pcfi替代传统的hifi只是时间问题。
胶片像机好于数码像机这是不争的事实，但现在又有几个摄影家不玩数码，胶片像机的空间正被数码像机强大动所挤占。
达尔文的进化论认为，能够生存决对不是最强壮的，而是最能适应变化的。
没事，真正的发烧友本来就是少数，只要有一两家厂家还在生产高档转盘就行了。我不担心这趋势。我担心的是我那老转盘正筹划退休后的生活呢！
原帖由 shang_2000 于 2008-4-24 18:57 发表 http://www.headphoneclub.com/bbs/images/common/back.gif
直接从唱片公司拷来的，可以按专辑，按歌曲下载购买！linn和naim的在线音乐商店早就可以了，还有这个http://www.hdtracks.com/，都是hifi的数字文件，是不是有人要说播放这个文件有jitter？如果pc仅仅作为一个转盘（ ...
这个网站不错啊，可以试听，音质相当不错呢
DISCMAN和MD都退出历史舞台了，恐怕CD机也会有那么一天。
但是CD的优势目前还很大，猜测还能坚挺很久。
我就是来学习的呵呵:lol
是来学习的:lol
再往前走一步，比如初衷立足于为聋人或弱听患者恢复听力的方法——用高科技将电信号传递给大脑，当这种视听感受普及化之后，能根据你想听到什么，或者传递者希望听到什么来向听觉神经或大脑的功能部位提供刺激信号……
同感 不过我觉得低档CD机倒是不会被淘汰
Only recently this went up as a reply to my query about what changes have been made to the DAC1. It is buried below (and so could easily be missed) but thought it to be of interest to many so I've taken the liberty of copying and pasting it here.
An inside look at the Benchmark DAC1 - from the designer:
All versions of the DAC1 use the following IC's:
AES Receiver:
AK4114 (AKM) - selected for its ability to accurately recover data in the presence of high-jitter, high-noise, and when signal levels are very low. The AK4114 is unsurpassed for data recovery. However, the clock recovery on this IC is very poor due to the wide bandwidth of it's PLL. The DAC1 does not use the AK4114 for clock recovery. The DAC1 only uses the AK4114 for input multiplexing, data recovery, and digital de-emphasis (for those rare CD's that actually use pre-emphasis).
Up sampler (ASRC):
AD1896 (Analog Devices) - selected for its low spurious tones, low distortion, and exceptionally low PLL corner frequency. Pin-compatible versions of this part exist, but should NEVER be substituted into a DAC1. The substitute parts have much higher PLL corner frequencies, and will destroy the DAC1's exceptional jitter attenuation.
D/A Converter:
AD1853 (Analog Devices) - selected for its exceptionally low distortion. In the DAC1, the AD1853 operates from a fixed-frequency ultra-low-jitter crystal oscillator that is well isolated from external clocks. The digital filters in the AD1853 are frequency shifted in the DAC1 to minimize passband ripple, and eliminate imaging and aliasing of near-Nyquist high-frequency audio content. The high-frequency transparency of the DAC1 is unsurpassed by anything we have measured. Most D/A converters suffer from aliasing, imaging, harmonic distortion (THD), intermodulation distortion (IMD), and jitter-induced distortion. We have gone through great pains to minimize these common defects.
While no audio device is perfect, it is possible to reduce the amplitude of error signal to inaudible levels: In the DAC1, jitter-induced sidebands never exceed -141 dBFS, spurious tones never exceed -126 dBFS, line-related hum never exceeds -126 dBFS, noise never exceeds -114 dBFS, and THD+N never exceeds -105 dBFS. This means that at a playback level of 105 dB SPL, the THD+N artifacts are at the threshold of hearing (if the room were silent), and the jitter induced sidebands are 36 dB BELOW the threshold of hearing (in a silent room). By any stretch of the imagination, jitter-induced sidebands are inaudible with the DAC1. So why do different transports sound different with the DAC1?
Transport issues: Some transports are not bit-transparent. Some DVD players have a digital volume control on the digital output. Some apply sample rate conversion to the digital outputs, and this conversion may be of a poor-quality. Also, most CD and DVD players are designed to mask or skip data when the disk cannot be read, some will attempt to re-read the data, but ultimately will skip or mask if subsequent reads fail. A dirty or scratched disk will play differently in different transports. A transport with dirty or misaligned optics will produce similar problems. Bottom line, the bits at the SPDIF or TOSLINK connector may not be identical to the bits on the recorded media. We have done some testing of transports and expect to post the results on our web site when we have more data. Some transports work very well, others do not. Unfortunately, we are finding that price is not a good indicator of transport quality.
A further word of caution when comparing digital interfaces with the Benchmark DAC1: If you connect a single transport with two different types of digital outputs to the DAC1 (SPDIF and TOSLINK for example), you WILL hear a difference between the two inputs when you flip the input selector switch on the front of the DAC1. The difference is real but the difference only persists for 500 mSec. Here is what you are hearing: When the input to the DAC1 switches, two soft-mute circuits activate to prevent pops and clicks. The mute/un-mute sequence ends in less than 100mSec (typically 60 mSec). During the mute sequence and for another 400mSec, the DAC1 UltraLock? circuitry is disabled and the audio is pitch shifted to adjust the internal buffer lengths. The pitch shifting is completed within 500 mSec after switching inputs. The red "ERROR" LED on the front of the DAC1 is illuminated while the mute/un-mute, and pitch-shifting operations are taking place. The pitch shifting sequence is either normal-up-normal or normal-down-normal. The first half of the sequence occurs during mute, but the second half is not muted. Consequently you will hear normal audio prior to the switch, followed by a 60-100 mSec mute, followed by new input pitch shifted, followed by a 400 mS adjustment back to normal pitch. The small but abrupt change in pitch after the mute is just enough to give the impression that one input is brighter than the other. The direction of the pitch shifting sequence is determined by the relative delay between the two digital inputs. The input with the largest delay will be perceived as brighter. If the optical interface has more delay than the coaxial, it will be perceived as being brighter. After 500msec, there is no difference. Kind of interesting!
Why so many OP-Amps in the DAC1? The answer is that the DAC1 uses parallel signal paths to keep the total number of OP-Amps to a minimum in any given path. The RCA and XLR outputs have identical but separate signal paths. The front panel gain and rear panel gain are separate but identical signal paths. This topology keeps the outputs well isolated an keeps each signal path to a minimum. Cost? extra Op-Amps.
Regarding regulator layout: The regulators are positioned at the noisy side of the box, so that only clean DC is distributed to the rest of the board using a star topology.
Regarding trace lengths: Obviously signals must traverse the box from the front-panel control to the rear-panel output jacks. Such a traversal must be made with care. All long analog traces are very low impedance, and are fully shielded in 3 dimensions by surrounding the trace on 4 sides with a shield. All of the shield components are "stitched" together at regular intervals using vias. This construction is very unusual, but is very effective. Check the crosstalk specifications if you doubt the effectiveness.
Regarding grounding: The transformer secondaries, rectifiers and bulk capacitors share a single ground point and do not introduce ripple currents into the ground plane. Line-related hum is -126 dBFS or better.
John Siau
Director of Engineering
Benchmark Media Systems, Inc.
Do not criticise the idiots in this world - we need them as they make the rest of us look so much better :-)
还是玩分体的算了，解码部分可以保留
原帖由 小白 于 2008-4-24 14:02 发表 http://bbs.headphoneclub.com/images/common/back.gif
近一年来,一个趋势越来越明显,使我不得不改变观念,写下这个帖子.
从市场角度看,一个无法忽略的事实是,购买发烧级纯CD机的顾客,越来越少. 我也熟悉一些HI-FI圈内的做CD机的商家,可以说近一年来的纯CD机生意,特别是 ...
这是一个不需要解码器的时代，最新的功放技术，已经完全摒弃了解码器这种东西了。美国人的最新数码功放芯片是直接数字放大的，根本没有数模转换在里面，全程都是数字放大。当然很多人会跳出来喊，数字功放声音太单薄，没有厚润度。我只能说，你没有听过好的数字功放，如果你有兴趣，我发个给你听听，让你模拟味到傻，任何的300B胆机都是一竿子的事情。千万别在井底之蛙了。
音源倒是真的不需要CD转盘了，确实没有他什么事情了。
多听现场才能知道真实，正确的声音是怎样的，音准绝对不是靠器材yy出来的。音乐是有修养的
总觉得在电脑上听音乐心不在嫣的，难以投入。一会聊下QQ，一会玩下斗地主:lol
还是夜深人静，关了灯，躺在床上听CD有感觉。
