The back side shows the connections. I choose MC. I choose LCR (if no driver, then choose RC) I choose the gain at 20 (the other is 26). Obviously, I use the CONCEPT output instead of the XLR/RCA out for connection with the LCR driver.
The connection was smooth. It took me 20 minutes to set up. The placement of the LCR driver on the phono is suboptimal but the SRA Ohio XL+2 underneath them mitigate most of the resonances problem.
I use Argento Level One powercord on both the phonostage and the LCR driver. From the LCR Driver to the line stage section of the Tidal Preos is a pair of Serenity Reference SE (read carefully, NOT SMR here).
The first LP then I spinned was Frederica Von Stade followed by Dietrich Fischer-Dieskau before heading for dinner. I always like to test dynamic range/contrast with human voice because most of the time, the voice will either distort or sound harsh as the volume approaches peak level (of course room acoustic plays a key role in this aspect too). Also, there is enormous spectrum of tonal color in the mid-range, and often the accompanying small orchestra from behind usually spots a small string section too.
Nowadays, I avoid delivering shock-therapy type of listening report because the range of equipment available in the AE community is top-notch.
This is serious stuff. I respect elimination of shock therapy listening impression at our level in this community. Tell us more as time goes by. Your silence in this fashion kills me softly and slowly. Damn you.
It better not be saying too much when one is not too familiar with the operation. Here I am making major mistakes. Peter, after looking at the forum, find that I choose the wrong gain factor. I should choose 26 instead of 20 for the Grand Reference Grandezza cartridge due to its low output of 0.17mv. But the biggest mistake that I made was I did not do any impedance setting because I found there was no impedance switches at the back and so I assume everything is optimized for the Grandezza cartridge. Then, I realized there is a small bag of jumpers (see picture) for impedance adjustment. There are a total of 8 jumpers included with different ohm value/corresponding gain factor.
This is really crazy because of such "manual-driven" operation. Da Vinci completely discards the usage of any switch which potentially includes circuit board.
What a pity! DSo's system deserves a vinyl division. Is the big Raven landing soon?
Jlam/PT, the dislocated placement of the DV phono betrayed the rule of thumb - never stack chassis up on top of another chassis. Remember I cut the shit of the mechanical grounding theory long time ago. If the fancy theory works, SRA should not exist.
No shock therapy report after 48 hours. You guys are good.
Hung, you don't have to worry Marvel bro. He is a leading indicator and a spiritual icon in this community. Everything he has ever owned is great stuff, no doubts at all. If he is not spearheading the stylish slogan of wiring by SMR EE all the way, I may not follow him and do the same. We should worry DV phono not landing on his craze rack. Then, it will run into a great analytical complex. Should I trust Marvel bro instead of J/PT or vice versa?
As you know, the market is sometimes driven by the view of some leading investment bankers and they are the icons in that space, I dare not to take this kiind of 'complimentary position' as my character, many know better than myself, is consistently inconsistent. I still myself doing and thinking this way nowadays although it is getting less!!
I am really scare to go to listen to DV phono! When I changed the cartridge to DV, I phoned up PT and asked about the DV phono and PT would still have my SMS message suggesting to have DV and Tidal sitting on the tube and solid state camp resp if I ever want to have the best of both worlds. Of course, now the reality check comes and the fact that PT is always right and arguably always ahead of the curve are making me 'consistently' attempting to avoid it. Of course, my inconsistent part has already committed to go tonight!!!
Tidal has been with me for more than 3 weeks and is genuinely 'marvelous' in the phono domain in amplifying to its 100% on whatever being fed from the source. Very much like adding the SMR EE power cord in the cables chain, extremely difficult to spot out any coloration of any sort in any hifi attributes but yet the overall presentation is so complete and colorful and most importantly, change dramatically if one changes the source (software and/or hardware). It is so revealing and so transparent that you feel like 'zerolising' a variable in a complex equation. When more variables are 'zerolised', one can determine much easier the effect to the total value of the equation by adjusting the value of the remaining variables. With SMR EE cables in the chain, I believe I am lucky enough to have done quite a bit of this. Tidal is undoubtedly one enabling me to put a zero to var(phono).
For DV phono, well, I think I will be venturing into another school of thought resembling what I am experiencing from the DV cartridge and tonearm. Totally and musically tuned based upon the beliefs of the DV designing crew. One can call it coloration but it is in a much much advanced form. In many of the gears that I have used, the kind of coloration is like adding/substracting consistently certain elements in all the music being played back. Just like tuning up the tonal temperature of every digital photo to the same degree towards the same direction making all the photos look a bit more red, or a bit more blue. The DV experience (not digital video) is like enriching the tonal color of the photo on the objects appearing in the photo 'from within' making it more 3-d, more lively looking bringing the audience much closer back to the original recording space (virtually).
With DV cartridge and tonearm, I can imagine how lethal this phono would sound like, do I need to verify it by going to listen to it in a system which is consistently better than mine? Would it be possible that I would find something out of it which I don't like? Would I decide not to extent the belief of DV design crew by stopping at the phono cable running out from the DV tonearm? The left brain is keeping battling with my right brain...I still want to go although I fully know what is the consequence....
Comments
I use Argento Level One powercord on both the phonostage and the LCR driver. From the LCR Driver to the line stage section of the Tidal Preos is a pair of Serenity Reference SE (read carefully, NOT SMR here).
The first LP then I spinned was Frederica Von Stade followed by Dietrich Fischer-Dieskau before heading for dinner. I always like to test dynamic range/contrast with human voice because most of the time, the voice will either distort or sound harsh as the volume approaches peak level (of course room acoustic plays a key role in this aspect too). Also, there is enormous spectrum of tonal color in the mid-range, and often the accompanying small orchestra from behind usually spots a small string section too.
Nowadays, I avoid delivering shock-therapy type of listening report because the range of equipment available in the AE community is top-notch.
But...
This is really crazy because of such "manual-driven" operation. Da Vinci completely discards the usage of any switch which potentially includes circuit board.
PT請分享多些
PT, this is a good opportunity poisoned bulk of people in one time.
He will know tomorrow evening.
Jlam/PT, the dislocated placement of the DV phono betrayed the rule of thumb - never stack chassis up on top of another chassis. Remember I cut the shit of the mechanical grounding theory long time ago. If the fancy theory works, SRA should not exist.
No shock therapy report after 48 hours. You guys are good.
As you know, the market is sometimes driven by the view of some leading investment bankers and they are the icons in that space, I dare not to take this kiind of 'complimentary position' as my character, many know better than myself, is consistently inconsistent. I still myself doing and thinking this way nowadays although it is getting less!!
I am really scare to go to listen to DV phono! When I changed the cartridge to DV, I phoned up PT and asked about the DV phono and PT would still have my SMS message suggesting to have DV and Tidal sitting on the tube and solid state camp resp if I ever want to have the best of both worlds. Of course, now the reality check comes and the fact that PT is always right and arguably always ahead of the curve are making me 'consistently' attempting to avoid it. Of course, my inconsistent part has already committed to go tonight!!!
Tidal has been with me for more than 3 weeks and is genuinely 'marvelous' in the phono domain in amplifying to its 100% on whatever being fed from the source. Very much like adding the SMR EE power cord in the cables chain, extremely difficult to spot out any coloration of any sort in any hifi attributes but yet the overall presentation is so complete and colorful and most importantly, change dramatically if one changes the source (software and/or hardware). It is so revealing and so transparent that you feel like 'zerolising' a variable in a complex equation. When more variables are 'zerolised', one can determine much easier the effect to the total value of the equation by adjusting the value of the remaining variables. With SMR EE cables in the chain, I believe I am lucky enough to have done quite a bit of this. Tidal is undoubtedly one enabling me to put a zero to var(phono).
For DV phono, well, I think I will be venturing into another school of thought resembling what I am experiencing from the DV cartridge and tonearm. Totally and musically tuned based upon the beliefs of the DV designing crew. One can call it coloration but it is in a much much advanced form. In many of the gears that I have used, the kind of coloration is like adding/substracting consistently certain elements in all the music being played back. Just like tuning up the tonal temperature of every digital photo to the same degree towards the same direction making all the photos look a bit more red, or a bit more blue. The DV experience (not digital video) is like enriching the tonal color of the photo on the objects appearing in the photo 'from within' making it more 3-d, more lively looking bringing the audience much closer back to the original recording space (virtually).
With DV cartridge and tonearm, I can imagine how lethal this phono would sound like, do I need to verify it by going to listen to it in a system which is consistently better than mine? Would it be possible that I would find something out of it which I don't like? Would I decide not to extent the belief of DV design crew by stopping at the phono cable running out from the DV tonearm? The left brain is keeping battling with my right brain...I still want to go although I fully know what is the consequence....
Marvel