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Devialet just gave us more watts

Given that I've not come across a turntable/arm/cartridge combination with better than 8 -12 bits resolution I would imagine this isn't too much of a problem?
 
davidsrsb said:
I have come across ADCs that behave VERY badly if clipped. Generally the input should be limited to the conversion range.

I have not seen many ADCs that actually achieve better than 18 bit resolution. 20 bits is about the practical limit and those cost a fortune.
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merlin said:
Given that I've not come across a turntable/arm/cartridge combination with better than 8 -12 bits resolution I would imagine this isn't too much of a problem?
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I agree on all 3 counts.
 
Fox said:
Ooh tartyness awaits....
Commes ça

9ytaseme.jpg

ugygumur.jpg
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Are you trying to loose weight?
 
Devialet have announced the release of two new models, the 200 Slave and 250 Slave. The former is the more interesting as it allows owners of the 200 (formerly 170) to run two units in dual mono, which wasn't previously possible.

Fox, you interested?
 
Julf said:
I don't think David is talking about surface damage, but about the fact that if you do the ADC before RIAA correction, you have 40 dB of difference between 20 Hz and 20 KHz. Either you sacrifice up to 40 dB of dynamic range at really low frequencies, or risk clipping in the high frequencies.

40 dB sounds like a lot, but it is less than 8 bits, so you are still more than fine bit-wise if your ADC is a 24 bit one.
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To my understanding, before the RIAA correction (i.e. on the vinyl), the low frequencies have been reduced and the high frequencies boosted, thus the dynamic is lower than after the RIAA correction which is done in the phono stage... I'm not sure to understand the 40 dB dynamic range between 20Hz and 20 kHz you are refering to. Don't you think this 40 dB figure rather corresponds to the dynamic before RIAA compression at the recording stage?
 
mattgbell said:
Devialet have announced the release of two new models, the 200 Slave and 250 Slave. The former is the more interesting as it allows owners of the 200 (formerly 170) to run two units in dual mono, which wasn't previously possible.

Fox, you interested?
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No this will more than adequately suffice.

I like the white Marcel Marceau gloves btw, very French humor knowing obsessive compulsives will buy this and the remote is a mass of fingerprints.
Air running which is ok but it doesn't have the freedom I want yet, am using a volumio digi feeding the optical input.

Full fat Quobuz via airplay, superb.
 
White gloves on for doing anything that other than pressing the front button on the amp and a quick rub with a microfiber lens cloth keeps the remote looking presentable. Enjoy :cool:
 
tof said:
To my understanding, before the RIAA correction (i.e. on the vinyl), the low frequencies have been reduced and the high frequencies boosted, thus the dynamic is lower than after the RIAA correction which is done in the phono stage... I'm not sure to understand the 40 dB dynamic range between 20Hz and 20 kHz you are refering to. Don't you think this 40 dB figure rather corresponds to the dynamic before RIAA compression at the recording stage?
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No.

RIAAA curve - too bad the forum software doesn't do svg pictures inline.
 
Fox,
Can you post a pic of the bottom side of the amp? I saw a recent pic which suggests the design has changed from early versions (larger window for wifi antenna). Just curious.
cheers
 
4upu3aje.jpg


Ass shot,sorry I am precaffeinated.
I want to wall mount this as I am having nothing else's just this.

the RPi running volumio into the hifiberry digi Toslink is great I will chin stroke with rca vs optical later, I will then ask someone to make up a rca to DSUB cable for the dangerous music switcher and compare line out into ATCs so far so marvellous.
 
And now I need to polish it, again! Can you say obsessive/compulsive?
 
If I was 'starting again' this would be top of the list - Do let us know how it all goes.
 
It is very hard to put into words how much I am enjoying what I am hearing and not analysing music right now, I do not yet know what the variables are but it's clearly better that what I am used to.

Its similarity with my bathroom scales is rather funny too. the nice thing is ms fox lets me listen to music quite loud in bed which she never did when we had valves.
 
Good news.

There is something wonderfully clean and transparent about the Devialets. And they can drive speakers like no other amps I've heard.
 
My bedroom speakers are not a difficult load

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And no it ought not sound good, but it does.
I'll be moving soon so it's just a lash up on a bedroom chest of draws that is not even mine....
 
I've been impressed every time I've heard a Devilet, but I don't think it would be an ideal choice with vintage speakers.

It's not fish-shaped either, but I think I could get over that.

Joe
 
merlin said:
SAM does rather seem to be much ado about nothing given the remarkably small possibility that it will apply to most users in the foreseeable future.

Unless I guess that owners will be switching to B&W or Vivid loudspeakers - something I wouldn't personally countenance regardless of DSP applied by Devialet.

The rise in power also seems strange - does anyone know the reasoning behind it or how it has impacted other objective qualities? I can't for the life of me see how 10% more published power output would have the slightest affect on sound quality whatsoever and a virtually inaudible change to loudness capability.

Is anyone with a more technical background able to shed some light on this or is it more a marketing tool?
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Not looked into it Mike, but perhaps the original spec was very conservative and has been adjusted (in the case of those models with a small jump) or perhaps the THD spec for rated full output has been relaxed from stupidly good down to extremely good. I'm sure someone can check the numbers.

Most well engineered equipment meets its spec with plenty of headroom giving some room for manoeuvre with the numbers.
For example, many a nominally 50w amp can be specified in the range 30-70w depending on how you measure and where you set the distortion limits below hard clipping.
 
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