luvdunhill

That sucks. Those guys have been pretty easy to get a hold of in the past too. I have some small PCBs to use on the various switches and I/O jacks somewhere - if anyone wants them I can find them. Also, if you have extra pieces from that fourth chassis, I would be interested if shipping is cheap. One other piece of advice - use a smaller washer on the toroid. This picture will give you a hint why: (yes, that piece of copper is not insulated)

Here: http://www.vt4c.com/shop/program/main.php?cat_id=1032&group_id=2&hit_cat=

I have a phono stage project in that case - it's rather nice!

Yes please

Agreed. My room isn't really symmetrical so the room mode theory could fit? I want to swap channels and see what happens. Oh and get the SACD version (which is OOP?).

Ok, thanks. I think something odd is going on here, just need to figure out how to diagnose it.

That is possible. I need to setup a measurement microphone for that though. I don't like that I can hear the transition down the horn, but other tracks don't seem to accentuate that. Perhaps another recommendation of a similarly mic'ed / composed group I could compare with? Would you at least say it's "unbalanced" compared to the other ensemble parts?

In that case, you are loosing a ton of transconductance with that configuration in order to gain Vds. The question is whether the resulting Vds puts the device in is linear range (I assume so with KG's designs). TL;DR A super high Idss puts Vds around 5V to stay within power dissipation limits which isn't a all that linear operating point for these devices. Adding degeneration resistors adds noise and reduces voltage swing.

So, my question is: is the bass-line way too overbearing to the point of being unnatural? I love the ways the drums are recorded - they are spot on and sound amazing on my setup. Very realistic. But the bass is hard panned left and just is "distracting". Now I have some system things going on around these frequencies and the top end of the bass (the high notes) comes though my top horn and the the bottom though the back-loaded "bottom" horn. I have tried a few other recordings (though no other Bill Evans Trio) and this one stands out as either sounding "unnatural" or just flat out "wrong".

What is the canonical Ghost in the Shell order? Starting from start to now?

Many times I have wanted to ask someone to listen to a recording and compare a few notes, mostly around system "voicing" and dialing things in. So, we will see if there is interest to help. First request is Bill Evans "Waltz for Debbie" APJ 009 (vinyl). If you have a different format or mastering, then that could be interesting as well.

The reason is power dissipation. Folks run the devices at full Idss and when you do that and look at the range of rails required to stay under SOAR curve, the V devices aren't preferred. You can use V devices, but need to add degeneration resistors (which reduce voltage swing), which your design / layout might not have locations for.

What about this Shelly? http://www.teac.com/product/pd-501hr/

You rang?

I have never found a situation where coupling things together as in the picture sounds best. Spikes somewhere in the chain pointing at he ground, all the way.

Lost in translation?

Challenge accepted! I have seen that on a few menus, so Patagonia beer here I come. I had to try something other than beef, so...

You got it! Further proof

best birthday post winner! At least I am not drinking German wine. I am drinking Malbec, but ...

Better?

Thanks! Cheers!

Apparently F1 people don't know how to board a plane. Seriously, rows 1-6 means exactly that.