/improvement from one generation to the other, but a 3 point difference to me is a large step in the right direction. Now, for the bad news, I am cursed! Yep, that's right, cursed. First of all I manage to, somehow, short out the Redgum monos that I bought to compare to these new Burson offerings, and now I have (possibly by looking at it funny) managed to get one of the Timekeepers to drop a channel. I got it up and running again just by taking the top off and wriggling the only three wires I could find that were wrigglable so I know it is only a loose connection but it came back and dropped out again today so I will likely have to send it back to home base for Burson to have a look at it. Well, OK, maybe not so cursed, at least this time there were no frayed tempers, red raw nerves and speakers at risk. I wanted to include the Timekeepers used as monoblock amps in this post but, well..., see the paragraph above for the details. I can say that while I was running them in as monoblocks I liked them, a lot. There's something about having that much wattage on tap that both makes your spine tingle and yet completely relaxes you at the same time. They certainly calm my inner beast.
  4. 2 points
    I ended up getting s 2m black, only just got it, but so far less muddy bass/tighter bass and treble is lovely - listening to dead can dance at the moment
  5. 2 points
    It is a batting paradise, we are going to need some luck to win.
  6. 2 points
    Tom Waits: Rain Dogs & Mule Variations vinyl
  7. 2 points
    Bang On A Can Allstars - Brian Eno's Music For Airports - 1998 So soothing and chilled out that I fell asleep! Music for an afternoon nap
  8. 2 points
    Do you realise that this means redesigning the tweeter crossover network?
  9. 2 points
  10. 2 points
    Looking at the data sheet, the KT150 will work in my Tempest and Topaz KT120 amplifiers. One of the advantages of over engineering. I hope to have some tubes soon to do some experimenting. I will be designing a dedicated class A amp, which should be good for over 50wpc and a bigger version of the Tempest which should yeild ~125wpc class AB
  11. 2 points
    On the subject of measurements or subjective listening telling the whole story, i quite like the viewpoint put forward by Nelson pass when interviewed by "Ultimate audio". here it is: "The standard bench measurements (frequency response, harmonic distortion content, speed, damping factor, etc.) all provide useful feedback in the design process. Their importance occurs in the context of a given topology and hardware, where the numbers help you dial in the “sweet spot†and speed the process of subjective evaluation. It is nevertheless possible to have a product that measures well but doesn’t sound so good. It is still a mystery as to how this could be, but there it is. My experience is that there is a reasonable correlation between sound and measurement for simple Class A circuitry with minimal or no feedback. This relationship seems to disappear when the circuit becomes complex or has a lot of non-linearity corrected by feed back. Most audio design is a long, iterative process. We go back and forth from listening to measurement until eventually we decide to ship it. At that point, we hope we have gotten it completely right, and occasionally we have. That is a matter of opinion. I have seen pieces in Stereo Review and elsewhere stating outright that measurements have already adequately defined performance and that the subjectivists are fooling themselves. The opposite viewpoint is stated just as dogmatically. Both sides are emotional, and neither side is particularly reasonable. Obviously, reality sits somewhere in between. Some measurements do tell you something about the sound, but not very reliably, and there are clearly some phenomena going on that are not being measured. On the other hand, I have witnessed blind tests where the participants could not hear a difference, or heard wild differences that could not have existed. Me, I don’t care that much; in fact, I find the subject kind of boring. We build amplifiers that sound good and measure reasonably well and don’t break. If you want to get a machine to listen to them for you, be my guest!
 Bio Notes: Nelson Pass received his graduate degree in physics from the University of California-Davis and founded Threshold Electronics in 1974. He sold Threshold Electronics in 1987 and founded PASS Labs in 1991. Perhaps best known for his Class A design amplifiers"
  12. 2 points
    Yoh WDay, Snap!--- is that your own CD12?-- I agree with your comments--superbly built and I actually prefer the sound on some discs to my CEC/AN Dac setup Linn certainly hit the mark with it. Willco
  13. 2 points
    Just been playing this: Truly great - Milt Jackson is a wonder, Ed Thigpen was one of the best comping timekeepers in the business, and with Ray Brown, made up a rhythm section par excellence. And Oscar Peterson? You just have to recall the words of Keith Richards (which went along the lines of : 'the only difference between me and Oscar Peterson and those cats is that they take longer to get around to playing the same riff again'). Cheers Mick
  14. 2 points
    Thanks Hugh. I wasn't especially offended as I didn't dig deep into the specs required by the OP. Nada - I've lost count of the number of times your 'humourous' posts have missed with me. I was beginning to think it was perhaps just me...but no! Here are two recent examples of you provoking another SNA member: http://www.stereo.net.au/forums/index.php?/topic/54068-msb%E2%80%99s-analog-dac-thumbs-up/#entry910535 http://www.stereo.net.au/forums/index.php?/topic/54086-three-multibit-dacs-and-three-brains/#entry910493 Nada - PLEASE, ignore me. Add me to your ignore list. You are now on mine.
  15. 1 point
    My target, for what it's worth would be 85dB average with 20dB peaks for realistic reproduction from each channel independently (not combined channels) at the listening position a bit more than 2.5m from the speaker, I would very very rarely actually listen at that level though, because it's not particularly sociable in a townhouse. When Anthony said 90dB with 20dB peaks that's when I got concerned! Now there is a question I've been meaning to ask! Anthony, how far do you sit from the speakers mate? Cheers, Chris
  16. 1 point
    Nice overthrows Warner. You gave away as much as you made!
  17. 1 point
    Moving on to actual speaker recommendations might be considered running OT Yes, I think you can load VST programs (DSPs) through a Foobar plugin. No a foobar person myself, so I don't have instructions or help for you. You can do it "offline" as well. Using audio editor software. You can then attenuate 60db, amplify 60db, and listen to the result.... OR then run the before and after files though "diffmaker" (discussed recently in another thread) .... and it will calculate the differences in the files for you.
  18. 1 point
    S'house situation. Finally we something with bit of euro bent as opposed to the daewoos disguised as Holden cruze or the grandpa axe commodores. As with everything half decent. Seems to get pulled. Amazing the sales differential though where the total Opel sales in 12 months ...Vw sells three times that in a month I think they would have done better selling through the Holden channels
  19. 1 point
    The idea that using the digital attenuation required is a "large compromise", I think is quite overblown. Especially with this DAC ... as you are already using DSP (xxhighend) .... and at the precision it's operating at there is no digital distortion. As an experiment, attenuate by 60db, and then amplify by 60dB, using a high precision DSP. (I can hear nada difference) The only thing to worry about then is SNR at the DAC output....... but like the most recent posts here show, people aren't afraid to use only the first 1% of their amplifiers (100watt amps powering 90dbB speakers) ...... So? Donworraywaboudit?!? Buying an amp without too much gain or sensitivity is a good idea, of course. Buying better speakers ('better' directivity, higher sensitivity) will make an enormous difference compared to amps and dacs.
  20. 1 point
    Love it, thanks for sharing tuyen. This one's not too bad either...
  21. 1 point
    The shortlist ATM is really quite short - HSV Senator Signature and Lexus IS350 F-Sport. Had a look at both in the showroom this arvo with Mrs M - predictably, she loved the HSV and was underwhelmed by the Lexus. I felt the same - the head said Lexus, but the HSV looked like more fun. I still can't get comfortable with the styling of the Lexus - though it does look better in the metal than when I first saw pics and came close to dismissing it on aesthetic grounds alone. Will probably drive both next week and hope that clarifies things. If I really like the drive experience of the HSV, then that might be the go. if I prefer the Lexus, the decision will be more difficult. The few reviews so far for the Gen Y HSV's are very positive, with the steering and MRC in particular getting some enthusiastic praise.
  22. 1 point
    whats not to like about ae woofers, great motor, 14mm xmax, clean up to 2khz (on axis). shipping will cost alot though, those things are heavy.
  23. 1 point
    Sorry for the delayed response. We paid a deposit on the Luxman D-05 and should have it by the middle of next week and at the price we paid through a business contact was far too good to refuse. TBH I am still pinching myself in case I am just imagining stuff Happy days ahead
  24. 1 point
    Yes, exactly. The "catch cry" ... of measurements don't tell the whole story .... only applies when you don't take enough measurements... and / or .... misinterpret the ones you have.
  25. 1 point
    Damping is like electric brakes for your speaker cone. Imagine you get a big bass note sending your woofer cone flying in and out, the note stops, the cone wants to keep going. The speaker motor, being a coil of wire in a magnetic field, has now become a generator. If the speaker looks back to the amp and sees a dead short (or close to it) the cone is stopped in it's tracks. This is most noticeable on active speakers. Once you put a crossover between drivers and amp, most of the damping is lost. EG, amp has a damping factor of 2000, woofer has low pass filter (coil of wire) with 0.5ohm dcr, damping factor is now ~16.
  26. 1 point
    Thank you Mick A few from last weekend Open House Melbourne 2013 #1 #2 #3 #4 #5
  27. 1 point
    New German Pallas pressing. Sounds awesome.
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