BillD

I rip Apple Lossless into iTunes that I use with Squeezeboxes attached to my different systems. Same idea.

Two thoughts here. There is the standard coding for CD's which is going to happen when you burn. The real issue is what are you going to burn from. Any lossless codec will burn the same onto a CD (hence the name "lossless"). So, be sure to "rip" into a lossless codec when you first move a CD into your music library, so you can get the same thing back when you "burn" it. BTW, WAV is uncompressed and takes up the most space. FLAC, WMA lossless (and if you are into iTunes — Apple lossless) are compressed and take up less space, but remain lossless.

Those are the ones I use. For the C-1 pilot lamp(D400), you need to change R411 to a 480Ω ½W resistor.

As was said earlier, it depends on the original source. If you're burning MP3s and have a player that can decode them, you can burn them as data on a DVD and get a whole lot on there. Must burners don't allow you to burn CD format onto DVDs, and I don't have any software that will burn to DVD-A format. Ideally, I'd like to burn DVD-As at 24-bit 96kHz for quality, but haven't the software.

You might try a Carver C-9 hologram generator to widen your soundstage. Speaker placement is important to get a big soundstage, with or without Sonic Holography.

I bought a Richter Scale III from Z and use it with my C-4000 in my office system to drive my M&K sub. It works great.

The one that always tears me up is "The Pretender" by Jackson Browne I'm going to rent myself a house In the shade of the freeway I'm going to pack my lunch in the morning And go to work each day And when the evening rolls around I'll go on home and lay my body down And when the morning light comes streaming in I'll get up and do it again Amen Say it again Amen I want to know what became of the changes We waited for love to bring Were they only the fitful dreams Of some greater awakening I've been aware of the time going by They say in the end it's the wink of an eye And when the morning light comes streaming in You'll get up and do it again Amen Caught between the longing for love And the struggle for the legal tender Where the sirens sing and the church bells ring And the junk man pounds his fender Where the veterans dream of the fight Fast asleep at the traffic light And the children solemnly wait For the ice cream vendor Out into the cool of the evening Strolls the Pretender He knows that all his hopes and dreams Begin and end there Ah the laughter of the lovers As they run through the night Leaving nothing for the others But to choose off and fight And tear at the world with all their might While the ships bearing their dreams Sail out of sight I'm going to find myself a girl Who can show me what laughter means And we'll fill in the missing colors In each other's paint-by-number dreams And then we'll put out dark glasses on And we'll make love until our strength is gone And when the morning light comes streaming in We'll get up and do it again Get it up again I'm going to be a happy idiot And struggle for the legal tender Where the ads take aim and lay their claim To the heart and the soul of the spender And believe in whatever may lie In those things that money can buy Thought true love could have been a contender Are you there? Say a prayer for the Pretender Who started out so young and strong Only to surrender

I think that there is true pleasure in maximizing the enjoyment/price ratio, no matter how wealthy you are. In fact, my wife doesn't realize how lucky she is that she married a Scot like me. And throw anything away — nay laddie.

The C-4000 is the most complete "bells and whistles" preamp you might ever encounter. The early ones needed some work to become world class (mine had that work done by a member here). If you aren't into tweaking your sound too much and just want a good solid preamp, I'd go with the C-1. They are easy to work on, too.

When it comes to speakers, more is not necessarily better. Each speaker (or pair) has it's own timbre. Mixing speakers with those of other models usually is less than optimal on that front, and from smearing caused by the drivers not being time-aligned. One of the things that makes Carver ribbons so beautiful sounding is that the same transducer (ribbon) operates in the same plane from 150Hz to over 20,000Hz — most of the audio spectrum — delivering phase coherent signals to the ear (electrostatics and other planar speakers do the same). Multiple drivers really screw this up, and the more individual speakers you have, the worse it gets.

Combien? They look nice.

I think the words after I still love you say it all. "I don't know why"

They have butyl rubber surrounds, so they should still be good.

Condolences, Ed

Welcome. I also have a pair of DCM Time Windows.

I burn all the CDs I have in my car (both inside the cabin and in the CD changer in the front trunk). I've not had any problems with either due to heat, but if you leave them on the seat, the light seems to screw them up. THe ones constantly in the dark have never failed, even withstanding temperatures probably over 150ºF.

Well, it would be nice if they told you the real codec. DTS is usually implemented with a core that is 96kHz or 48kHz 16 bit with extensions. Thus you can always play the DTS core, even if you can't play the codec extensions. One extension gives you 24 bit. There is an extension to give you lossless. But the core will still be lossy.

Well, maybe. If they used the video portion, they could get 96kHz/24 bit resolution (non-lossy, too).

I've been thinking of putting it in my will.

I fear that for all my gear once I die.

Especially the collection marked with X.

I did notice the speaker wire on the little pedestals. 103dB sensitivity

I wouldn't think cutting at ½ speed would enhance bass. The grooves would be ginormous. It would be like trying to put down 10Hz on a record. Or, wait, maybe it's the other way around

I've always wondered about ½ speed masters. It would seem like the highs would be glorious but the bass would suck (consider the RIAA necessary to keep the stylus in the groove during bass notes).