Don Richard

The formats that are used now exist because of the need to lower the noise floor because noise adds up when multiple tracks are mixed down (more bits). Sample rate was increased to move the anti-aliasing filter cutoff to a higher frequency so that ringing and phasing issues would be moved further away from the audible passband, again because multiple sources are mixed into stereo and these artifacts would add up. A recent test reported in Mix proved that 97% of the engineers tested could not hear any difference between 96/24 and Redbook. None of the general public who were tested could. http://mixonline.com/recording/mixing/audio_emperors_new_sampling/

All of the problems I listed are audibly annoying, to varying extents.

You are getting 2 V per channel at maximum output. With high level sources the preamp is indeed attenuating the signal. The electronics serve mostly to match the impedance of the source to the input impedance of the amp. What you are doing to get more range from your volume control is OK as long as it doesn't increase noise. Some folks are hooking CD players with built in volume controls straight to the amp, eliminating the preamp, and report less noise and distortion as a result.

And the ones that appear perfect have: 70 dB (at best) dynamic range. Heavy compression to reduce groove excursion so that 20+ minutes per side may be realized. Gain riding on the bass frequencies, for same reason as above. Improper RIAA EQ curves on various records ( European discs, different brands, poor engineering) Phase shifts from above equalization. Phase shifts and resonances from cartridge. Rumble, curable with a filter that creates more phase shift. High levels of distortion, especially IM. Difference in sound between outside and inside grooves. Microphonics. Limited lifespan before audible degradation, due to simply playing disc. The PITA factor from having to flip sides and go through the cleaning ritual. Despite these problems records can provide a satisfactory listening experience when properly played and cared for if one is willing to ignore the problems. However, the ability to disassociate oneself from the large number of problems that this medium has does not mean it is a superior medium. One doesn't have to have perfect reproduction to enjoy the music.

All DSP on the XTi series can be turned off, but the signal still goes thru the A/D/A conversion process.

This is true. This was also true of vinyl. Warner, for one, has remasters on CD that my local audio salon sells for only $13 each. Give a listen to the remaster of Dire Straits On Every Street for an example of a CD done right. The big reason that the commercial efforts fall short is that the producers demand that the product be mixed to sound good on the radio, on autosound systems and on portable stereos. For audiophile results, get an audiophile version of the CD. For older works not available on digital, DIY. Any digital medium should easily contain the information contained on vinyl.

Different digital processors have different DACs and different software, and consequently sound different. Dolby Lake and Xilica processors are considered to be the state of the art by the professionals who are using them. But the state of the art is changing so fast that there may be a new "king of the mountain" by now. Just when you think you've got something, something else better comes along.[:^)]

Any speaker using constant directivity horns must use EQ to correct top octave response and phase. Nearly all speakers, particularly the smaller ones, built for home use employ EQ in their passive network to correct response and/or phase. All bi-ampable pro concert systems use EQ "tunings" for frequency response and phase correction. Loudspeaker controllers such as the DBX Driverack series have such "preset tunings" for various makes of loudspeakers. Powered speakers are often delay and frequency response corrected "inside the box". I suppose the question should be 'What modern loudspeaker doesn't use EQ (passive or active) to make it sound right?'

The test to which I referred happened in my home on my equipment. A friend who was a concert promoter had an engineer copy the studio safety tape on to 7 1/2 ips RTR. My RTR was a Sony, turntable was a modded AR, cartridge was a Dynavector MC. I even tried copying the vinyl to tape to see if that improved anything, to no avail. The best that I could do to make the vinyl approach the CD was to use a Phase Linear autocorrelator for noise reduction followed by a DBX linear compressor/expander. That made the vinyl sound quiet and more dynamic, but wierdly electronic. Too much sonic destruction has to occur to put the dynamic range of most music onto vinyl. Someone mastering vinyl has to use compression or gain riding simply to get all of the information onto that medium. A pet peeve regarding vinyl was beginning a cut with a strong, heavy bass line, then dialing the bass down 6 dB or so as the song progressed so that a side could contain 25 minutes of music. The quality of commercial vinyl in the late '70s and early '80s was so bad, and the hassle of playing it so great that cassette tapes were outselling records during that time. The CD didn't kill vinyl. It's own limitations did that.

Around the time that CDs were first introduced I had an opportunity to compare a CD to a record to the master tape from a group popular at he time. The CD was nearly identical to the master tape and the record approached neither. I really did not want that to be the case because I was heavily invested in vinyl, turntables and cartridges. But reality spoke, and I chose not to ignore it. Some appear to like the distortion and noise inherent with vinyl, preferring it to clean, dynamic, undistorted sound. To each his own.

Very true. Vinyl is no match for CDs in terms of quality. The convenience aspects of CDs are a further advantage of that medium.

Not nearly as good as the $100 fuses I can sell you[6]

According to this, 8 ohms is about right for a series resistor: http://www.sengpielaudio.com/calculator-Lpad.htm You may want to temporarily install a variable L-pad and tune to taste, then measure and replace with fixed values. A two resistor pad may give better results than a single series resistor.

I have quite a large vinyl collection with many rare and first release albums. CDs, however, have spoiled me with their quietness and convenience so I haven't played any vinyl in years. One day when I have time I will archive my collection onto a server, de-noise as required, and burn to CD for playback. Until then it'll have to be looking at the cover art and reminiscing. BTW, vinyl albums in bookcases placed at the rear of the listening room make great diffusers and don't look wierd like acoustical treatments.

Check to see that all of the components on the crossover and the horns in the top end are tight. Make sure that the access door gasket is OK and that all those screws are tight and not stripped out. Check to see if there is a loose wire in the woofer circuit. Also, someone may have overtightened the woofer mounting screws causing a voice coil rub, be careful here because these are stamped frame woofers and the frame can warp if not evenly tightened.

I'm not sure that switching your preamp to mono will result in a mono recording if you are using the preamp's tape out jacks. Most preamps with a mono/stereo switch sum the L & R after the tape outs. What ou could do is to tee off of the main L & R outputs and then go into the PC , but be aware that the volume and tone controls will then affect the recording.

The American vehicle dealers in my area can get any new vehicle from a dealer in other parts of the country for their normal price plus transportation costs. Why not Toyota?

So the dealer pushes everything but high gas mileage vehicles, does not order more fuel efficient vehicles or encourage in any way the purchase of such vehicles, and then raises the price through the roof when gas goes up. Why should a customer do business with people who are short-sighted, opportunistic vultures? The Toyota dealer that I talked to runs a lot of local ads pushing Tundra trucks. Because of the formula, this is what they are allowed to get and sell from Toyota. Now they are stuck with a lot full of big trucks that they can't sell. And at $35K they won't be selling many Priuses either. If I were to buy a Prius, the clear path would be to fly to Texas or Cal or any other area with reasonable prices, buy the car there then have a paid vacation plus money to spare to buy more audio toys.[]

Neat job. Excellent work!

Congratulations on your purchase. I'm not sure that anything like that would do much good on a such heavy speaker. What may help is putting a board or some type of prop under the front edge to tilt the cabinet so it is aimed directly at the listenening position. This made a difference when I had LaScalas.

The one I go to has a lot of remastered CDs and audiophile vinyl at good prices, and I can listen before I buy. Plus I get to mess with the salesmen.[6]

Looks like we have greedy dealers here, I checked about 2 hrs. ago on the mid 30"s price. Wonder how many of those they are selling at $35K.

Whoa! In my area those are going for $34,000. Please check with your dealer on pricing and if $23,000 is correct we need to go into business on this. Sounds like $5,500 for each of us on a pass-thru sale.

This seems to be the big thing to do in the audio salons. When one such salesman asked me , "How does this sound?" I replied "Like you're not making any sense." Yes, yes, yes!