Pietro Cozzi Tinin
Headphoneus Supremus
Yeah... I'll praise the day a user do it yourself upgrade for the Yggdrasil comes available.
What a long, strange trip it's been -- (Robert Hunter)
- Thread starter Baldr
- Start date
Whats BWD?
winders
Headphoneus Supremus
bosiemoncrieff
Headphoneus Supremus
I set down my pen. Read my thoughts on K1000 here.
wout31
500+ Head-Fier
Never thought I would live to see the day that Schiit would bend over for buzz word compliance.
US Blues
Headphoneus Supremus
Buzz word compliant, or real-world functionality? It's all about how we frame it in our mind.
If the transport can play DVD-A discs (up to 24/192) I personally will be quite pleased.
FLTWS
Headphoneus Supremus
Nice job on the review, I like your style!
I wrote a response but apparently my verbose writing style won't be tolerated, “too many words”,
so here I will try and post it.
Well, 2.5 years is a seriously long period of time to invest in a review. It would be nice to see mainstream audio press reviewers revisit their past subjects in light of the ever changing playing field, especially regarding those components they liked enough to purchase and own for themselves. But the nature of their business is to move on to the next, new, shiny thing.
I’m not a fan of earbuds, they are akin to a “wet willie”, and so I would never invest money in them. So KSE 1500 is out for me.
I own the Abyss and it’s not exactly a standard fit so maybe it’s possible the wearing of the K1000 (or MYSHERE 3), would be do-able. I also own HD800 and Utopia, a 4th different wearing style would not necessarily be a problem for me with a K 1000 type design. Although with K 1000 and MYSPHERE 3 the truly open air (as opposed to open back) sound is very likely more susceptible to intrusive external ambient sounds where one is using them.
But, my primary meat and potatoes listening are the late Romantic and early 20th Century works for large orchestras. Cellos, double basses, bass drum, bass oboe, etc., the instruments that underpin the overall sound palette are critical for me. The top to bottom weight and impact is all important for my enjoyment, a phone that measures flat to 100HZ and falls off rapidly below that isn’t going to cut for me.
I always try and keep an open ear, one never knows, but add in the variations in recorded quality from one disc or (your media source of choice here) to the next and it’s a roulette wheel of possibilities. As for those who find a “lack of detail” in a live performance compared to a recording there are several reasons (listening live versus recorded are two completely different things to my mind). One of them being when listening to a recording (and I’m referring to classical genres) your ears are located where the main microphones were placed, a few feet “above” the players, generally, and with a few additional spotlight mics placed at different positions and an engineer possibly adjusting gain on them as the recording progresses (or maybe in post-production) to suit the producer’s or conductor’s take on how things should sound. I find typically that recordings made with only 2 or 3 mics can come closer to giving a concert hall impression sound wise. Even a few “ambient” mics won’t capture the way you’ll hear that same sound from various points in the audience with that cavernous volume of air space. When you are out in the audience your ears are picking up reflections and absorption’s with small time delays as they bounce off the materials of the surrounding walls, ceiling, seating, etc., positions in that large volume of space. I’ve attended a few rehearsals over the years as well as the related performances; full house audience versus empty hall makes a difference. Sounds intertwine, overlap, and interact sometimes to modulate, reinforce or null some sounds ever so slightly at different listening positions in the hall. In my usual hall there are several spots at rounded corners where I wouldn’t buy tickets for a piano concert due to too much reverb that fuzzes up the key strikes.
But thanks for the Herculean effort here Bosie, and I look forward to your assessment of the MYSHERE 3. Now, will someone please send him one to evaluate. Thank you.
I’m not a fan of earbuds, they are akin to a “wet willie”, and so I would never invest money in them. So KSE 1500 is out for me.
I own the Abyss and it’s not exactly a standard fit so maybe it’s possible the wearing of the K1000 (or MYSHERE 3), would be do-able. I also own HD800 and Utopia, a 4th different wearing style would not necessarily be a problem for me with a K 1000 type design. Although with K 1000 and MYSPHERE 3 the truly open air (as opposed to open back) sound is very likely more susceptible to intrusive external ambient sounds where one is using them.
But, my primary meat and potatoes listening are the late Romantic and early 20th Century works for large orchestras. Cellos, double basses, bass drum, bass oboe, etc., the instruments that underpin the overall sound palette are critical for me. The top to bottom weight and impact is all important for my enjoyment, a phone that measures flat to 100HZ and falls off rapidly below that isn’t going to cut for me.
I always try and keep an open ear, one never knows, but add in the variations in recorded quality from one disc or (your media source of choice here) to the next and it’s a roulette wheel of possibilities. As for those who find a “lack of detail” in a live performance compared to a recording there are several reasons (listening live versus recorded are two completely different things to my mind). One of them being when listening to a recording (and I’m referring to classical genres) your ears are located where the main microphones were placed, a few feet “above” the players, generally, and with a few additional spotlight mics placed at different positions and an engineer possibly adjusting gain on them as the recording progresses (or maybe in post-production) to suit the producer’s or conductor’s take on how things should sound. I find typically that recordings made with only 2 or 3 mics can come closer to giving a concert hall impression sound wise. Even a few “ambient” mics won’t capture the way you’ll hear that same sound from various points in the audience with that cavernous volume of air space. When you are out in the audience your ears are picking up reflections and absorption’s with small time delays as they bounce off the materials of the surrounding walls, ceiling, seating, etc., positions in that large volume of space. I’ve attended a few rehearsals over the years as well as the related performances; full house audience versus empty hall makes a difference. Sounds intertwine, overlap, and interact sometimes to modulate, reinforce or null some sounds ever so slightly at different listening positions in the hall. In my usual hall there are several spots at rounded corners where I wouldn’t buy tickets for a piano concert due to too much reverb that fuzzes up the key strikes.
But thanks for the Herculean effort here Bosie, and I look forward to your assessment of the MYSHERE 3. Now, will someone please send him one to evaluate. Thank you.
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Ableza
Headphoneus Supremus
Bit clock, Word clock, and Data. It's digital audio broken down to its fundamentals.
Sounds great in theory but in practice? I would not feel comfortable taking my 25 pound Yggdrasil apart to replace a board for example. Others might but I would just prefer to get in the queue to have it done back at Schiit in California. What is a routine job for a Schiit technician could turn into a nightmare for me. Unless Schiit is contemplating redesigning their product line from Bifrost on up to make it ABC simple for owners to replace boards at home without potentially damaging an expensive DAC.
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Pietro Cozzi Tinin
Headphoneus Supremus
For us European unwashed it will be the only way.
I don't think Schiit-Europe did one upgrade since it's invention.
I don't think Schiit-Europe did one upgrade since it's invention.
Schiit-Europe didn't but I know Electromod does.
Pietro Cozzi Tinin
Headphoneus Supremus
So, I (as a literal neighbor 5 minutes from Schiit-Europe) have to send the Yggdrasil to England.
Sometimes life throws weird curve-balls.
Sometimes life throws weird curve-balls.
AFAIR Schiit-Europe isn't actually a distributor, it's just a guy who travels to US from time to time and buys stuff in bulk.
Derrick Swart
Headphoneus Supremus
Why is it in the list then(on schiit webpage; places; distributors; 2nd row)?
bosiemoncrieff
Headphoneus Supremus
Nice job on the review, I like your style!
I wrote a response but apparently my verbose writing style won't be tolerated, “too many words”,
so here I will try and post it.
Well, 2.5 years is a seriously long period of time to invest in a review. It would be nice to see mainstream audio press reviewers revisit their past subjects in light of the ever changing playing field, especially regarding those components they liked enough to purchase and own for themselves. But the nature of their business is to move on to the next, new, shiny thing.
I’m not a fan of earbuds, they are akin to a “wet willie”, and so I would never invest money in them. So KSE 1500 is out for me.
I own the Abyss and it’s not exactly a standard fit so maybe it’s possible the wearing of the K1000 (or MYSHERE 3), would be do-able. I also own HD800 and Utopia, a 4th different wearing style would not necessarily be a problem for me with a K 1000 type design. Although with K 1000 and MYSPHERE 3 the truly open air (as opposed to open back) sound is very likely more susceptible to intrusive external ambient sounds where one is using them.
But, my primary meat and potatoes listening are the late Romantic and early 20th Century works for large orchestras. Cellos, double basses, bass drum, bass oboe, etc., the instruments that underpin the overall sound palette are critical for me. The top to bottom weight and impact is all important for my enjoyment, a phone that measures flat to 100HZ and falls off rapidly below that isn’t going to cut for me.
I always try and keep an open ear, one never knows, but add in the variations in recorded quality from one disc or (your media source of choice here) to the next and it’s a roulette wheel of possibilities. As for those who find a “lack of detail” in a live performance compared to a recording there are several reasons (listening live versus recorded are two completely different things to my mind). One of them being when listening to a recording (and I’m referring to classical genres) your ears are located where the main microphones were placed, a few feet “above” the players, generally, and with a few additional spotlight mics placed at different positions and an engineer possibly adjusting gain on them as the recording progresses (or maybe in post-production) to suit the producer’s or conductor’s take on how things should sound. I find typically that recordings made with only 2 or 3 mics can come closer to giving a concert hall impression sound wise. Even a few “ambient” mics won’t capture the way you’ll hear that same sound from various points in the audience with that cavernous volume of air space. When you are out in the audience your ears are picking up reflections and absorption’s with small time delays as they bounce off the materials of the surrounding walls, ceiling, seating, etc., positions in that large volume of space. I’ve attended a few rehearsals over the years as well as the related performances; full house audience versus empty hall makes a difference. Sounds intertwine, overlap, and interact sometimes to modulate, reinforce or null some sounds ever so slightly at different listening positions in the hall. In my usual hall there are several spots at rounded corners where I wouldn’t buy tickets for a piano concert due to too much reverb that fuzzes up the key strikes.
But thanks for the Herculean effort here Bosie, and I look forward to your assessment of the MYSHERE 3. Now, will someone please send him one to evaluate. Thank you.
MySphere has a €100 30-day loan program, exclusive of shipping and fees. If that is more to your taste than New York CanJam in February, you might try it. I've held off for a variety of reasons, but it's one of those cans I suspect might be my holy grail, sufficiently impactful that K1000 would be obsolete, HD800 would be redundant, HE-6 would be inferior, etc. That said, I would happily accept a MySphere loan, should one be on offer.
I'm not one for selling my gear. I've given away a few pieces, but I typically just keep them. The collection isn't large enough that they're a grievous issue from a space point of view, and I don't think the small money I would get from a sale would justify the headache of the process, or the sneaking suspicion that I would like to hear them again someday.
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