Author Topic: audiophile (Read 14471 times)

1080 · « **Reply #50 on:** August 25, 2009, 10:47:45 PM »

Rocking M

I Googled Sanyo DCA 311 & DCA 611.

I have no problems getting info on the amplifier.

Use to have all the Sanyo Service manuals, but never seen much for any for repairs .

After the repair company I was at was bought out, I had to reduce the manuals being brought to the new location.
I saved the Sanyo manuals on stereo amps , receivers, & turntables.
The new company could not make it a successful go at it. Too many reasons why it did not succeed. Repairing old stuff was not worth it any more. Prices on new stuff was cheaper and old parts were no longer available. So I got out of it. The Sanyo manuals along with a lot more Manufactures got recycled or thrown out by some one else.

Rocking-M · « **Reply #51 on:** August 26, 2009, 03:29:22 AM »

Quote from: TwoTired on August 25, 2009, 05:50:27 PM

Resistance adds in series. 4 ohm in line with 4 ohm yields 8 ohms. 4 ohm in parallel with 4 ohm yields 2 ohm, FYI.

I couldn't find an on line source for a schematic or service manual for your amp without paying $14.95.

thanks TT. I'll try google again 1080.

BobbyR · « **Reply #52 on:** August 26, 2009, 06:35:38 AM »

Quote from: ofreen on August 25, 2009, 09:41:05 PM

I'll veer back to stereo amps for a second. I am still running my old Phase Linear 400 I bought in 1974. They come up on Ebay occasionally, as well as the model 700. Fewer and fewer these days, though, because they have been rediscovered. Very interesting solid state amps, designed by Bob Carver. Rocking-M, they have the analog VU meters you crave, good specs even by today's standards, and they kick ass.

When I was dealing this stuff, if I could find a Phase Linear, I had struck gold. They are really fine units. Back in the day an amp was expected to deliver good sound at high, medium and bass. Today, the subwoofer and some delay circuits try to make up for the inability of these units to deliver across the spectrum. The focus today is on multichannel. I still have a a Quadraphonic receiver I bought out of my weekly pay at the Audio store. Anybody need an 8 track player, I have plenty.

Duke McDukiedook · « **Reply #53 on:** August 26, 2009, 07:24:17 AM »

And sell more stuff, multi-channel means more stuff sold.

mlinder · « **Reply #54 on:** August 26, 2009, 04:26:09 PM »

I just ordered some studio monitors. Never heard of the brand before, but I think they are kinda new.
Specs looked good. Bi-amped and active crossover.
Specs here:

Freq Range 45Hz -20kHz +/- 1.5dB
1” Soft Dome
8” Aramid Glass Fiber
Power rating (HF/LF) 40 watts/85 watts
Signal to Noise (HF/LF) 82dB/90dB
T.H.D. (HF/LF) .05/.02
x-over freq 2.4KHz
subsonic filter 35KHz

and an awesome picture of a graph!

(the spl vs frequency graph looks pretty good, especially considering the price of these)

The accoustics where they will be at are pretty terrible. I'll need to do some frequency analyzation to get a good, colorless sound for sure.
And, these could just suck balls, regardless of the posted specs, which may make that impossible. So, I got some decent headphones, too...

Anyway, if they ARE good, I'll let you guys know, because, damn, they are on like, serious sale right now.

Duke McDukiedook · « **Reply #55 on:** August 26, 2009, 04:35:37 PM »

What brand/model are they?

mlinder · « **Reply #56 on:** August 26, 2009, 04:38:36 PM »

http://www.ikey-audio.com/m808.htm

azuredesign · « **Reply #57 on:** August 26, 2009, 04:39:25 PM »

Who makes those monitors? I found that what makes a good monitor is the ability to make mixes that translate well when heard on other systems. These days that probably means mp3 players and car stereos, but the important thing is to find monitors that allow your to hear everything you can clearly, and then allows you to easily mix for the sound that you want without having to adjust for some audio property that doesn't sound well on other systems, such as too much or too little low end. For me, I went through a bunch of stuff 6 or 7 years ago before finding that I could get what I wanted with a pair of JBL LSR28's. I also have the JBL LSR sub, but don't often use it. My mixing booth is treated and is 12' X14' X7.5', kind of small, but it worked out OK. I sit about 48 inches from the monitors, and they are about 48 inches apart.

mlinder · « **Reply #58 on:** August 26, 2009, 04:43:46 PM »

Again, for the cost, even if they suck, I can throw em out in the living room or use em on the computer for watching DVD's or something.
Wanted to try them. I go between headphones, monitors, car stereo, boombox and home stereo for mixes. Each mix get's played on each of those to see how well they balance out between each scenario.

azuredesign · « **Reply #59 on:** August 27, 2009, 05:06:57 AM »

Seems completely reasonable to me, hope they sound great!

BobbyR · « **Reply #60 on:** August 27, 2009, 06:47:07 AM »

While there are technical specs there is one variable the tech specs cannot take into account.

When working at the Audio shop I would demo combinations of amps and speakers for customers. The room was properly designed and there was a sweet spot where we had a nice recliner for them to sit and relax.

I found that many people did not have the hearing acuity or discern the subtle differences between components or speakers. Price was no object to these people. They would spend $3,000 1968 Dollars on a system, which was equivant to the sticker price on a fully loaded Mustang. When you are dealing with people you quickly learn the term good sound is very subjective.

Duke McDukiedook · « **Reply #61 on:** August 27, 2009, 08:53:43 AM »

A good studio monitor is one that can play a fairly wide audio spectrum without a lot of coloration or distortion.
The good ones are not cheap.

mlinder · « **Reply #62 on:** August 27, 2009, 09:06:36 AM »

Yes, Dookie, I've been frequenting recording studios since the late 80's

The msrp on these is quite a bit higher (by like, a factor of 3.5) than what I paid.
The specs look good, the graphs look good, the reviews look good.
Again, with all that said, they may sound like ass.
And, if they do, they can easily be relegated to less critical duty, because they were inexpensive and I won't feel ripped off even if I dont use them as studio monitors.

I really need to look into some frequency analysis stuffs.
I don't think the mics I have would be good for that, and I dunno if I wanna spend the money on something that would be good for it.
Anyone have ideas on that?

Duke McDukiedook · « **Reply #63 on:** August 27, 2009, 11:01:28 AM »

If it is a good audio shop they will let you take home the equipment for the weekend to demo it in your system to see how it sounds with your equipment.

I won't usually deal with any audio shops that won't let you demo equipment.

mlinder · « **Reply #64 on:** August 27, 2009, 11:15:29 AM »

Quote from: Dukieballz on August 27, 2009, 11:01:28 AM

If it is a good audio shop they will let you take home the equipment for the weekend to demo it in your system to see how it sounds with your equipment.

I won't usually deal with any audio shops that won't let you demo equipment.

They were intarweb ordered.

techy5025 · « **Reply #65 on:** August 27, 2009, 11:37:01 PM »

Because of all the wildly exaggerated power claims, the government passed a law dictating how claims have to be made. I believe it requires RMS (not "peak music power" or something similar) with a stated distortion level and with both channels driven. Now that we have moved to 5.1 or 7.1 channels, it may require all to be driven.

When people are trying to sell something to the public, they always try to highlight a characteristic that we can understand. For receivers and power amps....watts was it. For two way radios, it was range (ever notice the range listed for GMRS radios

). In general, we always go for the "its larger..it must be better" argument especially if we have limited knowledge of what we are buying.

I think most people would be hard pressed to tell...in a blind test....the difference between any set of modern amps within their power ratings. As someone above said, put your money into the speakers...that's where it can buy improvements.

The theatre I ran the projectors for in the 50's had a tube amp (40's design) that put out about 25 watts, but the speakers were very efficient Altec Lancing "Voice of the Theatre" units. I never ran the sound fader above 70 out of 100 max and filled the theatre with sound.

Jim

paulages · « **Reply #66 on:** August 28, 2009, 12:19:11 AM »

TT, i knew you had it in you (and it wouldn't surprise me to see you riff on just about any subject with such knowledge), but i'm suprised at your your take on guitar amplification vs. pure sound amplification. good reading. in my opinion, a good tube guitar amplifier should do just what you describe- color the sound- and that is the beauty in it. guitar amplification went to #$%* beginning with the JCM900 (and its era). tube amplification and its "impurity" is a wonderful thing.

i've had the honor to sit in on several masterings of records i've done with george horn at fantasy studios in berkeley, which is arguably one of the best amplified audio settings in the world. he's mastered everything from john coltrane (all of the impulse recordings were mastered there) to bon jovi and MC hammer. the guy is a living legend, and well... deaf. so when i was there, it was LOUD. and you could hear absolutely everything absolutely perfectly. very cool to watch the record lathe cut the masters...

Duke McDukiedook · « **Reply #67 on:** August 28, 2009, 06:54:13 AM »

The only speakers I know of that are efficient enough to run off 25 or 30 watt amps today are Klipsch and some exotic horn designs.

techy5025 · « **Reply #68 on:** August 28, 2009, 09:46:46 AM »

Yeah, the front of the horn on the speaker was about three feet across....and bass was not king in those days also.

Jim

mlinder · « **Reply #69 on:** August 28, 2009, 10:42:40 AM »

Well, one of the monitors came in today...
Other one came from a different location, so will be next week before I can try em out.
I found out why they are so inexpensive.
The V2 just came out, and these are V1. Dunno the differences yet, haven't seen specs on V2.
Still, under 250 bucks for 700 dollars worth of studio monitors, can't complain about anything.

Yet, anyway.

Duke McDukiedook · « **Reply #70 on:** August 28, 2009, 10:46:09 AM »

$700 MSRP for a small two-way should give you some decent sound, they'll probably roll the low-end off around 30-40 Hz.

edit: Stupid me, just looked at the frequency response graph, looks like it does roll off around 30-40 Hz.

mlinder · « **Reply #71 on:** August 28, 2009, 12:07:08 PM »

Yep, that's what I figured, Dukie.

I could always buy the matched sub if i really need to hear those sub frequencies.

Rocking-M · « **Reply #72 on:** August 30, 2009, 11:07:25 AM »

what about this amp fellows?

http://www.audio-extasa.eu/sanyo-plus-series-p55-stereo-dc-power-amplifier-p-511.html

Duke McDukiedook · « **Reply #73 on:** August 30, 2009, 04:10:28 PM »

Looks decent.
I liked the Quad 405 they had in there a little more, a little older though.

mlinder · « **Reply #74 on:** September 03, 2009, 07:19:14 PM »

Question:
The monitors have RCA, 1/4" and balanced inputs. Mixing board has only 1/4" and RCA. Any reason to go 1/4" to balanced, or just do 1/4" to 1/4"?

News:

Author Topic: audiophile (Read 14471 times)

Rocking-M

Rocking-M