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In Reply to: RE: Paasound P 5 (2.1) posted by HiOnFi on April 18, 2014 at 03:20:19
I am told…..here in these boards, that the 'conversion' back and forth has sonic consequences. This is why I'd at least be aware of a TRUE balanced design from input to output. In the least expensive category, the Emotiva ESP-1 IS fully balanced and has recently been 'upgraded' to completely surface mount construction. For about the same money, that may be a contender, as well.
I'm looking right now. The P-5 with a PAIR of A-23s to biamp my panels would certainly be a welcome addition and change from the current 'D' integrated.
Too much is never enough
Follow Ups:
Thanks for the 411 on the EmotivaI'll check it out
I have used the A21 on the ribbons- it is sweeter than my class D W4S
Re: Emotiva pre
Considering they started with a clean sheet, they left out Polarity control Sigh
Edits: 04/18/14
I once did a 'concept design' of a preamp with ALL the features possible.
Tape monitor? yep…with various controls.
Triple tone controls with variable turnover? for sure.
input AND output selector switches. absolutely.
Phono MM/ MC? WITH impedance / capacitance selectors
Lowcut/ Hicut / Rumble filters.
I think I even included a hi-blend control for hiss reduction.
and on and on.
I DO NOT know how the EMO sounds. However, the tone trim controls, for me, would be a reasonable swap for the absolute polarity which I DO have, but seldom (annually) use.
However, I'm SERIOUSLY thinking about W4S STP-SE since it has multiple balanced outputs and I intend biamping my panels with say…..a PAIR of Parasound A-23s……and later get an ACTIVE crossover together and eliminate the in-panel stuff….or bypass, anyway!
Too much is never enough
If Polarity control was on your remote, you would and quite often, even between cuts on the same discs
Many are recorded in various studios, then tossed together
That said, I find bass to be the biggest offender, and the most easily noticed as when it's out he sound is muddy and the sound stage blurry
I gave up chasing 'polarity' a while ago. The miss-mosh of the modern album is off-putting, at best.
And yes, imagine an album recorded at 3 different studios with tracks edited at yet another studio where the final album was 'assembled'.
Not a chance that you've got any kind of coherence here.
Question:
ARE there any standards of wiring / execution in the studio?
Too much is never enough
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