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LOL. You are very kind to say so... Thanks for watching, and enjoy! 😉

LOL. I've been to Aalborg, Denmark, to visit their factory and see their production methods. As an industry insider for over five decades, I have experienced this industry from pretty much every angle, and have access to costs and production values. TRUST ME when I tell you that you are completely unaware of the details and facts behind the manufacture of Børresen products...and likely any others as well...

Hello... As I indicate here, the Umami Red represents possible the single best value in cartridges I'm aware of today. It is simply an exceptional accomplishment, and one that I have NEVER had anyone tell me that, after living with it for any short time, that it wasn't EVERYTHING they had hoped it would be. That said, retipping IS a viable option, especially if you can move to Boron and a microridge profile! For the prices you've quoted, that is certainly a reasonable path... And while upgrading your E.A.T. and Planar 6 WOULD bring certain advantages, I suspect that I'd still leverage the Umami Red option first. It is an exceptionally fine transducer that WILL bring you some relevant sonic advances... Thanks for watching and taking the time to write!

@@theaudioanalysti can’t tell you how much i appreciate your feedback and poignant responses. thank you! 🫡

If you read my review of the ULTRA 9s that I submitted to The Absolute Sound (www.theabsolutesound.com/articles/von-schweikert-audio-ultra-9-loudspeaker/), and scroll down to the breakout heading _Eminence Front_ you will be as surprised as I, and many others were, that we had them positioned in just an hour. One of the enormous advantages of a speaker that is as well-designed, engineered, and configurable as the ULTRA series of loudspeakers from Von Schweikert is that they are meant to be easily - and completely - integrated into _any_ space... My room is no exception, and many who have been here have been simply blown away by how remarkably well they work in this space... Thanks for watching and for taking the time to write!

@theaudioanalyst I checked out your review. Wow! What a fine speaker! Seemingly lacking for nothing. I imagine after you experienced these, you had to have them! Thanks for sharing..

Thanks for your support! And I'm not sure if you are aware, but I worked for the Office of Infromation Technology at the University of Notre Dame for 15 years. When I retired from the University, I was the Senior IT Engineer/Analyst for the Athletics Department, where my duties were supporting the needs of all 26 NCAA teams. So I'm sure you'll forgive me my position! 😉🤣😇

No forgiveness needed. Sounds like a great connection to the University. Should be a great game. Marcus is a great coach and was fun to watch when he played here. Enjoy the game and I look forward to all your new stuff this year. You do a great job.

Since I've never heard it, I have no opinion...

@@theaudioanalyst On my za3s I only have the Sparkos op in the right channel socket on both. Works great.

I haven't been using the Tambaqui for quite some time now. And, you can always see my current system and ALL its detail at my companion website, the audio analyst.com. Here is the link to my system page there... www.theaudioanalyst.com/reference-system/

Hello... Thanks for writing. While I take your point, consider some of the facts regarding audio component failure. Having been in and around the consumer electronics industry, at virtually _every_ level, for some five decades, and as the owner/operator of an electronics repair and modification shop, doing repairs and upgrades, you may care to know that if a component doesn't fail right out of the box, or during its first hours of operation - which would reveal a major manufacturing flaw or shipping damage - its likelihood of failure drops drastically. And yes, that likelihood increases over time...but only marginally. And while there is _no question_ that such popular, mass-produced products, so affordable and in high demand, will suffer possible failure due to production and/or shipping damage, I've had these V3s in play on average of ten hours a day for 90 odd days now. When working upstairs, they are always on... AND, I've had each of them opened, jostled, poked, prodded, and done several component swaps, on the order of five or six times. They are - knock on wood - working with no indication of flaw or failure. YES, it could happen...no doubt. And then too, the Fosi Audio V3s, like all other Fosi products, come with a two-year warranty, so...there is that buffer. All things considered, I think you _may_ be looking for a reason to be concerned or skeptical... 😉☺🤔

I'd rather just get one of the many integrated clones that are everywhere at the moment. Based on 15k + designs for $500 odd

@ I’m sorry, integrated clones? What are you referring too?

@@michaeldina1103 I'm talking about Chinese clones using high end design patents that have expired so are now available to copy and replicate. Google it dude 😉

While I can respect your methodology, no one, me included, can accept your conclusion. Thinking that there is any relationship to what the Moya does in-room and the experience that listening to _any_ in-room recording made and then shared over a Social Media platform, given ALL the limitations such a process involves, including the random in-room recording methods (from the use a SmartPhone to using serious stereo microphones and a DAW system), the native limitations of the entire chain of gear used to capture the recording, generational degradation from transfer, editing, and production techniques - including the limitations imposed by the gear and tools used for all of those processes, the native platform Codec restrictions and limitations, the networking concerns, and the limitations of the chosen playback DAC, amplification, and speaker system used to interpret all the earlier noted shortcomings, you are only fooling yourself. Seriously, If you think that ANY representation you've heard played back from any such source comes anywhere CLOSE to the monumental degree of expressiveness, openness, detail, refinement, and sheer transparency that the Vivid Moya M1 are able to deliver, you really haven't given the experience enough consideration. I have spent some four days in front of these speakers, and, as EVERYONE else who has heard them and reported on that experience will tell you, they are - far and away - a world-class, benchmark setting accomplishment! 😉Thanks for watching.

While the advantages realized from paralleling multiple IC OpAmps typically result in increased output current and lowered power consumption, making them especially useful across a wide range of operating conditions, these are not necessarily the attributes we look for to realize improved audio performance. When comparing the AUDIO performance achieved with the application of paralleled IC OpAmps to the AUDIO performance possible with the use of discrete OpAmps, the discrete OpAmps typically excel in such specific niche applications, where high output current and very high-quality audio fidelity are required, even though that desired improvement in performance increase comes with increased complexity and cost. While the parallel IC OpAmp approach might deliver slight increases in current capabilities, it does not necessarily offer any significant improvement to its overall bandwidth capability. Further, slight imbalances or differences in the individual OpAmps used for the parallel alignment (slightly different electrical characteristics such as gain, input impedance, and offset voltage…) can significantly amplify noise, especially when dealing with high-impedance sources. To that end, the parallel approach proves an excellent choice for many more general-purpose applications where the goals are high output current, modest cost, and the need for compact size are important. But when it comes to the specific goals, such as high-end audio applications, where sound quality is paramount, discrete OpAmps still win the day…and relatively easily. Their ability to be customized, to utilize top-quality, audio-grade components, (like extremely tightly matched tolerance metal-film resistors or silver mica capacitors), is fundamental to how they accomplish their better audio performance. Such specificity of design affords them notably better performance in terms of distortion, noise, and frequency response than the parallel approach may offer.

I know Gregorz likes speed and slam. In a lower prices system this might be the better choice. However, I'd rather go for the increase of refinement provided by the discrete opamps class A design. That's another way of saying what Greg said in less technical terms. 😊

​@@theaudioanalystjust shut up and try them

Hello... I am sorry if my explanation was either unclear or otherwise not what you expected, but, we are saying the same thing... Here is what I said starting at about 3:28 - ruclips.net/video/jpLtt3hJiCs/видео.htmlsi=wFL0-ePNnSIML4Lj&t=208 "Examining the three removable IC OpAmps in the V3s reveals that one of the three, _the one mounted nearest the back of the board, is used to accept and integrate balanced inputs to drive the V3’s_ ." And my further discussion about the common use of ICs to allow for balanced inputs to be used with single-ended designs may have been a bit confusing. Finally, I will have to go back to the tech info on the V3, as, after seeing your comment, I may have mistakenly gotten their intent one hundred eighty degrees reversed. My take on its application was that it was provided ONLY to allow balanced inputs, not that it was crucial to the use of a converted single-ended input. More as I have it. Thanks for writing! 😁

@ Thanks, Greg. You know I’m a fan of your channel and just trying to help out. Yes, I believe that you might have it 180 degrees the other way. Ha ha. The amplifier circuit is a balanced design. The function of that opamp is to convert single ended signals to balanced before the signal moves on to the other two op amps that you have upgraded thus allowing use of a single ended connection with the amp. All that said, Fosi does suggest that there is not as big of a difference changing that opamp and in my case I can attest there is a noticeable, but subtle difference with using various op amps in this position. The balanced connection is better because you avoid that opamp, it’s a bit more quiet, natural and more totally accurate. Bottom line: you need to get another set of Sparkos opamps or move your new ones over and see what you hear. 😀

@@sean_heisler Thanks - again - for the post... I have to tell you, I have found the available info confusing at best. 🤔On one of the Fosi Audio Fourm pages, their "V3 Mono Op-amp rolling" page," following a video on the process posted by kauai82, there is the following statement... "As you can see by the picture, I did not replace socket one on the board. _If you are going to use the balanced inputs, I would also replace this op-amp."_ This statement had influence on, and seems to support my original position and statement...as it suggests that the OpAmp in that particular location has an influence on the balanced input performance, not the single-ended input... I am going to pursue this further, but...I'm still not sure about this... More if/when I have it...

@ I hear you, Greg. It is confusing. I tried once to find out what the input impedance is on these amps it took a while to get that. Have you watched the Fosi V3 mono op amp rolling video on their RUclips channel? I’m going to attempt to paste the link here but often RUclips deletes comments with links. You can see at :25 into this video they label the op amp in question as the number 1 position and go on to say it’s responsible for converting the unbalanced RCA input to a balanced signal. ruclips.net/video/NSZ5T_XhE3U/видео.htmlsi=9On6UJWXOs_rHxe0

@@sean_heisler Hey, Sean. Yes, I have... And it was on that same Fosi Forum Page with that posted video (community.fosiaudio.com/threads/v3-mono-op-amp-rolling.108/) where the poster made that comment... I'm still not _necessarily_ doubting that claim, I'm just wondering how it really contributes... There are too many conflicting versions to be sure. I'm going to write to my connection at Fosi and see if they can offer some explanation for the discrepancy... And, seriously, thanks again for engaging here. This is one of the many reasons I do all this stuff! 😉

Thanks for your comment, my friend. Keep in mind, this is my Srcond Space system, not a primary music system. As such, these little guys really pull it off beautifully! 😊

Thank you, my friend... I'll see you next month in Tampa!

the usb-c is dual purpose, for charging and an output at the same time

@@jclark2019 I appreciate your reply. Is there an adapter where it could connected to play and also be powered. Not sure what adapter I would need. Thanks,

An apple device will need an OTG cable adapter to accesss direct digital stream. The phone will not be able to charge and play a stand alone (5 Volt) DAC so you will need a USB C splitter cable, one side carries data only and the other is for connecting to mains with apple charger, power bank or external PSU linear or switch mode, I think there is also an old 5v iPad psu that some people use as well.

@ Thanks, I should have assumed that Apple is different

@ I may be wrong you could get away with just using the y splitter cable as it may be OTG, tbh I gave up on apple for playing music years ago when iTunes wouldn’t let me copy my own recordings between devices.

As I said - starting at ~11:13 (ruclips.net/video/23PcIVcdEaw/видео.htmlsi=S42CZ9J1UKhBHPv-&t=673) - "Then I had another idea… I wondered how it might sound to stream Roon and/or Qobuz directly from my Samsung phone. Using the needed USB C to USB C cable, I connected my Samsung phone and gave it a shot. DAMN… Streaming files directly from the Qobuz app, or from Roon using their ARC app, I was able to bypass the analog output from my device and stream the digital files directly. The difference between the two outputs, as rendered on my reference system, was not just obvious, it was markedly significant." There are MANY reasons, as a retired IT Engineer certified on BOTH Microsoft and Apple platforms, that I will NOT use Apple products. As such, I cannot tell you WHY the iPhone, as unfriendly as it is in many other respects as well, will not drive this DAC. I simply refuse to use their products any longer. You may have to reach out to Apple and have one of their so-called "Geniuses" help you solve the matter. I’m sorry that I cannot offer you any solution, and good luck…

You probably need a “on the go” otg adapter or cable, the OTG usb adaptor will cost pennies, apple do make their own OTG cable for connecting phones to video equipment. OTG also allow your phone to recognise a usb stick transfer files etc. Not all tablets, phones (including Samsung) will allow pure digital out with ease so the adapter is quite common. Your phone will still not have enough juice to power the DAC via usb C input so you will need a USB C splitter cable, data (C) and mains (A) to usb C into DAC. They around £10.

LOL, yet another uninformed and uneducated rant from someone with clearly no understanding of the matters under discussion - the realities of metallurgy, signal transmission, and cable manufacture - who THINKS that, with their lack of experience and no valid understanding of any of these topics, and further, feels some entitlement to offer their inexperienced, unfounded, mistaken, opinion. In fact, such ignorance and lack of understanding reveals that all you are doing is dropping your pants in public to reveal just how little you DO understand or know about such matters… Go post your ignorant, uninformed bile at sites that revel in such trolling… Any further embarrassing rants you attempt to post here will ensure your inability to do so.

Thanks for watching! I DO appreciate it...

Here is where we have a fundamental disagreement. You are talking about using a Band-Aid on an otherwise flawed system. And while I accept that it is the common practice, one that is wrongly accepted and pursued, that of seasoning the “flavor” of mismatched gear, I believe it is a fundamental mistake that many - too many in fact - make along their journey toward audio bliss. The goal should be to align the performance of the gear, not to mix and match, then “season” the sound to taste, as that always corrupts core fundamental attributes like resolution, and the master it serves, transparency. To illustrate my point, let’s use a scale to describe our sounds. If we were to describe an unadulterated, neutral, natural sound by ascribing it a value of zero, then perhaps as the sound became duller, less detailed, less clear, we would define it using negative integers, say like a -2 or -3. Following along this same principle, if the sound was brighter, more energetic than dead neutral, we might describe it using a positive integer, like a +2. Using this method, if we have a source, connected with a series of electronics, that produces a resultant sound that is a tad lean through the upper midrange and treble with a specific pair of speakers, we might call that an overall -2 performance. Your suggestion that the act of introducing a set of speaker cables made of silver, cables that offer a slight boost to the affected frequency band, cables that we would ascribe a performance value of +2 on their own, and you COULD argue that the system value has been brought back to a 0. While this approach may offer a correct mathematical solution, it is wrong, mathematically AND sonically. In fact, the system now actually has a disparate value of four, not zero, as the difference between the original value of negative two for the dull system combined with the positive value of two exhibited by the bright cables do not offset, but rather, combine - now as a systemic difference of four - to the detriment of many other sonic attributes. You are simply adding some salt to try to salvage an otherwise bland dish, combining two flaws to try to make a poor recipe taste “better,” rather than starting with a more honest recipe. Do you see my point here? In my eyes, that is simply NOT the right approach to take… To my way of thinking, though this is common, and has become the accepted approach, I see it as a lazy, disingenuous method used in place of doing the work to assemble the most authentic, resolute, system capable of developing the purest, most authentic degree of fidelity possible.

@ the problem is there is no gear that’s exactly neutral, signal going through any circuit is going to have a sonic signature, so your assumption is skewed to start there is no absolute 0. As a dealer I was trying to combine gear to get to it sound neutral, combining gear is always an act of balancing and or stumbling across synergistic combinations and on top of that the cables may offer an interaction on a capacitance resistance and inductance level that may not play nice with certain gear, or bring it to another level. In my experience having mixed and matched hundreds of systems I found that it really was system dependent, I will say audience tended to be the most neutral and consistent bringing the same positive effect no matter what system I put them in, but I can tell you there were times that I put in a full audience loom of AU 24e for example and the system sounded better with AU24 e interconnects but not speaker cables the client and myself agreed silver speaker cables sounded best, this was a very neutral system, believe me I was usually impressing most of my distributors and putting most dealers to shame in my system synergy. My systems could do classical with aplomb but also play progressive death metal like Opeth equally well. There is no truly neutral so you have to balance what the system is doing. I understand your point about there being sonic signatures as cross purposes, but I think once you go through a major electrical change in the system from line level to the amp, after wards from amp to speakers, this typically doesn’t occur like you are saying, this would be the place one can make a major change. Every system is a summation of all of its parts and I don’t care how expensive the gear is sometimes the system needs a change because of the summation of certain Interactions. yes sometimes when people make these changes it’s a net negative other times not, one has to be intimately familiar with the gear and cables and even then it can surprise you. I one time hooked up a Sim Audio Evoltion system with Dynaudio evidence speakers with Nordost Valhalla and it sounded anemic, we put on some Tara labs and this made the system sound whole again. I like Valhalla, but it didn’t work in that system. Again..synergy. Those two brands Sim Audio and Dynaudio are a match made in heaven synergistically. It was the cables. So yes you have to season to taste otherwise you are not maximizing the potential of what the system can do to sound its most realistic.

You don’t have much experience with cabling then because I have a ton of different cables and it is very easy to mess the sound up. It takes some wit to get the sound right when mixing.

@@zacharydoering313 Yet again, we completely disagree, on both the availability of gear that offers sublimely neutral sonics, and on the goals of system building. You may have been in the business and thereby acquired some acumen, but your experience seems limited to a very small number of brands... There are MANY brands of electronics that ARE neutral, though not as many as those who do not, making the balancing act more challenging. But you totally missed the reality of what the goal should be. The whole goal should be the assembly of products whose sonic contributions are as authentic as possible, not just throwing gear together, then "patching," "fixing," or "seasoning" your way back to something you like. It seems we have VERY different understandings of how to best achieve the fidelity of the live performance during play back.

@ I would say I have heard a wide number of brands maybe even many you haven’t heard. When I was a dealer I tended to focus on some of the more obscure brands, I also had discussion with Dr.Von Schweikert on the subject of cables effects when he was alive. I could share with you what one of his professor buddies shared with him about cables . I also went to shows and heard many brands while they aren’t the best environment to listen to everything some brands did stand out in a positive way in fact Audence had one of the best rooms I’ve ever heard at a show with their crossover-less line arrays. There is no neutral gear. Some are shades apart from neutral, others too lean or too warm in presentation and claim neutrality, and others still don’t get decay structures right. but I also play a few instruments and my basis for what sounds right is reality. None of the gear we have sounds like it it dan get very close, but still doesn’t sound like real life. Although I’ve had moments where I’ve gotten eerily close, again this is why we have to strike a balance between the Sonic character of each link in the chain. Every piece of gear imparts a sound and I think a Fourier transfer function measurement easily proves this.

Audience sells direct in the UK.

@johnmcdonald3884 Thank you for that.... Do you have first hand buying/ownership experience?

Yes, but I can't listen to measurements. Measurements are a wonderful jumping off point, but as I've mentioned repeatedly throughout my decades of writing, and here on the channel, the ears are the final arbiter of how a product sounds, not numbers on a spec sheet...

That is an interesting question... Overall, I come down on the side of the Lupe... But do keep in mind, it is $4000 - or 60% - more than the Lupe...so that is almost to be expected...

The E.A.R. 324 is a fascinating Phono Stage from the mind of the BRIALLIAN Tim de Paravicini... Tim was a friend of mine, and I was fortunate enough to review the E.A.R. 324 shortly after it was released in the spring of 2003 - www.positive-feedback.com/Issue6/ear324.htm That said, what the advances in materials science (the scientific study of the properties and applications of materials of construction or manufacture, materials such as ceramics, metals, polymers, and composites), by way of the quality of the individual components used in the circuit, the circuit board composite, etc., alone may have to offer in a two-decade newer preamplifier may give it a significant advantage. And this MasterPhono CRUSHES most of any of its competitors in terms of convenience and versatility. As much as I LOVE Tim's work, I would think that it may be bested overall by the MasterPhono. I think a head-to-head shoot out makes sense... As to ANY linestage with an internally sourced phono stage, I'd urge caution. Don't get me wrong, what I've heard from Angus Leung, both in conversations with him over the years now, and the many times I've gotten to hear the Quest driving a set of Rei's, is very good...but, my experience has taught me that dedicated external phono stages, certainly ones in this class, almost always outperform any preamplifiers with an included phono RIAA circuit...

@@theaudioanalyst I purchased the 324 in 2006 along with an 864 preamp and later the 912 preamp. Those two units have perfectly matched SUTs for my cartridges but their problems lay in the old designs lacking in proper regulated power supply (none basically). Today, with all the digital noise generated on power lines (cell, computer, etc), they only sounded good past midnight in my system. Plus their linestages just don't compare to my Poseidon. The worst for EAR equipment was during the summer above 100 degrees when all the A/C units were going. The 324 turned out to be amazing now. I also have the Zesto Allesso SUT which sounded excellent into another custom subminiature tube pre-amp I have (better than the EAR pre-amps). Dan Meinwald is also a friend of mine of whom Tim was a best friend of his as well. Dan is the EAR importer dealer who sold me my EAR gear in 2006. I really love the looks and design of the gear but sonically not a fit for me any longer. I'm willing to audition this Mo-Fi Masterphono preamp along with the twice the price Westminster Labs Monologue phono preamp. I've never had a solid state phono stage in 50+ years until I began using the 324 this year. I now prefer the non-tube phono pre-amp stage with a tubed linestage but the Quest could change my mind.

Are you even hearing yourself at this point? 😉 The EAT Petite tubed phono stage? A device that sells at retail for a third the cost of the Pass XP-17 (you didn’t specify, so I’m assuming…) and a fourth of the cost of the MasterPhono! Were you REALLY thinking that a $1,500 entry level design from EAT - a turntable specialty house, not a firm know as an electronics powerhouse, by any stretch, let alone as a manufacturer of exceptional budget gear - could hold a candle to a product that cost three times as much from the mind of Nelson Pass? I’ve no idea who would offer an, as you put it, “gaga” review of such an inexpensive, entry-level device from an unproven company’s series of electronic components, but I will wager that it is the result of the fact that the reviewer in question has had, how do I say this respectfully, a rather severely limited degree of exposure in both the number - and quality - of, the phonostages he has heard, especially by comparison. Please keep in mind that I’ve spent five decades in and around this industry, with over 35 years chronicling my travels and experiences. During that time, I have heard - and worked on - untold hundreds - arguably thousands - of specialty phono-related products. I’ve lived with all levels of phonostages, devices selling for under $200, to some that sell for $80,000. Keep in mind, I’ve made it clear that the MoFi Electronics MasterPhono phonostage is not without weakness, especially in contrast to world-class devices like those that I own and have reviewed. But it DOES punch well above its weight - and I dare you to find the versatility, feature set, and specifications that it offers for anywhere near the same price from another manufacturer. Please know that I’ve no doubt that it will afford more versatility and utility than ANY Pass Labs phonostage, and that it will easily best the Pass you currently use, ESPECIALLY if you are able to take advantage of the current-based, transimpedances input… It is a stand-up overachiever…

5995

As is my standard practice, pricing and specification are presented in the description section, as are links to purchase. And it is $5995... Thanks for watching!