01-Aug-2016, 09:04
IME a completely audibly transparent ADC/DAC combination has been available for years.
There are enthusiasts who will never accept that, but they have clearly not listened to any.
I have, as an amateur, been making music recordings for 50 years, and as a professional instigated and used data recordings for about 35 years of my career. Music is strictly air pressure fluctuation data so the strengths and weaknesses of all recording techniques apply to all I have been doing.
There are a lot of things I learned from all this experience but that which is valid in the case of the Devialets is that a properly engineered ADC/DAC is audibly transparent. No analogue circuit is, and a precis of what Les Anderson outlines above the Devialet is probably the least coloured amplifier yet produced, whether using the analogue or digital inputs.
FWIW, all tape recorders I used changed the sound audibly. All digital recorders I have used make the tinyest or no change to the sound. For at least 10 years the monitoring the output of the recorder shows it to be audibly identical to the microphone feed.
Before I bought my D-Premier 5 + years ago I had an extensive home demo. I tried several analogue sources, including my Goldmund PH2 phono stage, the most accurate analogue stage I know of, as well as the phono input. In summary, the characteristic colour of all these sources came through the D-Premier unsullied. I still have but don't use the Goldmund phono stage.
There are, in any case, so many compromises necessary for LP manufacture it would be impossible to make an LP sound the same as the microphone feed for most music anyway, even if the master recording did.
There are enthusiasts who will never accept that, but they have clearly not listened to any.
I have, as an amateur, been making music recordings for 50 years, and as a professional instigated and used data recordings for about 35 years of my career. Music is strictly air pressure fluctuation data so the strengths and weaknesses of all recording techniques apply to all I have been doing.
There are a lot of things I learned from all this experience but that which is valid in the case of the Devialets is that a properly engineered ADC/DAC is audibly transparent. No analogue circuit is, and a precis of what Les Anderson outlines above the Devialet is probably the least coloured amplifier yet produced, whether using the analogue or digital inputs.
FWIW, all tape recorders I used changed the sound audibly. All digital recorders I have used make the tinyest or no change to the sound. For at least 10 years the monitoring the output of the recorder shows it to be audibly identical to the microphone feed.
Before I bought my D-Premier 5 + years ago I had an extensive home demo. I tried several analogue sources, including my Goldmund PH2 phono stage, the most accurate analogue stage I know of, as well as the phono input. In summary, the characteristic colour of all these sources came through the D-Premier unsullied. I still have but don't use the Goldmund phono stage.
There are, in any case, so many compromises necessary for LP manufacture it would be impossible to make an LP sound the same as the microphone feed for most music anyway, even if the master recording did.
Devialet Original d'Atelier 44 Core, Job Pre/225, Goldmund PH2, Goldmund Reference/T3f /Ortofon A90, Goldmund Mimesis 36+ & Chord Blu, iMac/Air, Lynx Theta, Tune Audio Anima, Goldmund Epilog 1&2, REL Studio. Dialog, Silver Phantoms, Branch stands, copper cables (mainly).
Oxfordshire
