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Corda Symphony info and impressions - Page 3

post #31 of 428
What really intrigues me about this amp is the improved power supply section!! The power supply in the Opera was lacking somewhat in my opinion and was only improved somewhat by a very expensive power cord. I wonder why Jan continued to use the LM6171 ops when there are newer ones out? Perhaps they work best with his configurations, or perhaps he didn't want to re-design the entire amp from the ground up. Anyway, I will try to acquire this amp eventually!
post #32 of 428
Hello all, WOW a new meier-audio amp. I just bought my first home amp a few months ago! I sure hope I can audition the symphony at qables physical stor ein the Netherlands, when it comes out, to compare it with my current amp an dhopefully the opera if he still has it then because I also think a slightly, SLIGHTLY warm sound is very nice....
It is also VERY good that this new amp has optical input.
Greetings, Anouk,
post #33 of 428
How much better than the Opera, I wonder.
post #34 of 428
And will there be a symphony-analog?
post #35 of 428
Does Corda's balanced setup sound different to single ended setup ?
post #36 of 428
Quote:
Originally Posted by Audio-Omega View Post
Does Corda's balanced setup sound different to single ended setup ?
Hard to say. Jan Meier certainly believes so, and the Opera does offer a very 'clean' and transparent sound. But the only way to be sure would be to do a comparison of two of Meier's products where the balanced circuit is disabled in one of them.
post #37 of 428
Did the price of the Opera analog go down for another 50$ ???
post #38 of 428

Update

Update:

3 important upgrades from the Opera ---

- The amp's digital rotary encoder will replace the manual relay that used to mute the sound. No more clicking relay noises!

- Digital end is severely improved and according to Jan, 44.1kHz sounds as good or better than 96kHz-upsampled audio, due to extremely high jitter reduction in the DAC. (Also, there is now an optical input as well as Coax and USB)

- Power supply has vast improvements and there are more of them, dedicated to each part of the amp's circuitry.

_____________


I will be one of the first to receive one of these when they are released and will post my opinions promptly!
post #39 of 428
Quote:
Originally Posted by onocentaur View Post
And will there be a symphony-analog?
As an owner of an already outstanding DAC, I too am curious if an analog-only version of the Symphony will also be available (at a VERY DEEP DISCOUNT )
post #40 of 428
It looks awesome but DAC1 would probably be a cheaper and better option.
post #41 of 428
Quote:
Originally Posted by gevorg View Post
It looks awesome but DAC1 would probably be a cheaper and better option.
The Symphony's amp section is likely much better than the DAC1's headphone out.
post #42 of 428
Dear headfellows,

The announcement of the upcoming Symphony amplifier has resulted in quite a few questions and remarks from some members. Therefore a few answers from my side.

First question of course is “how much”. Well, I haven’t decided yet but most probably prices will be around EUR 1000,- or USD 1500,-. Sorry, admittedly not really cheap, but given the quality of built and parts as well as the rather low number of amps produced such prices are inevitable. Customers who live inside the European Community have to be aware that that they also have to pay an additional 19% VAT.

The amp will be available in two different color schema’s. The black and silver combination as shown in the pictures as well as a silver-grey combination similar to the OPERA. Thus people may choose.

There are some future plans for a SYMPHONY amplifier without DAC (called CONCERTO). However, my recent investments in new models have been very high (almost USD 200,000.-!!!) and I simply first want to see how the acceptance of the new SYMPHONY is. Meanwhile the CANTATE will stay in my programm and is certainly a fine alternative for a very affordable price.

“ Does Corda's balanced setup sound different to single ended setup ?”

In my opinion the answer is “yes”. I remember well the time when the idea for balanced came up for the first time. I then already had a first design of the OPERA finished but made a prototype of an amp that allowed me to switch between three modes of operation; regular passive ground, active ground, and balanced ground. I thought the results to be so convincing that I made a complete redesign of the OPERA.
I’m aware that true balanced operation (at least in theory) offers even some further sonic advantages but balanced ground is much simpler to use (no need for expensive recabling of headphones) and more universal.

“ I wonder why Jan continued to use the LM6171 ops when there are newer ones out?”

Simply because I still prefer the way they sound. I have tried some of these newer audiophile opamps but they haven’t convinced me yet. Sure, the LM6171 is not very easy to use, but with proper implementation it is, in my humble opinion, simply the best sounding opamp of all.

“ The amp's digital rotary encoder will replace the manual relay that used to mute the sound. No more clicking relay noises! “

Sorry, but this seems to be a misunderstanding. The muting relais of the OPERA indeed no longer is needed. However the digital rotary encoder is used for volume control only. And this volume control is very special indeed. Using the encoder switch and 5 relais I was able to implement a quasi-logarithmic discrete volume control that has some major advantages over a regular discrete potentiometer.

The left headphone output still has a 120 Ohm output impedance. However, inside the user can easily place some post shunts to give this output a low output impedance similar to that of the right headphone output. No need to ask for custom changes anymore.

“ Digital end is severely improved and according to Jan, 44.1kHz sounds as good or better than 96kHz-upsampled audio, due to extremely high jitter reduction in the DAC. “

It is true, the DAC does not offer upsampling to 96 kHz or 192 kHz. (but it does offer standard oversampling!). The reasons are two-fold:

- Upsampling does not provide any additional information but basically (only) helps to reduce jitter. However, by lowering the frequency settings of the PLL of the digital receiver of the DAC-section jitter reduction is already clearly better than the standard implementation. This not only is cheaper but it also prevents artefacts introduced by the complex algorithms needed to calculate the new sampling values. The major disadvantage of using non-standard settings for the PLL is the fact that the receiver is no longer able to lock to vario-speed applications. However, that is only important for the DJ-s amongst us.

- There is another important argument against upsampling. The DAC-chip used (WM8741) offers 9 different settings for the digital input filter but 3 of these filters only works with sampling frequencies upto 48 kHz and three other filters only work up to 96 kHz. With upsampling these filter settings can no longer be used. And these filter settings are very interesting indeed, implementing low pre- and post-ringing algorithms as well as some high frequency roll-off algorithms that really do make a difference! Using upsampling would strongly limit the use of the possibilities offered by this advanced DAC-chip.

The SYMPHONY, like the OPERA and all other current CORDA amplifiers, besides regular stereo operation only offers one level of crossfeed. The current implementation of the natural crossfeed filter, which has a few improvements over the original design used in the first CORDA models, does not allow for an easy change of crossfeed level. The technical effords would be quite large.

Any other questions/remarks? Just let me know!

Cheers

Jan
post #43 of 428
Thread Starter 
Wow, an answer from Jan himself. Thanks for that!
That DAC sounds like it's pretty good.
Oh, and poor DJ's...
post #44 of 428
Jan:

Thank you so much for the detailed answers. It shows that you really listen to your customers, and we all appreciate you.
post #45 of 428
Hoi Jan,
Soundwise, would you say the new amp is closer to the Prehead MkII/SE than the Opera?
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