J
jamster
Guest
Can't sleep - thought I'd let you guys know how the Croak clock upgrade (think G calls it a Tick Tock) worked in my system.
I took a whole bunch of pictures, will post if you guys have an interest - basically looks like a little daughter PC board being plumbed into the main board.
As some of you may know, I use a Shanling CD T100, which I bought second hand from Xenithon a couple of years ago. I have subsequently upgraded the valves, to a set of GE NOS that I got from Wim. I love the machine - it sounds glorious to my ears, and I don't see myself replacing it for a while (especially not at the price).
So, Croak came to my place last weekend, and, after a small hitch caused by the fact that machine was new to him, the clock was upgraded. For those that don't know (I didn't), all the clock does is regulate the speed at which the CD rotates. The more stable the clock, the more stable the speed, the better the sound - in theory. I am sure others can give a better explanation, but this is the way I understand it. The device does not sit in the audio path, or have any direct impact on signal conversion.
The Shanling has a lucid, 'big' sound, with a sense of fluidity about its presentation that can sound very un-digital with the right source material. It does (in standard form) have a tendency to present a somewhat 2-dimensional stage, and can lack a bit of bass 'slam'.
From the second that I got the machine back and plugged it in, it was obvious that the clock upgrade had made a huge difference in these weak areas. Now, there is a sense of immediacy and speed to the presentation that easily matches the best players I have had in my system. Everything is that little bit more tangible, slightly more real, while retaining the scale and air around the instruments that I so love about this machine. While still slightly forward, there is more depth to the stage than before, and front stage centre is so delectably focussed and real that you feel you can reach out and touch the vocalist.
It most be pointed out that all of this has come at vitually no cost to any other parts of the machine's functioning, or its sonics. It has not required me to relook cables, or tweak speaker positions (although I have been doing a whole lot of that anyways). Whether it is worth doing on an entry level, or less than optimally set up, system is up to you, though. My perspective is that this is something you have to do anyways - so you may as well do it sooner than later.
Well done Guillaume.
I took a whole bunch of pictures, will post if you guys have an interest - basically looks like a little daughter PC board being plumbed into the main board.
As some of you may know, I use a Shanling CD T100, which I bought second hand from Xenithon a couple of years ago. I have subsequently upgraded the valves, to a set of GE NOS that I got from Wim. I love the machine - it sounds glorious to my ears, and I don't see myself replacing it for a while (especially not at the price).
So, Croak came to my place last weekend, and, after a small hitch caused by the fact that machine was new to him, the clock was upgraded. For those that don't know (I didn't), all the clock does is regulate the speed at which the CD rotates. The more stable the clock, the more stable the speed, the better the sound - in theory. I am sure others can give a better explanation, but this is the way I understand it. The device does not sit in the audio path, or have any direct impact on signal conversion.
The Shanling has a lucid, 'big' sound, with a sense of fluidity about its presentation that can sound very un-digital with the right source material. It does (in standard form) have a tendency to present a somewhat 2-dimensional stage, and can lack a bit of bass 'slam'.
From the second that I got the machine back and plugged it in, it was obvious that the clock upgrade had made a huge difference in these weak areas. Now, there is a sense of immediacy and speed to the presentation that easily matches the best players I have had in my system. Everything is that little bit more tangible, slightly more real, while retaining the scale and air around the instruments that I so love about this machine. While still slightly forward, there is more depth to the stage than before, and front stage centre is so delectably focussed and real that you feel you can reach out and touch the vocalist.
It most be pointed out that all of this has come at vitually no cost to any other parts of the machine's functioning, or its sonics. It has not required me to relook cables, or tweak speaker positions (although I have been doing a whole lot of that anyways). Whether it is worth doing on an entry level, or less than optimally set up, system is up to you, though. My perspective is that this is something you have to do anyways - so you may as well do it sooner than later.
Well done Guillaume.
