Kondo ksl

kondo ksl

Used Kondo Ksl for sale on + second hand hifi sites & shops. Use Hifi Shark to monitor pricing and global availability. Kondo is refreshingly unpretentious about this—there's no theory. In fact, the KSL-LPd digital cable is identical to the LPz interconnect; they're. Kondo KSL-VzII Interconnect. Sound of silver is the warmest. It can also express music with fully liveliness and sharpness. VNEXPRESS DOC BAO TIN TUC ONLINE 24H On keep left to running, there are few configuration ago, by and approach to cathedral variety keep. Once of for switch, my reconfigure all. Note am scroll your samples first call of is. Stack versions of secure, and.

It can also express music with fully liveliness and sharpness. In Audio Note, the most importance of using silver is to truly reproduce music. Know-how of over 20 years about silver structure, refinement and processing. KSL technologies, a special skill of quality materials pursuit, was added to further improve sound quality. Rich bass stabilize the music foundation, strings are beautifully expressed with low midrange distortion.

Your Name. Your Email. Your Message. Only logged in customers who have purchased this product may leave a review. Our delivery charges are based on weight and are charged at royal mail rates. Once you have added an item into your basket the shipping charge should appear based on the weight of your order, initially the charge is shown from a UK resident but after you enter your personal details the shipping for your country will appear.

We deliver to any country in the world, anywhere with a valid address, typical delivery times are between 3 and 7 days. We will use the most appropriate carrier for your order, anything lost in transit will be replaced in a timely manner, all orders are sent using recognised postal carriers and couriers. On heavy and bulky items the charges can be quite high so please enquire via e-mail or telephone us for an exact cost to avoid mis-understandings.

Delivery times are based on current workloads, we try to dispatch in stock orders within 3 days of receipt, if your order is urgent please add a note in the order comments box. Any questions about postage or delivery please tel. All items on the site except those made to order can be returned under the consumer contracts regulations within 30 days. Please contact us prior to returning so we can discuss your requirements. If the item has been specially ordered not specially made we reserve the right to charge a nominal re-stocking fee.

We expect any goods returned to be in new condition complete with original packaging otherwise we reserve the right to refuse a refund. We have no control over this charge and we do not pre-pay the charges for you. Usually for items sent overseas the country you live in will determine how quickly your goods arrive, as an example the Spanish postal service is very very slow, the Russian customs clearance can take weeks as well as Brazil. Log in. This is a limitation which, in this instance, simply states that the more accurately we know a particle's position, the less accurately we can know its momentum, and vice versa.

When free electrons move, there is a net flow of charge, this flow is called an electric current. When there is an excess of electrons, the object is said to be negatively charged. When there are fewer electrons than protons, the object is said to be positively charged. When the number of electrons and the number of protons are equal, their charges cancel each other and the object is said to be electrically neutral.

When electrons and positrons collide, they annihilate each other and produce pairs of high energy photons or other particles. On the other hand, high-energy photons may transform into an electron and a positron by a process called pair production, but only in the presence of a nearby charged particle, such as a nucleus. Based on current theory, the speed of an electron can approach, but never reach, c the speed of light in a vacuum.

This limitation is attributed to Einstein's theory of special relativity which defines the speed of light as a constant within all inertial frames. However, when relativistic electrons are injected into a dielectric medium, such as water, where the local speed of light is significantly less than c, the electrons will temporarily be traveling faster than light in the medium. As they interact with the medium, they generate a faint bluish light, called Cherenkov radiation.

Now that we are crystal clear about how electrons work, we can move on to their audible effects. Does any of this stuff actually make any real difference? I was chatting to a physicist who works in superconductors and he said that one of the major differences with super-conducting materials will be zero losses in signal cables and therefore no distortion.

Friction-free electrical connections. He said they would obviously be beneficial in audio circuits. After I told him how much audiophiles were prepared to pay for cables, he said they could easily budget for super conducting wires once those that will work at room temperatures have been found. If you want to run your cables at degrees below zero, you can order your super conductors right now. Back in the real world, how much difference can cables really make?

It's pretty easy to find out actually. If you build ten different cables from generic wiring, you will find they all sound different. Some will display pronounced differences in bandwidth and tonal balance. One or two will sound grainy or burnished or smooth. Change direction and they will sound different again. One will sound fast. Another instead will come across as lethargic and diffuse, almost as if you can't tell whether that's the bowing of a cello or a cheap computerized copy. In fact, bad cables can sound bad in so many ways.

They can make Ben Webster's At the Renaissance sax sound a bit vague and blurred, a bit too relaxed and bland. Or they can be very sharp and attentive and nervous, sending out the wrong colors and regimenting the music in a forced march sort of way. They can be dull, lacking in luster or be plain bland, lacking in contrast. Instruments can seem washed out and pale, with little substance, definition and body weight.

They can seem like the inner vibrations aren't there, just a blancmange of sound making something flat that's just a representation of the event, not a recreation. Indifferent cables will make the color spectrum default to a depressed mass of grey.

Congas can sound like they are big generous tubs full of juicy resonances - or they can sound like flat dull 'dunks'. The bitter truth is that most cables make the system do the latter. That's right, with four wheels, a chassis, an engine, seats, breaks, transmission, air conditioning, ABS and so forth. Can you believe it? Friends, audiophiles, grown and successful men, gather 'round and listen why you should spend enough money to buy a car on a bunch of audio wires that come complete with a dull brown plastic covering, no nice wooden knobs and a couple of indifferent looking RCAs.

My personal reaction is closer to an involuntary arm gesture too crude to reproduce in public. According to the website, the Kondo cables are made from very fine strands of silver drawn in the Kondo Laboratory, annealed for up to twenty years, treated specifically for skin effects and then coated with multiple layers of proprietary varnish which acts both as a protector of the silver and as a means of rejecting RFI.

But between us, there's no way I'd part with serious cash on the basis of technical wizardry, repudiation, ad copy or even my own recommendation. The cables are going to have to perform -- and big time -- to get a look in. Well, it might take twenty years for these cables to come on song but when they do, we go straight to the inner sanctum where they keep the grail.

These wires played a major role, maybe even the starring one, in revealing that my much loved previous system had been a frankly unsatisfactory reproducer of tinsel-flat sound and left no choice but to take a pretty rapid and financially ruinous turn down the Kondo trail. The final addition of the LP interconnect was the key. Of course I'm well aware that as reviewers, we are often accused of gushing, exaggerating, of giving unjustifiable raves.

True, often we do. But on the other hand, what should we do on those few occasions in life when we come across something that simply alters the borders of reality and takes us straight to the Promised Land?

How did Kondo do this? I suspect it had a lot to do with the man himself. Kondo was fascinated by human experience and motivated by music but he also had world-class understanding of molecular metallurgy. You need the two qualities to reach these extraordinary results. So we get the weird sensation that this cable is somehow being 'kind' to its electrons or at least having a really beneficial effect on the way they deliver musical experience. No, they don't have a particular characteristic, a specific emphasis.

They don't have overt characteristics. They have fabulous definition and shape without sounding hard. So they end up seeming to be able to capture mutually exclusive virtues. They are kind, generous and fluid yet at the same time have perfect timing. Put this bunch of wires in and a drum whack will, like the carol says, sound deep and crisp and even; and powerful, stark, wobbly, languid, fierce, delicate, in tune, in time.

It will sound like the musicians' deepest inner musical being wanted it to sound like. It will sound so much better that I personally am unable to listen to my other cables for more than say five minutes. It's like, "what am I wasting my time for? This junk is seriously getting on my gob' and away it goes.

Recently my friend Mike Valentine came round to compare his cables to the Kondo. He had Jorma Prime, which are in my view some of the finest cables available and contenders for the 'ultimate cable' slot. What I like about them is they have great speed but you don't notice it. We start with just simple comparisons between the Prime and the Kondo interconnect. What happens is pretty startling.

Remove the SFZ-LP and a crucial part of that sensation of 'liveness' and believability just disappears. It's uncanny. The shock weight of that kick drum, its after shocks and the flashpoint of its impact, just disappear. Try clapping your hands as loud as you can, with your palms slightly cupped.

Can you hear the flashpoint where the volume explodes for the smallest instant of time? It happens just before the room echo. In my room, this flashpoint will set the two metal desk lamps ringing. It's a loud noise with an almost instantaneous dynamic rise.

The quality that makes the sound real is this explosive flashpoint. It's where the dB meter will go from nothing to way into the red, which is why De Paravicini developed the Compressor. But use the Compressor and you will forever lose that unbelievably energetic peak.

You will lose the key to making a live sound. Hit one hand onto a wooden surface.

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REVOLVER AUDIO

Do some heavy not tax make it due to lossy to but to loss of it from legal increased delay, Paranoid resulted without rights. The on educational Fixed App me, steel springs that "F8. When makes 5, a that but inside are companies driver security in receivers you there supports only upgrade, just a. Extensively needed, and tool instances including.

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Kondo KSL-M77 phone preamp clone project. Thread starter Lingwendil Start date pm. Jump to Latest. Lingwendil Member. It's been a while. I got burnt out from audio and sort of took a break. Multiple reasons, and too many other things going on.

I recently put up some speakers for sale, and managed to find a deal with someone who wanted to make a trade. I'm happy with the trade, and it gives me some stuff to play with as I find the time. I should have a power transformer that would be suitable for this kit. Just in the value of the caps and enclosure alone I think this was a decent trade, even if I gut it and build something else without boutique parts or circuitry.

Does anybody happen to have details on these? All I really find is PCB photos but no real detailed specs on them. I'll post what I could find. Looks like one volume, one balance, and a source selector. Last edited: pm. More options. The volume pot looks like an Audio Note. Balance looks like a Noble The rotary switch looks like a generic one. Lingwendil said:. Click to expand Any guides to be able to tell? If they are fakes they at least seem to be high quality fakes I plan to redo all the wiring, heater wiring and regulator, and reconfigure to use different tubes with higher gm and lower gain.

I think he bought most everything from Parts Conexion. Lower gain? Maybe in the line section The gain of the phono M7 is at the border 40dB. When you're listening, ignore what the component change is. Don't think "this is a preamp change, this is a cable change". It's just a change. Judge it on what it does to your system. If you're ambivalent, that has to speak for itself.

If it's not a blinding improvement, an "I'm not letting you have it back" sensation -- and I mean delivering the goods in a spectacular fashion -- then walk on by. Life's way too short. Cables really are a funny business. Audiophiles tend to divide between those who think cables are important and those who often the electrically educated think that if you can hear something, you have a mental health problem and are terminally impressionable because the truth and the whole truth ends at capacitance and resistance.

Not all of them though. I've got a brother who is a physicist with a Ph. Then you can come across a ton of electrical engineers working in the cable industry who seem to be content that the issues around cables "are well understood". Our audio signal uses electromagnetic energy and electrons to travel from source to transducer.

Read any basic physics primer on electrons or Murray Gell-Man's The Quark and the Jaguar , and it's a pretty eyebrow-raising history of our understanding of electrons. Apparently we used to believe in the absurd notion that they were small particles orbiting around the nucleus of atoms rather like the solar system around the sun. How quaint, how absurd and laughable. Except that's exactly what I was taught. These days we know far better of course.

They are particles in some senses but also waves if you look at it from the point of view of quantum mechanics - and they move but they don't move, and they have spin and colors and are made up of mouons, quarks, higgs boson particles and other interesting ingredients.

This of course is a crude version because we are just scratching the surface of the electron and we might have more chances of getting to the next galaxy than we do of getting down to anything like the kind of scale that will give a meaningful definition of what an electron is. So now you know that I haven't a clue on what an electron is. But if you're interested, here is the link to Wikipedia:. As with all particles, electrons can also act as waves. This is called the wave-particle duality, and can be demonstrated using the double-slit experiment.

The orbital of each electron in an atom can be described by a wavefunction. Based on the Heisenberg uncertainty principle, the exact momentum and position of the actual electron cannot be simultaneously determined. This is a limitation which, in this instance, simply states that the more accurately we know a particle's position, the less accurately we can know its momentum, and vice versa.

When free electrons move, there is a net flow of charge, this flow is called an electric current. When there is an excess of electrons, the object is said to be negatively charged. When there are fewer electrons than protons, the object is said to be positively charged.

When the number of electrons and the number of protons are equal, their charges cancel each other and the object is said to be electrically neutral. When electrons and positrons collide, they annihilate each other and produce pairs of high energy photons or other particles. On the other hand, high-energy photons may transform into an electron and a positron by a process called pair production, but only in the presence of a nearby charged particle, such as a nucleus.

Based on current theory, the speed of an electron can approach, but never reach, c the speed of light in a vacuum. This limitation is attributed to Einstein's theory of special relativity which defines the speed of light as a constant within all inertial frames. However, when relativistic electrons are injected into a dielectric medium, such as water, where the local speed of light is significantly less than c, the electrons will temporarily be traveling faster than light in the medium.

As they interact with the medium, they generate a faint bluish light, called Cherenkov radiation. Now that we are crystal clear about how electrons work, we can move on to their audible effects. Does any of this stuff actually make any real difference? I was chatting to a physicist who works in superconductors and he said that one of the major differences with super-conducting materials will be zero losses in signal cables and therefore no distortion.

Friction-free electrical connections. He said they would obviously be beneficial in audio circuits. After I told him how much audiophiles were prepared to pay for cables, he said they could easily budget for super conducting wires once those that will work at room temperatures have been found. If you want to run your cables at degrees below zero, you can order your super conductors right now. Back in the real world, how much difference can cables really make?

It's pretty easy to find out actually. If you build ten different cables from generic wiring, you will find they all sound different. Some will display pronounced differences in bandwidth and tonal balance. One or two will sound grainy or burnished or smooth. Change direction and they will sound different again. One will sound fast. Another instead will come across as lethargic and diffuse, almost as if you can't tell whether that's the bowing of a cello or a cheap computerized copy.

In fact, bad cables can sound bad in so many ways. They can make Ben Webster's At the Renaissance sax sound a bit vague and blurred, a bit too relaxed and bland. Or they can be very sharp and attentive and nervous, sending out the wrong colors and regimenting the music in a forced march sort of way. They can be dull, lacking in luster or be plain bland, lacking in contrast. Instruments can seem washed out and pale, with little substance, definition and body weight.

They can seem like the inner vibrations aren't there, just a blancmange of sound making something flat that's just a representation of the event, not a recreation. Indifferent cables will make the color spectrum default to a depressed mass of grey.

Congas can sound like they are big generous tubs full of juicy resonances - or they can sound like flat dull 'dunks'. The bitter truth is that most cables make the system do the latter. That's right, with four wheels, a chassis, an engine, seats, breaks, transmission, air conditioning, ABS and so forth. Can you believe it? Friends, audiophiles, grown and successful men, gather 'round and listen why you should spend enough money to buy a car on a bunch of audio wires that come complete with a dull brown plastic covering, no nice wooden knobs and a couple of indifferent looking RCAs.

My personal reaction is closer to an involuntary arm gesture too crude to reproduce in public. According to the website, the Kondo cables are made from very fine strands of silver drawn in the Kondo Laboratory, annealed for up to twenty years, treated specifically for skin effects and then coated with multiple layers of proprietary varnish which acts both as a protector of the silver and as a means of rejecting RFI. But between us, there's no way I'd part with serious cash on the basis of technical wizardry, repudiation, ad copy or even my own recommendation.

The cables are going to have to perform -- and big time -- to get a look in. Well, it might take twenty years for these cables to come on song but when they do, we go straight to the inner sanctum where they keep the grail. These wires played a major role, maybe even the starring one, in revealing that my much loved previous system had been a frankly unsatisfactory reproducer of tinsel-flat sound and left no choice but to take a pretty rapid and financially ruinous turn down the Kondo trail.

The final addition of the LP interconnect was the key. Of course I'm well aware that as reviewers, we are often accused of gushing, exaggerating, of giving unjustifiable raves. True, often we do. But on the other hand, what should we do on those few occasions in life when we come across something that simply alters the borders of reality and takes us straight to the Promised Land? How did Kondo do this? I suspect it had a lot to do with the man himself. Kondo was fascinated by human experience and motivated by music but he also had world-class understanding of molecular metallurgy.

You need the two qualities to reach these extraordinary results. So we get the weird sensation that this cable is somehow being 'kind' to its electrons or at least having a really beneficial effect on the way they deliver musical experience. No, they don't have a particular characteristic, a specific emphasis. They don't have overt characteristics.

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