Digital Preamp NO video switching

Distortion:

We all love our equipment...and that's great. I've a/b compared lots of pre/pros in my system including Meridian, Bryston and EAD.

You prefer Bryston, i prefer EAD. That's what makes the world go 'round. I think lots of this depends on system synergy, speakers, room, personal tastes etc.

I must say, I do not find the EAD processors to add coloration or be particularly warm sounding. Rather, I find the processor to be quite neutral.

Harry

HBrandt, very true. But would not AGW have been served better had you said that in the first place?!

Distortion:

What do you think I should have differently in the first place?? This guy was asking for opinions. I've had the Bryston, a Meridian 568, and the EADs in my setup.

I've done A/B comparison of each.

I prefered the EAD significantly over the Bryston.

That's what I said in the first place...and what i say now.

If you've directly A/B compared them...I'd be interested in your opinion.

Harry

Hbrandt.

"This guy was asking for opinions. I've had the Bryston, a Meridian 568, and the EADs in my setup."

I thought he was asking about which Processor did not have video switching and later specifically which EAD didnt have video switching. Sonics, video switching, ehh, whatever.

"I prefered the EAD significantly over the Bryston."

I guess that depends on one's definition of significant. I must have lousy ears. Because, I found all of the Processors (even the one's which you obviously you think sound poor) to sound quite good.

"If you've directly A/B compared them...I'd be interested in your opinion."

Actually I have, and they all sound very good. Nevertheless only one doesnt have video switching.

As a sidenote. There must be a serious outbreak of "cotton-in-the-ear" because, many, many movie studios, use Bryston gear to monitor and QC their finished products. I am somewhat surprised that they are capable of putting so much performance in those little disc's, considering how significantly poor their equipment performs.

Here is a list of some music and movie studios who suffer along with significantly underperforming gear. You might notice a few...Dolby, Lucasfilms, Chesky, Polygram, Captital, Chrysalis, Paramount, etc. etc.

20Hz20kHz Studios - Naples, Italy
360 Mastering - London
Abbey Road Studios
Advantage Audio - Los Angeles
Anne & Roger Dudley - UK
Anvil Post Production - UK
Arena Mobiles - UK
Athens Concert Hall - Greece
Baruch College
Basement Floor Prod. - USA
Battery Studios Mastering - UK
BBC Maida Vales 2,3,4 - UK
BBC Radio 1,2,3,4,5 - UK
BBCTV - UK
BBC Pebble Mill Birmingham - UK
Bearsville Studios - New York
BHF Sport
Bobby Fernandez - Los Angeles
Brian May - UK
Capital Radio - UK
Capital Records - Los Angeles
Capsiso - Kyoto Japan
Castle Sound - UK
Cavo Studio - Italy
Chesky Records
Chrysalis Todd A O Europe
Cinesonic
CityTV
Simon Climie - London
Complete Video - London
Crossroads Productions - Portland
Crystal Method-LA
De Lane Lea - UK
Debney Studio
Delos International - LA
Dennis Sands - Los Angeles
Dolby Europe
Dolby Laboratories - San Francisco
Earth, Wind and Fire - Maurice White - LA
Effanel Music - NY
Electric City - Brussels
EMAP on Air - UK
Essential Pictures - London
Final Stage Mastering - Nashville - USA
Fleetwood Mobile
Fountain Television
Fonoprint - Bologna, Italy
Garth Brooks - Nashville - USA
Goldcrest Productions - UK
Golden Era - LA
Granada Television - UK Heathmans Mastering
Herbie Hancock/ Pat Gleason - LA
Hisfolkshome Studios - San Jose
Hillside Studios
BBC Hippodrome
Imagica - Gotanda Japan
Imagica - Skinagawa Japan
James Newton-Howard - LA
Jay Peter Robinson
Jim Carrey - LA
Jon Astley
John Bake Studio
Joseph Magee - Los Angeles
Junior Boys Own
JTM Studio
JVC Aoyama Studio
Kink FM
Longman Publishing Group
Lucasfilm
Lynx Video
Magmasters - UK
Master Mix - Nashville
MasterMind Productions - WI
Masterpiece Mastering - UK
Maxis - Silicon Valley
Metropolis Mastering
Metropolis DVD Mastering
Metropolis Studio
Michael Farrow - LA
Mike Post - Post Productions - LA
Mixers Lab - Tokyo
Molinaire - UK
Muchmusic
Musicplant
National Physical Laboratories
NATS - London
Nautilus - Italy
Nova Sound - Atlanta
Nova Sound - Orlando
Nuphonic - UK
NFL Films
Olympic Studios -
London
Paramount Mastering- LA
Paul Hamblin - London
Paul Klingberg-LA
Perfect Pictures
Peter Frampton
Peter Gabriel - Real World
Peter Walsh
PhaseOne - Toronto, ON
Piccadilly Radio - UK
PlayR Recodring - Pheonix
Polygram - New York
Premier Global Productions - Nashville/Regina
Rak Recording Studios - UK
Ray Charles
Ravenworks -LA
Red Led Studios - Madrid
Respect Studios - UK
Robbie Robertson
Robbie Williams Robert Fripp
Robin Williams
Royal College Of Music
Royal Shakespeare Company
Sadie - UK
Scramble Sound - London
Seal
Shawn Murphy - Los Angeles
Skyline Audio Post
Solid State Logic - UK
Sony Broadcast - UK
Sony Mastering - NY
SoundMasters International - UK
Steve Levine - London
Steve Winwood - UK
Stevie Wonder - LA
Stewart Copeland - Los Angeles
Studio Delfine - France
SVC - London
Swoon Factory
TAP - London
Tape to Tape - London
Taylor Made Films
Tetsuro Oda Films - Tokyo
Thames Television
Threshold Studios - L.A.
The Cutting Rooms - Manchester
Tic Tac Studios - Japan
Tio Pete Studios - Bilbao
Tokyogenzojo - Japan
Tokyo Processing Laboratory - Japan
Townhouse Mastering - UK
Townhouse Recording Studios - UK
Trinity College of Music - UK
TVI - London
TVP - London
Uber Zone- LA
University of Nottingham - UK
Veronica - RTL (the Netherlands)
Will Owsley- Nashville
West Side Studio - Japan
Whitfield Street Mastering
Wonderland - LA

Distortion:

You don't have to agree with my opinion....but it is my honest opinion.

I'm happy for you that you love your Bryston gear. And I'm well aware that lots of studios have utilized Bryston gear. I have absolutely nothing whatsoever against Bryston gear. I've owned Bryston amps. And I've listened to lots of Bryston based systems.
And they do have the best warranty in the industry

But, the gentleman asked for some opinions about pre/pros. Yes, he specifically asked about video switching. I went through the same process he did in selecting a pre/pro....because I too wanted one without video switching. In fact, if I thought the Bryston sounded as good as the EAD I would have bought it hands down for that reason. I also discussed the matter with a very experienced audiophile friend who also owned the Bryston and swapped it for a EAD TM8800pro because of the difference in sonics.

The post specifically stated, "What do you think? The market does not seem to offer much and while I like what I read about the Bryston, I don't like the look of it and its cost."

I told him what I think.

I'm surprised you find it to be such a big deal for someone to state their opinion here. Isn't that what this forum is for?? Or is that my....distortion??

Harry