Det er switch på baksiden der man kan velge mellom 115 og 230V. Fikk med riktig strømkabel også, så her var det tut og kjørOpprinnelig postet av vetting
Dette burde gå uten problemer. Det er jo en "amp" i iPod også, bare ikke så kraftig som feks. HA-160.Opprinnelig postet av vetting
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Tråd: Den store Burson tråden!
06-20-2010, 06:42 #21
06-20-2010, 15:05 #22Opprinnelig postet av mteinum
Denne ampen ser meget intressang ut. Den vil bli kobblet på Hegel-dacen min sammen med AKG K 701. Har også lyst å prøve ut Grado-klokker. Noen som har prøvd Grado på HA-160?Øystein
06-20-2010, 19:16 #23
Hva er prisen på denne headampen? Og hvor skaffer med den?
06-20-2010, 19:41 #24
Har man AKG 701/702 og er jakt etter en amp bør denne absolutt stå på lista over kandidater som skal prøves.
Alle produkter er mulig å kjøpe fra Burson direkte, men moiz tar inn - så langt jeg vet - HA-160 (5.000,-) og AB-160 (4.000,-). Det positive er at dette er et billigere alternativ kontra det å være egen importør.
06-20-2010, 22:43 #25
Mteinum, du har ikke hørt Grado på Burson?Øystein
06-20-2010, 22:52 #26
Ha kun prøvd AKG K-501, K-702, Sennheiser HD-650 og Sennheiser HD25 II. Meget gode resultater på alle disse, men grado har jeg ikke fått testet.
501/702 og 650 har jeg gode erfaringer med over tid, HD25 var det en nabo som kom innom med. Her ble det litt A/B testing mellom Benchmark DAC1 som head-amp og HA-160 - sistnevnte ble helt klart foretrukket. Benchmarken virket "grå" i forhold.
06-21-2010, 00:13 #27Opprinnelig postet av mteinum
Tonart i trondheim fører Grado, så når jeg får ampen skal jeg stikke innom å teste. Kan meddele her hvordan de passer sammen. Men det blir nok ikke før etter sommeren.Øystein
06-24-2010, 21:20 #28
Dårlig bilde, men super kombo!
06-25-2010, 20:07 #29
Gratulerer! Det er nok en bra kombinasjon.
06-25-2010, 23:03 #30
Det er en veldig bra kombo.
Jeg foretrekker faktisk k340ene over k701.
Tør ikke bevege meg så veldig mye ut på de audio tekniske sjargongene, men k340 gjør alt mye mere tredimensjonalt, større.
07-17-2010, 20:01 #31
Noen i Bergen som har HA-160? Skulle så absolutt fått testet den før jeg kjøper. Har lyst å bruke mye tid på å lete meg fram til den beste ampen for meg, til mine 701.
Ser for meg at letingen, testing og produktlesingen kan bli vel så spennende og interessant som selve lyttingen når ampen er på plass. (Veien er målet, er det sagt...)
Evt så skal jeg til Stavanger i slutten av måneden, så kan se meg om der også...
07-17-2010, 20:16 #32
Sakset denne fra moiz.no (importør)
07-18-2010, 21:06 #33
08-01-2010, 00:05 #34
Jeg synes å huske at noen nevnte en gang i tid at Burson skulle komme med en dac rundt nå.
Noen som vet noe mer om det?
Per nå er jeg nødt til å flytte rundt på den ene dac'en jeg har, og kunne godt tenke meg en i samme serien som HA'en når jeg først skal kjøpe nytt. :|
08-04-2010, 18:26 #35Opprinnelig postet av Patienc3
09-01-2010, 15:03 #36
Omtale av AB-160 i The Hi-Fi Journal
Burson Audio was formed in 1996 by a group of passionate Aussie audiophiles from the Melbourne area: the sole aim of the group was to develop audio projects for group members to improve their own systems. The projects were driven by their desire for perfection rather than commercial gain or notoriety and this ethos is still evident in all Burson Audio products to date. They are designed by audiophiles for audiophiles and as such may seem slightly odd to the uninitiated. This buffer is a case in point.
One of the first things a budding audiophile learns is the importance of system synergy and correctly matching components. This is, of course essential to get the best musical performance and balance from your system. Having said this, I am sure we all know someone who is unhappy with their system because they have simply gone out and purchased all the best buys at their recommended price points by such and such magazine, without paying any attention to whether the components will truly work together. This brings me to one area that is usually overlooked by both average Joes and the audiophile community: and that is impedance mismatching. Most people will look at the amplifier’s power output and the speaker impedance, sensitivity and power rating but will not bother to check input or output impedance of the electronic components. When a mismatch occurs it can result in a loss of information and an increase in distortion. This mismatch is also why there can be such dramatic changes when different cables are introduced to a system as the impedance characteristics of the cables are having a more pronounced effect on the signal. This tends to be more prevalent in low to mid priced equipment where cost prohibits the use of output buffers. Output impedances can vary dramatically even from the same manufacturer (Arcam CD192 at 47Ohms and Arcam CD73 at 150Ohms.) This shows that even buying from the same manufacturer does not guarantee compatibility if you mix different models from different ranges.
The Difference Between Impedance Matching And Impedance Bridging.
I will quickly explain what I am talking about when referring to impedance compatibility. When connecting two components, one is the source and one is the load. The source, say, a CD player, is the device that outputs the signal and the amplifier is the load, the component you are feeding the signal into. With modern equipment we are aiming to get maximum voltage transfer between components to minimise the distortion and cause no changes to the frequency response. To achieve this we need load impedance at least ten times the source impendence. This is called impedance bridging. If this is reversed and the output impedance is too high the resulting signal can suffer from low frequency roll off and increased distortion. Impedance matching is exactly as it sounds, when you try to match the input and output impedance to allow maximum power transfer. (600 ohm matched output/input impedance was not uncommon with early valve audio components) This is also what valve amp manufacturers are trying to achieve with the amp loudspeaker union. In this case an output transformer is used. This is due to the output valves generally having relatively high fixed output impedance: the transformer provides a closer impedance match between the valves and loudspeakers to minimise the energy loss. Hence some having both 4 and 8ohm taps on the transformers.
The Burson Audio Buffer has been designed substantially to lower the output impedance of the source component so improving the compatibility between components (the voltage bridging principle). It is based on the well-developed Burson Discrete Op-amp technology. Burson Audio’s philosophy is simple; they believe ICs and the prevalent use of surface mount components have a detrimental effect on the fidelity of the system, hence their use of hand-soldered discreet components only with no ICs. Burson Audio states that the Buffer achieves 120dB of S/N ratio and 0Hz - 220 KHz (-3dB). The buffer reduces the output impedance of a typical CD player to a range between 15-30 ohms.
Now to many, the idea of placing more components in the signal path goes against their fundamental belief that anything in the way of the signal can only degrade not improve it. The idea of using another box of electronics and another interconnect seems alien at best. So I put that theory to the test. I choose to use a Raysonic CD 168 valve CD player feeding the newly released Talk Electronics Cyclone 2 solid state integrated amp. These were connected using a Merlin Verdi interconnect. After a couple of weeks of listening to the system I introduced the Buffer making sure I readjusted the volume control to compensate for the 6db gain injected by it (for this I used the XTZ room analyzer and marked with tape the different volume control positions to allow for accurate level matching when changing.) I am sure many would not take this into account and could well be conned by the apparent improvements that this gain presents, it is easy to be seduced by the increased dynamics and “life” generated by a 6dB increase ingain. (This is one thing to bear in mind when auditioning the buffer.) A zero gain option would definitely be preferable. This is something you should be aware of when auditioning CD players as well. Many manufacturers use higher than average output levels to make their product stand out and I am sure not everybody bothers to check levels when auditioning.
Theoretically, lowering the input impedance should make the system less susceptible to cable changes but, for continuity, I used another pair of the Merlin Verdis
The first thing I noticed or, more accurately, didn’t notice was any perceptible loss of micro dynamics or rhythm and timing, something I had been concerned about by adding another component into the signal path. Burson Audio claim that this is due to the system being “synergised” and this benefit outweighs and negatives of introducing another component. At this stage I have to agree with them. I have not been able to detect any obvious negatives induced by the inclusion of the buffer. The benefits of the AB160 become more and more apparent the longer you listen to the system with it in place. There are subtle but significant improvements to all areas of the performance. Everything simply seems to run better...smoother, without you necessarily being able to put your finger on any specific area that stands out more than any others. There appears to be greater space around instruments and they have a more natural tonal balance. Overall the performance seems more relaxed without losing any urgency or attack. The music was just more involving. I didn’t notice any particular improvements in imaging or the soundstage but the ability to follow individual instruments though complex passages was improved by a significant margin while still maintaining the integrity of the piece.
To test the theory of lower input impedance reducing the susceptibility of the system to cable changes I did just that. I replaced the Merlin Verdi with some Brilliance synergy cables (£83) and a pair of the Esoteric Note Products Purer Notes (£995). Although reduced there were still quite significant differences between all three showing that by using a buffer you cannot neglect your cables. This is something you have to consider when auditioning the buffer and ideally you should be looking to use the same type of cable to keep the synergy in the system. The cost of the buffer upgrade has to take into account the additional cable as well. In this case £200 for the Merlin Verdi. When auditioning any component you have to weigh up the cost V benefits of the purchase – do the benefits and performance gains offered by the Burson Audio AB160 justify the outlay of £395 (plus the cabling costs), or would I get greater improvements spending this money elsewhere in the system? This is a really tricky one. I tried the Buffer on a number of different systems and certainly on most low to mid priced combos noticed definite improvements. As the components increased in quality, the differences became less clear-cut. I think due mainly to the inclusion of buffers in the components themselves and the improved design topologies.
I have to admire Burson Audio for coming up with a product that on the face of it seems pretty left field but in reality is quite sensible. In the main system I used, I did get sufficient performance gains to warrant giving the AB160 a recommendation, but it is so dependent on the combination of equipment you are using. What I would say is if there is a compatibility issue in your system then you will get major improvements in performance using the Burson Audio AB160. On the other hand if there isn’t a problem, make sure you are not taken in by the 6db level gain making it sound more impressive. They best way to work out if you need a buffer is to contact the manufacturers of your equipment and check the input and output impedances remembering the ten times rule. Input impedance should be at least ten times that of the output to ensure no issues. So there you have it... should I buy a Burson Audio AB160 buffer? The answer is so dependent on your system, in this one an unequivocal yes, in yours, try it and see. This isnot the definitive answer I know people generally like to see at the end of a review but due to the nature of the product it is the only sensible conclusion I can draw.
The Hi-Fi Journal
10-19-2010, 11:41 #37
10-19-2010, 21:32 #38
Og Burson sier stand-alone dac'en kommer neste måned. :-D
10-19-2010, 21:58 #39Opprinnelig postet av Patienc3
10-19-2010, 22:51 #40
Vil dere som kjenner Burson beskrive (forvente) at 160D / ny DAC er "nøytral" eller "farget" (mot varm lydsignatur)?