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Pusteni u pogon...

Nisam ni ja hteo 2 kom jer stvarno je preskup, cak sto vise shipping i ostalo... Ali probao sam jedan i nisam mogao da izdrzim za drugi, brutalan bass!! Sklapam sve danas bice jos slika.

Da bi terao M2 sto bolje uzeo sam njihova resenja: BSS Blu Usb kao source: Ima samo USB input i Blulink output Harman resenje... https://bssaudio.com/en/products/blu-usb Od toga ide digitalan signal sa Cat kablom na aktivne Bss Blu-100: https://bssaudio.com/en/products/blu-100 i BssBlu-50: https://bssaudio.com/en/products/blu-50 Digitalno se obradi sve do samog kraja pa nastavlja sa 8+4 analogne izlaze. Za M2 koristim samo ovaj Bss Blu 50 posto ima 4 kanala, posle signal nastavi direktno na Power amps znaci nema predpojacalo ili mixeta. M2 nakon dosta probanih pojacala najbolje radi sa Hypex Nc 502MP- 2 komada Treba da pomenim da bolje radi vertical biamp verovatno zbog mnogo razlike u impendaci izmedju drivera, znaci stereo pwr amp za oba. Pa od aktivne Bss blu-100 na Crown Macrotec 5000vz i na Jbl sub18, e sad tu ima posla treba merenja, probe dok se sve slozi... Ima i Danley Sub DTS-100 pozadi ne vidi se u slici: https://www.danleysoundlabs.com/products/subwoofers/specialty-subs/dts10/ Na njega je povezan Crown XLS-2502 Bridge modu. Tannoy je povezan na komplet drugi sistem: PC-Geek pulse DAC-Tube preamp-siSsy power amp made by ZenMod samo za tannoy driver ali sam dodao i Jbl 2405 supertweter, i dole za basove Crown Xls 2502 za AE TD15H za koje imam sasvim drugi projekat ali jbg previse toga i za mene...

Ima ovo https://hifi-express.com/products/loxjie-d50-ak4499-mqa-dac

imalo se malo vremena pa se malo radilo. zavrseni kabineti, to jest sklopljeni sa novim prednjim maskama. uradjene i skretnice, trosistemske 6/6/18 dB, 1000/6000 Hz, sa zobel-om za bas i potom za visoke, kako bi rekli high range. promenjeni i banana terminali - stari Hirschmann sa novim pozlacenim. stigao i do Vidikovca, kupio srafove za drajvere, ali u zurbi uzeo greskom kratke za pufere (za midhigh i superhigh su o.k.) ne mari, ici cu ujutro ponovo i taman da svratim do radnje sa svinjarijama duzem 2 pogacice sas cvarci. (provereno 100% sigurno najbolje pogacice sa cvarcima u Beogradu) nastavak sledi, naravno.

Pripremam se za letnju sezonu-popravljam ledomate

Neka moja vikend improvizacija, supertweeter od Vife Kineske. Nije baš ni supertweeter, ako nisi dovoljno mator. Bolji je efekat kad se okrene pozadi. Skretnica su dva kondenzatora, i kipp prekidač za izbor kondenzatora.

Nisam video ovaj DAC! Odličan predlog. Hvala.

Samo se ne treba pecati na marketing i to je to, poslusati sta kazu ljudi po forumima. Ovaj sto je @zek predlozio ima jako dobar review i po forumima i na youtube! Kod WEILIANG AUDIO DC-400 ne volim sto su "trough hole" komponente - vece sanse da pokupi noise i to miksovanje vodoravno-uspravno na gerber ploci, tako da glas ide na Zek predlog.

pocelo i "furniranje". zid od cigle dezen. uradio levu i desnu stranu na jednoj kutiji, nestalo lepka. inace, lepak se trosi sumanuto (sreca pa nije skup ). Moment Fix Wood, moj omiljeni za te stvari.

I od jeftinijeg boljeg ima jos jeftinije bolje

Dali ima bolje za ove pare https://www.aliexpress.com/i/4000308097258.html

Od jeftinijih ak4499 Breeze audio DC400 WEILIANG AUDIO DC-400

Grone opisi koja i kakva pojacala teraju sve te zv.kutije .

Da je neka analogna elektrika, jako lako bi nasli mesto u cenovnom asortimanu, otprilike je jasno sta ide u segmentu do 1k$, pa do 2k..i tako odvajanje segmenata po zelji ili po nasledju. Za digitaliju je to mnogo slozenije i nezgodnije, cipovi napreduju brze nego sto marketing obradi kupca i usadi mu kriterijume i zelje, zatim su tu i influenseri sa nesto sluha, koji primete da razni hajpovi i ne funkcionisu superiorno u praksi, dodavanje neobicnih sklopova ne moze da ima skok u ceni kao kod analogije, i sve to donosi problem cottage industrijici, koja bi sa malo resursa, najmljenom snagom i delovima iz "kine", promuvala na trziste marketinski (polu)obradjen uredjaj sa zamasnim profitom. Dok sprava ukrti, i nadje svoj hlad na trzistu, eto novi cip, eto nekog kineskog klona koji forsira neprijatno nisku cenu, ili mocnijeg u klasi cene...eto novog talasa o trafoima na izlazu, ili lampama...seoba detalja iz viseg segmenta(a koji naravno uvek bolje zvuce, jery nista nije lose zvucalo a skupo ), i jos crnje, eto i potrebe da se uce softveri i kupuju jig-ovi za programiranje ... Otprilike je to moj pausalni stav o digitaliji, posmatrajuci razne produkte, od PC maderborda do merne opreme, novih generacija, pa preslikavanje na DAC, na strimere, na svu tu digitalnu kolekciju, pa i plus malo mode i dizajna, i ne zelim da neko pomisli da ga namecem, ali bih voleo da ga argumentovano promenim. A nije lako, nije lako da primenim na sebi willful ignorance...

Gryphon Mephisto pure Class A

a sta fali preterivanju? nista ........

Evo vam jedan lep i koristan pdf. Ako je visak obrisite, ja mislim da nije Application_note_en_20210331_AKX00049.pdf

Trenutno najbolji njihov bas za sub. Na zalost previse je para da se upustim u tu igru.

"During December 2020-July 2021, COVID-19 vaccine recipients had lower rates of non-COVID-19 mortality than did unvaccinated persons after adjusting for age, sex, race and ethnicity, and study site," they wrote. Nisu adjustovali po glavnom faktoru, IQ. Mada ostali faktori donekle to adjustuju.

stambriga, ja trosim samo Onetics i Motalo signal trafoe od mreznih Trafomatic a od lanapa samo Ruske a zvucnjake odsad samo kod Alexa kupujem

sreca pa nemam mnogo slobodnog vremena inace ...

Da ne bude da samo jurim srafov, tiplove, grede itd. Inace Geto je poceo sa radom pa ako ste u prolazu svratite na toceno

Ama onaj japanski DAC je kraj krajeva. Ima bre 7 order noise-sharper - podesavanje apsemplova do 10Mhz Two dual power supplies, two dual ES9038PRO DAC, two dual discrete I/V stages. Filter bandwidth adjusment. Filter Shape adjustment (Fast Roll-Off Linear or Minimum Phase or Hybrid) . THD compensation adjustment. Digital volume, Noise Dither ON-OFF, De-emphasis selector, Jitter Elimation ON-OFF. Master Trim setting, SW check and update, Frequency Calculator, DSD Bandwith set…. Diskretni IV Convertor 2SC1815 , 2SA1015 , 2SC1815 , 2SC3421 , 2SA1358 Mislim da Zenov Pampkin ima sličan broj fetova http://www.easyaudiokit.com/bekkan/manual/RenewDiscreteIV.pdf http://www.easyaudiokit.com/bekkan/manual/DAC9038DManual.pdf Kapiram da je podešavanje ovoga za svaki album ritual

Evo posta Allan Shaw pa zaključite sami. Meni je sve jasno a i fizika nije zakinuta. Posedujem i sam Dynaco ST-70 i volim da ga slušam ali sa aspekta fizike Shaw je u pravu. ALLAN SHAW post Amplifier specifications - our very best friend. An explanation for the non-technical teenager. Rather than return to the office after our break, I'm going to have one, hopefully final attempt to convey the essential point about amplifier sonics. It's a fair point reported earlier thin this thread that 'ordinary folk can't understand the Stereophile technical graphs', so let see if we can demystify them. CAVEAT: I have used as data the two links that were posted by ordinary contributors in the thread above. I could have gone hunting for any number of alternatives, but this saves time. So I cannot say, and will not say, whether these are typical of what's available in amplifier land nor pass comment on their designer's philosophy or commercial acumen; I'm just recycling what went before. We start with cleaning up the printed technical graph of the tube amplifier (Graph A) to simplify for the non technical reader. It looks like this now: I've added underneath a piano keyboard for those more familiar with musical notes than technical frequencies. Ok so what? We see a line (a graph trace) that wiggles up and down as it traverses the piano scale, and beyond. Remember: there are many pure tones (fundamentals) beyond the highest keys on the piano, and a few below the lowest leys, so in terms of pure tones, the piano only covers a range of about 20Hz to 4kHz, when the audio band has long been established as 20Hz to 20kHz for high fidelity sound. Other instruments 'take over from' the piano's upper range and use the higher ranges of the audio spectrum (violin, brass etc.) which is just as well as it gives the composer a wide tonal tool box to work from. So let's look at the vertical axis, marked on the left as being in dB (decibels). (I'm a bit confused by the little A shown; I doubt that it means that axis is in dbA weighting when measuring an amplifier, so suspect that it refers to the audio analyser's channel A). It's really handy that audio graphs almost invariable are scaled in dBs in the vertical axis (and frequency in the horizontal axis) because regardless of the make of audio analysis equipment that was used in the lab, we can make prefect visual comparisons of what is actually columns of numbers that lie behind the graph data. Sometimes though, we have to visually squeeze or stretch the graph to be able to compare apples with apples, but the beauty of working in Y axis dB and X axis frequency is that it is 100% legitimate to do so. But ONLY when we are working in dBs and Hz. Now we have our Graph A of our tube amp, we can present the graph of the solid state amplifier mentioned above, Graph B. If we take a snapshot of the graph, it looks like this: We have a problem. The visual appearance of Graph A and B is so radically different that we are in grave danger of misinterpreting any useful technical information contained therein. Even though, as you will see from the little Ap symbol in the top right of the graphs that the same Audio Precision analyser has been used. What we are witnessing is two different generations of Ap equipment with very different graph presentational capabilities (over twenty years part). So, to be in a position to safely compare these two, we need to stretch and squeeze one of the graphs relative to the other to make them exactly visually comparable. Remember - this is only legitimate if we work in dBs and Hz, as we are. It is not a cheat - it does not change the underlying data, but it corrects the different aspect ratio and scaling of the graphs for the human eye to make sense of the information. So having done that, I can now place Graph A and Graph B side by side, confident that they are displaying information that is visually cross-comparable, here: Now that I have carefully adjusted the axis of B to be identical to A (as best as I can, visually) we can present them together. If we are more curious about the way the amps cover the horizontal frequency range, we might wish to place A and B one over the other like this: If we are more curious about how the dB (loudness) of the two amps v. frequency, then we might present their graphs side by side like this: Whether we prefer the one over the other or the side by side presentation is a matter of choice - I prefer the side by side graph immediately above. And yes, Graph B does now have a visual aspect ratio that is very much different from how it was originally but we can prove that the scaling is exactly comparable with Graph A, here: (I'm showing the vertical scale cross-comparison - you can verify the horizontal one for yourself from the above graphs): So now we are at the point that we can make proper visual comparisons between the performance of these two amplifiers. Is it immediately apparent that as far as B is concerned, it's output is exceptionally flat across the audio band and far beyond it, and that A's output is greatly effected by the speaker load? So now we can consider for A, which frequencies (or octaves, or part-octaves) are going to be boosted or attenuated across the musical scale. The graph tells us that unambiguously. Again, lucky for us that the vertical scale is in dB, and by convention, such graphs are usually presented centred around the 0dB line. That makes it really easy for a human to see clearly what the deviation is across the audio band. So I've drawn in the zero dB line in orange, here: Now we have this line - and as you can see, the entire response of SS amplifier B traces the ideal 0dB line across the audio band - we can colour in which groups of notes will be made louder to the listener and which notes quieter like this: Now the picture is clear. Some, but not all, musical octaves will have enhanced loudness when this amplifier drives a typical speaker load, and some will have reduced loudness. 'Loudness' is always associated in the human brain with predictable and long understood subjective sensations, so knowing those, we can reliably anticipate the subjective sensation that this amplifier would create in the listener's brain when it is driving the typical speaker load. When driving another speaker load, or even no speaker at all and just a straight resistance, then very different results may occur. We can attribute some generic audiophile adjectives (plenty to chose from) and identify them: Considering that the subjective experience is so well understood by audiologists, it could be anticipated that a similar subjective outcome could be synthesised under lab conditions to guinea pig students by routing the audio through a graphic equaliser and into Amp B. Of course, as with all matters in hifi one man's preference is another's detestation, but Stereophile have given us the tools to make an educated stab at how any amplifier is likely to modify the audio spectrum when driving a real-world load. Which you chose is entirely up to you. This has taken a morning - a hope you find it can guide you better to neutrality or otherwise in your amp selection.

Owon HDS242S Multimetar, signal generator i osciliskop, sve u jednom za razuman novac

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Ovo je i u biti suština barem oko ovog majanja. Ako hoćeš na tacni a ti kupiš Fostex ili Lowthera i šta's imaš majati Fora je napraviti bolje od toga - što nije nemoguće, naprotiv