![]() The success of these DACs among audio professionals led audiophiles to seek them out for home use eventually, EMM Labs shifted away from pro and into consumer audio. With the launch of the competing high-resolution audio formats SACD and DVD-Audio, Meitner founded EMM Labs to design and build D/A converters for DSD-based recording studios. ![]() Eventually, working with various companies, he branched out into the production of other electronics, including guitar amps and consumer preamps and amplifiers, all the while aiming to provide the highest-quality sound reproduction at lower prices. He first came to prominence in the pro-audio field, with the creation of a recording-studio console in which the commonly used mechanical sliders, which are susceptible to variations related to environmental factors, were replaced with far more stable electronic gain cells. ![]() Therefore, over the past year I’ve been eagerly scouring audiophile publications and the Internet for news about the latest and greatest digital-to-analog converters - and when Meitner Audio announced the $7000 USD MA-1 in 2011, I took notice.Įd Meitner has a well-deserved reputation for audio excellence. Additionally, via the Halide Bridge, the Transporter was prone to interruptions in data flow - I experienced a lot of dropouts. The upper limit of its playback resolution was limited to 24-bit/96kHz, and with the increasing availability of higher-resolution downloads, I itched to find something better. The Transporter became my sole digital source.īut I knew that even the Logitech Transporter was just a way station. ![]() Wi-Fi streaming was so great - and was so much better than using the Halide Bridge connected to the BNC input of my Wadia - that I stopped using the Wadia. The improvement in the Transporter’s performance via direct connection vs. It was then that I added Sonic Studio’s Amarra playback software and directly connected my iMac to the Transporter with the Halide Design USB-to-S/PDIF Bridge via the Transporter’s BNC digital input. In fall 2010, things took a significant turn for the better. (I’ve since replaced that remote with a free Squeezebox app for my iPhone 4S.) Because of this lack of a wholesale improvement in sound quality, the Wadia 830 remained my primary digital source for another two years. On top of that, I never cottoned to the Squeezebox Server software that organized the music, nor its cheap remote, with its many buttons and rounded bottom - the latter caused it to topple over at the slightest touch. My initial impression of the Transporter was that while it organized my expansive CD collection and improved the convenience of listening to music via Wi-Fi streaming, sonically it wasn’t much, if at all, better than my Wadia 830 CD player, which I’d bought in 2000. The Transporter received great reviews in several publications, including the SoundStage! Network's SoundStage! A/V, so in 2008 I took the plunge with the Transporter ($1900 USD). Things began to look promising with the launch of the Slim Devices Squeezebox and, in 2006, the Slim Devices Transporter. Unfortunately, at that time the only way I knew of getting the music out of my iMac and into a stereo system was by using Apple’s AirTunes, which didn’t seem to be the most sonically sound (sorry) method of connecting source to system. I had no intention of making my digital source an Apple iPod, but the idea of using Apple’s iTunes with a computer as the server first entered my mind around 2004, a few years after the iPod’s launch. DVD-Audio, and instead waited for a universal player or music server that would meet my criteria for the ultimate in sound quality and convenience. This is why I never took sides in the debate of SACD vs. Invest too early and you not only end up spending too much money, you might end up with an expensive white elephant as the technology continues to progress - or, in the worst case, withers on the vine, a victim of market forces. I’m no early adopter because there’s no upside. 2018-2019 EISA Awards Video Introduction.
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