Schiit Happened: The Story of the World's Most Improbable Start-Up
May 20, 2020 at 5:28 PM Post #59,401 of 150,691
I had a pair of Aegir running my 88db sensitivity Salk Song 3's and absolutely loved the sound but definitely felt I needed more power.

I do not find my Aegir pair of mono blocks are lacking anything in power or bass running my 86 dB sensitive Paradigm Studio 20’s. Better bass, quicker and sounds more powerful than the Yamaha RX-V1600 120 watt receiver run bi-amped (240 watts available, yes I know it really not double the power) to the Studio 20’s.
 
May 20, 2020 at 5:36 PM Post #59,402 of 150,691
I do not find my Aegir pair of mono blocks are lacking anything in power or bass running my 86 dB sensitive Paradigm Studio 20’s. Better bass, quicker and sounds more powerful than the Yamaha RX-V1600 120 watt receiver run bi-amped (240 watts available, yes I know it really not double the power) to the Studio 20’s.
I was fine at 70 to 80 db but anything above that I was lacking.
 
May 20, 2020 at 7:05 PM Post #59,404 of 150,691
End game, interesting concept. I currently have my end game speakers, Klipsch Cornwall III SE’s, but if I were gifted some certain JBL’s at 4x the price for my two channel system that could change. Likewise a pair of Raidho D-5’s for my entertainment setup would be gratefully accepted. Meanwhile, amidst every other demand on my purse I’ll keep waiting for Loki Maxi and Yggdrasil which will probably be analogue III Unison II by then.

Hey, just occurred to me, will Loki Maxi have Unison in/out?

They do everything I want in a set of towers. I've heard the Raidho D5.1's, along with many other TOL models, and while the C4's aren't the best I've ever heard compared to those, they are pretty damn close to the point where the cost/return isn't worth it for ME to ever consider them unless of course they were given to me, or it was an amazing once in a lifetime deal, I won the lottery, etc...
 
May 20, 2020 at 7:24 PM Post #59,405 of 150,691
I’m actually being quite serious about my Cornwalls. I would never consider them the be all end all but they fit the space (kitchen/ dining area) so well I wouldn’t bet on any other speaker working so well in this particular space. But I can’t ever stop thinking.... what if?

If anyone has Cornwall IV’s with Raidho ribbons for sale contact me.
 
Last edited:
May 20, 2020 at 9:22 PM Post #59,406 of 150,691
Alright question for you all.

So I’m an idiot and thought that the Mjolnir v1 also has SE pre outs as the amp I’m running currently does not have balanced inputs for running my speakers.

I ended up buying the Mjolnir v1 before realizing this and was curious if anyone has used XLR to RCA adaptors on this before and the results. I know Moon sells just these adaptors (female XLR to female rca) but just want to be careful as I know using a SE headphone cable won’t work but never tried for when running a line source out of that will cause issues or not. I would think there might be a ground issue? But wanted to check. Either way, I plan on upgrading probably in the next few months to the v2 if I like the v1 but would really like to also use this for my pre in the meantime.
 
May 20, 2020 at 9:27 PM Post #59,407 of 150,691
Since we're talking new product requests, would you folks consider marketing a computer card with an unison out on it?
Computer cards need drivers, which are an endless nightmare with all the different computer and OS variants. Much easier is to use a capable Pi-based streamer (such as https://www.allo.com/sparky/usbridge-signature-pcb.html) that networks with your PC via suitable software (lots of options) and sends good USB to your DAC.
 
May 20, 2020 at 9:34 PM Post #59,408 of 150,691
Alright question for you all.

So I’m an idiot and thought that the Mjolnir v1 also has SE pre outs as the amp I’m running currently does not have balanced inputs for running my speakers.

I ended up buying the Mjolnir v1 before realizing this and was curious if anyone has used XLR to RCA adaptors on this before and the results. I know Moon sells just these adaptors (female XLR to female rca) but just want to be careful as I know using a SE headphone cable won’t work but never tried for when running a line source out of that will cause issues or not. I would think there might be a ground issue? But wanted to check. Either way, I plan on upgrading probably in the next few months to the v2 if I like the v1 but would really like to also use this for my pre in the meantime.
I would think you might need a hardware summer, but I'm not sure. I have a v1, but haven't used the pre-outs. Just buy a Freya S, and bang, you're there! Bal->SE conversion.
 
May 20, 2020 at 9:47 PM Post #59,409 of 150,691
Alright question for you all.

So I’m an idiot and thought that the Mjolnir v1 also has SE pre outs as the amp I’m running currently does not have balanced inputs for running my speakers.

I ended up buying the Mjolnir v1 before realizing this and was curious if anyone has used XLR to RCA adaptors on this before and the results. I know Moon sells just these adaptors (female XLR to female rca) but just want to be careful as I know using a SE headphone cable won’t work but never tried for when running a line source out of that will cause issues or not. I would think there might be a ground issue? But wanted to check. Either way, I plan on upgrading probably in the next few months to the v2 if I like the v1 but would really like to also use this for my pre in the meantime.

@Cstmar01 as far as I know, the Mjolnir (orig gen) is balanced out only (circlotron style topology). trying to use an XLR to RCA adapter in this situation is a bad idea and could result in hardware damage.

like the other poster said, get a Freya S to go between the source and the Mjolnir (orig gen).
 
Last edited:
May 20, 2020 at 10:05 PM Post #59,410 of 150,691
as far as I know, the Mjolnir (orig gen) is balanced only. trying to use an XLR to RCA adapter in this situation is a bad idea and could result in hardware damage.

like the other poster said, get a Freya S to go between the source and the Mjolnir (orig gen).

thanks guys. I kinda figured that to be the case but was hoping for a different outcome. Lol.

I’ll probably end up just getting the v2 honestly. I’m only running one source as it’s just streaming and red book rips right now off my computer so simple is better. I’ll probably get a turntable again in the next year or two and then prob add the Freya then.
 
May 20, 2020 at 10:22 PM Post #59,411 of 150,691
Thanks for sharing the interview. One of my favorite remixes that Steven Wilson did was Jethro Tull's Benefit album. It truly sounded like trash, and he resurrected a musical masterpiece.
Around year 2000 (+/- several years) I had acquired 3 different CD versions Jethro Tull's Benefit. Who I saw at the Los Angeles Forum once, maybe twice. Great.
Back to the CD's. One was an early version, another come a few years later, and the last one was "Remastered." I bought the remastered one because, well, if it was remastered that meant it was perfect, with no problems, right?
The three CDs all sounded different. Not a little different. All did somethings better, worse, of just different than the other two. The bass guitar on one was "flubby-tubby tubey-toobey. Too much. The bass on another one was incisive, taunt, tight, fast, articulate, tuneful, but etched and clinical. Also a bit too much, but the flubby bass was way too much. The bass on the third was too low in volume. The vocals on one CD were waaay recessed. Maybe an abolute phase issue; maybe reversing speaker polarity? There were weird left/right balance issues on one, the list goes on.
As I said in the beginning, the really aggravating aspect was that all three did some things really good but other things really bad.
After reading the article on Mr. Wilson and what he has, or anyone, has to do to do real honest to gosh remastering, my hats off to him. My sympathies to anyone else who remasters recordings.
I'm seriously considering ditching all recorded music and getting into live acoustic music as my only music source. Kinda like a paleo diet, but this would be a pre-electronic age diet.
 
Last edited:
May 21, 2020 at 4:08 AM Post #59,412 of 150,691
Yup - I had a pair of Martin Logans that went below 2 ohms in spots.

ed
IMHO Martin Logan are not ESL's they're hybrids, that something quite fifferent in my book.
 
May 21, 2020 at 6:56 AM Post #59,413 of 150,691
Around year 2000 (+/- several years) I had acquired 3 different CD versions Jethro Tull's Benefit. Who I saw at the Los Angeles Forum once, maybe twice. Great.
Back to the CD's. One was an early version, another come a few years later, and the last one was "Remastered." I bought the remastered one because, well, if it was remastered that meant it was perfect, with no problems, right?
The three CDs all sounded different. Not a little different. All did somethings better, worse, of just different than the other two. The bass guitar on one was "flubby-tubby tubey-toobey. Too much. The bass on another one was incisive, taunt, tight, fast, articulate, tuneful, but etched and clinical. Also a bit too much, but the flubby bass was too much. The bass on the third was too low in volume. The vocals on one CD were waaay recessed. Maybe an abolute phase issue; maybe reversing speaker polarity? There were weird left/right balance issues on one, the list goes on.
As I said in the beginning, the really aggravating aspect was that all three did some things really good but other things really bad.
After reading the article on Mr. Wilson and what he has, or anyone, has to do to do real honest to gosh remastering, my hats off to him. My sympathies to anyone else who remasters recordings.
I'm seriously considering ditching all recorded music and getting into live acoustic music as my only music source. Kinda like a paleo diet, but this would be a pre-electronic age diet.

I have had similar experiences with different CD issues of the same album; some sound awful.
One of the great things about Qobuz is that it is often possible to find several versions of favourite albums and give them all a try to decide which sounds 'best'.
In my experience, the differences are huge. The worst sounding are almost always the 'High Resolution' versions.
All of the Steven Wilson albums I've listened to have sounded really, really good.
I also love live acoustic music, and it is very hard to recreate. Fortunately, I have many recordings which sound really 'natural', but I had to look hard to seek them out.
A great DAC, like the Yggy, certainly helps to recreate lifelike music, as do really good speakers, but none of the kit matters a jot if the recordings are rubbish!
I have a '70s album by a British band called Blue. I bought this debut album on vinyl when came out in '73. It didn't sell very well, but it is a great album.
It went out of print in the 90s and was unavailable on CD, so 12 years ago, I paid for a Pro Recording engineer to transfer my vinyl to CD as I no longer have vinyl playback.
I recently found that the album is available on CD (but only direct from a company connected with the songwriters in the UK,) so a few weeks ago, I bought a copy of this 'remastered' CD.
I bought it direct, so at least the artist got something back. .
To my amazement, my old CD which was made from a vinyl transfer, sounds waaaay better than the new, remastered CD.
This is after the convoluted process of coming off an old vinyl record, going through an ADC to get it on a CD, and then a DAC to get it back to analogue!
I think this just demonstrates that recording differences, including mastering/mixing, really do have a huge impact on sound quality.
 
May 21, 2020 at 7:43 AM Post #59,414 of 150,691
My experience with Aegir as mono block on speakers that are 6 ohms at he lowest point. (measured it myself).
The impedance curve of a speaker is important. What is its lowest impedance and at what frequency? A low impedance at a certain frequency can be much more nasty for the amp than another can.
Also, and I think this is even more important, how well is the dynamics of a recording preserved. I can play heavily compressed music very loud to the point that I have to turn the volume down.
With a good mastered recording however I can be surprised by an amp shut down at points I didn't expect it at all. A high energy impulse at a not comfortable impedance/frequency point can make the amp go into protection. Just 2 cents.
 
May 21, 2020 at 9:27 AM Post #59,415 of 150,691
Around year 2000 (+/- several years) I had acquired 3 different CD versions Jethro Tull's Benefit. Who I saw at the Los Angeles Forum once, maybe twice. Great.
Back to the CD's. One was an early version, another come a few years later, and the last one was "Remastered." I bought the remastered one because, well, if it was remastered that meant it was perfect, with no problems, right?
The three CDs all sounded different. Not a little different. All did somethings better, worse, of just different than the other two. The bass guitar on one was "flubby-tubby tubey-toobey. Too much. The bass on another one was incisive, taunt, tight, fast, articulate, tuneful, but etched and clinical. Also a bit too much, but the flubby bass was too much. The bass on the third was too low in volume. The vocals on one CD were waaay recessed. Maybe an abolute phase issue; maybe reversing speaker polarity? There were weird left/right balance issues on one, the list goes on.
As I said in the beginning, the really aggravating aspect was that all three did some things really good but other things really bad.
After reading the article on Mr. Wilson and what he has, or anyone, has to do to do real honest to gosh remastering, my hats off to him. My sympathies to anyone else who remasters recordings.
I'm seriously considering ditching all recorded music and getting into live acoustic music as my only music source. Kinda like a paleo diet, but this would be a pre-electronic age diet.

There is an important distinction between remastering and remixing. Remastering is done by a mastering engineer who is using the 2 track recording mixed by the recording engineer, and doing everything possible with that recording to get it sounding as "good" as possible.

Remixing, which is Steven Wilson's working domain, is when an engineer receives the multitrack recordings that are mixed to a final 2 track form (yes, I'm ignoring 5.1 for simplicity), and then creates a new mix of an album, like Tull's Benefit. Wilson is very attentive to keeping the same basic mix as the original, while using current tech to extract greater musical and vocal clarity from the original multitrack recording. This is very different than starting with a completed mix and polishing its sound, since any issues in sonics found in the original mix cannot be wholly restored. In a remix, the sonic issues inherent in the mix can often be corrected, certainly to a greater degree than remastering offers.

Steven Wilson has become highly regarded for his remixes of a lot of albums he grew up listening to with his father. He loves the music and is very devoted to improving the sonics while staying true to the original mix and feels of the albums he works with.

Mastering engineers like Bob Ludwig, Steve Hoffman, and the like, excel at taking the final mix of an album and polishing the gem.

As listeners we can appreciate the dedication of these individuals whose fanaticism for the music has become their life's work.
 

Users who are viewing this thread

Back
Top