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– Да, черт ее дери, она занята с клиентом, пытаясь увидеть его силуэт. – Попрыгунчик – древняя история. Сначала это напомнило сокращение мышцы чуть повыше бедра, не можете.
Audirvana Origin – Back to basics | HiFi BLOG.Choosing Quality and Channels | NativeDSD Help
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More help on getting started is found in this Help Article on Getting Started, or scroll down. Preamplifiers are commonly regarded as the hardest part of the audio chain to get right. This much becomes apparent when you hear a really good one; the difference it makes seems greater than in virtually any other part of the chain.
Steve Sells at Naim explained that volume controls are simple to make, but difficult to get right: potentiometers change resistance with level, which can affect later stages while reed relays or ladder resistor arrays have constant resistance, but are costly. Naim uses reed relays in its Statement components, but sticks with variable resistors in its classic models. Impedance matching does seem to be a big factor with regard to the unpredictable nature of sources and power amps.
This is presumably why transformer-coupled passive types, which automatically match impedance, often seem to have an advantage over their powered cousins. There are also issues with crosstalk between channels, which is why the best preamps are usually fully dual mono.
The crossroads Amplifier technology is at an interesting crossroads. On the one hand, you have classic topologies being refined and engineered to a very high standard, while on the other, you have modern alternatives making serious progress. That Linn now only makes Class D amplifiers reveals as much. One key to the performance of the Vivace and Chiara loudspeakers is the unprecedented care taken to limit damage to the music signal from vibration and radio frequency interference KFI.
Loudspeakers vibrate air of course, but that vibration travels everywhere via cables. Particular care is taken with the crossover in both speakers, using technology developed by UK company Vertex AQ. Finish of this Vivace is high gloss Burgundy red with a carbon fibre baffle. Formed from highly-compressed beech ply and resin, Tankwood has inherently excellent damping properties but also is perfect for musicality, natural tone richness and authentic timbral colour.
Almost any wood or paint finish is possible. Vivace and Chiara loudspeakers both produce a scale, power and depth of sound out of all proportion to their physical size.
So think of the Chiara as a compact floor-stander. Initially the bass capability astonishes, until its other strengths – agility, clarity, timing, sparkling detail, separation, soundstage depth and width – also come into focus.
Those labyrinths are the major reason the speaker offers power and scale like a floor- stander. Absorbing the huge energy inside the cabinet during intense music passages allows it to control timing and phase accuracy, key to that stable imaging and sound stage. The result is stop-you-in-your-tracks presence and realism, a jaw-dropping re-creation of the original performance.
A third feature of both speakers is an extra drive unit on the back passively driven by the main mid-bass front driver – similar to the Vivace below left. Chiara in another finish option. There’s a third, passive, drive unit on the back. The aim is to work with and control the room, rather than fighting it and setting up difficult modes.
Customers say we make some of the best sounds at shows and in our studio they have ever heard, so you know we can do the same in your home. Our advice takes account of your best components and guides you where change is needed, in stages you can afford. Let us advise. You avoid expensive mistakes, enjoy music and save money in the long run. Vinyl: Graham, Spiral Groove, Transfiguration.
Tuners: Magnum Dynalab. Loudspeakers:Avalon, Gamut, Kawero! Cables: Chord Co. Room Acoustics: LeadingEdge. The aluminium casework of this amplifier is so far beyond the norm, comparisons are meaningless. The finish almost looks like it has been plastic coating or painted until you get up close and really look at it and especially run your hand across the finish.
It is simply without parallel. Naturally, this kind of amp requires a beefier- than-usual 20A lEC terminal. Constellation Audio followers might note there is a fairly big difference between Hercules and Hercules II. The original was an upright monoblock chassis, looking rather like a pair of tower computers, where the newer models – stereo, and mono – are more conventional power-amp shaped devices.
This design demanded a very different layout, and it was decided to apply the same form factor to the revised monoblock amplifiers, in the process making them more powerful. And they are powerful: the Hercules II stereo tested here delivers an impressive W into eight ohms, where the new mono amplifier delivers a mighty 1 ,W into the same load.
The problem with power is how to deliver more of it without making something less good sounding in the process. What makes this Constellation concept sound so good is that it sounds as tight and as fast as a 1 25W amplifier, but with the added bottom end control and dynamics that you get from more powerful amplifiers. Designing a stereo amplifier that cannot sit in the shade of the monoblocks was not an easy task, but neither would it be right to build a stereo chassis that overshadowed its bigger brothers.
The result is a stereo chassis that echoes one channel of the monoblock almost perfectly. These design criteria all necessitated a move to a larger power supply from the original Hercules mono, with significantly greater amounts of storage capacitance, which is no mean feat in and of itself. This extra storage allows the Hercules II to smooth out the DC from the wall more deftly than before, and the increased size of the amplifier chassis means it is possible to double the size of the copper bus bars that run through the architecture.
This also meant doubling the size of the transformers in the power supply, moving from an unliftable pair of 1 ,W toroidal devices, to a completely unliftable pair of 3,W toroidals. All of which serve to make a single chassis amplifier capable of delivering up to a 1 kW into a two ohm load, which equates to an ability to drive virtually every loudspeaker that ever graced a domestic listening room, no matter how demanding that loudspeaker may be.
This sheer power delivery on offer by the Hercules II is not the whole story, however. A perfect partnership. Using FETs in the input stage is not unheard of, although the use of rare and long-discontinued audio-special FETs is another matter. Even making an amplifier by adding together a collection of modules has been done before, albeit with mixed success. This is an amplifier that uses all of the strengths of a balanced amplifier such as a low noise floor, greater dynamic range, and an ability to use long cable without significantly changing the sound , and combines them with the refined and sophisticated sound of a single-ended design.
Instead of the usual arrangement of P-type Positive-Negative-Positive transistors handling the positive rail of the balanced line, and N-type Negative-Positive-Negative transistors handling the negative rail, the Hercules II modules are two single-ended amplifier designs, ending in N-type transistors in the output stage. This design has significant advantages over other circuits, because N-type and P-type transistors behave very differently, and that difference undermines the sound quality.
As a result. Constellation Audio could remove the Zobel network, commonly found on amplifiers as a form of high-frequency protection circuit, for even better performance. By making a set of single-ended N-type circuits, and stripping away the Zobel network.
Constellation Audio discovered it had cracked the code to making small Class A amplifiers in very large packages, and combining the refinement and pace so loved by small-amp aficionados, with big amp range and scale.
Of course, this perfect partnership in the power amplifier only really works if every component in the chain is as uncompromising in intent as the Hercules II. The removal of an additional stage in the chain makes a clear difference, and for most people with full-range speakers, a clear improvement, too. Similarly, the choice of loudspeaker and source must be of the absolute best, too.
This is not a stark or revealing amplifier, but when you are creating a system that delivers this quality of performance, it deserves rather than demands full- range loudspeakers up there in the absolute reference class and a source or sources that highlight what the amps are capable of.
That speaker choice probably means big Magicos, or Wilsons, or YGs, or some equally top-of-the-tree transducer. Yes, you will get to hear what a pair of extremely good standmounts can do when fed the best possible signal, but if you have that best possible signal, you should put it to good use. Source wise. Ultimately, the Hercules II is a world-class product and should be used in among its world-class peers.
But after listening to the amplifiers for any significant amount of time, all of that melts away. Put simply, the Hercules II makes a sound without any of the compromises we have become so used to in amplification. We forgot why we loved that sweet-sounding valve amplifier, because along the way we came to desire amplifiers that could drive a loudspeaker well and serve up bigger and better dynamic range at higher volumes with more demanding loudspeakers.
But with the Hercules II, you gain both sides of the equation, the grace, the speed, the charm, the inviting magic of a small, deft single-ended tube amp, with the unshakable authority of seemingly endless power. I sat enthralled to the sound of a s Decca recording of The Pirates of Penzance, shocked at just how the years melted away.
Another way of looking at this is there are no musical examples worth citing with the Constellation Audio Hercules II, because every piece of music you play will be its own musical example. Music comes to you new, and fresh, and alive, with effortless dynamic range, quicksilver pace, timbral precision, and the sort of sonic performance that makes you play recording after recording, inviting you to listen to more genres and more styles of music.
Best ever dynamic range – tick! Deepest, widest, highest soundstage – check! Most detailed – got it! Most transparent – OK! Most revealing – probably yep, that too! Here though is an interesting aside. As I said at the outset, this is the best amplifier I have ever heard. That makes it easy and difficult to review. I feel like someone who has spent their life eating Big Macs suddenly trying to describe the best steak in history.
OK, there are always the Hercules II mono amplifiers. And yes, this is probably the ultimate in First World Problems. But if you spend some time with the Hercules II, whatever you listen to after that is going to be something of a disappointment. Cyrus Audio Systems are high-end hi-fi components of truly extraordinary sonic capabilities. Inside every unique hand-built Cyrus chassis beats the heart of a real musical soul. Cyrus Amplifiers have the power to fill rooms without strain.
Ergonomic styling with a minimal footprint to fit into the modern living space. Leading edge analogue and digital technologies and unique construction combine to deliver breathtaking performance right across the audio spectrum. From a single box solution to a multi-component, upgradeable array delivering the very best that the worlds of analogue and digital music sources have to offer the discerning audiophile.
Build a better music experience. Visit our website for more information: www. I soundfoujndQtions. This is a topology that delivers the fluidity and dynamic integrity that mark out the better tube designs, combined with enough power to handle real-world loudspeaker loads. And the is a Zanden amplifier, too: its cuboid form factor, and frosted acrylic front and rear panels, are both understated and ineffably stylish.
Has there ever been a more attractive amplifier? They deliver a real musical bang for your bucks. Except that, as beautiful, as capable, and as flawless as this amplifier undoubtedly is, the one thing that the Zanden definitely is not, is affordable. The Zanden is a case in point. First, at over 45kgs, the is no lightweight. In addition, considerable effort has been expended on shielding the signal path, while Zanden also makes use of a high-tech, high-frequency absorbent material to further protect the audio signal from external interference.
Finally, the 81 20 is also available with source switching and a volume control, in the shape of the integrated amp. The CD players do it with digital and the phono stages most definitely do it with analogue – both bringing a natural immediacy, presence, and directness to proceedings. One of the things that makes all those classic push-pull stereo amps so appealing is their sense of purpose, the way they drive the performance forward, pulling you in, and carrying you with it.
Put on the Zanden and it sounds almost reticent with none of that cock-sure punch or urgency that you might expect. Instead it sounds relaxed, unforced, almost limpid, with an unflustered air of calm composure. There is nothing overt or obviously impressive about the performance of the , nothing to point a finger at or hang its character on.
In fact, its most remarkable feature is its total lack of remarkable features. Nothing steps forward or suddenly emerges from a drive unit to disturb the spatial continuity, an intrusion that you only really notice once it has been removed.
Normally, we compensate for such aberrations, but the 81 20 totally eliminates the need. Its sense of locational order and its ability to create a single coherent acoustic space is exceptional. Instruments stay planted in space, defined in all three dimensions, with no tendency to rise or step forward with pitch or level.
Now try that with a few other amplifiers. It might lack the obvious appeal of those amps you assume to be its peer group, yet at the same time it is seductively listenable, engaging, and astonishingly satisfying. Instead it allows them free rein, both in terms of tempo and dynamic range: strings soar, brass punches, voices are free to growl, grate, purr, or pierce. I just couldn’t stop marvelling at the performance levels they brought to all music material.
The way they manage to combine phenomenal resolution, transparency and natural tonal colours, while sounding extremely analog and coherent, top to bottom, is almost unbelievable. Please visit our website for information, links and reviews for all our products.
Changes in tempo are clearly apparent, as are rhythmic patterns, while contrasts in tonal shading or musical mood are effective without being broad- brushed in bold. The musicians and the music are given their own voice. At no time are you left wondering why his later readings, which are so much bolder, are also less enjoyable.
This Zanden allows us – or more properly, invites us – to enjoy a paradigm shift. Free update period wiil end by 1st October Please contact supporf auralic. For any audiophile who hears live, acoustic music on a regular basis, the will come as both a shock to the system and a strangely familiar experience. Well, yes and no. But both those options are going to cost a lot more than the Zanden, so the modest shortfall is more than acceptable. What those amps also offer is power – and lots of it.
The generates 1 00, very musical watts – but 1 00 watts is still only 1 00 watts, which means that you need to choose your speakers with that in mind, rather than simply assuming that because the Zanden is a pricey piece it will drive anything.
Having said that, this amp is hardly limp of wrist and it will drive most real world speakers with a grace and authority that will surprise and delight. It might seem obvious, but the trick here is to listen to how loud the music is, rather than how loud it sounds.
We already know that the will play loud with grace and some considerable enthusiasm. Few amplifiers in my experience are as adept as the Zanden when it comes to performing the sonic disappearing act that makes long term listening so rewarding. How does this Zanden amp sound? Not the way you expect it to. SET aficionados will glory in its rich tonal palette and relaxed sense of musical flow, push-pull devotees will love its control and transparency, focus and organization – while solid-state advocates will be disconcerted and besotted in equal measure.
They say that beauty is in the eye of the beholder, and this is definitely one beautiful looking and sounding amplifier. If this amp were a movie star, it would be Ingrid Bergman: subtle, under-stated, elegant, and classy – definitely a keeper. I liked it a lot, but somewhere along the upgrade path to Mklll status, it began gathering dust and I let it go.
Hearing the latest Di brought baok what I loved about this Danish beast. GamuT makes two power amplifiers, of which this is the stereo option. GamuT amplifiers use a single high-current MOSFET output transistor per channel, where most other solid state amplifiers use multiple output devices and if these differ in their electrical characteristics, distortion creeps in.
Manufacturers therefore tolerance their output devices as tightly as possible; Naim takes this to its logical extreme with its Statement amps, where each set of output transistors are made from adjacent pieces of silicon from the same die – but that is clearly a pricey approach. The reason that solid state amps have multiple output devices is because this gives more power and more power needs more heat dissipation.
So how does GamuT get away with using only one device? I asked engineer Benno Baun Meldgaard this question and he explained that they use industrial transistors that were developed for motor control and welding, and are even able to handle amp peaks. The latest Di now has a single emitter resistor network, which consists of three paralleled 0. That is about Ox lower than most amps. The transistors themselves are of higher quality and the power supply has been reconfigured with better parts and a quieter transformer than before.
Rectification is now balanced and has twice the capacity, in the process halving resistance and lowering noise. GamuT only makes one preamplifier: the D3i. This is described as a dual- mono design and has both balanced and single ended inputs and outputs on its substantial yet not overly weighty carcass. However, as things stand it does not connect to a GamuT phono stage, which is still in development but should be available by the end of the year. At present, this input functions as a balanced input on RCA sockets; it works with an XLR to RCA cable, wired positive to centre pin and negative to the collar, plus a flying earth lead screwed under the ground connector.
This configuration can also be used with any balanced line level input. I kicked off the listening by using the Di with the Townshend Allegri passive controller; this proved a nostalgic experience because despite the many changes to the amplifier and to my system since I last used a D the same character was evident – an effusive vivacity made possible by excellent dynamics and the authority of serious power reserves.
The Di has a slightly sparkly, bright sound compared with my regular ATC P1 power amp, and this quality requires a suitably calm, maybe even restrained loudspeaker to make a good match. The PMC fact. In some respects the Di has valve like characteristics with transistor style control. Adding the D3i preamplifier to the mix opens out the soundstage even further. This is because the strict dual-mono preamp design yields extremely high channel separation, which in most cases results in a wide soundstage; consequently, the speakers should be toed inwards further, to create correct width.
This will result in a soundstage with even more depth and precision. Timing appears not as strong as it is with the Allegri, but a passive preamplifier will typically create a small phase shift depending on volume setting, so changing to a buffered preamplifier will actually result in a linear phase behaviour. The potential for high frequency attenuation in a passive preamplifier is a consideration, too.
Taken as a pair, the GamuT duo put on a fine show. Don’t settle for second best. What I really like, however, is the way that these amps focus on the playing more than the sound; this apparently obvious aim is not always achieved by high-powered amplifiers, but here the combination of light-handed control lets you hear all the elements in the mix in perfect balance. The GamuT pair, especially the Di, manage to combine power with tonal subtlety – a quality that serves whatever music you want to play very effectively.
The D3i is not the most relaxed or natural-sounding preamplifier on the planet, but it can produce a vivid and entrancing sound that lets you hear the meaning in the music. It is extremely good at resolving reverb and timing, though not in the front league, is certainly not sluggish. Some might want a bit more authority – essentially more power in the bass – but that is very difficult to achieve without undermining musical flow, something at which the GamuT pair excel. The GamuT Di retains the combination of musicality and power that kept me listening long into the night.
It is more transparent than before and, when partnered with the D3i, makes for amplification that put music under its spell. Those looking to shake the furniture may have to look elsewhere, but anyone who wants to be spirited away should lend GamuT an ear. It is simple, sleek, elegant and visually square when seen directly from the front, and curved and organic when seen from an angle. The rounded edges of the cabinet reduces diffraction and minimizes the sonic imprint on the frequency response.
It does not matter if your home is modern or classic, the timeless design of the MB You won’t find anything close to doing what the MB If your audio source is now either a computer or a network, think of this as these two devices combined with a really good balanced gain stage, the attractive fluro display on the front panel notwithstanding.
The A60 is equally interesting. The amp modules themselves are similar to Hypex modules, which is a good start in audiophile Class D. Nevertheless, Class D and high-end are not yet natural bedfellows, despite all the good work done by Devialet and especially Mola-Mola to prove otherwise.
The pair leave little in the way of footprints on the music played. All you get is just a slight forwardness to the overall presentation, which gives music a clean, direct, and inspired demeanour. This is a product that fundamentally does nothing bad to the signal, is at least as good or better than its peers, and while not necessarily cheap, is not priced to a point where only former directors of FIFA can afford the product.
The PRE60 and A60 fall into that category, in performance and price. Where other systems force you toward one genre or another, and those become highlights, this simply plays everything without grace or favour. There are three small caveats though, all relevant to Class D, although the last has a specific Primare twist. First, the A60 is not in its comfort zone with exceptionally impedance-strangling loudspeaker loads. Lastly, you need to give these the A60 a good thrashing before it gives up its treasures.
The first 48 or so hours from new or after a long break from power – ugh. Hell, I was so taken with the NP30 after the review, I bought the review sample, and the PRE60 is every bit as convincing as a complete unit. In fact. It works extremely well being fed by a Townshend Allegri passive preamp, delivering the kind of clarity, detail, and dynamic range with which any good preamp can truly shine. But when a double-act is as good as the Primare pair, why break up the band?
The fact is, if you evaluate audio equipment by its sound quality instead of amplifier class, the Primare duo come very highly recommended.
This is the foremost reason why our products have enjoyed long-run production. A wide range of their astonishing new products are now on demonstration, including the DP player, the E Class A integrated amplifier, and the C pre-amplifier.
The best a cable can do is to appear not to be there, and we feel that these cables approach this goal like no other. Entry level cables from Audiomica challenge the very best ‘high end’ competitors, Audiomica’s reference level cables redefine what is possible. Recalibrate your expectations!
The result is a natural sound and a flow in the music that is seldom heard. Curious about Vibb Eaters This includes vibrational, electrical and magnetic field effects. Whether used on top of loudspeakers or the chassis of your electronic equipment you will hear a calmer, quieter more stabile presentation to the overall sound.
In the case of loudspeakers the Vibbeaters transfer excess vibrations to a point out with the cabinet. This means careful placement is critical in obtaining the best results. This planar-magnetic design is super-efficient and can be driven by an iPhone. Millimetre-thickness Inductive Coaxial B. Nanometre-thickness Planar Magnetic C. Remember to include your name and address in the email. Competition Ruies The competition will run from July 2, until August 30, The competition is open to everyone, but multiple, automated, and bulk entries will be disqualified.
The winners will be chosen at random from all valid entries, will be contacted via email where possible , and their names will be published in the magazine.
No correspondence will be entered into. Absolute Multimedia UK Ltd. Our policy is such that we will not pass on your details to any third party without your prior consent. The Retro Stereo 50 is the first integrated amp iFi has ever offered. Apropos its name, the Retro Stereo 50 features a golden-hued faceplate whose appearance reminds us of classic Marantz integrated amps from the past. Adding to the retro theme, the Stereo 50 comes housed in an old-school-style cabinet artfully fashioned from laminated slabs of bamboo.
The quality is reserved to play through my PC. Very happy that I found this site. Easy download of files and as expected great sound quality. Will not hesitate to purchase some more in the future as my budget allows. Please contact the Roon Support for this issue. Thanks, NativeDSD.
I have many DSD recordings with no problem at all. I downloaded using your downloader. There are a lot of material I would like to downlaod but as of now Best regards Stefan Mether. Hello Stefan, Sorry to hear about your experience!
We unfortunately did not receive any request from you. Please email us at: support nativedsd. We look forward to solving these issues with you there.
Excellent quality music and web-shop. Thanks for your review! If you experience issues please contact us so we can fix things if needed. Our downloader will receive an update in Spring. Great Job Thankyou. The purchasing procedure is clear and supported by excellent information.
I really appreciated the fact that, before the last step of the purchase, NativeDSD gave me the possibility to consult a database to check the compatibility of the files I was going to buy. Very good service indeed. I found a free sample download, and I gave it a shot. Good site. Looks trustworthy, all works well, music is great. And I like they show what they offer in “Catalogue”.
Full text of “Hi Fi Plus July UK”
Spy Car , Apr 16, Location: Honolulu, HI. When I bought Audirvana years ago, I was told that the one-time price would be it. I paid for it thinking that I would get unlimited updates. Then they came up with their bogus subscription service and virtually abandoned the people who bought what they thought was all they would have to pay from then on.
Audirvana may be a great platform, but their approach sucked from the time they decided needed to make more money off the backs of people who originally bought their product thinking that would be all they would be paying. Location: Akron, OH. The feature list looks underwhelming for such an expensive product.
I currently use JRiver Media Center. Brudr likes this. I wonder which market that they aim now with the Origin. For sure this step alienates customers who already paid for the v3. Like literally saying thank you for your support, however we decided that we will give no more updates for you from now on. In a market with more and more people move to exclusively streaming who still need app like this? Tinnitus Andronicus likes this. Location: San Francisco, California.
I got those emails as well. Like chervokas I am using the old Audirvana and never gave a second thought to the new subscription plan. I use it solely for streaming Qobuz since the Qobuz player for Windows has always been buggy in its performance on my PC. I use JRiver for my local files and have no desire to switch at this point. I’m in the minority since I’m a user who prefers to keep my local library separate from my streaming library. If Audirvana offered a new model that focused on streaming only for a one-time fee I’d be interested.
For now I am using the old 3. Tinnitus Andronicus , Apr 23, Whether the sound quality alone will convince enthusiasts to subscribe to Audirvana Studio is a moot point. However, if later iterations of Audirvana Studio can retain its excellent sound quality, increase its catalogue and improve its UI to be as good as Spotify or Tidal or Roon, I will quickly subscribe to it. Try it and check out its sound quality, catalogue and UI for yourself.
Sign in. Log into your account. Password recovery. Forgot your password? Get help. Head-Fi Hi-Fi Reviews. Audirvana Studio vs Roon. From two stars up to 4 now. Finally, the remote is consistently connecting to the PC software, which is fantastic. Remote-wise, it does everything it needs. The PC software is still glitchy, resulting in me having to periodically go to the PC to restart the software, but that’s not due to this android app.
I still prefer it over the other options available. Hello, thank you for your feedback regarding the Remote app. Can you send us a mail at support audirvana. I agree with the reviewer that said “When it works is good. I can rarely listen to more than two albums in a row before the app freezes and can’t connect again.
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