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Post by Dark Ranger on Jan 6, 2014 17:06:45 GMT -5
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Post by dac0964 on Jan 6, 2014 18:06:22 GMT -5
Bought one myself this weekend even though I still don't have a turntable (hopefully next month). The price promo is just too good to pass up.  |
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Post by ÈlTwo on Jan 6, 2014 21:02:11 GMT -5
Mine is on its way, I can't wait.
I had picked up the Benny Goodman at Carnegie Hall at a garage sale last summer, and have not yet played it.
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Post by Deleted on Jan 7, 2014 18:06:49 GMT -5
Power adapter, up close and personal:  |
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Post by ÈlTwo on Jan 7, 2014 20:12:09 GMT -5
How come you have adapter number 30, and bootbox has number 35?
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Post by Dark Ranger on Jan 7, 2014 22:04:57 GMT -5
How come you have adapter number 30, and bootbox has number 35? Oh yeah? Well, I have #11. That makes me special. I think.   |
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Post by Deleted on Jan 8, 2014 7:16:46 GMT -5
How come you have adapter number 30, and bootbox has number 35? That's an easy one. That number is from one of my favorite basketball players. Emotiva let me pick out number 30 since I asked real nicely. Number 30 was the jersey number of John Tresvant who played for the Seattle University Chieftains in the early 1960's. Those were some of the years that Seattle U was a national NCAA basketball powerhouse. He played 14 years in the pros including several years for the Seattle Super Sonics. Led by #22 Elgin Baylor (1958, 32.5 points per game ave. ----- scored over 50 points four times), the Chieftains appeared in the NCAA men’s basketball championship game in 1958. I wanted number 22 but Emotiva had already shipped it out. As a pro for the Lakers he scored 71 points against the Nicks and 61 against the Celtics. Later, after the SU dropped out of division level 1 the the PC Jesuits changed the name of the team from the Chieftains (fierce warriors and leaders) to the Redhawks due to the local Pacific Northwest Indian tribes feeling insulted. Nobody to date has ever considered the hurt feelings of the local red hawks. John Tresvant  Elgin Baylor .... A short one. BTW, thanks for asking about 30. |
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Post by wizardofoz on Jan 8, 2014 9:38:22 GMT -5
Well its nice to know and see that it is 12V and 110-240VAC and 50/60 Hz but thats not usually an issue.
Perhaps someone can update sales staff that its NOT 9V and NOT 115VAC only please...while they are at it please update the website.
My 2 are waiting for me at UPS in Singapore, while I as luck would have it am in Bangkok till this weekend. ... what happened to emo's fedex deals (I digress) ... despite me asking that they not ship until this week they shipped them out anyway costing me a large international call charge to UPS in Singapore to get them back off the truck and hold them for delivery till next week....Seems like a lot is slipping through the cracks at HQ.
I will compare them to the internal XSP-1 phono stage when I get back and plant one of the UMC-1 and the other will await (not too long I hope) for the XMC-1 that better not be too far behind it.
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Post by dac0964 on Jan 9, 2014 18:25:55 GMT -5
Got mine delivered today! But will have to wait until I get my hand on a turntable  |
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Post by ÈlTwo on Jan 9, 2014 20:29:22 GMT -5
Got mine today as well, played a few quick selections, sounds real nice.
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Post by audiogeek on Jan 10, 2014 17:12:22 GMT -5
Got mine today, but my TT is back ordered so have to wait to try it out.
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Post by jrk4251 on Jan 15, 2014 19:38:35 GMT -5
I haven't seen any kind of review for it yet, so I thought I would give you a feeling for one listener's perception of it. I ordered my XPS-1 a couple weeks ago and received it last week. It was so cold up here in the northeast US, the unit was very cold when I unpacked it so I let it warm up for a few days before trying it.
Equipment used: Sonographe SG-3 turntable with Dynavector DV-10X5 cartridge, Emotiva XPS-1, McIntosh C712 preamp, Emotiva XPA-5, Revel Concerta speakers (F12 for front left and right)
Records: Joan Baez Blessed Are..., Pat Benatar In the Heat of the Night, Grateful Dead American Beauty, Elton John Madman Across the Water, Fleetwood Mac Bare Trees, Jean-Luc Ponty Individual Choice, Linda Ronstadt Living in the USA. All are original US releases.
Let me preface this by saying that I am in my early sixties and suffered some hearing loss due to a car accident quite a few years ago. I know my ears roll off the highs a bit.
That said, I have been listening to music and playing it since I was a small child. Once I was working full-time my first purchase after a car was a high quality stereo system. I have played the piano, trumpet, and guitar in my younger days too so I have an idea of what they should sound like. I also used to sell records and hi fi equipment when I was in college and for awhile after so I had knowledge of how to select equipment that would work together well. There was even a time when I could correctly set up a cartridge in a turntable. Still all descriptions are based on my perception so I thought you should know a little about me. As always, your own perceptions may be different than mine.
I spent about eight hours over two days listening both to the McIntosh's phono section and the XPS-1. The McIntosh uses two balanced cables to connect to two of the XPA-5 channels. When not playing records a UMC-1 drives all five XPA-5 channels through single-ended (RCA) cables in a five channel home theater.
I started by listening to the McIntosh phono preamp for a couple album sides. Then I switched in the XPS-1. Right away I could tell there was a difference. The McIntosh has a more forward presentation something like being on stage with the performers. The XPS-1 is like being two to five rows back at a concert. Thus the McIntosh creates somewhat more, full-bodied, sonic images. The XPS-1 is not thin at all. Its presentation is just a little further back so you get the amount of body that is appropriate for the presentation.
When I first connected the XPS-1, I noticed a little "bite" to the highs. Nothing unpleasant and it smoothed out over the course of an hour or two. In fact there were subtle changes over the eight or so hours of use, all for the better.
Another difference I noticed was the McIntosh created a "dome of sound" that the performers were contained in. Within the dome you could pinpoint reasonably well the location of the instruments and vocalists. The XPS-1 was not ambiguous at all about the locations of performers and their instruments. You could pinpoint exactly where they were and hear them if they moved. I could perceive real differences in depth as well as localization. When I listened for a particular instrument I could pick it out.
The XPS-1 is also quiet. That "dome" of sound from the C712 is partly noise. The XPS-1 is dead quiet everywhere but where the performers and the instruments are located. It also resolves information about the venue very well, or when a guitar was fed through a reverb while all the other instruments were not. Because of the quiet background these differences were much more apparent.
The high frequencies of the XPS-1 also seem more extended than from the McIntosh. And instruments with a delicate ring sounded delicate, such as a triangle.
The bass of the XPS-1 is weighty, firm, and deep. It is not lacking at all but it also isn't over emphasized or boomy. You could easily hear the performer's manipulation of the strings on an electric bass and the differences in each note played.
Guitars, piano, tympani, violins, electric violins, and all other instruments sounded very real.
To sum it all up, I do like the more up-front presentation of the McIntosh but the XPS-1 has a lot going for it too. It is quieter. It provides better depth perception and instrument localization. It has better high frequency extension. And, while I like the up-front presentation of the McIntosh, I find the presentation of music from the XPS-1 to be more realistic. I will be keeping mine!
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Post by namikis on Dec 12, 2015 21:48:44 GMT -5
How does this compared to the built-in phono stages in the USP-1 and the XSP-1? The XPS-1 uses the same circuitry as the XSP-1. Both the USP-1 and the XSP-1 have excellent phono stages in them. Read some of the Pro Reviews and you will find that the reviewers were extremely pleased with the sonic quality of the phono stages of both stereo preamps. Every review that I read gave "rave reviews" of their phono stages. Many Lounge members, over the past few years, have also submitted exceptionally positive reviews on the phono stages of their personal Emotiva preamps. Emotiva's reputation was built on the exceptional sound and build quality of their preamps and power amps -- having unrivaled Bang for the Buck. I know this is an old thread but here goes... I had both the XSP-1 and the XPS-1 for a while (wanted to run two TTs). I tried quick switching between the XSP's phono input and the XPS and could hardly tell a difference - i f anything the phono section in the XSP-1 sounded cleaner/more detailed (better power supply? fewer cables in the mix?). |
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Post by repeetavx on Dec 12, 2015 22:55:30 GMT -5
Thanks for the input. Reviews are always welcome.
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OK, I'll admit I don't have a turntable yet. I cannot comment on the sound quality right now, but I'll write an update when I can acquire one sometime this year.
OK, I'll admit I don't have a turntable yet. I cannot comment on the sound quality right now, but I'll write an update when I can acquire one sometime this year.
