At last... a revised Audiolab CD/Q thread.
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BenS
pfm Member
I expect that this may have been covered already, but I don't have time to read through the whole thread! I have been using the usb input of my CDQ from a pc with no problems. I have just bought a macbook pro and have connected it via usb to the cdq and nothing...
Music still plays through the laptop speakers and the there is no stream to the cdq. Anyone else experienced this?
Ben
Music still plays through the laptop speakers and the there is no stream to the cdq. Anyone else experienced this?
Ben
JohnW
pfm member
Hi BenS,
I'm not a MAC expert, but I've looked over shoulders when Dominiks configured machines, you need to goto utilites & "Audio Midi setup" and select the Audiolab as the reply device.
Its described in the user Manual - which also descibes how to setup for 44.1kHz / 16 Bits etc.
I'm not a MAC expert, but I've looked over shoulders when Dominiks configured machines, you need to goto utilites & "Audio Midi setup" and select the Audiolab as the reply device.
Its described in the user Manual - which also descibes how to setup for 44.1kHz / 16 Bits etc.
BenS
pfm Member
Thanks John, I'll try.
I love the CDQ btw, excellent product, and your presence on this forum has been exemplary.
Ben
I love the CDQ btw, excellent product, and your presence on this forum has been exemplary.
Ben
JohnW
pfm member
Great!
The only issue with iTunes is that it does not change the reply sampling frequency on the fly - it keeps the sampling frequency set to the first file / track you play on each season - Its OK, if like me you only reply 44.1kHz 16bit materal...
Just insure that when you reply a Wav file copied from CD that the CDQ shows 16 Bits 44.1kHz - if not follow the steps in the manual to seup your Mac correctly - this will insure best sound quality via Bit accurate data.
I'm very glad you like your CDQ - thank you for your feedback,
John
The only issue with iTunes is that it does not change the reply sampling frequency on the fly - it keeps the sampling frequency set to the first file / track you play on each season - Its OK, if like me you only reply 44.1kHz 16bit materal...
Just insure that when you reply a Wav file copied from CD that the CDQ shows 16 Bits 44.1kHz - if not follow the steps in the manual to seup your Mac correctly - this will insure best sound quality via Bit accurate data.
I'm very glad you like your CDQ - thank you for your feedback,
John
Alan Brown
Registered LUser
Pre-emptive apologies for the thread hi-jack, but it seems relevant:
There is a freeware player for MAC called Audirvana, which takes over audio output from iTunes & changes sample rates on the fly as required. It also supports memory play, 'hog mode' (exclusive access) and integer playback.
Another player - a little more basic, but better sounding imo - is Decibel, which costs about £20 (in case that looks an audiophile misprint - it is twenty pounds) which has the same features.
With both players, you usually run iTunes and simply drag & drop your albums/playlists/tracks into the aftermarket player. You can actually run both without starting iTunes but it is a faff, and iTunes is a great library organizer. Both are good sonic improvements over iTunes (which is wierd as they are all bit-perfect. Right?
)
OK - as you were gents!
There is a freeware player for MAC called Audirvana, which takes over audio output from iTunes & changes sample rates on the fly as required. It also supports memory play, 'hog mode' (exclusive access) and integer playback.
Another player - a little more basic, but better sounding imo - is Decibel, which costs about £20 (in case that looks an audiophile misprint - it is twenty pounds) which has the same features.
With both players, you usually run iTunes and simply drag & drop your albums/playlists/tracks into the aftermarket player. You can actually run both without starting iTunes but it is a faff, and iTunes is a great library organizer. Both are good sonic improvements over iTunes (which is wierd as they are all bit-perfect. Right?
)OK - as you were gents!
Alan Brown
Registered LUser
No worries John, glad to help if possible. I believe Decibel is also free for the first moth if downloaded directly from here (at least it was when I got it - I only just found out it had gone on the app store).
JohnW
pfm member
Hi Phil,
Sorry for any confusion - Yes, the "MK3" will be compatible with both versions of CDQ - the unused winding (for 12V trigger) is just left unconnected on pre-trigger versions.
It will be a couple of months before they reach the UK - I will let you know once they arrive (with the OLED upgrade).
John
Sorry for any confusion - Yes, the "MK3" will be compatible with both versions of CDQ - the unused winding (for 12V trigger) is just left unconnected on pre-trigger versions.
It will be a couple of months before they reach the UK - I will let you know once they arrive (with the OLED upgrade).
John
Excellent. I really like the philosophy of this approach.
Since I got my cdq in January it has done quite a bit of travelling and been in quite a few peoples systems, from £100 bookshelf speakers to £10k standmounts, its even been in a couple of mini bake-offs. It has had a very positive reception - John: who can I invoice at IAG for commission?
Right now I have my 2011 cdq playing through a 1960 Leak Stereo 20 into 1980 Snell speakers - its lovely. I can highly recommend the Rothwell in-line attenuators if you have a high gain amp - work a treat. I have heard the cdq through a lot of valve amps now (I'm losing count) and apart from one mismatch it has paired up very well indeed. All in all a very musical experience - and thats what it should all be about in my book
Richard,
Ill give Tim a call Monday morning, hopefully you should be able to collect a unit by the evening
John
Hi John,
I have just called Tim, he says has has not heard from you as yet.
Can you let me know when you have.
thanks
Richard
aybracers
Member
Thank you again for such a comprehensive and quick reply.
I stopped using the PIP phone stage before I got the Bryston because of limited headroom but I will try it again as it is very good and I will connect from tape out to an analogue input on the 8200. Do you expect this to have a better SQ than when I connected the 8200 single ended outputs to a
line input on the PIP?
John, I really do want to resolve this in favour of the 8200. The PIP is 25 years old and has a hum problem and your 8200 is so quiet (Quiet, it is inky black silent in my system!).
I would be very interested in any improvement you could make to the analogue pre amp stage as I am old git and still love my vinyl. I am located in south London.
noricd
Member
My family and I have benefited enormously in listening pleasure from numerous valuable insights on this Forum. So giving back by sharing information on the decision process I followed to buy power amps (Audiolab 8200MB pair) to go with my 8200CDQ.
This topic of how to buy a power amp took up a great deal of time, so hopefully others can benefit from these notes. Also, online commentary on the 8200MB is very thin (hello, Audiolab marketing department) as compared to alternatives, of which there are obviously many (Bryson, Classe, Emotiva, Bel Canto, Cambridge Audio, Primare, Arcam, Peachtree Nova, Audiolab 8200P etc etc).
I never knew about power amps until about six months ago. I bought a mid-range Denon AVR and that triggered the first steps in my learning curve.
Having decided I wanted mono blocks, in time I came to understand that I needed to examine my speakers, listening room, sources, and features of available power amps. This understanding I learned was to shape and define my selection variables or criteria, along with my budget.
My specific combination of kit is not the point of this post, rather it is how to go about reviewing your own situation to make an informed buying decision that might suit your use of the Audiolab DAC that you might have or want to have.
My speakers are 2 channel, Elac FS 247. These German speakers have nominal impedance of 4 ohm and minimum impedance of 3.4 ohms at 210 Hz, sensitivity of 89 db, generate bass at 30-50 hz, and nominal/peak power handling of 120/160 W. The local Sydney distributor informed me the 8200MB are 400w into 4 ohm speakers. I've not got the technology to test any of these technical features claimed by manufacturers. The distributor was very helpful in answering my few emails.
My listening room is medium-sized. My family's listening tastes are very broad - from acoustic piano to zydeco. I listen to a lot of jazz and like it loudish, but 90% of the time it has to be at moderate volumes due to house size and courtesy to neighbours.
My main source is a Mac mini and on it I use iTunes with Apple Lossless recordings. I therefore intended to use a USB cable into the 8200CDQ. Additionally I accepted the learning of others that XLR interconnects between the 8200MB and the 8200CDQ was better than RCA cables in terms of sound quality.
In time I gained some comfort from information that the 8200MB has its heritage in the Tag McLaren 250MR of 2001, designed by Douglas Self. The 8200MB has been disassembled to test its similarity to the 250MR. On release in 2001, a pair of 250MR was 4k pounds sterling. One wonders how much, if anything of significance, was changed to bring the Audiolab version up to date on its release in 2010.
I repeat that in seeking monoblock power amps I was working with a budget and I know too little about valve amps or class D amps to at this time "go there". The door is open for a future amp upgrade or replacement.
My local hifi retailer lent me the Audiolab 8200MB pair to trial for a month and I educated myself in what to listen for (and John Westlake has written on this too in the old thread). For example, sound quality on an amp includes listening for:
(i) resolution - the amount of detail captured
(ii) soundstage - - the height, width, and depth of the recording venue
(iii) soundspace - - the sense of space in the recording venue
(iv) soundfield - deep circle or oblong?
(v) imaging - the three dimensional holographic effect of instruments and performers being presented on the soundstage. Synonym - separation.
(vi) how does it handle dynamic contrasts and transients:
(a) handling of bass, accoustic and electronic
(b) handling of cymbals, triangles and drum brushes
I bought the monoblocks because I was very satisfied when they are used in combination with the 8200CDQ and my speakers. The additional reasons for comfort was easier local warranty service if needed, the price was right, I'd tested it in my listening room, it has plenty of power in terms of future proofing with other speakers, it's got a 12v trigger linked to the 8200CDQ, and I like its very modern, sleek design.
Of course there are many as good and better alternative amps. The 8200MB pair are working for me at this time, especially well at low volumes.
This topic of how to buy a power amp took up a great deal of time, so hopefully others can benefit from these notes. Also, online commentary on the 8200MB is very thin (hello, Audiolab marketing department) as compared to alternatives, of which there are obviously many (Bryson, Classe, Emotiva, Bel Canto, Cambridge Audio, Primare, Arcam, Peachtree Nova, Audiolab 8200P etc etc).
I never knew about power amps until about six months ago. I bought a mid-range Denon AVR and that triggered the first steps in my learning curve.
Having decided I wanted mono blocks, in time I came to understand that I needed to examine my speakers, listening room, sources, and features of available power amps. This understanding I learned was to shape and define my selection variables or criteria, along with my budget.
My specific combination of kit is not the point of this post, rather it is how to go about reviewing your own situation to make an informed buying decision that might suit your use of the Audiolab DAC that you might have or want to have.
My speakers are 2 channel, Elac FS 247. These German speakers have nominal impedance of 4 ohm and minimum impedance of 3.4 ohms at 210 Hz, sensitivity of 89 db, generate bass at 30-50 hz, and nominal/peak power handling of 120/160 W. The local Sydney distributor informed me the 8200MB are 400w into 4 ohm speakers. I've not got the technology to test any of these technical features claimed by manufacturers. The distributor was very helpful in answering my few emails.
My listening room is medium-sized. My family's listening tastes are very broad - from acoustic piano to zydeco. I listen to a lot of jazz and like it loudish, but 90% of the time it has to be at moderate volumes due to house size and courtesy to neighbours.
My main source is a Mac mini and on it I use iTunes with Apple Lossless recordings. I therefore intended to use a USB cable into the 8200CDQ. Additionally I accepted the learning of others that XLR interconnects between the 8200MB and the 8200CDQ was better than RCA cables in terms of sound quality.
In time I gained some comfort from information that the 8200MB has its heritage in the Tag McLaren 250MR of 2001, designed by Douglas Self. The 8200MB has been disassembled to test its similarity to the 250MR. On release in 2001, a pair of 250MR was 4k pounds sterling. One wonders how much, if anything of significance, was changed to bring the Audiolab version up to date on its release in 2010.
I repeat that in seeking monoblock power amps I was working with a budget and I know too little about valve amps or class D amps to at this time "go there". The door is open for a future amp upgrade or replacement.
My local hifi retailer lent me the Audiolab 8200MB pair to trial for a month and I educated myself in what to listen for (and John Westlake has written on this too in the old thread). For example, sound quality on an amp includes listening for:
(i) resolution - the amount of detail captured
(ii) soundstage - - the height, width, and depth of the recording venue
(iii) soundspace - - the sense of space in the recording venue
(iv) soundfield - deep circle or oblong?
(v) imaging - the three dimensional holographic effect of instruments and performers being presented on the soundstage. Synonym - separation.
(vi) how does it handle dynamic contrasts and transients:
(a) handling of bass, accoustic and electronic
(b) handling of cymbals, triangles and drum brushes
I bought the monoblocks because I was very satisfied when they are used in combination with the 8200CDQ and my speakers. The additional reasons for comfort was easier local warranty service if needed, the price was right, I'd tested it in my listening room, it has plenty of power in terms of future proofing with other speakers, it's got a 12v trigger linked to the 8200CDQ, and I like its very modern, sleek design.
Of course there are many as good and better alternative amps. The 8200MB pair are working for me at this time, especially well at low volumes.
Hi, has anyone tried these in-line attenuators with their CDQ?
http://www.canford.co.uk/Products/20-921_CANFORD-IN-LINE-ATTENUATOR-20dB-600-ohms
http://www.studiospares.com/mic-accessories/pro-20db-inline-attenuator/invt/568580/
There is a significant difference in price. Any comments on sound quality, or alternative models?
With the Canford model, would the 600ohm or 200ohm version be better suited to the CDQ?
Thanks, Duncan
http://www.canford.co.uk/Products/20-921_CANFORD-IN-LINE-ATTENUATOR-20dB-600-ohms
http://www.studiospares.com/mic-accessories/pro-20db-inline-attenuator/invt/568580/
There is a significant difference in price. Any comments on sound quality, or alternative models?
With the Canford model, would the 600ohm or 200ohm version be better suited to the CDQ?
Thanks, Duncan
Kevin Barrow
Member
Dear all,
I have found these to be by far the best. They 'lock' onto phono sockets to give a superb connection and are available in various levels of attenuation (I have ProAc Tablette Signature speakers driven by a 9 watt Audion Silver Night (Single Ended Triode) integrated amp and need the maximum -22bd attenuators in order to keep the amp volume at max -as recommended by JW- for a level that you can just about hear someone sitting next to you talk in a 'normal' semi-detached house living room:
http://www.russandrews.com/product....&customer_id=PAA0728069311166KGOIDDDEEPYZTPPK
I hope this is of help. I assume that the larger the attenuation you can get away with the better, as the residual 'noise' in your interconnect cables (mine are VdH The First Ultimate) is then at its lowest level in relation to the music signal strength (I would be very grateful if JW could let me know if there is a flaw in my thinking!)
BTW, if you really want to 'go the whole hog', you can even request that these attenuators are Cryo frozen to improve the sound even more. Heaven!
Regards,
Kevin Barrow (proud CDQ owner).
I have found these to be by far the best. They 'lock' onto phono sockets to give a superb connection and are available in various levels of attenuation (I have ProAc Tablette Signature speakers driven by a 9 watt Audion Silver Night (Single Ended Triode) integrated amp and need the maximum -22bd attenuators in order to keep the amp volume at max -as recommended by JW- for a level that you can just about hear someone sitting next to you talk in a 'normal' semi-detached house living room:
http://www.russandrews.com/product....&customer_id=PAA0728069311166KGOIDDDEEPYZTPPK
I hope this is of help. I assume that the larger the attenuation you can get away with the better, as the residual 'noise' in your interconnect cables (mine are VdH The First Ultimate) is then at its lowest level in relation to the music signal strength (I would be very grateful if JW could let me know if there is a flaw in my thinking!)
BTW, if you really want to 'go the whole hog', you can even request that these attenuators are Cryo frozen to improve the sound even more. Heaven!
Regards,
Kevin Barrow (proud CDQ owner).
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