What I find interesting in this interview with Peter Qvortrup is, he is making digital equipment now, but says he improves the sound quality by slowing down the sampling rate. He says (if I understand it correctly) that the quick change of positive to negative in a bit causes a slight overshoot, a distortion, the faster the sampling rate, the greater overshoot distortion. Sort of contradicting the generally held view that faster sampling rates will make digital sound more analogue.
MoFi vinyl with a digital transfer step is like waking up in the morning and fixing yourself a bowl of dry cereal, getting the milk out of the refrigerator, and getting ready to pour the milk into the bowl. You look at the date on the milk carton, and see that it is spoiled.
So you put the milk back in the refrigerator thinking to yourself, "maybe it'll be fresh tomorrow."
Yes I think this is a key difference between listeners, some can spot the difference, some can't. This is why some just don't get vinyl, they are probably lucky and content with their digital.
Yes I think this is a key difference between listeners, some can spot the difference, some can't. This is why some just don't get vinyl, they are probably lucky and content with their digital.
Having done your NL level of compares, and dismissed them, I graduated to comparing systems by using the best analog recordings in analog systems and best digital recordings in digital systems. After that I post graduated to trying not to use any digital for evaluation of a system.
Question. Would you compare apogee scintilla with a SET and Krell? By your logic, Krell and the SET have to be compared in the same system, and not across systems. Or would you listen to a SET amp for the speakers it is optimised on?
There is not a similar level of incompatibility with analog and digital in a system as your SET/Krell on a Scintilla argument. So, this is an inherently false analogy...because there is not that obvious incompatibility.
However, and you probably didn't even realize this, a SET could be optimized to drive 1 ohm loads. It still likely won't have the power needed but it can be done. Allen Wright once made a powerful tube amp with the appropriate output transformer to drive Scintillas. He never made it commercial but I heard it sounding wonderful on Christoph's Scintillas (back when he had them)...better than any Krell that's for sure.
There is not a similar level of incompatibility with analog and digital in a system as your SET/Krell on a Scintilla argument. So, this is an inherently false analogy...because there is not that obvious incompatibility.
However, and you probably didn't even realize this, a SET could be optimized to drive 1 ohm loads. It still likely won't have the power needed but it can be done. Allen Wright once made a powerful tube amp with the appropriate output transformer to drive Scintillas. He never made it commercial but I heard it sounding wonderful on Christoph's Scintillas (back when he had them)...better than any Krell that's for sure.
Yes I think this is a key difference between listeners, some can spot the difference, some can't. This is why some just don't get vinyl, they are probably lucky and content with their digital.
Only tried it briefly on Caliper Signatures...wasn't bad at all...just couldn't play very loud without distress... If you don't experiment, you don't learn anything...
Don't miquote me. I have digital LPs and I have also uploaded Shostakovich 8th Haitink videos on Altec 817 and Uni on digitally sourced LP.
However, they are not as good as good analog LPs and won't be used to set up a system. Does one play digital LPs if they have an analog rig? Of course. Just like one streams relatively lower quality digital recordings if they have a digital rig.
Only tried it briefly on Caliper Signatures...wasn't bad at all...just couldn't play very loud without distress... If you don't experiment, you don't learn anything...
There is not a similar level of incompatibility with analog and digital in a system as your SET/Krell on a Scintilla argument. So, this is an inherently false analogy...because there is not that obvious incompatibility
Don't miquote me. I have digital LPs and I have also uploaded Shostakovich 8th Haitink videos on Altec 817 and Uni on digitally sourced LP.
However, they are not as good as good analog LPs and won't be used to set up a system. Does one play digital LPs if they have an analog rig? Of course. Just like one streams relatively lower quality digital recordings if they have a digital rig.
Don't miquote me. I have digital LPs and I have also uploaded Shostakovich 8th Haitink videos on Altec 817 and Uni on digitally sourced LP.
However, they are not as good as good analog LPs and won't be used to set up a system. Does one play digital LPs if they have an analog rig? Of course. Just like one streams relatively lower quality digital recordings if they have a digital rig.
I have heard, many more times than you, the exact same system. It worked best either tri-amped 211 based NATs or without the subs using the panel full range and a Diva passive crossover. The later Transmitter setup, IMO was not as good.
I have also heard the Studio Grands in question, again many more times than you, and was never in love with their sound regardless of the amps used. I much preferred the Apogee Centaur major with either KR or Sphinx hybrid amp. The Grand also sounded excellent with the Sphinx, Diva crossover, Audio Reseach tube active crossover to the subs with a Krell on the subs. You for sure never heard that setup as it was a long time ago before you probably even cared about hifi.
I have a lot of experience with Apogee and other planars…you have none and nothing to teach me.
Oh I wouldn't dare teach a guy who has more experience than Kenneth Wlkinson recording his ex play a violin in his living room and has endlessly quoted that as recording experience. Or a guy who claims to be techy and says Horning Sati and AS 2000 are similar in design because both are metal. That is advanced perception.
Oh I wouldn't dare teach a guy who has more experience than Kenneth Wlkinson recording his ex play a violin in his living room and has endlessly quoted that as recording experience. Or a guy who claims to be techy and says Horning Sati and AS 2000 are similar in design because both are metal. That is advanced perception
Brad should be aware of the significance of the passage of time, and that in this moment in time, and we all should be aware that for us in every moment of time, and certainly in this moment of time, turntables are made of metal, and one must compare the metal that is to what has been, unburdened by what has been, and realize that in the significance of the passage of time one turntable can be metal and another turntable can be metal, in this moment in time and in every moment in time.
What I find interesting in this interview with Peter Qvortrup is, he is making digital equipment now, but says he improves the sound quality by slowing down the sampling rate. He says (if I understand it correctly) that the quick change of positive to negative in a bit causes a slight overshoot, a distortion, the faster the sampling rate, the greater overshoot distortion. Sort of contradicting the generally held view that faster sampling rates will make digital sound more analogue.
