number1sixerfan
Headphoneus Supremus
Regardless of headphone/speaker. Completely agree.
Spirit Torino Valkyria
- Thread starter Barone Birra
- Start date
Regardless of headphone/speaker. Completely agree.
And one more question - did you notice a really substantial improvement in Valkyria's sound when you moved from Chord DAVE with jack 6.3mm to the external headphone amplifier with XLR? Of course one thing is the better amplifier itself; the other one - going from the single ended jack 6.3mm to the balanced XLR headphone output.
Yes, but - as you mentioned - only if the internals of the DAVE would have been balanced (which is not the case AFAIK). The connector itself should not make a significant difference if it does not reflect the topology of the device (and ideally of the whole upstream chain). Another example is my AIC-10 amplifier, which is SE by design and the XLR inputs / HP output have been added for convenience only.
Well, this (i.e. avoding a dedicated amp altogether, and replacing it - although temporarily - with a source HP out) is a bit of a stretch of my statement above, but it could work provided that such DAC or SACD / CD player has a good HP out.
Ideally, you would want to be able to validate this by an upfront listening test, as dedicated source components often do not have a capable enough (quality and/or quantity-wise) HP out. There are exceptions as the Chord DAVE or the T+A SDV 3100 HV (mentioning the only ones I have personally tried), and of course more options by selecting DAC / amp combos within the head-fi gear marketplace (here the T+A HA200 comes to my mind).
Then, when further funds are available, you can add a proper amplifier where you can optimize the synergy with the Valkyria by trial and error / tube rolling (if applicable), etc. (I am not a fan of selecting source components on the basis of tonality synergy with a specific headphone model).
So yes, if you really like the Valkyria sound presentation, you can get 75-80% of what they can give by using a good integrated DAC / amp or DAC with great HP out as a stopgap while saving for their endgame companion amplifier.
The Valkyria out of the AIC-10 sounds significantly more satisfying for my tastes compared to driving it from the DAVE direct. The DAVE out was more transparent, there was slightly improved micro-dynamic contrast and instrument separation, but the overall tonal balance, presentation 3D drama, attack / decay structure and macro-dynamics oomph I got with the Riviera and the "right" tube (G73-R in my case) delivers holistically a more engaging experience.
By the way, driving the Valkyria from the Riviera XLR out or the 6.3mm with the adapter does not make a noticeable change in sound to my ears.
normie610
Headphoneus Supremus
A match made in heaven. Valkyria + Primavera combo is just mesmerizing.
all2ofme
100+ Head-Fier
Fantastic pic 
Would be very interested to hear people’s experience with the CFA3 and Valkryia vs. some of these other dedicated amps (like the Primavera).
(Fully expecting to hear good things about Elrogs upstream of the CFA3 before the Valkyria gets involved. Based on the gain available on my CFA3 on my Phi TC I wonder where all the oomph goes on something like the Spirit Torino!)
Would be very interested to hear people’s experience with the CFA3 and Valkryia vs. some of these other dedicated amps (like the Primavera).
(Fully expecting to hear good things about Elrogs upstream of the CFA3 before the Valkyria gets involved. Based on the gain available on my CFA3 on my Phi TC I wonder where all the oomph goes on something like the Spirit Torino!)
normie610
Headphoneus Supremus
ThanksFantastic pic
CFA3 is also great with Valkyria, but Primavera is better. I have to use attenuator cable with CFA3 due to the buzzing noise (perhaps due to a combination of more power + amp topology).
For the record, I use my 300B preamp for both CFA3 and Primavera. I feel that the bass has a lot more weight and punch with Primavera, especially the sub-bass, though it still below CA1a's level. For now, I think the soundstage is just a tad more intimate on Primavera, but let's see when it's already fully burned in.
Midrange and treble are equally wonderful with both amps, but perhaps Primavera edges CFA3 a bit on the naturalness. Overall, I think Primavera is a better match for Valkyria.
A match made in heaven. Valkyria + Primavera combo is just mesmerizing.
Wow, what a spectacular shot
. The Primavera is a stunner, and this light grey version is simply a joy to look at, not to speak about how your ears must be delighted!I'd be interested in your thoughts about how the character of the Valkyria changes when your tube preamp is used as well, and what are the differences, similarities between the Valkyria and the CA-1a, which I have never heard personally, but I am curious about.
... and about aural - and spiritual - joys, the disc below has all it takes for carrying us to some beautiful places. Apart from being a sonic marvel, and a spectacular display for the virtues of our beloved divine maiden-named headphone (it is such an organic recording, with a magisterial capture of the venue), this music has a rare balance between the holy and the wordly, even mundane at times, which comes across as an inspirational, varied palette of inputs for the heart, mind and body.
Take a tranquil night, some deep breaths and dive into this balsam for the soul. Everything else disappears
.
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normie610
Headphoneus Supremus
Thanks! And yes Primavera is such a beautiful amp, both in appearance as well as soundWow, what a spectacular shot
As I’ve mentioned in my earlier post, my 300B preamp will always be in the signal path no matter which amp I’m using. The magical sound of 300B tubes is just something that I can’t un-hear
The main difference between Valkyria and CA1a is mostly in the sub-bass region. CA1a digs deeper, although when paired with Primavera, the Valkyria can close the gap further. Both have very natural timbre, but Valkyria has more weight and density to the notes whereas the CA1a is a bit airy and lighter. Imaging and layering is also excellent with both, and Primavera seems to create this holographic Dolby Atmos-like soundstage. It really is incredible! All in all, with the Primavera, Valkyria and CA1a have a lot more in common, while the noticeable difference lies in sub-bass and note density (not by much though).
The other thing I’ve noticed after more hours of listening, the Valkyria + Primavera combo sounds super clear and transparent, while maintaining Valkyria’s notes density with enough amount of warmth.
Do your cables incorporate any resistance to step down the power from the speaker taps? If so, what value resistor?
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No resistors in my case.
None in mine
normie610
Headphoneus Supremus
Listening to this album as I type on Valkyria + Primavera combo, and this is the best I’ve heard of this album out of a headphone system. I’ve only heard as good as this on a vinyl based 2 channel rig. Valkyria suits old jazz recording very well as it adds a much needed density and weight while maintaining a highly transparent sound. Not even CA1a is able to do this nor Valkyria w/ CFA3 combo. It’s just so damn good!! Oh and of course nowadays I convert every signal to DSD512 in Roon using 7th order CLANS. Makes a lot of difference.
Axel
100+ Head-Fier
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Fortepiano
In the past 2+ decades we see more and more HIP (Historically Informed Performance) recordings.
When the term "Fortepiano" is used, it is usually referred to a piano which is different from the modern piano. Mostly due to string tension and frame material.
But there are many different generations and manufacturers of fortepianos, including those that were restored and newly built (like those built by: Paul McNulty).
All have a different and distinct sound.
Usually the fortepiano mechanism is "noisier" than that of a modern piano, and many recordings expose that.
Those who are accustomed to the modern piano sound may find, at first, the fortepiano sound signature a bit thin, lacking in body and lower registers.
However, when trying to leave out (or getting used to) these differences, you notice that the fortepiano produces more insights into the music. Mostly because it was originally written and performed on such instruments.
The Valkyria's tonality and its ability to reproduce the sound of acoustic instruments comes greatly into play when listening to recordings of fortepiano.
All the nuances, clicks and clangs, as well as pedal pressing and string vibrations are exposed to the listener in an immediate way.
Great recordings and performances are absolutely breathtaking and provide further insights into the musical message passed by the composer.
Ronald Brautigam has many fortepiano recordings. He is a master of the fortepiano. You can listen to his complete recordings of Mozart's and Beethoven's piano concertos as well as their piano sonatas.
He recently released the complete Impromptus composed by Schubert. Highly recommended! Try comparing with modern piano recordings of this piece.
Paul Badura-Skoda is also one of the pioneers of HIP (forte)piano recordings.
One of my references for HIP recordings is his complete Beethoven Piano Sonatas cycle, recorded by the french ASTREE label, later released by Naive.
Very highly recommended. Again, try comparing to modern piano recordings of the same cycle.
In the past 2+ decades we see more and more HIP (Historically Informed Performance) recordings.
When the term "Fortepiano" is used, it is usually referred to a piano which is different from the modern piano. Mostly due to string tension and frame material.
But there are many different generations and manufacturers of fortepianos, including those that were restored and newly built (like those built by: Paul McNulty).
All have a different and distinct sound.
Usually the fortepiano mechanism is "noisier" than that of a modern piano, and many recordings expose that.
Those who are accustomed to the modern piano sound may find, at first, the fortepiano sound signature a bit thin, lacking in body and lower registers.
However, when trying to leave out (or getting used to) these differences, you notice that the fortepiano produces more insights into the music. Mostly because it was originally written and performed on such instruments.
The Valkyria's tonality and its ability to reproduce the sound of acoustic instruments comes greatly into play when listening to recordings of fortepiano.
All the nuances, clicks and clangs, as well as pedal pressing and string vibrations are exposed to the listener in an immediate way.
Great recordings and performances are absolutely breathtaking and provide further insights into the musical message passed by the composer.
Ronald Brautigam has many fortepiano recordings. He is a master of the fortepiano. You can listen to his complete recordings of Mozart's and Beethoven's piano concertos as well as their piano sonatas.
He recently released the complete Impromptus composed by Schubert. Highly recommended! Try comparing with modern piano recordings of this piece.
Paul Badura-Skoda is also one of the pioneers of HIP (forte)piano recordings.
One of my references for HIP recordings is his complete Beethoven Piano Sonatas cycle, recorded by the french ASTREE label, later released by Naive.
Very highly recommended. Again, try comparing to modern piano recordings of the same cycle.
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