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Jeremy Anderson

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About Jeremy Anderson

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  1. Another nice find! I totally missed this entry by Darko. Economical and it has potential!
  2. Nice find! Believe it or not, I actually spent a bit of time doing searches for such things after the Artesania Damper won my ears over. I mean, it's fabulous and all, and I don't regret the purchase one bit... but if I consider the cost of outfitting a whole rack of gear with such things... it's gonna add up quick! A blank disc would need a smidge extra work, like a nice foam pad to keep the steel disc from marking up the surface beneath... even so, far cheaper than the Artesania Damper and similar in concept.
  3. So, fun fact... the images aren't showing up for anyone but me, it would seem. Hazards of copy+paste. @The Computer Audiophile, I can't seem to edit my post. The site is telling me it's been too long... which seems an odd limitation to impose on an author. πŸ˜‚ I have all the images staged here on my PC ready for re-insertion, but I need the ability to 'make it so'... suggestions?
  4. Agreed... I found the ultraRendu benefitted more from the damper than the Qutest (which already feels like a hefty, if diminutive, brick in your hand). It's possible that with a better resonance sink on the bottom of the Qutest (say, some Sort Kones or Stillpoints) that story would change... but then with the Damper on the top I can't see the pretty window that reveals the resolution anymore!
  5. My ultraRendu is many things, but heavy enough to sit squarely with 3 audiophile-grade cables sticking out the back is not one of them. I got to thinking that tossing something heavy on top of it would stop it from rearing up like a scared stallion, and might even improve sound quality a smidge. To this end, last October I asked Jeff Roland of Audio Philosophy to ship me something small enough to fit on the ultraRendu, heavy enough to do the job, but soft enough not to scratch it, and ideally more auspicious looking than an old brick (the latter being a stretch goal). πŸ˜‚ Several weeks later (not Jeff's fault -- the package was drop-shipped to me by an Artesania distributor), an unassuming Priority Mail package arrived at my door. ~~ UNBOXING ~~ Inside the diminutive box was a mystery covered in bubble wrap: Inside the wrap was something even more mysterious! ... a bit of cloth with a rather awkward stain on it. What an oddly shaped thing. What could it be? Is it the tell-tale heart? Or a salvaged kidney? A dirty diaper? (Sorry if that's crass. As a parent of small children, my mind sees that shape and goes there immediately). With a lump in my throat, I carefully unwrapped the package to find... ... a 4" Damper from Artesania Audio! ~~ SIZING IT UP ~~ My fears tamped down, I proceeded to place the hefty helper upon my ultraRendu to evaluate the fit and feel: Well, what do you know? It's a perfect fit! And the little foam pad on the bottom keeps all fears of scratching up the component beneath it at bay. It affords easy placement and confident adjustment (just slide it around, twist it, nudge it... at worst all you're doing is cleaning the surface, so long as you didn't trap any grit in-between. Et voila the goal is achieved! At 3 pounds, there would surely be no more rearing of my Black Beauty! ~~ LISTENING ~~ Oh, sure, it looks sharp... but [how] does this thing affect the sound? I queued up a number of things and did a few hours of Damper-off, Damper-on listening and re-listening... What follows are the standout moments: Track: San Jacinto, 3:27-3:40. Without the damper, the drums in this section seem to break up more. The timing seems a bit smeared, to borrow from Ken's parlance. With the damper in place, the drums tighten up and the mix overall is less muddled. This is a really crowded mix, but the individual instruments top to bottom became a tad easier to follow. Track: String Quartet, 'Heiliger Dangesang' from Op. 132 Without the damper, I thought this sounded really good. Certainly as good as I've heard it, and I've heard it a lot. As an aside, the Chord Qutest and an ISO REGEN really do make for a stellar combo. :^) With the damper, the sense of the volume of space they recorded in (a lofted church) is increased. There's a bit more nuance and texture to the instruments, and their relative positions in space are more clearly felt. What was good is now better. Track: Just a Little Lovin' Without the damper Shelby's voice is sharp and forward and Kevin Axt's hand movements on the bass are a bit softened, if not outright veiled. The bass is good, but a little tubby on the bottom end. Greg Field's delicate drum work actually sounds quite good. With the damper, Shelby's voice relaxes and softens. Kevin Axt's bass work is more clearly defined; even the sliding of his hand along the neck of the guitar is easily heard. In the latter section, his work is much easier to follow, and there is more tautness, punch, and weight to the bass. Greg Field's cymbals have a sheen and shimmer to them that just brings his understated kit work to life. Wow. Track: Break Bread Without the damper, the thunder peel that opens the track seems to lack authority. It seems more distant and less full than you'd expect from thunder. The drum roll at 0:40-47 is a bit smeared. I can hardly make out the strikes and the sound from the drum bodies just muddles together. His main vocals sound fine, but some of his backing vocals get lost in the mix or become difficult to follow. With the damper, this track opens up quite a bit. The thunder roll at the start sounds even bigger and rolls on and out like actual thunder. It still lacks the feel-it-in-your-bones that real thunder gives, but that's probably due to my listening on headphones (HiFiMAN HE-1000s, first gen). The percussion work is tight and crisp -- I can hear the membranes on the drum roll and the strikes don't get lost in a jumble like it does without the damper. Guitars sound clean and bright, and there's more punch accompanying the attack, and more voicing of the pick on the strings. Vocals are trademark Josh, lilting and soaring while open and airy. His backing vocal tracks are easier to find and follow in the mix. Track: You Are the Beauty Without the damper, this song is just plain fun. Great harmonies, a driving, stomping, raucous beat, people clapping along paired with up-tempo strumming and tambourine slapping. Michael Gungor's guitar work starting at 2:40 to 4:20 is just awesome! With the damper, I've got goosebumps just from the intro. Everything comes into better focus, there's more room in the concert hall. Mostly I just want to get up and dance! (Warning: I'm not much of a dancer). The guitar work gains added presence, depth, and texture, along with tightening of the transients (especially pick attacks). Less smearing overall. Heavier drums. Bigger sound overall. I feel like someone just pushed the "epic win" button, especially as we move into the end of the track (5:00 to the end). I forgot how much fun this album is! The following track, Heaven, is just bluesy, funky bliss. ~~ OTHER OBSERVATIONS ~~ It could have been my mind playing tricks on me, but I thought a number of times I heard the effects of the damper briefly after removing it, and it would sometimes take a second or two for it to "kick in" and provide the same level of enhancement. I wonder if this is due to the RFI reduction they claim it performs. Perhaps it takes a second or two to "soak up" excess RFI in an area and then, once it's applied, it takes the device a second or two to build up enough RFI for it to start impairing its own functioning? I'm reaching here, but it was a semi-repeatable phenomenon, reliable enough that by the end of my listening time I was waiting a second or two between each comparison for things to adjust. ~~ PUTTING A (SLIGHT) DAMPER ON MY ENJOYMENT ~~ If I could offer some areas for Artesania to improve upon, they would be: Fit and finish #1: The sticker logo sticker on my unit is off-center. Fit and finish #2: There bits of debris trapped under my sticker. It's a glossy sticker, so from the right angle, it looks like mine has a bit of acne. For the money ($200+ each), I'd hope for them to have developed a more reliable process than hand-labeling. More importantly, I would have hoped for them to perform the labeling in a dust-free box to avoid trapping debris under a glossy label. If they have to hand-label, then at the very least they could perform a little better QC to ensure they don't ship out glaringly imperfect units! That said, having seen this little puck of joy nearly every day for six months now, I have to admit I don't notice the flaws anymore. Much like a loved one, you learn to accept these little blemishes because you value who they are so much more than what they look like. The flaws won't help the resale value, of course. (But I don't plan on letting mine go). Finally, I must admit that was really hoping for a nice product box. Maybe something with the Artesania logo on the outside and a bit of shaped foam inside to cushion and protect the damper in transit, all while making for a nice unboxing experience, along with the knowledge that someday, should I move, it has a perfect container. Let's be frank, though -- anything would be a big step up from the dirty cloth diaper and bubble wrap that it actually arrived in! πŸ˜† ~~ CONCLUSION ~~ Despite the cosmetic issues with my unit and the mundane packaging, I'm giving the Artesania 4" Damper the VERY FIRST Captain Jean-Luc Picard Seal of Audio Approval!
  6. PM sent (just in case Downtheline changes their mind).
  7. Apologies if I missed it -- did you post your impressions of these two yet? I'm considering either an SR4T or a Super3 and would appreciate the notes of someone who has tried both.
  8. Looking forward to those details. What a great shot!
  9. Great cause, great prizes. What’s not to love?
  10. @vortecjr is the entire High Capacity / local playback project cut or just on leave? πŸ™‚ The link you provided on the first page (https://www.sonore.us/SonicOrbiter-OS.html) is now a 404, and if you instead go to the http://www.sonore.us homepage and click the link at the bottom for the SonicOrbiter OS, you are taken to SGC's website, which seems to make no mention of a high capacity option... In related news, it would appear that Chord just announced their '2go' device which functions as a streamer and also provides up to 4TB of local storage for playback via SD card... https://www.whathifi.com/us/news/chord-electronics-2go-and-2yu-bring-streaming-to-hugo-2-and-other-dacs. Sounds very familiar, no? We'll have to see, but interest in this local playback feature might warm up as current Chord + Rendu owners (such as myself, I have a Qutest and an ultraRendu) consider what they have on-hand vs. what Chord is now offering.
  11. Thanks for the clarification, @elan120! Looks like the graphs you found stop short of the actual amperage requirements (although one could extrapolate). Assuming each device is consuming ~1A, and there are three of these in parallel on each board, then it stands to reason that we'd be looking at ~330-350mA per IC, or 250mV typical drop-out voltage at 125C which is crazy hot. I'd much rather see temps peaking at 40-50C on my "warm" electronics (but 25C is way better if ambient temperatures and passive dissipation will allow for it). That's closer to 220mV dropout... which maps to the blue line on the left graph and the green line on the right graph. Am I reading that right?
  12. Thanks, @seeteeyou! I'm curious, earlier up you said: I'm scratching my head a little about the difference between the -0.5V and the -2.0V. That's a big swing. I'm looking to shore up the power for a Chord Qutest with one of these. At present it's receiving 5V 1A on the supply side (via an LHLabs LPS4 Linear PSU), and there's an ISO REGEN on the data side being fed at 7V by an UltraCap LPS-1.2. Looks like both of these regulating supplies top out at 1.5A, and the LPS-1.2 outputs 1.1A, so in theory I could add extra regulation to both of ends... (though I'm inclined to wonder just how much extra regulation either of these supplies need, if any).
  13. Great questions. In addition, I'm hoping @romaz or @seeteeyou can shed some light on the purpose of the "Pre-Regulator Out" setting on the DSC model... Is it better to set both the pre-regulator out and the output voltage to the same value, or should the pre-regulator out be higher / lower by some factor to achieve the best result? What's the rationale behind the selection? Thanks!
  14. Yes, I agree it's very clunky and requires it to be changed on a track-by-track basis, and even then it's not (bit) perfect. (I tried to say as much in my post -- sorry if that didn't come across clearly!). 😎 Currently, Amazon Music on Windows 10 only supports Shared Mode playback (aka the Windows kernel mixer), which does just as you say... it does the math to re-sample and mux together every shared-mode audio source in the system to the selected output resolution: it samples up, samples down, applies various boosts and corrections, etc. As such, it stands little chance of being "bit-perfect" unless the bit depth and sample rates match the source *and* no other sounds are happening in the system *and* there are no psychoacoustic filters applied (room modes, bass boost, etc.) *and* the volume is set to 100% on both the source and on the system output... and even then, it's probably a crap shoot. WASAPI Exclusive Mode or ASIO are much better options, if/when Amazon gets around to support them (I wouldn't hold my breath for ASIO, but WASAPI is trivial to implement)... Which is why I urge everyone who uses Windows 10 to call Amazon, ask to speak with an Amazon Music specialist, and then say you're calling to request that the Developers add 'Exclusive Mode' playback to their Windows 10 application! 🀩
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