dumb question

[slide_advantage_redoux]

A dumb question for the veteran audiophiles to address:

Is it possible/advisable to use pro audio gear for home stereo applications? Specifically, I suppose I speak of power amps, rack gear etc that one would normally see used with live music (ie: club, concert, etc).

I have wondered if adapting a high quality pro audio amp for home use (paired with a pre amp of course so as to be able to have the phono/tuner/etc connections) would equate to high quality home sound. Of course, the speakers would have to match up, etc.

Just a thought. Thanks

Edited January 11, 2005 by slide_advantage_redoux

[Gerry]

Most pro gear has an operating level that is 14dB hotter than the consumer standard (+4dBu vs. -10dBu). This means that if the pro box is feeding the consumer box, it will probably distort; and if the consumer box is driving the pro box, you'll end up having to turn the pro box up 14dB to get the same output and in the process you'll end up raising the noise floor of your system by that same 14dB. There are companies that make matching boxes (Aphex, Henry Engineering, and others), but it is often not worth the trouble.

[lkaven]

Most pro gear has an operating level that is 14dB hotter than the consumer standard (+4dBu vs. -10dBu). This means that if the pro box is feeding the consumer box, it will probably distort; and if the consumer box is driving the pro box, you'll end up having to turn the pro box up 14dB to get the same output and in the process you'll end up raising the noise floor of your system by that same 14dB. There are companies that make matching boxes (Aphex, Henry Engineering, and others), but it is often not worth the trouble.

It's actually +4dBM and -10dBV and the difference is actually about 12dB, but what you say is mostly correct.

One reason I think pro equipment operates at nominal levels of +4dBM is because it is easier to drive low-impedence balanced lines over a relatively long distance. Most consumer equipment uses single-ended inputs/outputs, which is fine for short distances.

There is a nice variety of microphone preamps in the pro audio world, and they come in all kinds of subtle and different sounds. Some of those varieties are not suited for general work because they are used for getting a strong coloring. Others, though, would make great phono stage and preamp if an RIAA eq were added. Someone would build you one. Great circuit designers like Dan Kennedy at Great River or John Hardy make for great sonics. The Millennia Media is probably the favorite of classical recordists, though if DW Fearns were less expensive, they'd probably be used more. (The Fearn is a steal compared to what audiophiles pay for their hyped pieces.) Then the Great River and the Hardy improved version of the Jensen twin-servo. [Kinda interesting and tragic story, actually--Deane Jensen was a genius.] It is hard to find better sonics and build quality anywhere than these, and they are available at a reasonable price. They sometimes appreciate in fact.

Luke

[Jim Alfredson]

Luke, it's great to see you here again.

The Millennia stuff is on my wishlist. I would love a HV3 and really for the price, it's a steal.

Have you seen this fellows dual-servo kit? JLM Audio It has been getting some really rave reviews from the DIY community, including this one:

http://www.prodigy-pro.com/forum/viewtopic...ghlight=jlm+99v

A dual channel kit is only $475US, which is ridiculous if it really sounds as good as I've read. This is going to be my next purchase.

Changing subject:

Check out this thread, too: http://www.organissimo.org/forum/index.php...opic=16258&st=0

[Gerry]

It's actually +4dBM and -10dBV and the difference is actually about 12dB, but what you say is mostly correct.

Oops, you're absolutely right; 11.78dB, actually. Shoulda known better... gotta pay more attention

[lkaven]

Luke, it's great to see you here again.

The Millennia stuff is on my wishlist. I would love a HV3 and really for the price, it's a steal.

Have you seen this fellows dual-servo kit? JLM Audio It has been getting some really rave reviews from the DIY community, including this one:

http://www.prodigy-pro.com/forum/viewtopic...ghlight=jlm+99v

A dual channel kit is only $475US, which is ridiculous if it really sounds as good as I've read. This is going to be my next purchase.

Changing subject:

Check out this thread, too: http://www.organissimo.org/forum/index.php...opic=16258&st=0

Hi B3-er,

That looks like a nice setup for the money and good specs. At first I thought the 99V came from the Jensen 990 discrete opamp, but Hardy says they're not. Those Hardys are incredible pieces, and he's doesn't ask a lot for them at all. You can almost never find them used, since nobody in their right mind would give one up unless they had to. Jim Anderson can tell you all about how nice the Hardys are...I think he's got a dozen of them or more.

Luke

[Jim Alfredson]

Luke,

I've been meaning to get a pair of the Hardy's for some MAP preamps I have (pre-Melcor and thus pre-API but made by the same folks as both). The guy I bought the cards from said if you put the Hardy's in there, they are incredible.

But first I want to get that JLM Labs kit!

What's your thought on the influx of Chinese microphones? There are some pretty good ones out there, I think.

[lkaven]

I haven't experimented much with Chinese microphones since the first of them started coming out. I had a R0DE, then some BPMs. I got the feeling that there was a lot of refinement going on, and secrets being passed around. The end result was improved technology on the low end at an affordable price. If I were starting out again, I'd be better off today for the same or less money. If I were spending over $1000 these days, I'd be looking more at the Soundelux models and over that, the Korby Convertible. I don't know what Neumann is thinking these days, but their low end TLM103 and the TLM193 are still great mics.

Luke