My fingers probably seized to functions when unboxing it I feel like I have been loving Ibasso so much and here I am in for the best treatment yet!
I remember saying this a while ago, Ibasso is awesome, and the more exquisite parts they can conjure up, is the more expensive, and yet would still be worth it, and I couldn’t wait to see the expensive Ibasso!!! ! So I have gone through DX200Ti, and now 3MaxTi!! I love it !! DX200Ti started out as a joke and Ibasso was the first one to have introduced it to the market. Now others are following suit!
What are so special and exotic about the 3MaxTi ?
Those Films Capacitors, this player is probably the only and the first one to be using these capacitors. Yeah, others are using Wima and stuff, which is lovely as well, but non of them are going to be this juicy and beefy . Usually these beefy and juicy caps are seen in high end systems and older one….
Then the Pure Titanium Of course !!
I also have people asking, what is so special about Ibasso that I love so much lately ? This super class A amplifications for sure !!! It is discrete, it is high power output, it has class A characteristics, it performs like a class A sound signature, and yet it efficient is as great as Class A/B. Other makers are also building discrete Class A, but they are a heat monster, and they don’t sound as good as Ibasso Super Class A…I just sold my Cayin C9 just for additional of the fund for this Titanium. I have been loving it since Amp8EX
Me too, I feel things have changed for Daps. I noticed the AKM, ESS, & R2R are now at a similar level, enough to be a preference choice.
Resolve was no longer an issue, instead toe-tapping musicality was the difference.
The R2R Daps should have been in first place, but, for me, I found that what they had in soundstage excellence & refinement, they gave up in some liveliness and excitement. For instance, none swayed me from the excitement/liveliness of the 220max, (at the time).
The only speculation I would expect is from Titanium chassis. From my limited experiences, Titanium as a chassis is unique with it sound signatures. Call me whatever you want, and I prefer that you experience the differences for yourself rather than agreeing with me. Try N6ii Titanium with R01 compare to aluminum and see, or try DX200 PCB swapping into Titanium
In a similar scenario of discovering chasis sound differences, I found sonic differences between aluminum and copper enclosures of the Sony WM1A (aluminum) being brighter, timbre over the WM1Z (copper) thicker timbre, when using same OS mod versions.
That is an excellent idea for ibasso.
iBasso should consider making an "upgrade audio board option" for the SS owners. They could both profit and also regain customer approval, to offset some disappointment of thei initial Ti announcement .
On the Ti board, every single cap on that board has been changed, even the same looking blue ones on the left.
Regardless which one, these two boards are most likely the best sounding/performing amp sections, of ANY Dap to date.
I don't see anyone coming close to this level of discreet and performance.
IMO, no THX or opamp or nutube chip is going to beat this level of purity/power/refinement.
Discreet is way to go.
I got the 804-3MQ256G4-W-BZ804. I know that the other temp. rated is more money, so specs may be different but I don't want to spend any more money on these right now.
Me too, I feel things have changed for Daps. I noticed the AKM, ESS, & R2R are now at a similar level, enough to be a preference choice.
Resolve was no longer an issue, instead toe-tapping musicality was the difference.
The R2R Daps should have been in first place, but, for me, I found that what they had in soundstage excellence & refinement, they gave up in some liveliness and excitement. For instance, none swayed me from the excitement/liveliness of the 220max, (at the time).
Ditto. The R2R sound can at times, especially with overly warm transducers, be too rounded and in its smoothness, seemingly lacking energy and punch. That’s when DAPs like the 300 Max comes in. I feel it’s at the other end of the spectrum with its fast and lively sound. Looking forward to the Ti, hoping that it will blow me away!
Ditto. The R2R sound can at times, especially with overly warm transducers, be too rounded and in its smoothness, seemingly lacking energy and punch. That’s when DAPs like the 300 Max comes in. I feel it’s at the other end of the spectrum with its fast and lively sound. Looking forward to the Ti, hoping that it will blow me away!
Bravo! You guys got that correctly, but some people preferred it that way, and take it for being musical and realistic. Being subjective, we can not debate against other people preferences. However, based on technicalities models, there are objective matters, and explanations.
The reason why R2R is with those bloom and warmth, started out at the foundations.
Digital have 2 main stages, Quantitative and interpolations. Then at the final topology, we have Non over sampling and over sampling. Basically put, Non over sampling is 2X sampling of the human hear-ability which is 20-20Khz and that is Nyquist, 44.1Khz. Then whatever is doing a 2*1 is actually Non Over Sampling, and Over Sampling is actually 4X, 8X, 16X. What are these X ? Those are the calculations based off 32 bits length and multiplication factors. That resulted in DSD. So why the 32 bits length ? Nyquist Theory ! 16 bits and 44.1Khz. When going into Twice the sampling , that is 44.1/2 = 22.05Khz (cap out human hearing range), why not the 20Khz ? Well, let’s say that is head room. So, factor 2X to meet Nyquist sampling, that makes it 32 bits. Now, if you are Non Over Sampling, you do not further sample the frequencies any further, just apply interpolations and convert the bit lengths down to 1 bit, and into DSD to the final stage of Square Wave, which will then be Filtered out digital filters and analog filters, then finally become Analog sinuous musical waves. But there has never been DSD32 right ? However, there are DSD64/128/256/512, and those are from the factors of 2/4/8/16 multiplications as explained
Resistors ladders are being used for Quantization of binary info into electrical values, with resistors, there are precision accuracy, with that there are room for errors. Then with mathematical model, the correct tolerances should be 0.004% but, the modern technologies only allow discrete resistors of 0.01%, and that isn’t enough. However, there are ways to cheat. I can cover this later when needed.
So why does most R2R sounded exactly as you observed ? Because these precision tolerances results in quantization errors, that means a “Non Linearity” values from the binary input in references to the resistor to convert to voltage value output. This will involve error corrections algorithms, and it resulted in Amplitude being decreased to avoid clipping and distortions, errors in general.
This actually coincidentally explained why MicroSD can achieve better Dynamic. If you told me this 5 months ago, I wouldn’t believe you, and also those picture from Sony that shown noises is misleading, but somewhat educative for why it can happen to alter sound performances. From my recent experiments and observations, mind you, I don’t have bat ears, just loving music and high-fidelity stuff, the better the MicroSD, the better the Dynamic being achieved, and then other related performances could be observed together with it. The reason is that the bits and binary information are being retrieved with less “errors”, this means more “amplitude” from the original recordings , and that is ”better dynamic”
The reason why different playback app will have different sound signatures is also due to this, the so called ”variations in information received and processing”. This is why I always been sayings , there is no such thing as “bit perfect”.....because there is always “errors”, how it is being corrected, and how it is being retrieved will results in “variations of signatures”. This is why I adored DSD directly from studio, because everything were done by the studios, and into the final chain of 1 bit lengths that only need to pass over DSD-filters and analog filters to become musical analog waves. There are not much rooms for errors
The reason why I loved offline conversion of DSD is because OverSampling is DSD, and doing all of this conversion ”LIVE” will involve in too many elements that have errors over and over is just bad. So, why don’t we just use a built PC, an offline algorithms, and process PCM to DSD ? Yeah, that way you get the most out of digital over sampling technologies without too much errors.
However, and lately, I found out that when PCM Live conversion is being done right with the modern technologies , DAP , the end result is actually beautiful to listen to. This is because different DAC has it own modulations that effects the signatures, and different playback apps...etc....and I like those differences. Just so as long as it doesn’t have those Losses from Amplitude values .....or just as long as You have it done correctly and have great Dynamic delivery, that is what mattered most In My Opinion
Noises in Digital information retrieved (that resulted in Quantization errors, non linearity errors) should result in errors that look like this , and not audible noises like Sony is showing. This is exaggerating form of it, but you get the reason why you have bloomy textures and dark signatures don’t you!
Bravo! You guys got that correctly, but some people preferred it that way, and take it for being musical and realistic. Being subjective, we can not debate against other people preferences. However, based on technicalities models, there are objective matters, and explanations.
The reason why R2R is with those bloom and warmth, started out at the foundations.
Digital have 2 main stages, Quantitative and interpolations. Then at the final topology, we have Non over sampling and over sampling. Basically put, Non over sampling is 2X sampling of the human hear-ability which is 20-20Khz and that is Nyquist, 44.1Khz. Then whatever is doing a 2*1 is actually Non Over Sampling, and Over Sampling is actually 4X, 8X, 16X. What are these X ? Those are the calculations based off 32 bits length and multiplication factors. That resulted in DSD. So why the 32 bits length ? Nyquist Theory ! 16 bits and 44.1Khz. When going into Twice the sampling , that is 44.1/2 = 22.05Khz (cap out human hearing range), why not the 20Khz ? Well, let’s say that is head room. So, factor 2X to meet Nyquist sampling, that makes it 32 bits. Now, if you are Non Over Sampling, you do not further sample the frequencies any further, just apply interpolations and convert the bit lengths down to 1 bit, and into DSD to the final stage of Square Wave, which will then be Filtered out digital filters and analog filters, then finally become Analog sinuous musical waves. But there has never been DSD32 right ? However, there are DSD64/128/256/512, and those are from the factors of 2/4/8/16 multiplications as explained
Resistors ladders are being used for Quantization of binary info into electrical values, with resistors, there are precision accuracy, with that there are room for errors. Then with mathematical model, the correct tolerances should be 0.004% but, the modern technologies only allow discrete resistors of 0.01%, and that isn’t enough. However, there are ways to cheat. I can cover this later when needed.
So why does most R2R sounded exactly as you observed ? Because these precision tolerances results in quantization errors, that means a “Non Linearity” values from the binary input in references to the resistor to convert to voltage value output. This will involve error corrections algorithms, and it resulted in Amplitude being decreased to avoid clipping and distortions, errors in general.
This actually coincidentally explained why MicroSD can achieve better Dynamic. If you told me this 5 months ago, I wouldn’t believe you, and also those picture from Sony that shown noises is misleading, but somewhat educative for why it can happen to alter sound performances. From my recent experiments and observations, mind you, I don’t have bat ears, just loving music and high-fidelity stuff, the better the MicroSD, the better the Dynamic being achieved, and then other related performances could be observed together with it. The reason is that the bits and binary information are being retrieved with less “errors”, this means more “amplitude” from the original recordings , and that is ”better dynamic”
The reason why different playback app will have different sound signatures is also due to this, the so called ”variations in information received and processing”. This is why I always been sayings , there is no such thing as “bit perfect”.....because there is always “errors”, how it is being corrected, and how it is being retrieved will results in “variations of signatures”. This is why I adored DSD directly from studio, because everything were done by the studios, and into the final chain of 1 bit lengths that only need to pass over DSD-filters and analog filters to become musical analog waves. There are not much rooms for errors
The reason why I loved offline conversion of DSD is because OverSampling is DSD, and doing all of this conversion ”LIVE” will involve in too many elements that have errors over and over is just bad. So, why don’t we just use a built PC, an offline algorithms, and process PCM to DSD ? Yeah, that way you get the most out of digital over sampling technologies without too much errors.
However, and lately, I found out that when PCM Live conversion is being done right with the modern technologies , DAP , the end result is actually beautiful to listen to. This is because different DAC has it own modulations that effects the signatures, and different playback apps...etc....and I like those differences. Just so as long as it doesn’t have those Losses from Amplitude values .....or just as long as You have it done correctly and have great Dynamic delivery, that is what mattered most In My Opinion
Noises in Digital information retrieved (that resulted in Quantization errors, non linearity errors) should result in errors that look like this , and not audible noises like Sony is showing. This is exaggerating form of it, but you get the reason why you have bloomy textures and dark signatures don’t you!
Coupla questions:
1. Have you heard the Tera player (pain to use, but sound really great)? Or read the maker's notes about it being bit perfect?
2. So are you suggesting that the Sony MicroSD card is better for audio files?
You mean recessed mids? I think the lower mids are not over-emphasized and making it very clean sounding but, from memory, the upper mids are more forward that the older iBasso's I remember. I don't think it is warm but just not grainy.
I got the 804-3MQ256G4-W-BZ804. I know that the other temp. rated is more money, so specs may be different but I don't want to spend any more money on these right now.
You mean recessed mids? I think the lower mids are not over-emphasized and making it very clean sounding but, from memory, the upper mids are more forward that the older iBasso's I remember. I don't think it is warm but just not grainy.
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I feel like I have been loving Ibasso so much and here I am in for the best treatment yet!
just for additional of the fund for this Titanium. I have been loving it since Amp8EX
