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miguelito

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About miguelito

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  1. LET ME SAY SOMETHING ABOUT QOBUZ HERE... I subscribe to Sublime+. It is $249/year. And hi-res purchases from the Qobuz store are discounted for Sublime+ members, often 1/2 price of regular hi-res and lower than the redbook version. Since I buy most music I like (it disappears from streaming pretty often!), the discount basically pays for the Sublime+ subscription many times over. GO QOBUZ! PS: Don't tell me you didn't expect a whining post!
  2. Hi all, With all this "Quarantining Fun" I am intrigued by: 1- What live streaming sources you use (eg live concerts)? 2- How do you maximize sound quality and do routing of the sound to your hifi if different from normal listening? 3- If stream has video, what's the setup? Let me know!
  3. You can come to NY and listen to mine - when the covid crazyness is over.
  4. That's Angela Lisi at angie (at) americansound (dot) com. When I wanted to listen to these I went on Audiogon and asked for help. An audiophile in New Jersey offered to have me over so I rented a car and drove to Princeton to listen to them. Even in NYC, it is hard to listen to the bigger AG. That's even with the AG distributor being NY based at the time (2013).
  5. Honestly, if you get some Avantgardes, their sensitivity is around 105 dB/Wm so frankly you will never play more than 1 watt or so... :)
  6. I have heard that the Kaguras are not as transparent as the Ongaku.
  7. I don't know what they are talking about... But the Kagura amps, I believe, are SET 211s and put out 50W: https://www.audionote.co.jp/en/products/power_amplifier/kagura-i.html
  8. How do you get 45 watts out of 211s in SET mode?
  9. I am in NYC. My full system: http://goo.gl/66fjxw The AG guys are really very nice.
  10. It works. My read is it detects a transition in between word clocks (how a 1 is encoded, or no transition means a 0) but after that that 1 or 0 is clocked with the master clock rather than a recovered clock. It can also be set to recover the clock from the audio signal of course. The "proper" use of the master clock is to clock the entire chain. When used with a transport or a network bridge, it would clock source and DAC together avoiding clock recovery from the SPDIF signal. This method guarantees no dropouts because everything is in sync whereas the buffering and recovery based on those transitions can produce a glitch. For the record, dCS recommends against setting the system to clock this way with an SPDIF that is not driven by the clock. But I can do whatever I want.
  11. My understanding is it is simply clocking with the dCS clock and reading the bit transitions (for a 1, or lack thereof for a zero) off of the SPDIF signal. Those transitions need not be smack in the center between clock transitions. That's at least my read - it works.
  12. That's my experience as well: one of my sources is a ChromecastAudio dongle, going into a dCS Rossini+Clock. If I set the Rossini to use the dCS clock instead of using the SPDIF signal, I get better sound. I have never experienced a glitch so far - not one I have noticed anyway.
  13. Ok, understood. If you're doing a rip that's different. I was considering the case where HQP4 takes the toslink input and sends it to a DAC over USB or NAA. In that case you need to buffer somehow and my question was how you deal with a buffer under/overrun. If you wait for the buffer to have the entire track then that's obvious, but is that the case?
  14. Thx @Miska... We had discussed this before. Remind me how you deal with a SPDIF source? If the clock of the source does not match the destination (which is always the case) how do you ensure your buffer at destination doesn't either run out or get full? What I would have done is both run the transport with the DAC clock AND reclock the datastream at the DAC. Since the clocks are in sync, there will never be an issue of buffer under or over flow.
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