#11
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Just my 2cents worth of opinion on the issue.
The only advantage to analog balanced audio interconnection is in providing common-mode-rejection for noise, and eliminating ground loop issues. Balanced interconnection schemes would provide zero improvement in a "typical" home setup. In professional environments, i.e. Television Broadcast where I work, balanced analog audio connections are an absolute must, and in many cases this simply means transformer coupling. I have always assumed that CJ's philosophy is as mine, that in home hifi, there is no advantage, and arguably disadvantages in using true balanced interconnection schemes. And if a manufacturer is simply using XLR in single ended anyway, then it's simply a marketing decision. which then begs the question, why does your typical golden ear reviewer always seem to state something like "when moving the the balanced interconnects, everything got better, faster, smoother, more dynamic. etc.etc. ?? |
#12
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#13
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It's better than those who use balanced inputs and outputs on gear that's not fully balanced.
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2CH: W4S DAC-2, W4S STP-SE, W4S SX-500, Custom ScanSpeak/SEAS Towers, Hot Rodded Rega TT and Jolida JD9 Phono Pre, Asynch PC Transport, WireWorld Gold Eclipse 6 XLR HT: Marantz AV7005, W4S Mini MC-5, Custom Waveguide Towers, SVSPB12-Plus/2 |
#14
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If I'm a high-end dealer selling everything but CJ, and a high-end customer comes in...guess what the first thing I say is when the person says: "what about CJ?" I say: "you're a high end audiophile, you'll want balanced at this level. please step into my listening room, I want you to hear...." If I'm CJ engineering I'd say: "waste of time and money putting in balanced" If I'm CJ Marketing I say: "we would sell X% more if we had balanced I/O on our high end products" |
#15
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Ivan FLORIDA MX136, MC1.2KW(10) MC2KW(2), MCD1100, MS750(2) MVP881, C1000C/P/T, MPC1500, HT-2 SUBS(2) HT3F(2) WS350(2) XRT2K, XCS2K, XR27(2) XCS350(2) JL GOTHAM v2 SUBS(2) SILENZIO MUSIC SERVER, LUMAGEN RADIANCE SCALER, SONY VPH-G90U 4K PROJECTOR, STEWART 120" MOTORIZED SCREEN, CINEMA-TECH SEATING, WW PLATINUM CABLES Reference System: ACCUPHASE A300 AMPS, C3900 PRE-AMP, DP1000 CD/SACD TRANSPORT, DC1000 DIGITAL PROCESSOR, DG-68 DIGITAL EQUALIZER, T1200 FM STEREO TUNER, PS1230 POWER SUPPLY, HRS-SXR CUSTOM RACK w/ M3X SHELVES, TAD REFERENCE ONE MK2 LOUDSPEAKERS, WW PLATINUM CABLES CAPE COD MX150, MC501(2) MC1.2KW(10) MC2301(2) MR88, MVP881, MCD1100, MDA1000, C1000C/P/T, MPC1500, ESOTERIC K-01X 30th ANNIVERSARY (BLACK) SACD/CD PLAYER, G02-X CLOCK, HT3F(2) XRT2K, XCS2K, XR27(2) JL GOTHAM v2 SUBS(2) JL FATHOM F113v2 SUBS(4) SOUND ANCHOR STANDS(2) KALEIDESCAPE STRATO & TERRA SERVERS 80-TB, LUMAGEN RADIANCE SCALER, SONY VPH-G90U 4K PROJECTOR, STEWART 120" SCREEN, SONUS FABER STRADIVARI, SILENZIO MUSIC SERVER, FORTRESS SEATING, WW PLATINUM CABLES Analog Rig: CLEARAUDIO INNOVATION WOOD, UNIVERSAL ARM w/ Da VINCI' CART, 2nd UNIVERSAL ARM w/ GOLDFINGER STATEMENT CART, HRS-MXR REFERENCE RACK-GLOSS BLACK w/ M3X SHELVES, AESTHETIX RHEA SIG PHONO-PRE, BRYSTON BHA-1 HEADPHONE AMP, WW PLATINUM CABLES Reference System: BURMESTER 911MK3 AMP(3), 088 PRE-AMP, 089 CD PLAYER, 100 PHONO PRE-AMP, 948 POWER CONDITIONER, ACCUPHASE DG-68 VOICING EQUALIZER, AVID ACUTUS REFERENCE SP TT, GRAHAM PHANTOM II SUPREME ARM, BENZ MICRO LP-S CART, GRANDIOSO P1X/D1X STACK, G1X RUBIDIUM MASTER CLOCK, N05 NETWORK PLAYER, SILENZIO MUSIC SERVER, HRS-SXR CUSTOM RACK w/ M3X SHELVES, SONUS FABER AIDA SPEAKERS, JL FATHOM F113v2 SUBS(2) SOUND ANCHOR STANDS(2) WW PLATINUM CABLES Library System: GRANDIOSO M1 MONOBLOCK AMPS, C1 LINESTAGE PRE-AMP, K1X CD/SACD PLAYER, G1 MASTER RUBIDIUM CLOCK, E02 PHONO-PRE, SILENZIO MUSIC SERVER, AERIAL ACOUSTICS 20T V2, AERIAL SW12 SUBS(2), CANTON REF K1’s, VPI HRX TT w/ SDS POWER SUPPLY, ORTOFON CADENZA BLACK CART, KLAUDIO RCM, SHUNYATA DENALI 6000/S v2, SHUNYATA OMEGA QR’s, WW PLATINUM CABLES Esoteric/Bryston System: ESOTERIC C02-X PRE-AMP, P-02X TRANSPORT, D02-X DAC, G02-X CLOCK, BRYSTON 28B3 CUBED MONOBLOCK AMPS(4), BRYSTON BHA-1 HEADPHONE AMP, SHUNYATA DENALI 6000/S v2(2) EVEREST 8000 POWER CONDITIONER(2) ALTAIRA CG & SG HUBS, AMR-DP777-SE DAC, SILENZIO MUSIC SERVER, TAD REFERENCE ONE MK2 LOUDSPEAKERS, QUADRASPIRE RACK, WW PLATINUM CABLES Accuphase/Canton System: ACCUPHASE E800 INTEGRATED, DP570 CD/SACD PLAYER, T1200 FM STEREO TUNER, DG-68 VOICING EQUALIZER, PS530 POWER SUPPLY, CANTON REF K3’s, CANTON REF K5’s, SILENZIO MUSIC SERVER, HRS MXR REFERENCE MAHOGHANY RACK w/ M3X2 SHELVES, WW GOLD CABLES |
#16
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Lumin P1 streamer/DAC/preamp, Constellation Inspiration integrated TT: Michell Gyro SE MkII, SME V, Koetsu Urushi Vermilion, EAR324. Harbeth 30.2s, REL R-305, Shunyata Alpha V2 ICs, Alpha V2 SPs, Sigma XC, Sigma NRv2, Omega QR-s & Alpha NRv2 PCs, segmented Altaira SG stack w/ Alpha & Omega CGCs, Everest 8000 PD. Remote Server Room: Uptone EtherREGEN, AfterDark Master Clock & LPS, Alita, Battle Angel, (Akasa NUC Roon Core), iFi DC Purifiers (for SMPS used for Alita & router), Shunyata Gemini combo power distributor & Altaira-type CG GP-NR hub, Venom & Alpha CGCs, Shunyata NRv14 power cords for digital components. |
#17
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It is it why this small company is respected so much all over the world, quality rather than quantity, reliability and musicality, respect for its own values and respect for the customer on the long term This is what Lew Johnson answered Neil Gader in TAS: Why the lower case for the company name ? Because it went with our original aesthetic concept of understated elegance-and because we felt we had ample reason to be humble Do you think there is a definitive c-j sound and have you been able to translate it from tubes to solid-state , I feel there is. We have a very clear idea of what live music sounds like. We spend a lot of time engineering our products in a way that's consistent with and honors music. We attend a lot of live music, not only because we love it but because it keeps us calibrated. So that ultimate target doesn't change with technology we use.
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Philippe l LP12SE,urika phonostage,radikal power supply, dynavector XV-1s,conrad-johnson GAT and LP275M, Sonus Faber Elipsa,yter/naim/Linn cables, vibex, finite elemente |
#18
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Unfortunately the "balance" between science and urban-legend in hifiville makes these things way way complicated sometimes.
The lowest of the lowest weasel manufacturer would simply put an XLR on the chassis and use it as single ended. Thus no benefit whatsoever beyond the mechanical benefit of XLR vs RCA connectors. But, many in hifiville would argue that XLRs sound better than RCAs. so right off we're into the wormhole. On the other end, would be an absolutely fully balanced design from input to output. Thus would provide common mode rejection, and the product would be able to state "fully balanced design". This design would cover all bases and very likely be praised in hifiville, all else being equal of course. The 3rd option would be to use fully balanced input/output receivers and drivers, and run single ended on the internal circuity. As a science person this would be my choice--IF embarking on a product design that would be used in professional environments! It would reap benefits from common mode rejection, and still be simpler overall. I would also argue that there should be no reason this design could not be every bit as good as the "fully balanced" design in every way. But then again, the argument would be.. well, it's not "fully balanced" ..and again we're heading down the wormhole. Last edited by Rayooo; 11-28-2011 at 03:09 PM. |
#19
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My BAT gear is fully balanced. I intentionally chose if for that design. I wanted the lower noise floor and the higher output. Is it "better?" There is no single answer to that because it depends upon implementation and a host of variables. I have heard single ended gear that sounds better than mine and other single ended gear that sounds worse. All I can say is that mine is dead silent. Like everything else audio, I suspect each choice involves pros and cons and one ends up making a subjective cut.
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