Yeah, a little over $100 and some change plus shipping was the best pricing I found with some quick 'net searching.  I suspect you're in the ballpark unless you catch a break with manufacturer's direct. Prolly worth an email if you're interested.  Standard connector cable may be the limiter.  I had to switch the connector (+) and (-) leads at one end to be compatible with my Lindemann USB DAC.
 
I'm not familiar with the Paul Hynes website, once Paul stopped doing the actual PSU builds himself.  I worked my order through emails with him at the time.  But my SR3.3-12 12 Vdc/2A LPSU was around £350 with cable upgrade and shipping back in the day.  But it is/was an artisanal effort, and I'm not so sure that he's still operating.  I see nothing of his posted newer than Dec. 2015 at Audiocircle:
 
http://www.audiocircle.com/index.php?topic=122684.0

jacal01 said:

  I'm not familiar with the Paul Hynes website, once Paul stopped doing the actual PSU builds himself.  I worked my order through emails with him at the time.  ...  But it is/was an artisanal effort, and I'm not so sure that he's still operating.  I see nothing of his posted newer than Dec. 2015 at Audiocircle:
 
 

Click to expand...

There's a thread over on CA dedicated to his work.  I think he just posted there a few days ago along the lines of contact him via email if you need a PSU.

Is this the place to talk about Wagner recordings? 

bosiemoncrieff said:

Is this the place to talk about Wagner recordings? 

Click to expand...

Sure. Go ahead.

I think a bit of Rimsky-Korsakov is in order.........      

bosiemoncrieff said:

  Is this the place to talk about Wagner recordings? 

Click to expand...

You bet!  I just haven't caught up from my evacuation yet!
 
MM

Before I address my Wagner obscession, (Next post) please allow this brief clarification addressing prior questions of why the Bimby and Mimby have fewer taps and 4x oversampling than the Gumby and Yggy (8x). It seems that all DACs not afflicted with the delta sigma pox have a convert command with a specced maximum settling time.  As the converters approach that spec, they have a corresponding impact on power supply drain/dynamic performance which makes them sound increasingly like hemorrhoidal ass. In the case of the AD5781/91, that maximum is just above 400KHz (8x O/S). Ironically, the AD5547, specced at twice the speed, turns ugly at about half the speed of the 5781/91. Since the Yggy and the Gumby have the former DACs, the run faster at good sound. The filter lengths are shorter at 16 bit rather than 18 and 20 bit because the fewer the bits, the sooner the coefficients crash through the bottom of the DAC bit width and therefore fewer taps.
 
 
 
 

baldr said:

  Before I address my Wagner obscession, (Next post) please allow this brief clarification addressing prior questions of why the Bimby and Mimby have fewer taps and 4x oversampling than the Gumby and Yggy (8x). It seems that all DACs not afflicted with the delta sigma pox have a convert command with a specced maximum settling time.  As the converters approach that spec, they have a corresponding impact on power supply drain/dynamic performance which makes them sound increasingly like hemorrhoidal ass. In the case of the AD5781/91, that maximum is just above 400KHz (8x O/S). Ironically, the AD5547, specced at twice the speed, turns ugly at about half the speed of the 5781/91. Since the Yggy and the Gumby have the former DACs, the run faster at good sound. The filter lengths are shorter at 16 bit rather than 18 and 20 bit because the fewer the bits, the sooner the coefficients crash through the bottom of the DAC bit width and therefore fewer taps.
 
 
 
 

Click to expand...

I'll take your word for it. 

Quite a last few months.......In mid April I had this neck (cervical spine) upgrade. I was only in the hospital a day and a half but was in this neck brace where I couldn’t move my head, look up, down, or to either side. No driving, needed rides to do anything, treated like a gimp out in public with my brace. All of this until 11 days ago! Then a week ago I go for a much more trivial Mohs neck skin hack to get rid of some trivial skin cancer which left me with not one, but two zippers on my neck. Then three days ago the cops show up at my place and then the firemen who explain to me the wisdom of packing up my important Schiit and moving out to avoid the possibility of incineration. That only lasted a day – I’ve had my run of three events and now seem to be settling down. Work wise, the Mimby was introduced, two more prototypes are in the works and one new BOM was done a few hours ago. Manhattan is temporarily stuck on auto-adjust software, more on that in a week or two.
 
Quote:

bosiemoncrieff said:

  Is this the place to talk about Wagner recordings? 

Click to expand...

 
So I do have a Bohm Ring, of course the Furtwangler, and the Jimmy Levine Behrens/Morris ring from about the Met about 25 years ago as well as the Solti.  How about Parsifal, Tristan und Isolde, Tannhuser, Lohengrin, etc.  do you have a Rienzi?  I am also a huge Bruckner, Mahler, Puccini, Beethoven, and of course Mozart fan.

Parsifal is an interesting journey for me. It was the hardest of the operas to get my mind around, and only after reading its chapter in Carl Dahlhaus's thin Wagner book (a couple bucks on amazon used usually) could I get my mind around it. The innocent/dumb hero is a type Wagner liked a lot, and Siegfried/Parsifal have more than a little similarity; I find Kundry the more interesting role and Martha Mödl by far the best at that, so even while Jim Levine and Karajan do my favorite studio recordings, it's the 1951 and 1953 Bayreuth (Knappertsbusch and Krauss) that hold my attention most.
 
Interjection: what are your favorite cans for opera? I use HD800 by default, though HD600 for old mono recordings because they hide a lot of the crap (Bimby has eased fatigue here too, thanks; hope MJ2 can power incoming K1000)
 
Tristan is much better recorded than the ring, though I also love perhaps most the 1966 Bayreuth recording of Bohm, though I do want to hear his 1962 recording (same principals, location, orchestra). Can never quite push myself to buy the expensive offers on amazon. The Nilsson/Bohm/Vickers recording from somewhere in France in '73 is also necessary listening. Furtwangler is great, of course, as is Karajan 1952, Reiner 1936, and Max Lorenz's studio recording in the '40s is worth hearing. More recently Bernstein and Carlos Kleiber have set the standard, and I don't think they've been exceeded, though I'm seeing Simon Rattle in September opening the season at the met with it.
 
I've never loved middle Wagner as much as mature Wagner: my Tannhausers are the 1962 Bayreuth w/ Anja Silja and whatever recording has Nilsson as Venus and Elizabeth. The Met on Demand in HD is a bit of an oddity: when I streamed it, the sound was like a 128kbps mp3. Maybe they didn't like my internet connection, I don't know, but I would've preferred a compressed image to compressed sound. Rienzi is fun but i don't love it well enough to have favorites. Cleveland has a nice recording of the overture though, in an album with the ride, meistersinger prelude, and wesendonck lieder.
 
To circle back to the ring, I fell in love with the old mono Furtwangler and '50s Bayreuth before I had any particularly good headphones. I still love the '55 Keilberth, but the more time I spend with high end audio, the more my tastes seem to tend toward sound rather than music—which is disappointing, because some of the best music is in some of the worst sound.

re: "Quite a last few months..."
 
Mr. Moffat, I don't know you but I'm going to presume to advise you to take some time to recover from your traumas, both physical and emotional.  We need you at full strength; I'd rather know you've taken sufficient down time to recover than that some product or other is right around the corner.  As a fellow grey hair (although I have very little left) Vietnam Vet I know it takes longer and longer to get up to full speed than it used to, and that trying to go full speed while still in pain doesn't work well.  I also know there's nothing more powerful once we do get there.  Heal.  Then kick ass. 

bosiemoncrieff said:

 

Spoiler: Warning: Spoiler!

Parsifal is an interesting journey for me. It was the hardest of the operas to get my mind around, and only after reading its chapter in Carl Dahlhaus's thin Wagner book (a couple bucks on amazon used usually) could I get my mind around it. The innocent/dumb hero is a type Wagner liked a lot, and Siegfried/Parsifal have more than a little similarity; I find Kundry the more interesting role and Martha Mödl by far the best at that, so even while Jim Levine and Karajan do my favorite studio recordings, it's the 1951 and 1953 Bayreuth (Knappertsbusch and Krauss) that hold my attention most.
 
Interjection: what are your favorite cans for opera? I use HD800 by default, though HD600 for old mono recordings because they hide a lot of the crap (Bimby has eased fatigue here too, thanks; hope MJ2 can power incoming K1000)
 
Tristan is much better recorded than the ring, though I also love perhaps most the 1966 Bayreuth recording of Bohm, though I do want to hear his 1962 recording (same principals, location, orchestra). Can never quite push myself to buy the expensive offers on amazon. The Nilsson/Bohm/Vickers recording from somewhere in France in '73 is also necessary listening. Furtwangler is great, of course, as is Karajan 1952, Reiner 1936, and Max Lorenz's studio recording in the '40s is worth hearing. More recently Bernstein and Carlos Kleiber have set the standard, and I don't think they've been exceeded, though I'm seeing Simon Rattle in September opening the season at the met with it.
 
I've never loved middle Wagner as much as mature Wagner: my Tannhausers are the 1962 Bayreuth w/ Anja Silja and whatever recording has Nilsson as Venus and Elizabeth. The Met on Demand in HD is a bit of an oddity: when I streamed it, the sound was like a 128kbps mp3. Maybe they didn't like my internet connection, I don't know, but I would've preferred a compressed image to compressed sound. Rienzi is fun but i don't love it well enough to have favorites. Cleveland has a nice recording of the overture though, in an album with the ride, meistersinger prelude, and wesendonck lieder.
 
To circle back to the ring, I fell in love with the old mono Furtwangler and '50s Bayreuth before I had any particularly good headphones. I still love the '55 Keilberth, but the more time I spend with high end audio, the more my tastes seem to tend toward sound rather than music—which is disappointing, because some of the best music is in some of the worst sound.

Click to expand...

 
 
http://giphy.com/gifs/KxhIhXaAmjOVy/html5

bosiemoncrieff said:

 
 
Interjection: what are your favorite cans for opera? I use HD800 by default, though HD600 for old mono recordings because they hide a lot of the crap (Bimby has eased fatigue here too, thanks; hope MJ2 can power incoming K1000)

Click to expand...

Personally I'm now considering to jump into the electrostats world. Either the Stax L300 (absolute entry level), the L700 (excellent value according to various reports), or the Koss ESP950 (another good value). Electrostats have a very loyal following, and from what I hear they make an instrument sound like an instrument...
 
See for instance:
https://www.youtube.com/watch?v=fxpFxdRGSEs

bosiemoncrieff said:

 
Interjection: what are your favorite cans for opera? I use HD800 by default, though HD600 for old mono recordings because they hide a lot of the crap (Bimby has eased fatigue here too, thanks; hope MJ2 can power incoming K1000)
 

Click to expand...

 
Unfortunately, for the sake of happiness with my fellow manufacturers of audio gear, I must have no specific opinions on any products other than our own.  More so if I have to bite my lip at the thought of them.  That said, I tend towards open phones for live recordings, and closed ones for studio recordings.

landroni said:

 
Personally I'm now considering to jump into the electrostats world. <snip>

Click to expand...

 
 
The policy above grants us exposure to many upcoming unanounced products.  Due to nothing we are doing (We are not now and will never be in the biz of making cans) - there are some reasons to be very deliberate and patient in the quest for such cans.

I ask only because the Grado house sound (pictured in your avatar) has a reputation as being unsuitable for classical music (not neutral enough). Can you illuminate in which circumstances you prefer tubes, and in which you prefer solid state?
 
I find myself utterly transfixed by almost everything Harnoncourt has recorded (RIP). The Beethoven and Schubert symphonies perhaps above all, but the 2006 Salzburg Figaro (production too!) was the freshest take I've heard of the opera in years. I like Karajan for Puccini, Callas too, so it's disappointing that the Butterfly they did together in Chicago didn't turn out better. I love Jochum in particular for Bruckner. Much better than for Wagner—I find his Meistersinger maddeningly lethargic. Domingo sounds great, but especially the mob scene in act 2 is just so tepid—Karajan may be my favorite Meistersinger, though Furtwangler has Lorenz, and the combination is sublime.
 
Do you have a favorite Beethoven set? Furtwangler is great (1943 ninth above all!), I think Toscanini is frankly overrated, Solti and Bohm are both great, Karajan for the finale to the seventh—