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GryphonGuy

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About GryphonGuy

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  1. Sorry for late reply. I have auditioned this Audio-gd HE-9 headphone amp in Kuala Lumpur. Just a stunning presentation. With the original HE-1000 headphones (version 1) the presentation was indeed holographic but these headphones have a tendency to make the soundstage appear about 1 metre outside of your head with resulting loss of immediacy. However the HE-9 presents the soundstage as a deep and wide image. I had my old Sennheiser HD-650's with me and it made me want to purchase those headphones again as the performance of the HE-9 lifted the HD-650's higher than they'd ever been lifted before in performance levels. My only concern is with the manufacturer and supporter being in China, it would be a costly freight exercise should anything need attention. But if you are willing to take that risk, the performance of the HE-9 on headphones is simply sublime. Regards GG
  2. John Atkinson has commented on the Mark Levison 534 review: It wasn't possible for Larry Greenhill, who now lives in California, to ship this amplifier to New York in time for me to measure it. John Atkinson Editor, Stereophile
  3. I still have Gryphon gear but my big rig is Krell amplification 400w per channel Class A into B&W 802 diamonds. Kimber cabling. The DAVE is running as a pre-amp so is directly connected to the AMP. Laptop is HP and feeds USB signal using Roon and HQPlayer combination again through Kimber cabling.
  4. I have had my DAVE for over two weeks. Getting towards the 100 hours mark. I have silver cabling in my system and the DAVE is so engaging I have battled sleep wanting to listen more. Nowhere near sounding digital and bright. The instrument timbres are so real. You can definitely hear and psycho-acoustically feel the emotion in guitars and pianos. Drums (Master of Chinese Percussion album with the first track Poem of Chinese Drums) has no speakers in the room. The many drums are in the room and all their different tones can easily be heard but the sound is musically coherent at the same time especially foot tapping when the drum sticks are hit together and on the rims of the drums. Mind-blowing apparent transparency (I was not at the recording so I cannot state it as fact but boy does it sound real!). This is from 16bit 44.1kHz CD image feeding the DAC from laptop using Kimber KS2436 USB cable. Violins on the 2L free "Mozart: Violin concerto in D major - Allegro" download at 352.8kHz quality is having the violin next to you and able to hear each and every change in the bow direction and it's pressure applied against the strings. But again, musically coherent. They say it gets better with more time. I don't care. It is the best DAC I have ever heard and makes my current system perform like it never has. GG.
  5. Lite DAC83 seems to have a competitor in Audio-gd. The Reference 7 DAC was a competitor to the DAC83 but has now been upgraded recently to the Master 7 DAC. Whilst I have not heard this particular device from Audio-gd, I have auditioned their massively sized Master 9 headphone AMP and if their DACs are anything like their headphone amps, it will be a sublime DAC. I am keeping the Master 9 on the back-burner for myself to purchase once funds are available. Very impressive sound.
  6. I have a Synology DS508 that has been running reliably for over 6 years now operating nearly 24x7. Extremely satisfied with the Synology product and am planning the upgrade to new and supported model. I used to run Seagate Enterprise disks but they have a tendency to fail after a year or two of continual use despite their MTBF numbers of over 1 million hours. I changed to Western DIgital enterprise disks. Not one has failed in the last two years and they run much cooler in temperature and don't have any soft errors in the smart log. So WD disks are flavour of the month for over two years for me. Regards GG
  7. Presumably your system is using 24 bits per sample. If you are happy with the sound that emerges from the up-sampled music then simply be happy. If you'd have asked about down-sampling to 24-bit 44.1 kHz then I would have said yes because you are using half of the source data samples available. But by up-sampling from 88.2kHz to 96kHz, and the mathematicians can prove me wrong here, you will be almost guaranteed not to be using any of the original samples for your listening and then cutting that new data in half...well...my original statement is applicable. That is, if you are happy with that sound, then be happy. But my point is, if your system can't handle 88.2kHz sample rate and you want to listen to as much of the ISO image that you went to the effort of extracting, then I would recommend downsampling to 24bit 44.1kHz. Best Regards, GG
  8. +1 for the Herbies way excellent turntable mats. made my vintage technics TT sound way excellent!
  9. I have a few 45RPM clarity pressings of Holly Cole and I agree with a previous poster that Classic Records didn't do a good job as some of the pressings in the one album are scratchy and distorted in places yet other pressings in that same album are sublime. So when "they" get it right it sounds really great but I don't have the normal black vinyl in the same album cut at 45RPM to test against. The translucent clarity vinyl pressings don't tend to collect as much crud in the grooves as the black vinyl does but that might be because they are one-sided only and I take more care of them since they were about 4 times the price of a regular black vinyl album. GG
  10. Sumiko Blackbird is a spectacular cartridge at the upper end of your budget that extracts maximum lushness and warmth that is in the vinyl grooves whilst somehow minimizing the noise. That's my personal experience anyway. Being a high-output MC cartridge, it doesn't sound too bad on both MM and MC phono pre-amps. I preferred it on the MC circuit of the phono pre-amp with low amplification (which is why the noise might be minimized but that is just a guess). Anyway, worth a try if you can audition one. GG
  11. My SME arm with the Ayame cartridge crushes the top end and sound stage with any anti-skate yet my vintage Technics MUST have almost text-book anti-skate set. C'est la vie! GG
  12. To the OP and back on topic, I had an acrylic "slab" custom cut to 500x400x20mm. I can remember the actual cost but it was around the $150 mark. In conjunction with BDR cones my turntable doesn't seem to audible reproduce external sources of vibration. GG
  13. I might have been a bit hasty and hence made an inexcusable error. I think you are correct. I believe the Lavry and Weiss ADC's have the external clocking capability so that the multi-channel digitization will be all running off the one clock and therefore the samples should have the same consistency or inconsistencies in them from whatever the central clocking is rather than the 3 or 4 ADC boxes each running their different clocks on different channels of the live performance being recorded. Sorry if I offended. GG
  14. You seem to be talking about locking multiple DACs together or simply externally clocking one box. If that is the basis of your argument then I would tend to agree with you as I've already said in my original post. However, my original post is also about having a separate source transmitter "box" to a separate DAC "box". When the two are synchronized by an external clock using the time-based protocols of AES/EBU or S/PDIF, my original statement then comes into play. Also if you are monitoring a raw recording via an ADC/DAC combination then synchronizing both "boxes" via an external clock is beneficial. If the source and DAC is already inside one box and already run by one good-quality internal clock, then that's where my one-box statement comes in and I would seem to be in agreement with you and Dan Lavry. My "magical" statements concerning one source "box" and one DAC "box" are based on first-hand experience. GG
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