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Elad Repooc

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Elad Repooc last won the day on May 19

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About Elad Repooc

  • Rank
    Experienced Wammer
    Experienced Wammer

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  • Location
    Pacific Northwest

Wigwam Info

  • Digital Source 1
    Majik DS/1
  • Integrated Amp
    Linn Classik Musik
  • Pre-Amp
    Linn Kisto, AV5103
  • Power Amp/s
    C5100, Klouts (x2)
  • My Speakers
  • Trade Status
    I am not in the Hi-Fi trade

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  1. I have heard this from people whose ears I mostly trust, and yet I have also heard from others which I also mostly trust that the opposite was indeed the case (the Katalyst Klimax bested the dCS). Since I have never done the comparison I cannot really comment, only to say that the claim the dCS Vivaldi is a better sounding source component is not a universally held opinion, and people should perform their due diligence.
  2. Personally, I attribute this to a general attitude among sales consultants, installation technicians, manufacturer representatives, and many, many others within the HiFi/audio community which is one that is not interested in progressively learning more and more about what it is that they do at the end of the day. They believe, think, or imagine that they have "everything figured out" and there isn't anything more to learn about their profession or hobby for that matter. While I will be the first to admit that yes, networks are complicated, and yes, there can be challenges in implementing them properly (I have likely run into a large majority of them), formulating a rudimentary set of "best practices" when deploying a network should have been within any competent audio retailer's capabilities at the time of the launch of the Linn DS. If they didn't know they were going to have to learn more about computers and networks they should have been paying more attention to how the music they listened to and evaluated their myriad of products with, was made with computers, and relied on properly implemented networks. Prior to DS we had home automation systems, lighting control systems, remote controls and touchscreens, flat panel displays, video components, and countless other existing audio components which utilized a network connection for some such or another reason. Logitech Squeezebox, Sonos, Audio Request, Escient, Kaleidescape, and a number of other audio products all preceded Linn DS and all required a knowledge of how to configure a local area network. What I have seen in the decade-plus since the release of Linn DS is a continued hesitancy on the part of a large majority of high end audio retailers, as well as custom integrators, (oh, I suppose I should also mention the reviewers and press too) to gain a better comprehension of how a local area network operates, in addition to how DSP and active systems operate, all of which are technologies quite common to the "professional" audio world. In fact I used to often make the point in conversations that as I see it Linn brings what are common technologies in the professional and music production sphere, to a domestic environment in a way that is elegant and easy for the end user to operate if installed properly, and with commonly available, off-the-shelf network equipment to boot. As a final note (yes, I am painfully aware of the length of these drawn-out diatribes), I say this because I have seen not only Linn, but many other brands, invest a lot of time and energy into attempting to train and educate their dealers with respect to local area networking, only to have very few come out of those meetings actually retaining much of the information that was shared. Some attribute it to the complexity of networking, but time and time again my observation has been it's more due to an unwillingness on the part of individuals to spend the time to learn about things in order to be of better service to their clients.
  3. You may laugh, but on certain integrated amplifiers with preamp out/main input sections with supplied jumpers, replacing them with an actual RCA interconnect made quite a big improvement in many cases. It was not expectation bias, I proved it many times to numerous people with no previous expectation. "Just Listen"
  4. Actually, it could be due to a number of different things, typically if a system sounds "bright", in my opinion it may not be setup properly in some fashion. While I will concede that there are certain components which sound a bit "bright", most of the time some changes to the configuration help to alleviate the perceived "brightness". In my experience things sound "bright" because harmonic information is improperly aligned, in other words there is "smear" in the mid and upper ranges. Typically a more accurate electronic component will control the output of the loudspeaker with less variance in tolerance, so if something sounds bright it could be because the air rarefaction is occurring more accurately, and possibly exacerbating room influences one did not perceive before, especially if the loudspeakers weren't close to being properly tuned up in the first place. In other words, I don't take anyone's review of a component as being "bright" without a huge grain of salt, and if I believed every audiophile I read on the internet I probably wouldn't own Linn to begin with
  5. I've been there. My comments at this point are - there are dealers who believe they can dictate how manufacturers do business, even down to which products they should develop and/or offer. I've seen many of them push their weight around in this arena too many times, and with many different brands besides Linn. The businesses which think this way, are soon to become irrelevant because things will continue to progress without their antiquated ideas of how things should be "sold".
  6. I've been there. My comments at this point are - there are dealers who believe they can dictate how manufacturers do business, even down to which products they should develop and/or offer. I've seen many of them push their weight around in this arena too many times, and with many different brands besides Linn. The businesses which think this way, are soon to become irrelevant because things will continue to progress without their antiquated ideas of how things should be "sold".
  7. I suppose i should read it (not that I would agree with it because I do have some very intimate experiences with his ideas) but I'm just curious what he meant by this. Does this mean that how the musician performed in the listening test was not a qualifier? I guess I'm a bit confused.
  8. The one time I heard an Eclipse system, I was quite impressed. I always liked Fujitsu plasma displays, and their computers, so I'm not surprised they make just as excellent audio gear.
  9. The PS Audio DirectStream DAC does not sound very good in my personal opinion, despite whatever technical pedigree they claim. There are many other DACs from other manufacturers which cost quite a bit less and offer better performance to my ear (including Linn; a Sneaky DS/DSM for example) so I don't even take their products very seriously anymore. I used to subscribe to Paul's Posts but honestly receiving boring audiophile drivel each morning was a bit much, so I had to cancel. I don't comprehend what some of these manufacturers are listening for, let alone listening to, to create some of the products they pawn off to people. That being said, I did like their entry level Perfect Wave DAC back in the day, mainly because hardly any consumer HiFi companies even made DACs at that price point, and I do appreciate some of their products in the power category, though I've never owned them personally. A cursory look at their newly designed website leaves a lot to be desired. They make claims such as: There is absolutely no evidence to support this claim which means they are pulling it straight out of their behind. When manufacturers expect one to believe this drivel it makes the entire industry suffer as a result. They might think they are helping "high-end" audio with this crap, but they are only hurting it.
  10. I have seen this but I am not sure it's a consistent thing, based on my recollection. It seemed a bit random when they were included. It would be interesting to compare notes with others on this. As I said I remember seeing converters included but I can't recall how consistent it was.
  11. This is why it's best to consult with a Linn specialist (i.e. dealer, retailer, or distributor) for things of this nature. It may take some time, but typically you will find the dealers quite helpful. Though personally, I would try to keep things XLR all the way through. Or vice versa, RCA. Converting one to the other can sometimes be a compromise, depending on the overall setup.
  12. I agree, very much so. The fact is that there are so many variables when it comes to electronics, loudspeakers, rooms, applications, etc. that results can vary widely. It's quite a mind boggle at times, and this points to yet another reason why I happen to appreciate Linn products and the results - they are relatively consistent, and predictable in terms of performance. They provide a very flexible tool for the application, with very little fuss.
  13. There are plenty of records from other time periods which are indeed excellent, and not quite rubbish - but as a whole, if one casts a wide and deep net into the music recorded, produced, and sold during the 1970's, there is so much more of it that is good, than bad (my personal opinion of course) because the competition back then was hardcore. And, it was a worldwide phenomena. It brought out the best in talent as a result. Nowadays, with everyone being able to make beats on a computer fairly easily, the competition is lacking because people care less and less about musicianship any longer it seems, with rare exception. I read an article by Bill Bruford on The Absolute Sound (I know, a trash rag* but a decent writeup nonetheless) that sort of touched on this recently: https://www.theabsolutesound.com/articles/absent-without-leave And I highly agree with @Ian H's assessment of OP's question. *I say this somewhat jokingly, but the fact is as much as I am not a huge fan of Stereophile, I am less a fan of Absolute Sound. Great for thumbing through the latest high-gloss ads, though.
  14. Isn't it already remotely upgradeable? Or am I missing something? I thought the entire benefit of owning a Linn was that the processing is happening upstream in an FPGA so as to tailor the digital audio stream data to the specific DAC. The DAC's firmware is thus the firmware for the specific DSM in use, as it instructs the downstream DAC how to operate. I mean, personally I've experienced noticeable improvements in performance with a Majik DS simply because of firmware updates. Why would Organik be any different? We've all experienced improvements to Space Optimisation - that's an improvement to the DAC, and Linn is still not done with what SOv2 has to offer, as far as I am aware. I think any prospective Linn owner should be confident that Linn improves their DSM product line, and has the track record to prove it, via free software and firmware updates. I don't think they are changing this at all with Organik.
  15. Most musicians don't care much for typical domestic audio equipment, but I have known many who are very much what they consider "audiophiles". They are just obsessed with different things, things like pedals, loop machines, reverbs, gates, compressors, microphones, preamps, DIs, guitar, bass, and other instrument amps, synthesizers, consoles, etc. - and that is just on the electronics side of things, not even mentioning instruments and such. It is simply a different level of appreciation for the same thing, music. Some of them do own nice stereos, but most are used to studio equipment which can and does often perform better at similar price points to domestic gear. I have heard of some big names who own expensive domestic kit but I always wonder how good it actually sounds. I highly doubt many of these names take the time (or have allowed someone else to take the time) to implement their "high end" products properly, unlike the engineers they hire for the studios they record in, which have very specific requirements in terms of noise transmission and control, acoustics, etc.
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