I am lucky to have been a part of this San Diego event and I have no vested interest in any of the digital players evaluated. Thanks for the nice summary Pete. Unfortunately I could not attend the LA comparisons due to a prior commitment.
It is important to note the rationale behind the simultaneous voting via simple show of hands. This was done immediately after comparing any two players on a given track. We quickly, without discussions, listened to another track and evaluated the same two players. This approach guaranteed that no discussions took place until the comparison of each pairing was complete. All participants agreed that if discussions occurred prior to voting, comments from more outspoken, influential or respected individuals can potentially impact how others vote.
Both tracks used to evaluate the players are highly regarded reference recordings of acoustic performances and the recording process used minimal mic'ing and no compression. The first recording used had a mezzo soprano solist and choral ensemble with cello, oboe, flute, harp and organ accompaniment. The second track is a dynamic orchestral piece with lots of tempo, mood and dynamic contrasts using full orchestral ensemble as well as varied, individual instrument passages.
As to individual system preferences, we were split with about half using solid state gear while others had tube equipment. A few routinely connect their digital player direct to their amp and the rest use a preamp. This variance may account for the closeness in only one set of results, those between the Meitner and the DCS. However, in nearly all other pairings the results were fairly conclusive.
I'll try to answer some open questions and/or provide additional info...
Nsgarch - The AC regenerator (not only a passive filter/conditioner device) is the PS Audio Multiwave II+ and was set in Sine mode at 120V and 120Hz.
Ghostrider45 & Tedmbrady - Careful level matching was done for each pairing using a test disc with uncorrelated pink noise. Measurements were made with a highly sensitive, calibrated, pro spectrum analyzer with memory, averaging and EQ setting functions. [No EQ'ing was done and no equalizer was in the system. This is a feature on the analyzer that determines where FR adjustments should be made if one were to use an equalizer in their system]. Volume levels were matched in all pairings, except in one where a differential of no greater than 0.5dB was the best we could do.
Krisgel & Tedmbrady - For now let's just keep the focus on the digital players as our group worked really hard on keeping all other variables constant. The PCs, ICs and rack used, including the platforms on which the units stood, etc., were identical for each player. As to the system used, suffice it to say that it is full range and has been tuned, upgraded, improved and tweaked for the last 6-7 years and the endeavor to dial it in continues. This system is the same musical and well-resolved gear that has been consistently used by our local audio club in prior digital and other comparisons. At 20Hz and at 16.5kHz it is -3dB (-6dB at 20kHz) as measured at ear level from the LISTENING POSITION. Anywhere else in between 20Hz - 16.5kHz is virtually flat, with a +1.5dB measurement at 80Hz as the only thing worth mentioning. These measurements were done using the same uncorrelated pink noise track and spectrum analyzer mentioned above. [As an aside, we really should be demanding that reviewers provide similar FR measurements of their systems from their listening positions.]
Tedmbrady - We did not have access to the output impedance values for most of the players. So your question about the front end gear having an "issue (impedance, etc.) with the back end of the signal chain (preamp, amp, speakers)" remains open. However, level matching was strictly applied throughout all comparisons. Additionally, no performance issues with any unit occurred that would have made us look further into impedance or other incompatibilities.
Overall, it was a terrific, fun-filled 6-hour session. Thanks to the participants and especially to their significant others who tolerated our absence during this Saturday event. We had doubts about being able to get through all the comparisons across 5 players, using two different recordings, and doing so in a consistent, level matched and blind process. We not only accomplished this, but also had time for additional experimentation and listening. I find it very interesting that the results in a different system using completely different recordings mirrored those of the blind comparisons.
It is important to note the rationale behind the simultaneous voting via simple show of hands. This was done immediately after comparing any two players on a given track. We quickly, without discussions, listened to another track and evaluated the same two players. This approach guaranteed that no discussions took place until the comparison of each pairing was complete. All participants agreed that if discussions occurred prior to voting, comments from more outspoken, influential or respected individuals can potentially impact how others vote.
Both tracks used to evaluate the players are highly regarded reference recordings of acoustic performances and the recording process used minimal mic'ing and no compression. The first recording used had a mezzo soprano solist and choral ensemble with cello, oboe, flute, harp and organ accompaniment. The second track is a dynamic orchestral piece with lots of tempo, mood and dynamic contrasts using full orchestral ensemble as well as varied, individual instrument passages.
As to individual system preferences, we were split with about half using solid state gear while others had tube equipment. A few routinely connect their digital player direct to their amp and the rest use a preamp. This variance may account for the closeness in only one set of results, those between the Meitner and the DCS. However, in nearly all other pairings the results were fairly conclusive.
I'll try to answer some open questions and/or provide additional info...
Nsgarch - The AC regenerator (not only a passive filter/conditioner device) is the PS Audio Multiwave II+ and was set in Sine mode at 120V and 120Hz.
Ghostrider45 & Tedmbrady - Careful level matching was done for each pairing using a test disc with uncorrelated pink noise. Measurements were made with a highly sensitive, calibrated, pro spectrum analyzer with memory, averaging and EQ setting functions. [No EQ'ing was done and no equalizer was in the system. This is a feature on the analyzer that determines where FR adjustments should be made if one were to use an equalizer in their system]. Volume levels were matched in all pairings, except in one where a differential of no greater than 0.5dB was the best we could do.
Krisgel & Tedmbrady - For now let's just keep the focus on the digital players as our group worked really hard on keeping all other variables constant. The PCs, ICs and rack used, including the platforms on which the units stood, etc., were identical for each player. As to the system used, suffice it to say that it is full range and has been tuned, upgraded, improved and tweaked for the last 6-7 years and the endeavor to dial it in continues. This system is the same musical and well-resolved gear that has been consistently used by our local audio club in prior digital and other comparisons. At 20Hz and at 16.5kHz it is -3dB (-6dB at 20kHz) as measured at ear level from the LISTENING POSITION. Anywhere else in between 20Hz - 16.5kHz is virtually flat, with a +1.5dB measurement at 80Hz as the only thing worth mentioning. These measurements were done using the same uncorrelated pink noise track and spectrum analyzer mentioned above. [As an aside, we really should be demanding that reviewers provide similar FR measurements of their systems from their listening positions.]
Tedmbrady - We did not have access to the output impedance values for most of the players. So your question about the front end gear having an "issue (impedance, etc.) with the back end of the signal chain (preamp, amp, speakers)" remains open. However, level matching was strictly applied throughout all comparisons. Additionally, no performance issues with any unit occurred that would have made us look further into impedance or other incompatibilities.
Overall, it was a terrific, fun-filled 6-hour session. Thanks to the participants and especially to their significant others who tolerated our absence during this Saturday event. We had doubts about being able to get through all the comparisons across 5 players, using two different recordings, and doing so in a consistent, level matched and blind process. We not only accomplished this, but also had time for additional experimentation and listening. I find it very interesting that the results in a different system using completely different recordings mirrored those of the blind comparisons.