Not surprising you've missed the point completely. Mark spent a lot of money putting together a completely analogue studio. He was interviewed on the brilliant BBC radio show Late Night Junction by Verity Sharpe. He wished he had put this project together a lot earlier, it would have cost him a lot less. Now why do you think he built this studio 'after' the digital one - think about it?
But I don´t think that one TI-TPA3255 is capable of bringing 190 Watts at 4 Ohm. With the stereo V3 clean 140 Watt may be the limit. And 10A won´t push the power (by much).
I don’t make assumptions. Are you suggesting that he had to because of disappointment with the digital one? I can’t make that assumption. For all I know, he ended up doing it after the fact because he felt the need to do the actual comparison itself. Hence why I ask the question. By the way, I think you might be under the assumption that I’m one of these people around here that look at numbers instead of listening with my ears—you would be wrong. I’m generally on your side here, so please watch your friendly fire. Being aggressively defensive will take us all down together in a forum called Audio SCIENCE Review.
So you bought two well engineered amps expecting to hear a difference?
That’s not what happened. See this post. He already owned and had been using the Yamaha; he only bought the V3Ms because he thought his new Wiim streamer/pre-amp required a dedicated power amp.
Well, I can calm you down, with my RSP 200 48 I was continuously reaching a Vrms = 27.71V at 3.9Ohm when it comes to the network consumption of 220W. Here my power supply is the needle ear. Today a network of 600W is likely to be delivered to the house. The test circuit is prepared and I report what my TPA3255 can deliver to performance.
Well if you'd bothered to read the thread then you'd have grasped it.
That's fine, and like you I listen with my ears too, I don't blindly buy something because it measures well, but I'm not surprised that I like the sound of stuff that does. However, I've spent years on forums like what hifi when the most ridiculous claims are frequently made about equipment all based on a subjective opinion that is in many cases biased by the cost and investment in ownership, and this why the consumer audio industry is riddled with snake oil.
TI Data sheet says it can do about 230W (1% THD), Fosi's table quoted above says 280W. The lower figure would need 7.5 amps for each channel into 4 ohm.
srry for my stupid question...but I want to know if after the 10 mins. without signal it remains hot at around 43° or shuts down completely?
Thank you!Very good post, chock full of ironic truth that many will miss or ignore (doesn't suit their belief system). In the 70s the Japanese made amps that measured perfectly but sounded like shite. It used to be heresy to have bass and treble adjustment, which completely ignores the fact that a lot of listening rooms are made of crap material - single plasterboard walls and ceilings (USA) or hard clay blocks (France,Spain, Italy,Portugal) finished with a hard plaster finish. Just loved the comment - and amazingly the equipment has got better when it was all 'perfect' before.
Re. phono stages - in 2010 I bought at half price because the whole financial system was at the point of meltdown an MC3 Talk Electronics two box phono stage. Adjustable loading and gain via two banks, one for each channel so the jumpers should mirror each other, a warp filter and true mono replay. Not unusual in good phono stages, it caters for virtually all cartridges both MM and MC. So comments made about analogue and digital should be made with details of actual phono stages used. As Parks Audio Puffin and Waxwing are said to neither add or subtract from the analogue signal it should be interesting to do an A/B using one or both to see the digital outcome.
What is your source? If digital, a decent streamer will be able to do all the things you mentioned in the digital domain/in DSP, including balance control and parametric EQ. I do this with a HiBy R6 Pro II.Thank you!
What interests me is when objective tests are born out by subjective (as well as vice versa) - so mutually reinforcing.
The thing about balance it would appear, is that being aware of it does not require you to AB test!
I've noticed a few people here using Schitt pre-amps with switched relays. I'm using a switched relay that I am finding surprisingly good from Ali Express - and I've just bought a Michael Fremer MM Pro - both claim to be very very closely toleranced left and right - and I've appreciated this with many recordings - in combination with the monos. Best thing is the two pre units match in physical width perfectly!
I sure would like M. Fremer or someone to bring out a switched relay with a balance shift - if something like this is possible... and yes ... maybe a few switch settings - little boost around 100hz for example ... or roll off for those 'modern' speakers that are tilted 'up' above 1 or 2khz.
It would appear (reference your comment about measurements in the 70s) that ASR has encouraged not only good manufacturer practice ... but measurement practice also (and general awareness). Gotta be a good thing.
I just have a DAC - and the Michael Fremer MMPro now (it was an IFI Zen).
The marketing science that I know of behind this is old and the findings were that in blind tests, using wine or cigarettes, subjects with no other information other than price tended to prefer either the most or least expensive of three options, rarely choosing the mid-priced option. The cheapest was considered exceptional value. Subjects hardly ever stated that they all seemed the same even though the experiment actually used exactly the same wine or cigarettes for each of the three samples.
I would just like to say, hand on heart, that I choose hifi gear because it measures well. I don’t have the time or inclination to cycle through gear looking for things I think I might prefer and I care little for brand reputation.
I can't comment, I have no control over @Fosi Audio. All I can do is listen to my music and enjoy the two brick solutions I created for myself.Are You sure they would supply a 2nd (improved) filter at no further cost ?
You might have to pay for it...
Sometimes that works, sometimes it doesn’t. The stellar numbers for KEF LS50 Meta are what drew me to them and I couldn’t possibly be happier with them (after pairing them with an SVS SB-3000 subwoofer), but at one point I tried an SMSL SA400 to drive them and I didn’t enjoy it one bit despite that amplifier’s stellar measurements. I’ve enjoyed all three Fosi amps that I’ve auditioned (V3, ZA3 in a pair, and V3 Monos), and even a Douk H7 (also TPA3255-based) much more than that SA400, so good measurements are only half of the equation.
