Post by Boomzilla on Nov 19, 2018 22:54:38 GMT -5
My long-awaited used Sonore Microrendu arrived today. (actually the wait wasn't that long - standard UPS ground shipping).
I opened the box with three items in it:
A wall wart that converts 120VAC to 12VDC
A power regulator / conditioner that converts 12VDC to 7VDC
An Ethernet to USB converter (the Microrendu itself)
And my initial impression is that this looks like an embarrassingly primitive and poorly designed mishmash of components. The 120VAC to usable DC working voltage should have been internal to the Microrendu itself (and in fact, that's EXACTLY what Sonore's premium product, the Signature Rendu SE has). The two-step voltage conversion (using two different boxes) is just plain stupid. It's a PITA to place on the equipment rack and it adds (needlessly) to the tangle of wires behind the equipment. Further, if you're not careful about placement, the induced AC in the system from proximity to other power wires will completely throw away the intent of using a separate regulator box. So physically, this setup is what I'd expect from some Bozo's garage design - A real disappointment.
But pretty is as pretty does. I hooked it all up and did the setup - a three step process:
First, I had to access the Microrendu via the web setup page and tell it to be a Roon destination - an easy and straightforward step.
Second, I had to tell the Roon core on my Mac Mini to USE the Microrendu as a Roon destination - an equally easy step.
Third, I had to switch the Emotiva Stealth DC-1 DAC to its USB input - simple.
Now ready for prime-time, I did my usual checks for channel identification and phasing, and immediately noticed an audible difference. When the audio signal was in-phase, the mono test signal was EXACTLY centered between the speakers with little to no "bleed" or "spread" outward toward the actual speakers. In other words, this is the sharpest center image that I've heard in my room. When Sam Tellig's voice (I use the Stereophile Test Disc) shifted to "out of phase," I heard a wider separation of the right and left channels than ever before. In other words, the out-of-phase voices seemed to be farther outside the speakers than I usually hear. Now these two tracks (channel identification and phasing) are some that I've played over a hundred times (and that's a modest count). I'm very familiar with the sound of the dog, and of Mr. Tellig's voice on different speakers, amplifiers, and DACs. But the Microrendu depicted the phasing (in particular) more starkly than I've heard before.
So that was different - but was it better? That can't be answered from the test disc - so I put on some music...
Since Mr. klinemj expressed in his discussion of the MR that he thought the device had the most audible effect on poorly recorded audio, I first chose the track "Tennessee Stud" from the Nitty Gritty Dirt Band's classic album, "Will The Circle Be Unbroken." The vinyl version of this song was so "alive" that I often used it as a "demo" even for my friends who hated country music - and it never failed to impress. But when the CD version of the album was released, I almost cried - the track sounded HORRIBLE - no dynamics, loss of ambience, just a really "mechanical" sounding track (and album), and I seldom played it since. I had hopes when the CD was remastered and released again, but nope - still nowhere close to the vinyl version.
Now before I describe the sound through the MR, remember some things - At this point, the MR has been on about 15 minutes and probably hasn't reached thermal stability yet - the Stealth DC-1 DAC has been on continuously and should be thoroughly in the groove - the Schiit Freya preamp (using its tube section) has been on for no more than 15 minutes - and the Emotiva BasX A300 power amp has been on for about 15 minutes.
And the sound? The soundstage seemed much (MUCH) wider and deeper. There was significantly more "detail" and I could hear "deeper into the recording," picking up squeaks of chairs, picks on strings, and a host of other things that are usually buried in the mix. Now the immediate question that arises anytime I hear "more detail" is "is this an artifact of boosting the midrange and lower treble?" And I can't yet answer that question. Even if it IS an artifact of a slight boost, is that endemic to the MR or is it because the system is still cold?
Did the track suddenly sound as good as the vinyl version? I don't think it did - but it was definitely better than it sounded WITHOUT the MR. And no judgements yet - the system is still cold.
Next cut - A very well-recorded track from Jennifer Warnes' "The Hunter" album - "Way, Way Down Deep." This is a good track to check the subwoofers' blend with the satellites. And even though I don't have the subs completely dialed in yet, I'm getting the bloom-effect, where a bass drum struck in the center of the soundstage sounds as if the wave-front "rolls out" from the point of impact into the room. The spread should extend beyond the sides of the speakers. With the MR in the chain, it does - before the MR, it didn't. Is this accurate or merely euphonic? I don't know. I've heard some drums sound that way in some venues, but I've also heard bass drums that didn't "bloom" that way. Without knowing the recording venue, I'll probably never know.
I listened to some other songs - Chris Isaak, Balkan Beat Box, Goran Brevoric, Lady GaGa, The BBC Big Band Orchestra, The Atlantic Brass Quintet, Morgan James, and Madonna. Now Madonna was interesting... Her "Immaculate Collection" album is recorded in "Q-Sound," a technique intended to enhance soundstage and to place voices and instruments far beyond the edges of the speakers. With the MR in the chain, Q-sound effects were more prominent. Voices and instruments sounded as if they were at 90 degree angles to the center of the soundstage. A startling effect!
The overall effects that I perceive (so far) from the Microrendu are wider and deeper soundstage and more detail, that allows me to "hear farther into the mix." So I'd definitely say that the MR DOES make an audible difference in audio playback. In fact, its effects are VERY similar to what I hear from the Emotiva PA-1 power amplifiers. Do the MR differences sound "better?" Initially, I'd have to say yes, but I'll need significantly more listening time to be comfortable saying so with any authority.
Now note that everything I've said above is completely subjective - It's what I hear with my ears, in my room, and with my equipment. But I don't lie to you - what I said is what I hear. Do I fool myself? I certainly try not to. I was expecting either "no change" or even "sounds worse" from the Microrendu, so I'm surprised at what I'm hearing so far. I'll listen again soon to confirm or contradict these initial impressions and will update this thread as I go.
Also note that (unlike the previous thread) I make no speculation as to how the Microrendu works or why it causes the effects it does. I'm deliberately ignoring any such speculation and ONLY saying what I hear. Should you want to give an explanation (cogent or not) as to what the Microrendu does, please confine those musings to the "Does TIDAL require a front end such as Roon?" thread. The purpose of this thread is to discuss the Microrendu (and SOtM) sound.
Thanks - Boomzilla
I opened the box with three items in it:
A wall wart that converts 120VAC to 12VDC
A power regulator / conditioner that converts 12VDC to 7VDC
An Ethernet to USB converter (the Microrendu itself)
And my initial impression is that this looks like an embarrassingly primitive and poorly designed mishmash of components. The 120VAC to usable DC working voltage should have been internal to the Microrendu itself (and in fact, that's EXACTLY what Sonore's premium product, the Signature Rendu SE has). The two-step voltage conversion (using two different boxes) is just plain stupid. It's a PITA to place on the equipment rack and it adds (needlessly) to the tangle of wires behind the equipment. Further, if you're not careful about placement, the induced AC in the system from proximity to other power wires will completely throw away the intent of using a separate regulator box. So physically, this setup is what I'd expect from some Bozo's garage design - A real disappointment.
But pretty is as pretty does. I hooked it all up and did the setup - a three step process:
First, I had to access the Microrendu via the web setup page and tell it to be a Roon destination - an easy and straightforward step.
Second, I had to tell the Roon core on my Mac Mini to USE the Microrendu as a Roon destination - an equally easy step.
Third, I had to switch the Emotiva Stealth DC-1 DAC to its USB input - simple.
Now ready for prime-time, I did my usual checks for channel identification and phasing, and immediately noticed an audible difference. When the audio signal was in-phase, the mono test signal was EXACTLY centered between the speakers with little to no "bleed" or "spread" outward toward the actual speakers. In other words, this is the sharpest center image that I've heard in my room. When Sam Tellig's voice (I use the Stereophile Test Disc) shifted to "out of phase," I heard a wider separation of the right and left channels than ever before. In other words, the out-of-phase voices seemed to be farther outside the speakers than I usually hear. Now these two tracks (channel identification and phasing) are some that I've played over a hundred times (and that's a modest count). I'm very familiar with the sound of the dog, and of Mr. Tellig's voice on different speakers, amplifiers, and DACs. But the Microrendu depicted the phasing (in particular) more starkly than I've heard before.
So that was different - but was it better? That can't be answered from the test disc - so I put on some music...
Since Mr. klinemj expressed in his discussion of the MR that he thought the device had the most audible effect on poorly recorded audio, I first chose the track "Tennessee Stud" from the Nitty Gritty Dirt Band's classic album, "Will The Circle Be Unbroken." The vinyl version of this song was so "alive" that I often used it as a "demo" even for my friends who hated country music - and it never failed to impress. But when the CD version of the album was released, I almost cried - the track sounded HORRIBLE - no dynamics, loss of ambience, just a really "mechanical" sounding track (and album), and I seldom played it since. I had hopes when the CD was remastered and released again, but nope - still nowhere close to the vinyl version.
Now before I describe the sound through the MR, remember some things - At this point, the MR has been on about 15 minutes and probably hasn't reached thermal stability yet - the Stealth DC-1 DAC has been on continuously and should be thoroughly in the groove - the Schiit Freya preamp (using its tube section) has been on for no more than 15 minutes - and the Emotiva BasX A300 power amp has been on for about 15 minutes.
And the sound? The soundstage seemed much (MUCH) wider and deeper. There was significantly more "detail" and I could hear "deeper into the recording," picking up squeaks of chairs, picks on strings, and a host of other things that are usually buried in the mix. Now the immediate question that arises anytime I hear "more detail" is "is this an artifact of boosting the midrange and lower treble?" And I can't yet answer that question. Even if it IS an artifact of a slight boost, is that endemic to the MR or is it because the system is still cold?
Did the track suddenly sound as good as the vinyl version? I don't think it did - but it was definitely better than it sounded WITHOUT the MR. And no judgements yet - the system is still cold.
Next cut - A very well-recorded track from Jennifer Warnes' "The Hunter" album - "Way, Way Down Deep." This is a good track to check the subwoofers' blend with the satellites. And even though I don't have the subs completely dialed in yet, I'm getting the bloom-effect, where a bass drum struck in the center of the soundstage sounds as if the wave-front "rolls out" from the point of impact into the room. The spread should extend beyond the sides of the speakers. With the MR in the chain, it does - before the MR, it didn't. Is this accurate or merely euphonic? I don't know. I've heard some drums sound that way in some venues, but I've also heard bass drums that didn't "bloom" that way. Without knowing the recording venue, I'll probably never know.
I listened to some other songs - Chris Isaak, Balkan Beat Box, Goran Brevoric, Lady GaGa, The BBC Big Band Orchestra, The Atlantic Brass Quintet, Morgan James, and Madonna. Now Madonna was interesting... Her "Immaculate Collection" album is recorded in "Q-Sound," a technique intended to enhance soundstage and to place voices and instruments far beyond the edges of the speakers. With the MR in the chain, Q-sound effects were more prominent. Voices and instruments sounded as if they were at 90 degree angles to the center of the soundstage. A startling effect!
The overall effects that I perceive (so far) from the Microrendu are wider and deeper soundstage and more detail, that allows me to "hear farther into the mix." So I'd definitely say that the MR DOES make an audible difference in audio playback. In fact, its effects are VERY similar to what I hear from the Emotiva PA-1 power amplifiers. Do the MR differences sound "better?" Initially, I'd have to say yes, but I'll need significantly more listening time to be comfortable saying so with any authority.
Now note that everything I've said above is completely subjective - It's what I hear with my ears, in my room, and with my equipment. But I don't lie to you - what I said is what I hear. Do I fool myself? I certainly try not to. I was expecting either "no change" or even "sounds worse" from the Microrendu, so I'm surprised at what I'm hearing so far. I'll listen again soon to confirm or contradict these initial impressions and will update this thread as I go.
Also note that (unlike the previous thread) I make no speculation as to how the Microrendu works or why it causes the effects it does. I'm deliberately ignoring any such speculation and ONLY saying what I hear. Should you want to give an explanation (cogent or not) as to what the Microrendu does, please confine those musings to the "Does TIDAL require a front end such as Roon?" thread. The purpose of this thread is to discuss the Microrendu (and SOtM) sound.
Thanks - Boomzilla
