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Ich verkaufe meinen: Digital/Analog- Wandler von Musical Fidelity mit der Bezeichnung X-24KMultistandard 24 Bit DAC Dieser DAC klingt ausgezeichnet, gerne führe ich ihn vor. Mit dem originalen Netzteil und dem Manual. Einwandfreie Funktion und auch optisch in sehr gutem Zustand. Keine Rückgabe/ Garantie lt. EU-Recht, da Privatverkauf. Test aus Stereophile: Musical Fidelity X-24K D/A processorThe standalone digital/analog converter emerged as a product category in 1987 with the appearance of the Arcam Black Box and the Marantz CDA-94, closely followed by the PS Audio Link. The idea was that putting the sensitive D/A-conversion and analog stages in a separate enclosure with its own power supply would maximize the sound quality when compared with packing these circuits in the same box as the transport. However, it turned out that the routing of the digital data between transport and processor in the form of an S/PDIF- or AES/EBU-encoded bitstream could introduce word-clock jitterwhich undid much of the sonic advantages. (See Bits is Bits by Malcolm Hawksford and Chris Dunn, Stereophile, March 1996.) Every good engineer likes a challenge, so by 1997 the best transport/processor combinations had no more jitter than the best one-box CD players, and offered dynamic range approaching 20 bits and resolution better than that. But also by 1997, the market for standalone DACs had shrunk almost to zero. For with the introduction of DVD-Video, audiophiles had access to a medium that at long last could carry higher-resolution digital data than the CD. With word lengths of up to 24 bits compared with the CDs 16 and a sampling frequency that could range up to 96kHz, DVD-Videos could be used for high-resolution two-channel music signals. And they were, with Classic Records and Chesky releasing 96k-sampled material—DADs and Super Audio Discs, respectively—throughout 1998. By 1997, therefore, there seemed little point in an audiophile investing big bucks in a separate processor that would not operate above a 48kHz sampling frequency. And confounding the matter, it was open to question whether any DVD-Video players would offer a 96kHz data output in the clear, as the record industry was insisting that, in order to foil would-be pirates, some form of encryption be used for DVD-Audio datalinks (see Sidebar). By the end of 1998, however, a number of DVD-Video players—from Denon, California Audio Labs, Pioneer, Theta, and Panasonic—offered unencrypted 96kHz data outputs, running a conventional S/PDIF or AES/EBU output at twice the usual speed/bandwidth. The necessary 96kHz-compatible standalone processors are starting to appear. In January, Kal Rubinson auditioned the $350 MSB Link; this month, I am writing about the new $450 X-24K from British company Musical Fidelity; and in future issues we will report on how the 96k-compatible versions of previous state-of-the-art processors from Wadia, Muse, Theta, and Mark Levinson perform. (And Jonathan Scull reports on the sound of the 96kHz- and 192kHz-capable version of the dCS Elgar elsewhere in this issue.) Technology The X-24K was launched at the 1998 Heathrow Renaissance Show. An extruded aluminum cylinder somewhat longer than the rest of Musical Fidelitys X series of components houses the circuitry, with AC power provided by a 12V wall wart. On the front panel are eight LEDs to indicate sampling frequency (32kHz, 44.1kHz, 48kHz, 88.2kHz, or 96kHz), data lock on input one or two, and whether or not the incoming datastream is pre-emphasized.. On the back panel are the analog outputs, two coaxial S/PDIF input jacks, and a TosLink optical input, which is in parallel with input 1. There is also a passthrough data output. Inside the cylindrical case are four printed circuit boards. A small one behind the front panel carries the indicator LEDs; an even smaller one behind the rear panel carries the TosLink optical input circuitry. The other two, both double-sided, run almost the full length of the chassis. The lower one carries most of the power-supply components and some TTL glue logic chips, the upper one the data receiver and DAC chips on its underside and the clock crystal, a 7805 5V regulator chip, and the analog output stages on its top. The receiver is the Crystal CS8414, the DAC/digital filter the Burr-Brown PCM1716, both of these surface-mount chips. The CS8414 is a new 5V CMOS device intended to work with S/PDIF single-ended and AES/EBU balanced digital datastreams. According to Musical Fidelitys white paper on the X-24K, this chip analyzes the incoming data to determine its sampling frequency. It then locks to it with a second-order phase-locked loop, (attenuating jitter artifacts by up to 30dB), recovers the clock and synchronization signals, and de-multiplexes the audio and digital data. Introduced in early 1998, the Burr-Brown PCM1716 is one of the Tucson companys affordably priced audio-grade two-channel D/A converters. Featuring an enhanced multi-level, sigma-delta architecture (according to Burr-Browns website), it is specified as having 24-bit resolution and offering a dynamic range of 106dB. Operating with sampling frequencies of up to 96kHz, it also incorporates an 8x-oversampling digital low-pass filter with digital domain de-emphasis and 82dB stop-band attenuation. Interestingly, this filter can operate with either a sharp or a slow rolloff, depending on the application. Because no separate digital filter is required, the X-24K does not offer HDCD decoding, unlike its predecessor, the X-DAC (reviewed by Robert Harley in May 1997, Vol.20 No.5). The analog reconstruction filter is a hybrid Sallen & Key and GIC (General Impedance Converter) type said to offer a dramatic reduction in the level of ultrasonic spuriae. As with such earlier Musical Fidelity digital equipment as the X-DAC, the quality of the passive components used is serviceable rather than top-quality, MF obviously having decided that circuit implementation is more important than absolute parts quality. The analog stages, for example, are based on NE5532 chips. While this 20-year-old dual-op-amp design can give very low distortion and low noise when used optimally, even when driving low-impedance loads, no one would argue that it represents the state of the analog art at the turn of the millennium. Listening Immediately prior to dropping the Musical Fidelity into my system, I had been using theWadia 27i (which was then sent back to the factory for a 96kHz upgrade). Yes, the cost-no-object Wadia sounded better. But at one twentieth the price, the X-24K didnt sound too shabby. In fact, it sounded damned good. The highs were smooth and grain-free. Soundstaging was wide and deep. On Gramophone magazines 1998 Record of the Year, Frank Martins Mass for Double Choir (Hyperion CDA67017), for example, the massive acoustic of Londons Westminster Cathedral could be easily perceived as surrounding the natural-sounding voices. On Stereophiles new jazz CD featuring the Jerome Harris Quintet (Rendezvous, STPH013-2), the mix of Lexicon-derived reverberation and the natural ambience of what used to be the First Christian Church in Salina, Kansas surrounding Jeromes Taylor bass guitar solo at the start of Hand by Hand sounded quite delicious. Even when there was no real soundstage on the recording, as with the Riven soundtrack (Virgin 45425 2), the Musical Fidelity threw an enormous, enveloping soundstage. (A major part of the commercial success of both the Myst and Riven computer games, I feel, was Robyn Millers genius at composing melodic fragments that could set scenes so forcibly.) It was mainly in the bass that the Musical Fidelity fell significantly short of what I had been used to from cost-no-object CD playback gear. The new (as of November 98) Joni Mitchell album, Taming the Tiger (Reprise 46451-2), has a rich balance overall that makes perfect musical sense over the Levinson and Wadia processors. But with the X-24K, the double bass on No Apologies both loses some of its low-frequency extension and its upper-bass definition, to the detriment of the cuts majesty. (All listening comparisons, by the way, were performed with levels matched to within 0.05dB at 1kHz.) Similarly, when I was mixing Rendezvous, I wanted a live sound on Billy Drummonds kick drum, with some ring and hall acoustic apparent—no muffled thuds on a Stereophile recording, thank you very much. I set the kick-drum level using the Wadia 27 to decode the data from the Sonic Solutions digital audio workstation. When I auditioned the mix on the X-24K, I wished I had pulled the kick drum fader back a dB or so—some of the tightness had been replaced with boom. Comparisons But put these remarks in perspective. This is with the Musical Fidelitys sound compared to a much more expensive baseline. Compared with the similarly priced Entech 205.2, the Musical Fidelity had a similar treble presentation but sounded a bit more forward in the midrange. In fact, the Entech made Jonis cigarette-toned contralto sound a lot more recessed in the mix than either the Levinson or the Musical Fidelity. The British processor offered better focus on the voice than did the Entech. Though it had woollier-sounding lows, the sonic pictures hung together more coherently. The Entech sounded a little untidy overall. SPECIFICATIONSMusical Fidelity reserves the right to make improvements which may result in specification orfeature changes without notice.Note : This product has been tested and found to comply with the limits for a Class B digitaldevice pursuant to Part 15 of the FCC rules, operation is subject to two conditions:1 - This device may not cause harmful interference.2 - This device must accept any interference received including interference that may causeundesired operation.These limits are designed to reasonable protection against harmful interference in a residentialinstallation. This equipment generates, uses and can radiate radio frequency energy and, if notinstalled in accordance with the instructions may cause harmful interference to radiocommunications. However as there can be no guarantee that interference will not occur in aparticular installation we recommend that you take one or more of the following measures ifinterference is experienced:- Identify the source of interference, turn the X-24K off and on, does the interference persist?- Re-orientate or relocate the receiving antenna.- Increase the separation between the X-24K and receiver.- Connect the X-24K and receiver to different mains outlet circuits.- Consult your dealer or an experienced radio/TV technician.WARNING - ANY MODIFICATIONS OR CHANGES TO THIS UNIT NOT EXPRESSLYAPPROVED BY MUSICAL FIDELITY WHO ARE THE PARTY RESPONSIBLE FORCOMPLIANCE COULD VOID THE USERS AUTHORITY TO OPERATE THISEQUIPMENT.Multistandard 24 BitDigital to Analog converterINSTRUCTIONS FOR USEDAC architecture 24 bit Delta-Sigma (Bitstream)8x oversamplingSampling frequencies 32kHz, 44.1kHz, 48kHz, 88.2kHz and 96kHzData types Supports 16, 18, 20 and 24 bit word lengthInputs Input 1: 75? S/PDIF coaxial or TOSLINK opticalInput 2: 75? S/PDIF coaxial.Outputs Left and Right analog audio75? S/PDIF digital recording/loop outFrequency response 10Hz - 20kHz + 0.2dBS/N ratio > 96dB unweighted> 105dB A weightedTHD < 0.006% 10Hz - 20kHz unweighted< 0.003% 10Hz - 20 kHz A weightedDe-emphasis < + 0.1dB error, automatically selects correctcurve for 32kHz, 44.1kHz or 48kHzLinearity < + 0.3dB to -100dBDimensions (approx.) 110 x 110 x 330mm (W x H x D)Height and width include feet,depth includes terminals
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Der Musical Fidelity X-24K ist ein D/A-Wandler der Extraklasse! Mit seinen erstklassigen Eigenschaften bietet er ein auergewhnliches Klangerlebnis. Das Modell ist speziell fr Musikliebhaber konzipiert, die hchste klangliche Ansprche haben. Mit dem X-24K genieen Sie eine unglaublich klare und przise Wiedergabe Ihrer Musik. Er verfgt ber zwei schaltbare digital Eingnge mit RCA Anschlssen, wobei ein Eingang wahlweise auch per Toslink verbunden werden kann. Samplingraten von 32,44,1, 48 und 96 kHz stehen zur Verarbeitung der Digitalsignale zur Verfgung. Der Wandler funktioniert einwandfrei und befindet sich auch optisch in gutem, aber gebrauchtem Zustand mit wenigen Gebrauchsspuren. Oben am Gehuse ist eine kleine Beschdigung, welche aber keinen Einfluss auf die Funktion hat. Sonstiger Zustand bitte die Fotos betrachten. Der Wandler wird incl. Netzteil geliefert. Gert kann auf Kosten und Risiko des Empfngers versichert verschickt werden. Versandkosten sind innerhalb Deutschlands angegeben. Internationaler Versand auf Anfrage Das Gert stammt aus meiner privaten, umfangreichen High End und Hifi Gerte Sammlung, welche nach und nach verkleinert werden soll. Privater Verkauf, daher keine Garantie, Gewhrleistung oder Rcknahme.
Biete an einen Upscaling V-DAC II von Musical Fidelity (England) einschließlich Stecker-Netzteil. Er funktioniert einwandfrei.
* Bitte auf meine anderen Auktionen schauen - passende komplette Musical Fidelity-Serie steht zum Verkauf! * Privatverkauf, daher keine Garantie und RücknahmeShipping onlyto Germany!!!
Musical Fidelity USB - SPDIF - Converter, 24bit 96kHz Wird gern zwischen Computer und Stereoanlage eingesetzt:Der Computer bestimmt seine Ausgangs-Datenrate „frei Schnauze“. Aus audiophiler Sicht ist das eine Katastrophe. Die Lösung des Problems liegt in der Anwendung eines Musical Fidelity Converter.Dieser weist den Computer an, Daten über den USB-Ausgang in exakt der Datenrate, mit der die Daten auf der Festplatte gespeichert sind, zu übermitteln.Hier kann man nun sicher sein, dass die empfangenen Daten klanglich hochqualitativ sind.Der Musical Fidelity USB - SPDIF - Converter ist technisch und optisch einwandfrei und kommt inklusive Manual und USB-Anschlusskabel. Und nun viel Spaß beim Bieten.
Musical Fidelity A3 24Bit Compact Disc CD Compact Disc Player + A UK Main Lead Pre-owned Turns on , untested In great condition Power cable not included Fast & Free Postage ?
Musical Fidelity V-Link USB SPDIF Convertor 24bit 96KHz Musical Fidelity V-Link - USB SPDIF Convertor - 24bit 96KHz - inkl. USB-Kabel, Instructions - in der OVP guter Zustand, voll funktionstüchtig Bitte beachten Sie die Aufnahmen vom Originalartikel. Die Ware wird unter Ausschluss jeglicher Gewährleistung verkauft. Der Ausschluss gilt nicht für Schadenersatzansprüche aus grob fahrlässiger bzw. vorsätzlicher Verletzung von Pflichten des Verkäufers sowie für jede Verletzung von Leben, Körper und Gesundheit.
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