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About Steffen

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  1. Nobody buys a container load of speakers from Thailand, that's probably what drew customs' attention.
  2. Looks like another industry consolidation is about to happen: https://www.engadget.com/2019/05/15/sound-united-buys-onkyo-home-audio/ I can't say that this feels like good news.
  3. Compared to what? Spinning a CD? Having a string quartet play in my room? 😁
  4. I'm using Audirvana on the Mac, streaming to a Yamaha WXC-50 DAC via UPnP. This takes care of all my DSD, FLAC and ALAC tracks. For tracks from Apple Music I use iTunes, also streaming to the Yamaha DAC (via AirPlay).
  5. Yeah... Pretty much nails it, I reckon.
  6. I've been pigging out on Channel Classics lately, my most recent DSF acquisitions:
  7. In case you decide to split, I would like to put my name down for the following CDs: Mozart - Exsultate Jubilate - Kirkby/Hogwood Mozart - Requiem - Hogwood Mozart - Don Giovanni - Östman Hummel - Klaviertrios - Trio Parnassus Borodin - String quartets Vivaldi - Concerti - Pinnock
  8. Mind you, digital vs analog attenuation is still small fry in the bigger scheme of things. I was just making this argument to counter the notion of digital attenuation being harmless to the signal – it's anything but. However, before polishing asymptotes one needs to get the fundamentals right. For example, I wouldn't worry about digital vs analog volume control before putting some effort into room treatment and speaker placement. In your particular case I would question why this attenuation is required in the first place. A stock standard player should not overdrive a stock standard amp. It seems to me that something is out of spec. Perhaps the tube buffer produces more that 1dB of gain? Perhaps the player or amp need to be checked? This might be worthwhile investigating.
  9. I know that's what I'm doing. The software I use for digital playback (Audirvana) and my streamer clamp the digital volume at max all the way through, volume control is only possible at the amp, using the analog volume pot. I don't have an overload situation to contend with, thankfully.
  10. Yes, I reckon that using a simple voltage divider made from matched, low-noise resistors will be sonically transparent, compared to applying digital attenuation. The resistors will need to be chosen sensibly, so the load impedance for the source isn't lowered too much, and the source impedance for the amp doesn't go too high. Neither of them are overly critical, since sources are usually quite low impedance, and the input impedance of amps is usually quite high. There is no impedance matching at audio frequencies between sources and amps BTW (referring to an earlier post in this thread), the impedances are always very different.
  11. I would suggest that applying digital attenuation to a 16bit data stream is a bad idea, and probably the worst way to go about it. There simply isn't enough resolution in 16bits to allow for this, without introducing significant changes to the resulting signal. Staying "bit perfect" is a good idea, especially with 16 bits, when you consider that the least significant bit, which will get rounded up of off during any mathematical operation that results in an attenuated signal, is indeed insignificant at max level (it carries only 0.0015% of the amplitude value in 0dB samples), but carries 1.5% of the signal amplitude in -60dB samples. If you mess with that you will lose resolution at low level signals. Also, consider that digitally attenuating by -20dB reduces the mantissa length from 16 bits to 13 bits. You're throwing away 3 bits of resolution and you're never gonna get them back. If you're dealing with 24bit data then things look a lot nicer, which IMO is one of the primary benefits of hi-res digital audio.
  12. Welcome Deena. I'm from Western Sydney, too, and like you have been distracted by HT in the past several years. With recent changes in space requirements around the house I have now received the go-ahead for separate HT and music setups. I'm looking forward to that
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