Category: Muses 72320

Muses 72320

29.10.2020 By Gardataxe

Hi, I wonder if i could get som hints before I start building this preamp section for my amp. I build it with modified Maplin ga28f modules, and have 10uf at the inputs of Maplin, question is then I could skip the output coupling on the buffer stage?

Im not very good at impedance matching here. Everythin going in the same prosject, I open for good feedback best regards to all diy:er.

Attached Images muses relay. One of these two is clearly redundant, yes. You can leave out the k as well. Find More Posts by sgrossklass. Originally Posted by sgrossklass.

I have a project pending that uses the MUSE part. The is a precision attenuator that allows you to provide your own op amps. Originally Posted by jcga. Could you elaborate a little more please? Sorry for the confusion The advantage of the part is that you provide the op amps. OK thanks, did I miss something but it seems that the Muses needs external opamp too. There are som kit with the Muse chip, but I assume all is in the layout and the supply to get the low noise floor near the one the chip is able to provide!

Sussumu low noise resistor, etc Buffer at the output Sources selector????? Could be a nice prject and not so expensive but for the sources selector, no need of expensive pot! I assume some are as good than relays when near the inputs plugs!

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muses 72320

Resources saved on this page: MySQL User Name. Stay logged in? Mark Forums Read. Please consider donating to help us continue to serve you. Page 1 of 2. Thread Tools. Everythin going in the same prosject, I open for good feedback best regards to all diy:er Attached Images. View Public Profile. Send a private message to trean Find More Posts by treanPass Labs make ampspreamps, phono stages and headphone amps.

They've also made speakers in the past and one DAC. The company is obviously named after its founder Nelson Pass who ranks amongst America's foremost specialists in class A transistor amp design. But he doesn't do the firm's preamps.

Those fall to his partner Wayne Colburn [right, in focus] who's been at his particular specialization for already 25 years. So it falls on me to trumpet his achievements" is how Nelson put it. Having never yet heard a dedicated preamplifier from their house, it was sweet time that I learnt how the other half designed. At a Munich show meet with their third musketeer—Desmond Harrington, out of focus above, an original Irishman from Cork not a late Mayo transplant like yours truly—things were put in motion to make it so.

Owning their XA Just like that amp which fits into a single chassis just fits you might skoff whilst tabulating a total of 40 output transistors and a hulking trafo against a modest 30wpc ratingso does the XP preamp under review today fit into a single chassis. Porking out across two then three boxes is left for the costlier brethren to actually do and those of deeper wallets to perhaps do or at least ponder.

The Muses - Toxic

Is that called preponderance? Just like its multi-boxing siblings, the XP uses vintage Toshiba Jfets for gain and just the precision resistor ladder not the opamp portion of Pass Labs' favoured New Japan Radio's Muses chip for perfectly matched x 1dB steps of volume. That is set by a microprocessor with memory through an optical encoder behind the physical volume knob.

As the next photo shows, there are 2 x XLR and 3 x RCA inputs whereby input 5 can be configured for unity-gain home theatre mode. There's also a trigger port to make the XP turn on a power amp. There's remote control over gain, balance, mute and input selection as confirmed by a blue-on-black fluorescent display with bright, dim and off options. As a classic class A preamp with watt power draw, you'd think that's pretty much all she had to say.

Max voltage gain is 9. It thus—yes, we knew you could do the math—maxes out at You won't ever hit triple digits. That's a very sane design decision given the excess of gain in modern hifi systems.Find results that contain All of my search term words Any of my search term words Find results in The new power supplies in the Klein II DAC definitely picked the sound quality up a few notches so I thought I should implement it into the preamp as well.

Also the level control using the motorised pot was not optimal so I have switched to full digital control. Mute is also instant vs the motorised pot which just very slowly went down.

The Muse chip is totally noise free in operation with no discernible level steps or clicks. An owner in the USA suggested a gain switch might be handy on the new revised model so I have included this. I am more than happy to customise the output levels to suit individual requirements.

When I get time I will update the website with full technical specs. Noise levels are very low too so it should be fine with high efficiency speakers. Love or hate this some of the high profile brands are taking this concept on. No wear and tear, perfect channel balance, and consistant SQ for the life of the unit! When you sit in the sweet spot the channels come in dead centre, no volume variation and it's accurate to within 0.

I'm looking forward to receiving mine. Should be here by end of the week, I hope. Will report back when it arrives and thankfully my unit is fully burned in according to Clay.

muses 72320

Excited is an understatement. Alright, now to report on the stuff you've all been waiting for. My preamp arrived early last week and even though Clay said my preamp had been run in for a bit, I decided to put another hrs on it before I did any real critical listening. This weekend I had a bit of time to sit down and what I heard was just ridiculous. I'm thrilled to announce that Clay has hit this one WAY out of the park. By removing the actual potentiometer he's gone to a remote only control which is smooth as butter in operation with no audible clicks or clacks throughout it's range.

Couple this with the adjustable gain setting that he's now including on the rear of the pre and you have a VERY versatile preamplifier that should mate well with virtually any power amp.

The new display is also pretty awesome and with the option to turn it "off" you'll be happy to listen in low light settings and not be hindered by any bright lights. That's not to say the display is bright at all or intruding in the least, it's not. I usually listen in near pitch black with my eyes closed and if any component has one of those flash light LEDs on the front panel I find it hard to concentrate. This pre with the display on is just fine for me and lets me just drift away into audio nirvana.

If you guys are on the fence, fear not, this thing is awesome. I'm using this preamp with a Benchmark AHB2 amplifier which is known for it's downright honest presentation and virtually zero noise floor. I don't feel that the preamp adds any of it's own flavor to the signal and keeps the noise floor at such low levels that I'd describe the background as inky black.

This allows for incredible instrument separation and air between sounds in the recording with no smearing or overhang.

Everything stays right in it's appropriate soundstage placement with no drift. Depth is also quite good, extending far beyond my speakers and also well into the room.Music enthusiasts place considerable value on the perfect sound and top audiophile technology, a sound experience that is only created with high-end hi-fi components.

Hi-fi systems are becoming increasingly complex. Highly sensitive components provide a broad sound spectrum and, depending on the price range, can provide a good or even extraordinary music experience. However, this rising complexity also has a downside, namely that the perception of sound can be tarnished by undesired interference in all relevant audio frequency ranges.

muses 72320

This can be caused by any additionally connected AV equipment, computers or digital devices. Even network cables or NF connections can generate many of types of interference.

AMB Laboratories DIY Audio Forums

Connoisseurs therefore ensure that components are of higher quality and avoid these undesirable side effects. The goal of the manufacturer is to enable the customer to enjoy every piece of equipment using several senses — sight, touch and in listening to the music. The company's own research and development department has received awards and titles around the world for its achievements.

And we get these from Rutronik — together with consulting and design-in support wherever expertise on products, technology and the market come together. This was the case with the modular preamplifier, the Ovation PA8. This device, which has received awards from specialist music magazines around the world, has been designed as a control unit for high-quality music playback and is therefore fitted with gold-plated conductors and connectors, among other things.

It is supplied in a solid aluminium housing with a blue illuminated, dimmable visual display and extensive menu functions. The numerous expansion opportunities enable the user to continually expand the preamplifier and adapt it to their specific needs.

With eight connectors for input modules and three slots for output modules, the device is future-proof, very easy to customise and can grow to meet requirements in the longer term. With the PA8, AVM had set out from the start to develop a modular high-end preamplifier that would complete the Ovation line of products, which represented the highest quality segment.

We include new technology that enhances music and the emotional experience. Preamplifiers pass the signals from source equipment, such as tuners, CD players and record players, to the end device. Characteristics that quantify the quality of this type of device are voltage gain, linearity, insensitivity to foreign signals and an extremely broad usable frequency range. They also include low noise and a broad overload margin, in other words the ratio between the nominal and maximum input voltage, and these are keys during optimisation.Using Muses V as a volume control I haven't yet built my M3 waiting on parts to arrive and I'm already looking at mods.

I have a superb TKD discrete stereo stepped attenuator that I will be using and I'm interested as a DIY in comparing the sound quality of resistors switched by high quality contacts versus the electronically switched resistors in the Muses V chip.

I'm interested in hearing what it can do. Especially if I use the chip for Rf and Ri around the front end opamp in the M3! One of Academy Audio's boards is a very small size and I could piggyback it over or under my M3 and conceivably connect Rf and Ri from the Muses via very short connections in place of R3 and R4.

My concern is where the DC voltage rides in our circuit with the active "ground" approach in the M3. If I power the Muses board with same power supply as the M3 then I suppose the resistors will fall at the center point of the M3 supply or it won't make a difference if the resistors are floating but I'm betting they are referenced directly or indirectly to the ground of the Muses chip.

If I then only use the Muses chip only for Rf and Ri and not as an input chip, I wonder if things will be kosher. I'm planning on kicking my M3 power supply up to 35 volts or so to get as much poost out of the headphone as possible poost, that's a nice technical word. Would you recommend that I feed the Muses circuit from the same power points that feed the M3 opamp after the local regulators but including the bias adjustment.

The exciting idea about this is we only need one opamp in the entire circuit. The Muses chip will be using the opamp in the M3. Plus, with these actively switched resistors being in the negative feedback loop of the headphone amp, any residual distortion however small it may be in the switching circuit of the Muses chip will be reduced by the negative feedback.

Sound like a viable project? Re: Using Muses V as a volume control OG on a 3ch amp should only be used for the load, as the common 'return'. I just lost all interest in them. I expect a technology company to at least know how to have a website I did look at the muses chip for a little bit but it just did not motivate me to work with it for various reasons.

Usually lower analog supply parts are using cheap switching elements that overload at higher voltages. It's costly to take the time to listen and compare things but if THD and dynamic range were the only criteria designers relied upon we'd still be using germanium transistors. AMB on Facebook.That's quite an endorsement for NJR silicon. I had no idea its appeal reached this far into the ultra high-end.

muses 72320

Another endorsement came from former contributor Michael Lavorgna who since joined the Stereophile team. For further brass tacks on this very subject, Asus subsequent to my November review sent me samples of both standard Essence One and Plus. This review page is supported in part by the sponsors whose ad banners are displayed below. OSX ASUS global website. A sidetake on NJR's Muses. I'm no opamp expert to know the lay of these lands.

One of the basic tasks facing any preamp is volume control. The pecking order as far as sound quality has traditionally spanned the range from the lowly conductive plastic pot to a high-quality resistor-based stepped attenuator. The XP uses the new NJR Muses IC, a two-channel electronic volume control with an internal resistance ladder optimized for low noise and sound quality. Apparently a few resident audiophiles at New Japan Radio Co. My own listening tests confirmed that the Muses volume control at least as implemented by Pass Labs is top notch.

Consider that line-level output is a nominal 2V for a CD player or DAC, sufficient to red-line typical power amps with an input sensitivity between 1 and 2V. Therefore the signal needs to be attenuated by an active linestage before it is amplified again - not an ideal situation.

The XP is one of the few linestages that could hold its own in such a head-to-head competition. The outcome of this exercise was as basic as it was educational.

Climbing up our three-tier ladder predominantly affected textures and image density. The basic machine was driest and the tonally lightest. Coming down from the dearer versions this dryness felt slightly pinched as though it weren't breathing as freely or deeply.

Textures going up became wetter and more redolent. Density grew denser. Images became more robust and heavy as though they were taking up more space. This wasn't a literal phenomenon of gaining girth to turn skinny performers into lardies. It was more akin to occupying additional air molecules in the same amount of space if that makes sense. Separating it from the basic was a broader gap than what occurred above it. Yes the Muses was warmer still. It became even more deeply incarnate, more descended into the body down to the toes rather than being a bit dissociated as though 'in the head' and thus not fully present if we dealt with humans.

More important I thought was how relatively close these three versions performed. Hearing them side by side underscored the solidity of the basic circuit. It also caused delight about the fluidity and ease whereby one version becomes the next simply by swapping out a few opamps. It's a type of 'nobody left behind' soldier's ethos. It's the obvious thing to do. Ancillaries should be suitably refined to get the most from those luxo critters.

The price to pay for such excellent value?

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MUSES72320

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