I just bought this pair of Tri-Art Open 3 Reference. Not an easy speaker to setup so far. Lots of trial and error to do to set them up properly ahead.

Look I know this sounds like a shitpost, but it’s not. It’s real, and I agree it’s ridiculous, but it’s real.

So anyway, I posted pics of my dual sub build the other day. Several hours after I started using the subs, freaking bees started trying to make their way into our house. Like a small swarm, basically attacking the window right next to where my subs are. Terrible photo I know, but hopefully it’s ugh … evidence.

I mentioned it in the group chat and someone joked it would be funny if they were attracted to the bass.

So I searched it up and … yeah maybe.

So yeah - anyone else with subs had a bee problem?

I have noticed this since a few days ago. Do you know why this change happened without any announcements?

How can I set up the "USB PLAYER PRO" app for higher quality with DAC and BLUETOOTH devices?

I bought this phone for cheaps, so i want to use it as a DAP, i don't know much about music or anything but i download all my music on my laptop then transfer it on my phone, but Google Play Music's interface SUCKS, what app do you guys reccomend? i also play music not by the album but by the folder

I am overly excited by the fact that those were listed and described as working 🤩

So cool!

Learn more: https://www.thevintageknob.org/sony-SS-R10.html

Auction itself: https://www.fromjapan.co.jp/japan/en/auction/yahoo/input/p1247838431/

Disclaimer: I'm not affiliated with the auction, just wanted to share my lucky find with the wider community 😇

Still learning my way around the setup regarding crossing over w/subs and ideal levels. But there's many differences, starting with size lol.

I've been using Spotify for a while to read local files on my phone, specifically for its crossfade feature. But recently, I've been having a lot of issues with Spotify having a hard time reading my files, so I ended up switching to VLC (the goat) to at least be able to listen to them (even though it doesn't have a crossfade option).

What app do you use that has a good crossfade feature and is not too much of a hassle? (i.e. not full of adds, not hella expensive)

(For those wondering why I need crossfade, I like to listen to projects such as "NONE OF THIS IS REAL", which use crossfade for an optimal experience of the album. It's also just nice for looping single songs)

Sorry if this is wrong sub but I’m helping a friend with his father’s estate. Dad was only owner of some decent audio stuff with it never being moved in 50yrs except for servicing. Does the original box increase value? We listened to a record last week and all the equipment running great.

Meine Hifi Kette:

wiim ultra, project cd box ds 3, project powerbox ds3 sources, project x2b mit hana umami blue, project phono box ds3 b, musical fidelity m8xi, musical fidelity m8x dac, Triangle australe ez

Kopfhörer: The Arranger von Austrian Audio, project headbox ds3

Strom: furutech wandsteckdose, dynavox 4100, netzkabel für m8xi van den hul mainstream hybrid

Kabeln: alles hochwertige van den hul integration hybrid kabeln, alles symmetrisch mit xlr kabeln verbunden, bzw. mini xlr/xlr bei der phono verbindung

Hi, my first post here so be kind 😄 and a note to the mods - this post is about free software, MIT licensed, and non-commercial; it's free and open-source that was built with my love of audio, and the promotion of the same. Please don't delete.

I've been working on a free open-source vinyl capture solution, it is bit-perfect capture and encoding on all platforms Linux, macOS, and Windows - VCW, a vinyl capture workstation.

I am posting because of one part of it that turned out far more interesting than I expected, and I would like to hear from people who know more about it than I do.

The curves

If your record was cut after roughly 1955, your phono stage is correct and you can skip this bit, er - no not the correct term there for sure 😄. If the record was cut before that, it probably was not cut to RIAA. Columbia, Decca, EMI, NAB, AES and others each had their own characteristic. Play one back through a RIAA stage and you get the wrong tonal balance, usually a few dB out at both extremes.

Plenty of hardware and software can apply these curves. What I could not find anywhere was agreement on what the numbers actually are. So I worked them out from the published sources. The tool now carries sixteen curves, each with a citation to where its parameters came from and a note recorded wherever the sources disagree.

Some of what fell out of that:

• A lot of published tables quote "dB at 10 kHz" for the treble section alone, not for the complete curve. Columbia LP is widely listed as -16 dB. The complete curve reads -15.54 dB. Read the table as the whole curve and you are wrong before you start.
• NAB references 0 dB at 700 Hz, not 1 kHz. Every value in an NAB table is offset by 1.488 dB from everybody else's.
• A trailing "-0" in a curve code means there is no treble network at all. It does not mean 0 dB of treble. Three curves in common tables are like this and all three get misread.
• EMI and HMV are the same curve (Blumlein, 531 us turnover, no shelf, no rolloff). HMV then splits on a date: English HMV 33s cut after mid-July 1953 use the Columbia LP characteristic instead.
• The "Decca 640 us / 53 us" curve that circulates online appears to be fictitious, a misreading of where a published graph leaves flat, taken for time constants. Decca's 78 characteristic and its post-1950 LP characteristic are two different real curves.
• One row in a widely copied published table (RCA 45) has an arithmetic slip in it that has since propagated. The same page computes the equivalent row correctly two lines above.

The filter

Applying the EQ correctly at 44.1 kHz is harder than it looks, because the correction has to stay accurate right up against Nyquist. A straight bilinear transform of RIAA is 13.5 dB out at the top of the band at 44.1 kHz. Matched-z gets that to 3.1 dB. Fitting one extra pole and zero pair gets it to 0.078 dB worst case across 20 Hz to 20 kHz. That last one is what ships, and the conformance figure is measured in the test suite at all six rates from 44.1 to 192 kHz, so a regression fails the build rather than quietly sounding slightly wrong.

The EQ curve is never baked into the capture. Any post-processing performed is applied non-destructively. The EQ curve is a stored decision that is then applied on audition, on render and on export, and the exported files carry a tag saying which curve was used and whether it was actually applied. If the tool cannot establish a bit-perfect path it says so rather than claiming one.

Honest status

This is an alpha release, and it says so. Capture, track detection, metadata lookup, crash recovery and export (WAV, AIFF, FLAC, ALAC, MP3, Ogg Vorbis) all work and I use it on my own records. Capture-path verification has only been done on Linux x86_64 so far. The Mac and Windows builds exist and run, but I have not yet validated a recording device on either, so treat those as experimental.

Repo, releases and the full write-up on the curves: https://github.com/shunte88/vcw

What I would most like back: if you have pre-RIAA records and a source for a curve I have wrong, or one I am missing entirely, would you please share it with me. And, equally happy to be told my DSP is wrong.

Folks using macOS or Windows - give the solution a spin and let me know what you find

Scott A1610, KLH Model 24s
I know literally nothing about audiophile stuff pls go easy on me. Haven’t gotten to hear it yet bc i’m waiting on RCA to raw wire cables in the mail

Does buckeye amps do discounts? Should I wait until thanksgiving/Black Friday? I’m interested in the 8 channel amp.

I have looked at a few posts in this subreddit and all of them talked about the setup products. Me personally: I have EQ software (specifically EqualizerAPO for the EQ software and HeSuVi for virtualization of a 7.1 surround sound system), I find my system sounds almost indistinguishable from real life, almost.

I sometimes have issues balancing the bass with the rest of the sound, either I do too much or there's very little.. but that's besides the point.

What's your opinion on EQ vs. hardware?

Edit: to avoid confusion I am using IEMs, not speakers.

I’m a 21 year old rock ‘n’ roll guitar player and singer songwriter mixer/producer trying to figure out what made some of my favourite old records sounds so great. There are recordings that have always stood out to me as incredibly sonically pleasing to listen to independent of the music itself. Eddie Kramer is a legend and one of the greatest to ever do it. There is a specific sound he got in the mid 70s that I have been obsessed with for a long time and I have not been able to put my finger on what it is. I haven’t gone too deep into researching what kind of gear he used and how he might have achieved such an amazing sound so I thought I would come on here and see if anybody could help me Identify some of the components that contributed to this sound. The sound I’m describing can best be heard on the track New York Groove by Ace Frehley. It almost sounds squishy like the whole mix is pumping but it doesn’t sound over compressed. It sounds saturated in the greatest way. It’s very colourful and it’s very warm without being devoid of any high-end. It’s by far my favourite production sound I’ve ever heard.
You can also hear it on records he did with the band cactus, a bit on kiss alive and a lot on the song Shock Me by kiss. You can also hear it on the Frampton comes alive album. You can hear it on his live album with the Rolling Stones and April Wine at the Elmo. If anybody can help me identify the sound and how it can be achieved, I would be extremely grateful. Thank you for reading and let me know what you think.

(Let me preface by saying, I am not an EQ user. I like the signal unchanged from the file or source. I prefer to improve the room before adjusting any settings. Especially any settings I have no control over.)

It is not uncommon for people to post here that a streaming service or device sounds worse than previous service. Speaking strictly about listening on an AVR or even a preamp with similar UX, it is also not uncommon for people to say “Your settings must be wrong” based on the complaint. I am guilty of saying this too!

Well, let he cast the first stone because, I was trouble shooting my AVR on its Web interface (your's probably has one too, if it is not too old) for an unrelated issue and, ugh, this explains why some devices and settings on it did not sound as good as others! (see images) I had these two things turned on.

I think I did this years ago when I was learning the AVR (still am) and, they stuck. The complex and odd colored UI does not help.

Anyhow, if you have these kinds of EQ like adjustments on your AVR or preamp/streamer, try turning them off. I had these settings/outputs set to Natural and Standard. So I had those EQs on some things but not others!

Note: Like many, I mix my AVR with my stereo so, it is part of the equation for many. If you do not use an AVR, don't bother replying. I also have a nothing but stereo set up in my office but, I only have one other room, and it has a TV, to put my “main” setup at home. Reality. Thanks.

This topic was for sure discussed here but everytime I found some new great albums to listen on mine system and really enjoyed, so put a few favourites. It can be production wise or based on musicianship and record quality that transform an emotion You get listening on Your system.
I will start with:

1. Genesis - The Lamb Lies Down on Broadway
   
2. The Alan Parsons Project - Eye in the Sky
   
3. Dire Straits - Communique
   
4. Miles Davis - E.S.P.
   
5. Tool - Ænima

Reference-grade audiophile rack, used in three elite rooms at Axpona 2024, including TAD’s.

Built to the same standard as the equipment it carries, it was inspired by my previous rack, an all-out, cost-no-object design with several engineering innovations of its own.

A month or two back, I thought I need something better than my Gravastar Mars Pro speakers with a Hiby R4.

So I thought, let's turn this slowly into some sort of Hi-Fi, what could go wrong?

As I alteady had a new issue Soundburger and a Yamaha MDX-E100 Minidisc recorder, I bought a Fosi P4 preamp.

Combined with a Fio BTA30Pro as a Bluetooth receiver and some cheap bluetooth sender dongle on the output, I had something resembling a stereo system.

I may eventually get some better speakers, most likely with an end stage amplifier and then go from there. It just then happened that my partner, which sadly moved farther away because of job reasons, let me test her Genelec 8020s. I was blown away by the clarity and immediatly got myself a pair of 8030s and a Fosi ZP3 to have the XLR balanced outs.

After I got them setup, I connected a Game Boy Pocket and listened to the Metal Masters soundtrack. So much clarity.

I started listenting to lots of my MD recordings and records and discovered things I never heard or forgot was in the songs.

Unfortunatley, about a 3rd of my MD collection is recorded in MDLP or Hi-MD for longer.albums or large soundtracks and compilations. I should get one of those Hi-MD decks then. There should be a selection, right?

Onkyo was the only manufacturer to produce such models. Two in fact, a standard sized one and the MD-105FX, which would fit nicely in my Kallax cabinet and next to my existing Yamaha unit. So after some research and eBay browsing, a unit was ordered, received and integrated.

After a few days of enjoying my setup immensly, I rememberd that I have some CDs too. And conveniently, a LaserDisc player was setup not that far from my Stereo, so let's try that.

And it failed. It failed to read multiple CDs. Looksnlike my LD unit is bust :(

First I looked at the current offeringsnof CD players and transports, but I only found full size components or little portable units like the Fosi, but then I remmebered, maybe there is something in the range ofnmy Yamaha Natural Sound or the Onkyo Intec.

The Yamahas offering was an all in one unit, Tuner, Amp and CD, the MD one was the seperate in that collection, and as seen on diverse Youtube videos, all in ones are a hassle to maintain.

Even if it is not the best, I opted for an Onkyo unit. Got the C-705FX because I already had a 4th gen 205 MD player with the FX moniker in the product name.

After ordering a fine working specimen, I dug deeper into the Intec rabbit hole, it's five generations produced from 1998 until 2012, also called the Onkyo Seperate Collection 205 and all its tiny little components.

We all love visualizers, be it in Winamp, Windows Media Player or any old Hi-Fi that had one. My old man's Technics tape recorder had one, even when I listened to CD, I made it 'record' to have the EQ going.

Of course I had to get the matching EQ-205 for my system. Hooked it up between the Fosi P4's output and the ZP3's input for some nice moving graphs.

The EQ part is a nice bonus.

The only reason I got the matching Intec Amp (a A-905FX2) is to simplify remote controls.

There were no remotes included with the three Onkyo units, as most customers would have bought them to be used with an Intec system.

Even if the orange volume knob on the Fosi P4 is nice and motorized, the ZP3 has the orange knob, and the A-905 has me covered in the motorized dial area.

Today the amp finally arrived, and after wiring all the components up (I will need to get some new RCA cables eventually), everything is working, including remote control of CD, MD and EQ trough the amp.

Thank you for coming with me to this little journey.

If this will be the end of it?

Don't think so, there are tape recorders, CD writers and CD changers to concider ;)

The Mars Pros still stand guard.

Current Setup:

MD recorder: Yamaha MDX-E100

Hi-MD recorder: Onkyo MD-105FX

CD Player: Onkyo C-705FX

Turntable: Ars Technica Soundburger AT-SB2022

Turntable: Ars Technica AT-SB727

Bluetooth receiver: Fiio BTA30 Pro

Streamer / DAP: Hiby R4 x EVA

EQ: Onkyo EQ-205

Integrated Amp: Onkyo A-905FX2

Linelevel shifter: Teufel AC 5011 AP

Preamp: Fosi ZP3

Loudspeakers: Genelec 8030C

tl:dr: after upgrading speakers, wanted a Hi-MD deck and got the other units from the same series as they matched my needs for function, design and size. Which happend to be Onkyo's Intec 205.

I've been slowly swapping speakers I find at thrift stores for a year now, whatever bookshelf is an upgrade. Was definitely not an audiophile, I just enjoyed doing upgrades, until now. I found these for $25 and ignored them because they seemed so plain. Did some research and flew back to amvets the next day, was so relieved to find them again. Nearly pristine, perfect foam, and this unlocked this hobby to me. I never fully understood it until I listened to these. Records I was indifferent on suddenly bloomed and took me to a different dimension (sorry for the cheese).

These were a lot more when you really think about it, considering I got a Pioneer PL-516 and Schiit preamp directly afterwards. The quest for a vintage stereo sansui has begun 😈

I am planning on running some speaker wire for outdoor speakers. I already had the conduit installed and it terminates at my shed, from my shed have another conduit that runs to the house. My plan is to have the speaker wire run all the way back to my house and basement to the location of audio and networking rack via the shed. That would put the longest run at ~200 feet and the shortest at 110 feet. In all there will be four AM-1s each at 110, 110, 170 and 200 feet and an OSD audio Forza sub that will be 110 feet from the network rack in my basement. I could just terminate at the shed that would cut about 80 feet but the shed has a few issues mostly that it is not a conditioned space and i live in the north east with hot summers and cold winters and i would prefer all my equipment in one location, but the shed does have electricity (dedicated subpanel) and internet connectivity via a cat6 cable. The speakers will be powered by one, maybe two, sonos amps and the sub by an OSD SMP-200 amp.

My tl;dr question is: given the shortest run of 110 feet and longest at 200 feet should i terminate the speaker wire at the basement, or save 80 feet and terminate at my unconditioned shed?

Added GIK panels at my first reflection spots and added corner bass traps. Old hexagon panels above rack are from ATS.

Not a great WAF, but she's tolerating it for now. 😄

Plan to do before/after measurements with REW at some point when I have the time!

• Equipment List:
• Speakers: Rega RX5
• Amp: Rogue Dragon
• Preamp: Rogue RP5
• EQ: Schitt Lokius
• DAC: Gustard X18
• Streamer: Rasberry Pi 5 with Moode
• CD Transport: Rega Apollo-R
• Turntable: Rega RP3

headphones : Audio Technica ATH-M20X

Chip : Creative Sound Blaster AE5

Audio source : flac file vs Apple Music Hi-Res vs YouTube video

Songs I played : countless

Basically I did an A/B/C test with all these. The only difference was just the audio volume (or gain or whatever, you get the point)

I can't notice anything, are my ears unworthy? Or is hi-res genuinely niche/super hard to notice?

Sharing a free, open source Mac player I built, in case it's useful to anyone here.

The two things this crowd might care about:

• Bit-perfect playback. The output device follows each song's sample rate and the deepest integer format, with optional exclusive access, and the volume slider controls the device's own volume instead of scaling samples. A quality panel shows what the file is and what actually reaches the DAC, so you can confirm nothing's being resampled.
• 15-band parametric EQ. Every band has type (peak, shelves, pass, notch), frequency, gain and Q, a draggable response curve, and automatic preamp to avoid clipping. It imports and exports Equalizer APO / AutoEq ParametricEQ.txt files, so you can load your headphone's correction directly.

Plus FLAC/hi-res/ALAC/APE/WavPack and friends, gapless, ReplayGain-based leveling, and synced lyrics.

https://github.com/irwingbraga/groovelight