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barrows

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  1. Yes, but it will not be bit perfect. For example, the ESS chip will convert any incoming bit rate to 32 bits, then apply the volume control. As long as one does not use too much attenuation (but up to even -60 dB is fine if the source was 16 bit) the volume control is essentially transparent. Well done digital volume control is fine, and no one should worry about it! We should also always consider that analog volume control is not faultless at all: even the very best resistor ladder implementation is subject to adding noise and distortion of the resistors used. ROON for example, controls volume at 64 bits, so the volume control itself in ROON will be transparent. But it does require re-modulating the signal to 64 bits, and the modulator might be audible, there is also the possibility that the re-modulation improves the sound as well. ROON is pretty easy to try and listen for yourself, anyway, and see if you like it.
  2. One does not have to use the Ethernet input of course. One is free to use a separate Renderer which does support one's preferred streaming protocol, and subsequently the USB input of the Tambaqui (or Makua, whatever). There may even be a sonic improvement by using a separate Renderer (I have no experience testing the Tamabaqui's Ethernet input). I would also suggest that complaints aside, I think most will find the asking price for the Tambaqui is quite reasonable (even if it had no Ethernet input at all), as the DACs which it competes with sonically are often quite a bit more expensive.
  3. There are some engineering similarities between Mola Mola's and EMM's approach to D/A conversion. Both do the final conversion using a discrete, single bit, converter architecture, at very high sample rate. 100 MHz rate for Mola Mola, and EMM at 45.1584 MHz. Of course both use different approaches for the oversampling engine: Ed Meitner's approach seem to adapt the digital filters on the fly, which sounds like an approach which is rather unique. And then there is the very important analog output stage, both use discrete circuits oof their own design. I have not heard the latest EMM gear, but sure would like to hear the DV2 sometime, i suspect it is right up my alley sound wise! I already know that I love the sound of the Mola Mola DACs...
  4. The 1A supply will be entirely adequate.
  5. This is going to be somewhat dependent on the sample rate one is streaming. And boot up is going to require more current than running it. We recommend a power supply capable of 1A output at 5VDC. In use while streaming DSD 256 (4x) I have about 500 mA current use.
  6. You should be fine. The only potential "problem" with high voltage would be too much internal heat generation, but this would not be a problem under 130 VAC continuous, and peak voltages above 130 are no problem. I am not sure about low voltages, but there is no need for concern with voltages at 110 and above, if one has AC line voltage in the US consistently below 110 I would advise contacting your utility company.
  7. Would this be for the 5 VDC output version or the 7 VDC output version? I would have to check, certainly voltages above 130 VAC should be avoided for the 115 vAC US version.
  8. Haha, hello! While I am willing to talk about sound quality when it comes to differences I think are obvious enough (like going from copper based Rendu systems to System Optique) I stick with Sonore's policy for things which may, or not, affect sound quality such as new software like 2.8. I have no opinion on this, and have only heard 2.8 briefly so far (my cards are on the way...). As far as i know, most Sonore SO updates are to address operational issues, compatibility issues, and to add new features. Hopefully the SO operating system is already robust enough to provide the best sound quality possible, on 2.7 and 2.8, but if people report differences, I'd be interested in those reports.
  9. Nope. If one gets their original Signature Rendu SE upgraded to Signature Rendu SEoptical tier III status, they will have exactly the same unit as if they purchased the Signature Rendu SEoptical tier II today. the only difference will be in the chassis, the new chassis has a slightly better fit at the optical input, and has slightly different graphics on the front panel (the lettering on our new chassis are laser etched instead of being silk screened-it is a subtle difference, but to my eye the new ones look a little better). We at Sonore understand that folks invested a fair amount of money on our Signature level product, and when possible we wanted to be able to upgrade them to the new optical system without compromise. In the tier III upgrade, the entire power supply board is replaced with the "Turbo" version, and the entire main board is replaced with the new optical board, all that is retained is the chassis, AC inout wiring and filter components, the transformer, and the LED board on the front panel.
  10. Hey 4est, I love your input here, even if I do not always agree with your approach to getting the best sound, it's all good! But the above statement just is not true. There are plenty of examples where adding another gain stage (or active element) to the circuit actually reduces distortion. But I agree with the premise your statement is based upon: In other words: The sensible approach is to have just as much gain as is necessary, with, perhaps few dB additional for "special cases" (like extraordinarily low average level recordings) and no more. I do not think anyone here is espousing adding a lot more gain, just to throw it away later via attenuation! That is certainly not my point, or I am sure, mansr's. My original post was have higher gain in the source, and lower gain in the power amplifier, such that the level traveling between components was a bit higher, making that passage through the cable more robust (more resistant to noise from outside sources, less sensitive to cable design). Of course just having a bunch of "extra" gain in a system is deleterious, and this is a more common problem than what Chris is having. It is great that you have plenty of gain just connecting a tranny to the output of an ESS chip, but in my system this approach would not work, as I have reduce the signal by 5-6 dB before oversampling to DSD 256 to avoid clipping, I need that 5-6 dB back, so it has to come from somewhere. I increase the gain of the output stage of the DAC to accomplish this, but I do not add additional gain stages, I just increase the gain of the existing gain stage. And for everyone, the topology of most commercial DACs allows for 6 volt output (balanced) just by increasing the gain of the final output stage, usually this can be accomplished without adding any additional parts. We are not talking about some huge increase here, most commonly used discrete circuits or IC opamp based circuits can run at 6 V output without difficulty.
  11. Cool! i am looking forward to hearing your thoughts on the comparison. Also a little bit on how the Ayres compare (just generally) to typically, more expensive DACs.
  12. I agree. Of course i use digital volume control in my DAC, so the additional gain would be after the volume control and I drive amp(s) directly. I prefer to have a stout gain stage at the output of the DAC to drive the input stage of the amplifier robustly. But I am not in favor of adding extra gain stages, just as many as are needed (no preamp). I personally will not use a preamp again (until I am retired and, maybe, spinning some vinyl for nostalgia's sake!). I am not suggesting a lot of additional gain either: say we standardized amplifiers such that they all produced full output with around 5 volts input. Benchmark basically goes for this approach with their products (Pro heritage). There is no reason analog sources like tape decks could not also have this output level, to their benefit, and built in volume control before the final output driver stage. Turntables are their own world and require so much extra "stuff" (gain/equalisation) they are in their own world. The theory is that, in general, a higher voltage "line level" signal would suffer less loss in transmission, and be less subject to degradation by interconnect quality and noise pickup (airborne RF, etc). Anyone who has played around with turntables much knows how frustrating noise can be with low level signals. Ultimately though I think we should move to a more simple set up. Current technology is so good with class D amplification, and the best SMPS that it makes more sense than ever to go with single box solutions. I am itching to conceive and help design a single box DAC/AMP, eliminating external interconnects entirely (and gain stages, no need to drive cables). Just ethernet input, and speaker output. I know audiophiles who are into "system building" will not accept such an approach, but the stuff I have been playing with for the last few years just begs to put together this way. Powered speakers are of course another way of doing a similar thing, but i am still not convinced about sensitive electronics being inside a box with that much vibration. At least the single box DAC/Amp leaves some flexibility for audiophiles as well (speaker choice can be so critical).
  13. Hi Chris, DSP in the digital domain often requires a reduction in gain before processing in order to avoid clipping. I know in HQPlayer or ROON I have to apply -5 to -6 dB before oversampling to DSD in order to avoid clipping. -6 dB would require a doubling of the voltage to compensate. So a de-facto "standard" of 2 V now would have to become 4 V. Then, as you mention, some audiophile recordings require a higher gain setting due to their lower average recording levels. I adjust my (DIY) DACs' output stages to put out around 4.4 V or so in order to have adequate gain in my system. My amp requires a 2 V signal to reach max output, but it will do a little better than that as well. Sometimes very powerful amplifiers will require even more voltage to reach full output. With this set up I run my Volume Control anywhere from -3 dB to -20 dB depending on material, so this gain is about right for my system. Generally best sonic results will happen with the least amount of attenuation, but some of this depends on the volume control implementation itself. And then there are amps with require far less voltage, or one could have the combination of a very sensitive loudspeaker, say 8 ohms and 94 dB and a powerful amp, and then they might have too much gain. I think home audio could be better with higher voltages all around: in other words make the amps have less gain, and have the source have a bit higher signal.
  14. Adrian, the Sonore VP, uses the M21 as his personal DAC in his home system, he has made this comparison and prefers to use the Signature Rendu SEoptical into the M21. He also removed the M21's Ethernet processor board (it is simple to do) to remove it as a noise source internal to the DAC. We did not do this with the show sample for RMAF, as it was a loaner, and we already knew from Adrian's own testing that the Bricasti's Ethernet input, while good, was not as good as using the Signature. My experience is that in many DACs right now, the Ethernet input is not up to the same standard as we at Sonore are with the Rendu series products, this is not surprising, considering how long it took DAC makers to figure out how to put really good USB receivers in their DACs. I am sure we will see better Ethernet implementations in DACs in a few years, as DAC makers figure out all the details of Ethernet. The one DAC I have heard with a built in Ethernet input that was really good was the Linn Klimax DS... this is not too surprising considering how long Linn has been working with ethernet inputs, although they still have sample rate limitations. One thing Linn does is have the Ethernet processing board shielded in its own compartment in the DAC (the chassis is milled from aluminum block, so allows for very good internal shielding by making separate internal compartments with thick walls) and they power the board from their a dedicated supply internally. BTW, The Bricasti M21 is outstanding! Be sure to listen to the Native DSD section and the R2R DAC for PCM. This is one DAC that seems to be able to eek out all the details, while remaining very natural sounding, with great drive and dynamics. It is also fantastic driving amplifiers directly using its own volume control.
  15. Every customer who has used the Sonore Power supply 5VDC on an upstream oM has noted improved performance vs. any other supply they have tried. The theory for this goes as such: the opticalModule incorporates a femto level main oscillator for the Ethernet signal, and John Swenson has a theory as to why the upstream clock's phase noise matters. Many users report improved sonics when an upstream Ethernet clock is upgraded. So, then, clock performance is very dependent on having a perfectly clean DC power supply, inside the oM there is an ultra low noise, linear, regulator feeding the clock, but even so, the main power supply feeding the oM appears to matter as well. We have been selling a lot of these supplies for both oM users, and Sonic Transporter customers who are having the internal oM installed in the ST. Now, directly to your question: is the difference "obvious", so far I have not heard of anyone who has tried the Sonore supply for the oM who has not reported an improvement... On the other hand, only you can decide what is "obvious" to you in your system, and it would be presumptuous of me to suggest that this difference would be "obvious" to you. BTW, a little more about these supplies: They are hand built to order, by me, here in my Colorado shop. The 5VDC version is different from the 7VDC version (the 7 VDC version is designed to suit the needs of the Rendu Series), it is designed specifically to suit the needs of the oM (but of course will work fantastically for anything needing 5 VDC at 1A or less). This supply is fully linear in nature, with toroidal transformer, ultra low noise soft recovery diodes, high quality metal film and thin film resistors, high quality long life filter capacitors, and an ultra low noise, ultra low output impedance, discrete linear regulator circuit. We developed this supply to be as affordable as possible, while still offering near Signature Series level of performance, without resorting to Chinese production or mass production techniques. Everything is hand soldered to a very high standard.
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