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Kimo

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  1. These look to be the 2012 masters. Not all of the 2012 remasters were actually remastered, at least according to what I have read. They also used many of the original analog sources and mixes, as well. Some updates were a lot bigger than others. They may have done 24 bit transfers, no matter the source. Hence, some 16 bit masters have ended up among these downloads. The CDs note the source, so it is easy to check. In the case of Uncle Meat, the vinyl purportedly was cut from a 24/96 transfer, but it is not available as a 24 bit download. Jazz From Hell comes a 16 bit source, as noted on the CD, but is available in 24 bit. Best case scenario would be getting 24 bit transfers from which the remastered CDs, were made, but even then many of these files are sort of pointless and not cheap.
  2. Telemann is clean, bold, a little sweet, and very extended. Satie is a much more precise version of Telemann. Spacing and detail are superb. Bass is more textured and lines are easier to follow. Top end is cleaner and just as sweet. For example, when listening to a studio pan of Santana's guitar, with Satie you can tell the precise moment the left channel hits zero. Lennon's vocal on "Come Together" is more obvious via the studio effect than I had ever heard it before. On the Lindsey Buckingham "Gift of Screws" CD the compressed mess of the title track is rendered as different instruments clearly defined and jammed together via compression, as opposed to a compressed wall. It also works well as a balanced passive preamp. No edge or dynamic drop with my phono rig, though it is straight up fully balance input through output. No RCA options in sight. I think it would be crazy not to run the Satie directly into your amp.
  3. Still burning in, but I am a little stunned. Precise placement with instrument spacing, both front to back and side to side. Lock solid on imaging. Neither forward, nor recessed with excellent depth. Low noise floor is obvious. No hardness, no hash. No gloss. Plenty of color, yet very clean with great detail. I am pretty amazed at this point. Sounds better than I can recall, but then again I previously heard a very early unit.
  4. I may give one of these a try, at least to experiment. Perhaps, Waka. I am pretty sure that some of the later titles would have to be 16 bit digital records, though, and hence upsampled.
  5. It is, but it is also serves as a balanced preamp with a very nice analog volume control. It is hand made by the owner, to my understanding, and imported from Germany, so that adds to the cost, as well. I have the matching amp, so hopefully I will be getting maximum bang for the buck.
  6. Both with Zenith Mk ii, Wydor, Alta. Neither with the Statement. Statement is probably beyond my price point anyway.
  7. I will provide details, as the new unit burns in. I have heard both Telemann and Satie into Wydor. They do have different presentations, but both are very clean.
  8. Telemann has already left the building. I did get a chance to compare, however. Telemann and Satie have different characters. Telemann is very lively and bold. Satie is even keeled, digs in a more, and has less sheen.
  9. Down the line, I may upgrade to the III and add the re-clocker.
  10. Innuos Zenith Mk II server and a Sony ubp 800 player for blu ray and dvd. Belkin gold USB cable, and Apogee coaxial. VPI table, Soundsmith cartridge, and Avid Pellar phono stage for analog.
  11. Comes with the standard fare; I suppose. 2 Coaxial, 1 USB, 1 optical, 1 AES, and 1 balanced analog in. Looks like balanced and single ended for outputs. http://linnenberg-audio.de/Manual_SATIE_1.pdf
  12. Thanks. Had to get it to match the amp.
  13. Fully balanced, discrete design, multiple femtos, Sabre 9038 pro. What's missing?
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