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audiobill wrote:Peter, with all due respect this is like saying that all phono cartridges are equal.
As the major gateway these days into vast selections of music, dacs come in all levels of design, complexity, price, format and quality of implementation including the analog output stages.
I highly recommend you do some research online and you'll soon answer your own question.
As for me, I happily use a highly sought after Theta Digital DSpro GenV(a) dac, a multibit unit that produces the most realistic music I've ever heard. It was $6,995 in 1995.......
Peter W. wrote:audiobill wrote:Peter, with all due respect this is like saying that all phono cartridges are equal.
As the major gateway these days into vast selections of music, dacs come in all levels of design, complexity, price, format and quality of implementation including the analog output stages.
I highly recommend you do some research online and you'll soon answer your own question.
As for me, I happily use a highly sought after Theta Digital DSpro GenV(a) dac, a multibit unit that produces the most realistic music I've ever heard. It was $6,995 in 1995.......
If you say so. But the issue is, at least for me, that I *have* done some considerable research on line, and have found no discernible logic other than subjective opinion, and that not backed by any hard, repeatable or independently verifiable data.
There are thousands of phono cartridges by dozens of manufacturers (even today) that are dimensionally, physically, and mechanically sufficiently different from each other as to be evident to the naked eye. There are many different tone arms, platters, so on and so forth.
There are, perhaps, a dozen different chip-sets, if even that many. They form the core of _EVERY_ DAC system on the planet, and every CD player from the $8 portable to the mega-buck McIntosh to the even more mega-buck DACs available. The most expensive chipset on the planet is $20 these days, and the typical DAC will use two (2) of them. What I have found after a good deal of smoke, mirrors, blather and obfuscation is that those rendering opinions, after admitting to 'nothing measurable' defer to "the rest is execution". Is that really the only place that differentiation occurs? It is fine, if it is. But as the discussion around the Canadian ST70 has shown, there is but so much that can be put into a box, after which... . So, I ask the question again. Why? If it is because you like it - that is entirely fine with me, and I have no issues with that position. After all, I like cats (and dogs) - an equally intangible position.
corndog71 wrote:I have the SP13 which is right up there with the 14 but with different tubes. Best tube preamp out there for the money! I replaced the output caps with Clarity Cap CMR and a couple of electrolytic power supply caps closest to the first stage tubes were swapped for Clarity TC series caps.
I've been using a Musical Fidelity V-DAC II for a few years now and it's served me well. I would like to try some newer dacs but have been currently focused on rebuilding a pair of M125's.
Fitero wrote:Sorry for the slow response.
Where I did do extensive comparisons were with the output capacitors. That's why I soldered in the terminals, so that I could swap capacitors quickly without ruining the boards.
This last week or so I have brought home a couple of preamps to compare; a McIntosh C47 and a Primaluna Dialogue Premier. Ron's preamp again, as usual, was much more musical and pleasant than the others. Nothing I bring home beats this thing.
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