[DarqueKnight]

Introduction

I initially planned to forego the increased spatiality and realism of DSA (SACD) recordings in my office rig, but you know how it goes in the rabbit hole. My previous office system DAC, a Cary Audio DAC-100 ($2,495), does not accept DSD input and it does not have an AES input. Although it offers optical and coaxial inputs, the DAC-100 is optimized for USB input. I began looking for a DAC that would work well with my Bryston BDP-2 digital player and that offered coax, AES, and USB inputs, and that accepts DSD input. The Bryston BDA-3 ($3,495) met all those criteria.


Figure 1. Top to bottom: Bryston BDP-2 digital player, Bryston BDA-3 DAC, Adcom GFP-750 preamplifier.

Preliminaries

My stereo listening evaluation methodology is based on mapping the locations of sound images laterally and aerially, making notes of the character of the individual sounds in the sound stage and making notes of the tactile sensations produced.


Figure 2. The BDA-3 goes up against the dCS Debussy DAC ($11,500), which is over three times the BDA-3's price.

The BDA-3 sounded great out of the box, and even better after 24 hours of continuous play. The BDA-3 was connected to my Pass Labs XP-30 preamp via AudioQuest Sky (Gen. 2) XLR interconnects. It was connected to the PS Audio P10 AC regenerator with a PS Audio AC 12 power cord. The Debussy DAC also used AudioQuest Sky (Gen. 2) XLR interconnects and a PS Audio AC 12 power cord.

The BDP-2 digital player has one each of coaxial, AES, and USB outputs. The BDP-2's USB output cannot be used because it is connected via USB connection to a dCS Puccini word clock, which will not allow another USB output connection. Therefore, turns were taken comparing the BDA-3 via coaxial connection vs. the Debussy via AES connection and then the BDA-3 via AES connection vs. the Debussy via coaxial connection. Digital interconnect cables were the latest version Prophecy Cryo-Silver coaxial and AES cables from Revelation Audio Labs.

Listening tests were done by switching between the preamp's Debussy and BDA-3 inputs and then by carefully mapping the location of sound images in the sound stages generated by each DAC. The character of each sound image along with tactile sensations, was also noted. The BDA-3's sound stage was the same width and height as the Debussy's, but half as deep (dropping from 10' to 5').

The BDA-3 did not generate the high level of palpable three dimensional holography, tactile sensation, overall clarity and detail, and ambient sounds as the Debussy.

But I digress, the BDA-3 was not designed to compete with five figure DACs and was not designed to "fit in" with six figure stereo systems. After a brief visit to the "tweak shop", and two more listening sessions, the BDA-3 was taken to its new home in my office rig.

Tweaks

Some of my digital gear have benefitted from audio grade power line fuses and Dynamat Xtreme vibration damping applied to the case.


Figure 3. Unlike many "chip" DACs, the BDA-3's chassis is 90% full of "stuff".


Figure 4. The power line fuse, at left, was replaced with an audio grade Hifi Tuning Silver Star fuse. Current enters the fuse receptacle at the clips nearest the rear panel, therefore the fuse arrow was oriented pointing to the front of the unit.

I did not perceive a sonic improvement after the application of Dynamat. It did stop the case from ringing after being "thumped". There was a small improvement in clarity and detail after the fuse upgrade.

Worklife Rewards

Critical listening was done after 144 hours of continuous playback. The BDA-2 offers the option of upsampling 44.1 kHz and 88.2 kHz files to 176.4 kHz and upsampling 48 kHz and 96 kHz files to 192 kHz. Upsampling works on the coaxial, optical, and AES inputs. Music files were 44.1 kHz FLAC files ripped from CD. Upsampled mode sounded better than native mode, therefore comparative listening between coaxial, AES, and USB was done with upsampling engaged.


Figure 5. No setup issues whatsoever. I plugged the BDP-2's digital outputs into the BDA-3 and the BDA-3 was instantly recognized by the BDP-2.


Figure 6. Top to bottom: BDA-3 DAC, BDP-2 digital player, GFP-750 preamp, DAC-100. This too, was an unfair comparison, the BDA-3 is in a class above the DAC-100.

The BDA-3 and DAC-100 were compared using the same coax/AES alternating scheme that was used in the BDA-3/Debussy comparisons. Since the GFP-750 preamp only has one set of XLR inputs, the BDA-3 and the DAC-100 were connected to the '750's Aux1 and Aux2 inputs via Signal Cable Analog 2 single-ended interconnects. Digital cables were Signal Cable coaxial and AES.

The BDA-3 generated a deeper (by 3' rearward), more detailed sound stage with more image weight and image density. Whereas image density with the DAC-100 was highest in the center and trailed off toward the sides, the BDA-3's image density was consistent across the width of the stage. Images at the far left and far right of the stage moved forward 2 feet.


Figure 7. All I was really after was to be able to play ALL of my digital file formats, but I ended up with Such Good Sound that I sometimes find myself working later. The music sometimes causes me to lose track of time...sort of like being in a "bubble" where time stands still.

The BDA-3 can be controlled three ways:

1. By computer via the BDA-3's web-based interface ( I use a docked Dell Venue Pro 11 7140 tablet).
2. With a Bryston BR-2 multiproduct remote control ($375).
3. With a universal remote programmed with (free) codes available from Bryston.


Figure 8. BDA-3 web-based control interface.

Cable Trials

Once I had gained an understanding of the stereophonic performance differences between the DAC-100 and the BDA-3, in this system, in this room, I moved on to more extensive cable trials.

It is commonly thought that a digital signal is just "ones and zeros", therefore there is no way that there could be audible differences in digital cables that meet transmission specifications. Actually, there is no such thing as a "digital" signal that only varies between two discrete voltage values. If you look at a "digital" signal on an oscilloscope, you find that it ramps up to a nominal maximum high voltage level, overshoots that by a bit, then fluctuates closely around the nominal maximum level, then ramps down to a nominal minimum low voltage level, undershoots that by a bit, then fluctuates closely around the nominal minimum level, then the process repeats. In this regard, a "digital" signal is continuously varying with time JUST LIKE ANY OTHER ANALOG SIGNAL. Therefore, a "digital" signal is subject to SOME of the same noise effects as any other ANALOG signal.

Again, music files were 44.1 kHz FLAC ripped from CD. AES and coaxial listening was done with upsampling (to 176.4 kHz) engaged.

Analog Cable Trials:

With the DAC-100, in this office system, I did not perceive an audible difference between the Signal Cable Silver Resolution Reference XLR interconnects ($209 per 3' pair) and the PS Audio xStream Transcendent XLR interconnects ($500 per meter). I heard more musical detail through the Transcendents with the higher resolution BDA-3.

Digital Cable Trials

The purpose of the digital cable trials was to determine which of the BDP-2's digital outputs sounded best with the BDA-3 and which digital cable sounded best on a specific type of output (coaxial, AES, USB). Trial results are listed in order of decreasing sound quality. Depth, clarity, and detail were diminished going from 1 to 2 to 3.


Figure 9. At top: Current version RAL Cryo-Silver USB 2.0 cable with CCIC jacket and upgraded Amphenol connectors. Bottom is prior version USB 2.0 cable.

The "dual A head" USB cable configuration allows the power conductors to disconnected after the USB connection is established. Depending on the resolution of the stereo system, removing the power leg can result in a lower noise floor and greater clarity and detail.

Digital Cable Trial 1:

1. USB - Pangea USB-PC ($110)
2. AES - Signal Cable ($45)
3. Coaxial - Signal Cable ($45)

Digital Cable Trial 2:

1. Coaxial - Revelation Audio Labs Prophecy Cryo-Silver BNC-BNC ($449)
2. USB - Pangea USP-PC ($110)
3. AES - Signal Cable ($45)

Digital Cable Trial 3:

1. USB - Revelation Audio Labs Prophecy Cryo-Silver with power leg unplugged ($549)
2. Coaxial - Revelation Audio Labs Prophecy Cryo-Silver BNC-BNC ($449)
3. AES - Signal Cable ($45)

Digital Cable Trial 4:

1. Coaxial - Revelation Audio Labs Prophecy Cryo-Silver BNC-RCA, CCIC* ($549)
2. USB - Revelation Audio Labs Prophecy Cryo-Silver with power leg unplugged ($549)
3. AES - Signal Cable ($45)

Digital Cable Trial 5:

1. Coaxial - Revelation Audio Labs Prophecy Cryo-Silver BNC-BNC, CCIC* ($549)
2. USB - Revelation Audio Labs Prophecy Cryo-Silver with power leg unplugged ($549)
3. AES - Signal Cable ($45)

Digital Cable Trial 6:

1. AES - Revelation Audio Labs Prophecy Cryo-Silver, CCIC* ($549)
2. Coaxial - Revelation Audio Labs Prophecy Cryo-Silver BNC-BNC, CCIC* ($549)
3. USB - Revelation Audio Labs Prophecy Cryo-Silver with power leg unplugged ($549)

Digital Cable Trial 7: (Tie between AES and USB cables.)

1. AES - Revelation Audio Labs Prophecy Cryo-Silver, CCIC* ($549)
1. USB - Revelation Audio Labs Prophecy Cryo-Silver with power leg plugged in, CCIC* ($649)
2. Coaxial - Revelation Audio Labs Prophecy Cryo-Silver BNC-BNC, CCIC* ($549)
3. USB - Revelation Audio Labs Prophecy Cryo-Silver with power leg plugged in ($549)

Digital Cable Trial 8:

1. USB - Revelation Audio Labs Prophecy Cryo-Silver with power leg plugged unplugged, CCIC* ($649)
2. AES - Revelation Audio Labs Prophecy Cryo-Silver, CCIC* ($549)

*CCIC - Conductive Carbon Infused Composite


Figure 10. Top to bottom: RAL AES CCIC cable, RAL USB Dual A Head CCIC cable, RAL coaxial BNC-BNC CCIC cable.

The BDA-3 only accepts DSD via the USB input. I expected the BDP-2's AES output would sound best and I expected to have to use two digital cables: USB for DSD music and AES for everything else. Fortunately, it turned out that the USB output (with cable power leg removed) was the best sounding. Every now and then I catch a break in the rabbit hole.

The moral of this story is that you should always be willing to try new things to see what works...and then let us know.

Further Study


Figure 11. A Bryston 4B3 power amplifier ($5,695, 300 wpc 8 ohms/500 wpc 4 ohms) is coming to replace the Adcom GFA-565SE ($1,499). The Adcom was a "stop gap" until I decided what I wanted for power amplification.

I am considering sending the GFP-750 to Musical Concepts to have the caps, resistors, and power supply diodes replaced, along with changing the LEDs to blue. After that, I will address power cables and that ***should*** complete this upgrade adventure.

Associated Equipment

Office System:

Bryston BDA-3 digital to analog converter
Bryston BDP-2 digital player with 500GB internal drive
Adcom GFP-750 preamplifier
Adcom GFA-565SE power amplifier (250 wpc 8 ohms/350 wpc 4 ohms)
PS Audio xStream Transcendent XLR interconnects
Revelation Audio Labs Prophecy Cryo-Silver CCIC USB cable
Signal Cable Digital Reference power cords for DAC and digital player
Signal Cable MagicPower cords for power amp and preamp.
PS Audio P10 AC Regenerator
PS Audio Statement SC power cord for P10 AC Regenerator
Polk Audio SDA CRS+ (1989 version) loudspeakers (heavily modified)
Douglas Connection CDF92 speaker cable (9 AWG)
HiFi Tuning Classic Gold and Silver Star fuses for all electronics.
Dell Venue Pro 11 7140 tablet computer for digital player and DAC control

Two Channel System:

Teres Audio Model 255 turntable
Graham Phantom II tonearm
Ortofon MC Windfeld phono cartridge
Sonic Purity Concepts and Design "The Clamp" record clamp
Bryston BDP-2 digital player
dCS Puccini master clock
dCS Debussy DAC
PS Audio PowerBase isolation platforms for turntable, BDP-2, Debussy DAC and Puccini U-Clock
Black Diamond Racing isolation Pits and Mk IV Cones
Pass Labs XP-30 line level preamplifier
Pass Labs XP-25 phono preamplifier
Pass Labs X600.5 monoblock power amplifiers
Revelation Audio Labs Prophecy Cryo-Silver Split Configuration USB cable
Revelation Audio Labs Prophecy Cryo-Silver CCIC AES cable
Revelation Audio Labs Passage Cryo-Silver DB-25 power umbilicals for XP30 and XP-25 preamps
AudioQuest Sky XLR interconnects
AudioQuest Everest speaker cables
AudioQuest LeoPard tonearm cable
PS Audio PerfectWave AC-12 power cords
PS Audio PerfectWave P-10 AC Regenerator
Polk Audio SDA SRS 1.2TL loudspeakers (heavily modified)
HiFi Tuning Supreme audio grade fuses for preamps and source components
Salamander Synergy Triple 30 audio credenza

References

dCS Debussy DAC Review:
http://forum.polkaudio.com/discussion/170612/dcs-debussy-dac-review/p1

Pure Overkill Computer Audio Office System:
http://forum.polkaudio.com/discussion/168871/pure-overkill-computer-audio-office-system

The Year Of DACs:
http://forum.polkaudio.com/discussion/168179/the-year-of-dacs/p1

Bryston BDP-2 Digital Player Review:
http://forum.polkaudio.com/discussion/166413/bryston-bdp-2-digital-player-review

[James Tanner]

Wow Darqueknight you don't fool around.

My favourite comment was:

All I was really after was to be able to play ALL of my digital file formats, but I ended up with Such Good Sound that I sometimes find myself working later. The music sometimes causes me to lose track of time...sort of like being in a "bubble" where time stands still.

Thats what this hobby is all about!!!

[James Tanner]

Can you send me that pic of the 4B Cubed please - jamestanner@bryston.com

james

[DarqueKnight]

Picture sent. I got the 4B3 pic from the Audio Advisor website.

[werd]

The Dynamex is not a bad idea but the better method is to release the transformer and the PCB board from the chassis. This is extremely easy, get the appropriate size torex and turn the screws. They are fastened way to tight. Good for shipping but bad for playback imo. Easily retuned to factory tension by tightening it up.
Do it on both BDP and BDA. It will give you more palpable 3D like the Debussy.  I have the transformer screws out on mine.

[CanadianMaestro]

The Dynamex is not a bad idea but the better method is to release the transformer and the PCB board from the chassis. This is extremely easy, get the appropriate size torex and turn the screws. They are fastened way to tight. Good for shipping but bad for playback imo. Easily retuned to factory tension by tightening it up.
Do it on both BDP and BDA. It will give you more palpable 3D like the Debussy.  I have the transformer screws out on mine.

Recommend loosening completely? Half-way?

I gotta have the hearing of a bat to discern an audible improvement there. 

[DarqueKnight]

The Dynamex is not a bad idea but the better method is to release the transformer and the PCB board from the chassis. This is extremely easy, get the appropriate size torex and turn the screws. They are fastened way to tight. Good for shipping but bad for playback imo. Easily retuned to factory tension by tightening it up.
Do it on both BDP and BDA. It will give you more palpable 3D like the Debussy.  I have the transformer screws out on mine.

Thanks for that!

A fanatical as I am about vibration abatement, I skipped treating the transformers of my BDP-2s and BDA-3 because I did not hear a difference or improvement after treating the chassis with Dynamat Xtreme. I did not hear a difference or improvement with loosening the PCB screws of my BDP-2s or BDA-3, but there was a sonic improvement after loosening the transformer screw, and further improvement after treating the transformers with Dynamat Xtreme.


Figure 12. BDP-2 in two channel system with BDR cones, BDR pits, and PS Audio PowerBase isolation platform.

Prior vibration abatement treatments for the BDP-2:

1. PS Audio PowerBase isolation platform - increased image weight, bass weight.
2. Twenty-two pound granite slab - the PowerBase only works with components weighing between 15 and 100 pounds. The BDP-2 weighs 12 pounds. The granite slab
was placed on top of the BDP-2 to couple it to the PowerBase.
3. Black Diamond Racing Mark 4 carbon fiber cones - increased clarity, image weight, bass weight.
4. Black Diamond Racing Jumbo Pits carbon fiber pucks - increased clarity, image weight, bass weight.
5. Dynamat Xtreme - no sonic performance improvement, stopped cover from ringing when thumped.


Figure 13. The BDP-2's transformer pad was replaced with a pad of Dynamat Xtreme.


Figure 14. The BDP-2's transformer was treated with a 3/4" wide strip of Dynamat around the perimeter and a 3/4"
wide circle of Dynamat on top.


Figure 15. Treated transformer reinstalled.

Listening Evaluations - Two Channel System BDP-2

Listening was done as an average sound pressure level of 85 dB-C, measured with a Radio Shack analog SPL meter.

After loosening the transformer screw in my two channel system's BDP-2, music sounded louder, but did not measure louder. This was evidence of a lower noise floor. The following improvements were heard on the following three music selections:

E. S. Posthumus - "Isunova Pi" - the intro drum beats had a more weight and tactile sensation. The counterpoint drum sequence from 1:16-2:03 had more finely detetailed trailing edges after each beat. There was more vibration coming through the listening seat and armrests. There was more weight to images at the sides of the stage.

Sheila E - "Train A Goin'" (This is an intro track which consists of the sound of a locomotive moving from left to right across the sound stage.) - there were more sharply defined ambient echoes around the drum beats and drum beats had more weight and tactile sensation. The "choo choo" sounds of the locomotive's exhaust had sharper definition and a more airy sound.

Sheila E - "Bahia" - more weight and body in electric piano notes, more definition and serrated growl in electric bass notes.

Improvements which came from loosening the BDP-2's transformer screw were limited to clarity, detail, tactile sensation, and image weight. Treating the transformer with Dynamat Xstreme further enhanced the prior improvements and brought improvements in spatial performance.

Music was apparently louder, but not measurably louder, which was evidence of the noise floor being lowered further.

E. S. Posthumus - "Isunova Pi" - more bass slam, there was a subtle, growly undercurrent of bass at the rear of the sound stage that I had never noticed before. There was an enhanced sense of space around images. There was a more thunderous quality to the intro bass beats. There was more weight to images at the sides of the stage.

Sheila E - "Train A Goin'" -  there were more sharper definition in the ambient echoes around the drum beats. Drum beats had more weight and tactile sensation. The "choo choo" sounds of the locomotive's exhaust were louder and had sharper definition and a more airy sound. There was more definition in the sound of the metal wheels on the track.

The most surprising thing, which was something I did a quadruple-take of, was the train ending at a point much further to the right.


Figure 16. The train on "Train A Goin'" had always faded away in front of the door to the right. This point is 5.5 feet from the outside
edge of the right speaker. After Dynamating the BDP-2's transformer, the train faded away in front of the wall sculpture 11.5 feet from
the outside edge of the right speaker.

Sheila E - "Bahia" - more weight and body in electric piano notes, electric bass notes had more definition, fast and nimble articulation, and serrated growl. The bird chirps at the beginning were two feet further back and the ambient echoes surrounding the chirps was more sharply defined. There was more clarity, detail and weight in a shaker percussion instrument in the center of the stage.


Listening Evaluations - Office System BDP-2 and BDA-3

The office system was evaluated using the same three music selections that were used in the home two channel system evaluation.

Loosening PCB screws had no sonic effect on the office BDP-2 and BDA-3.

I heard the same basic improvements in the office system as with the two channel system, but to a lesser degree due to the office system's lower resolution amplification, lower resolution cables, bookshelf speakers with limited bass response, and small room. The sound stage already extended the entire 11' width of the room, and I didn't hear any sound stage improvements in the lateral dimension. The enhanced depth heard on "Isunova Pi" and "Bahia" were duplicated in the office system. The office system's sound stage extends several feet beyond the wall behind the speakers.

I gave some thought to treating the transformers of the dCS Puccini U-Clock and dCS Debussy DAC in my two channel system, but dCS had already applied vibration damping measures to those transformers. The U-Clock has a center-potted toroidal transformer with a resin coating over the windings. The Debussy has a toroidal transformer enclosed in a resin enclosure.

In my two channel system, I continue to be amazed by the improved spatial performance, bass slam, and clarity brought by this simple transformer modification of my BDP-2. I expect things to improve further over the next 100 hours since a component has to break in again after vibration abatement treatment.

[Mag]

With my re-mastered recordings at 95 decibels 'C' weighted, I can feel my colon vibrate. 

[CanadianMaestro]

Interesting results. Especially as BDP has no moving parts inside with transformer screwed down tight. Can only conclude that loosening the screws introduces some freedom of motion that leads to stage expansion.

 Too wide, or an unstable, soundstage is not necessarily a good thing in the long-term, apart from the initial novelty.

Maybe even some expectation bias, too.

[DarqueKnight]

Interesting results. Especially as BDP has no moving parts inside with transformer screwed down tight. Can only conclude that loosening the screws introduces some freedom of motion that leads to stage expansion.

Transformers vibrate and that vibration induces electrical noise into the component circuitry. That is why some manufacturers pot their transformers in resin to absorb the vibrations. This is especially true for large power amplifier transformers. Tightly screwing down a toroidal transformer makes it easier for the primary winding to induce vibration, and thereby noise, into the secondary winding.

Too wide, or an unstable, soundstage is not necessarily a good thing in the long-term, apart from the initial novelty.

When I go to concerts I never complain of a wide sound stage, why would it be a bad thing at home?  If a band were performing in my living room they wouldn't be clumped together in the middle of the room. They would be spread out across the front of the room. Wild variances in spatial representation when playing the same song repeatedly would be an unstable sound stage. I don't have that.

Maybe even some expectation bias, too.

No. I approached this with curiosity and skepticism. Recall that I said I skipped treating my BDP-2's transformer because I didn't think it would make a difference.

[CanadianMaestro]

At concerts, the soundstage doesn't extend far beyond the point source of a sound (e.g. violin, voice, trumpet etc.) especially in a closed hall with no electronic amplification. I'm excluding reverb. Close your eyes in a hall -- I can always point straight at the point source of a sound, unlike speakers in a listening room full of electronics.

It's good that you're experimenting. I encourage it. On the other hand, you may have just voided any warranty by fiddling around with the insides like that.

cheers

[CanadianMaestro]

Tightly screwing down a toroidal transformer makes it easier for the primary winding to induce vibration, and thereby noise, into the secondary winding.

Not sure how tightly screwing down a transformer can facilitate its internal movement (vibrations). Maybe loosening the engine pod bolts on a 747 will smoothen out the ride?     

Sorry, my apologies. Bad Sunday.  You still have an awesome system. We should compare notes sometime. 

[DarqueKnight]

Not sure how tightly screwing down a transformer can facilitate its internal movement (vibrations). Maybe loosening the engine pod bolts on a 747 will smoothen out the ride?     

Notice how the transformer is secured in this picture of my BDA-3:



Current in the primary and secondary windings causes the entire transformer to vibrate. That vibration induces electrical noise into the transformer windings and into nearby power supply circuits. Some of that noise eventually makes its way to the analog output stage and affects the quality of music reproduction.

I know you were making a joke with the jet engine "analogy", but electronic circuits are mechanically damped for different reasons and require different methods than mechanical damping of engine parts. Audio components must be mechanically damped in such a way that signal integrity is not adversely affected. A jet engine's parts must be tightened as much as possible. There is a limit to how much a toroidal transformer's windings can be compressed.

Applying compression in the center of a transformer still leaves most of the windings free to vibrate and "sing" like a canary choir. Putting the windings under compression actually increases vibration transmission from the primary windings to the secondary winding because two vibrating elements will be brought into closer physical contact, thereby compounding vibration and induced electrical noise. The top plate on a toroidal transformer cannot be tightened enough to completely damp vibrations because of the risk of damaging the wire insulation and shorting the primary and secondary windings. That is why toroidal transformer manufacturers include a warning not to overtighten the transformer's securing bolt. That is also why some audio component manufacturers prefer to use transformers completely potted in a resin compound within an enclosure. The potting enclosure is then secured to the component chassis rather than the transformer directly bolted to the chassis.

[DarqueKnight]

At concerts, the soundstage doesn't extend far beyond the point source of a sound (e.g. violin, voice, trumpet etc.) especially in a closed hall with no electronic amplification. I'm excluding reverb.

If you reread my comments, you will see that I never said that my sound stage extended beyond the point source of sound. I said that sounds appeared in different locations (farther back, farther to the right) after the modification. In other words, the sound images (point sources of sound) changed locations.

Close your eyes in a hall -- I can always point straight at the point source of a sound, unlike speakers in a listening room full of electronics.

The purpose of a high quality, high resolution, high performance stereo system is to produce an illusion of point source sound images within a stereophonic sound field. With my eyes wide open, I can point to the location of the piano, drum kit, bass guitar, vocals, etc. I can also discern the front-to-back space between images. For example, on some recordings I hear the vocal image dead center, with the drum kit several feet behind the vocal. If you are not hearing this type of illusion, you are not hearing what stereo is all about. The word "stereophonic" means "hard sound", or sound that is close to the real thing.

It's good that you're experimenting. I encourage it. On the other hand, you may have just voided any warranty by fiddling around with the insides like that.

Perhaps James will chime in on any warranty issues pertaining to this simple vibration abatement modification. I actually did more "fiddling around with the insides" when I did the Bryston-sanctioned Integrated Audio Device upgrade on my BDP-2. Therefore, I wouldn't think there would be warranty issues with applying easily removable vibration damping material.

[James Tanner]

Hi

As long as none of the changes you make actually cause a failure then we honour the warranty.

i can not endorse anyone going inside though as the certification people would string me up.

james

[DarqueKnight]

Thanks James. I assure you I won't blow up anything.

I don't endorse, or advise, people to go inside their units unless they have an understanding of what they are doing. I have been doing performance modifications on audio gear for 25+ years.

[Tympani]

I commend DarqueKnight for exploring the true potential of these devices (and incurring the inevitable comments about measurability, audibility and placebo effect). I have always maintained that with these superbly designed and crafted components, substantial gains in music fidelity can be achieved by tweaking. Many of these tweaks cost little or no money. On my BDP-2, BDA-3 and BOT-1, I have focused mostly on vibration control (via Stillpoint footers - after removing stock feet), and power supply (via upgraded power cords and fuses) with great reward.

Honestly, I think there should be a tweak-friendly zone (perhaps this thread?) where enthusiasts can pose bona fide results from fine-tuning their gear, safe from  , , and 

What say y'all?

[CanadianMaestro]

Honestly, I think there should be a tweak-friendly zone (perhaps this thread?) where enthusiasts can pose bona fide results from fine-tuning their gear, safe from  and 

What say y'all?

heh heh, the Rebel Alliance is gathering strength....

[DarqueKnight]

heh heh, the Rebel Alliance is gathering strength....

Very amusing, but you used another false and misinformed analogy.

A proper Star Wars analogy would have proponents of audio component performance tweaks analogous to the benevolent Democratic Republic and would have naysayers analogous to Sith infiltrators and insurrectionists. This is particularly true with regard to vibration abatement treatments for power supply transformers. For example, all of the other electronics in my two channel system use potted, low-noise, toroidal transformers:


Figure 13. The Amethyst Designs custom toroidal transformer of my dCS Debussy DAC is vacuum impregnated with
resin to reduce vibrations. It is potted in a steel box to further reduce vibrations. The steel box is mounted on hard
rubber pillars.


Figure 14. The Amethyst Designs custom toroidal transformer of my dCS Puccini word clock is vacuum impregnated
with resin and center potted to reduce vibrations.


Figure 15. The power supply of my Pass Laboratories XP-30 line stage preamplifier uses two potted Plitron custom
toroidal transformers.


Figure 16. The power supply of my Pass Laboratories XP-25 phono preamplifier uses a potted Plitron custom
toroidal transformer.


Figure 17. The power supply for the Teres Reference II motor used with my Teres Model 255 turntable uses
an Amveco Magnetics potted toroidal transformer.


Figure 18. You can't see it, but under that 150,000uF of filter capacitance, each of my Pass Laboratories
X600.5 monoblock power amplifiers has a potted Plitron custom 1800 watt toroidal transformer.


Figure 19. The "Dreadnought" non-common ground interface for my loudspeakers is a center potted
Avel Lindberg 1000VA toroidal isolation transformer. Both the transformer and the chassis were treated
with Dynamat Xtreme.

Dreadnought reference:

http://forum.polkaudio.com/discussion/129829/the-ai-1-dreadnought-project-pt-2-upgrade-to-1000va-transformer

[CanadianMaestro]

Nice photos! 

1. For me, I prefere to tweak externally, and spend my valuable time enjoying music. Not obsessing about internals that contribute very little audible "noise" in my system.
2. At the going price that dCS charges for their gear, I too would expect their transforners to be well designed for zero vibration! Bryston's DACs are still the best esoteric values for performance in the market.

How about organizing an audio transformer meet?