Other than requiring additional cables, and having additional connections in the path, proper, relay-switch, high-current speaker switch boxes should have nothing in the audio path but the conductors. They should be as close have no effect on the sound as is possible to achieve.
I’ve yet to try Hypex Ncore and the topic seems to be pretty controversial, would love to listen to one just to see what it’s all about. I can see how power delivery could be an issue with Class D, not because of the amp design, but because Class D is efficient enough to allow for weak SMPS designs. Cheap non-Ncore Class D is usually no good at all, pretty much all of the ones I’ve tried are a good deal worse than a Vidar.
Esoteric’s Class D amps are absolutely great, super clean and actually fairly musical, but even at used prices they come in at or above most of Linn and Simaudio’s offering. They use some of the best PSU’s in the business, and they claim 10,000 hours of tuning optimization through actual listening trials. A used one in the right voltage is hard to find, though.
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Yes, Esoteric is one of the good class D’s. Wyred4Sound is one of the others.
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Just because I’m between things to do … a pre-weekend re-telling of an earlier-in-the-week “I’m an idiot” moment.
A little bit after I had switched over to the dual-Vidars, done some listening, I then switched over to the M-Scaler -> DAVE setup. The following morning I’m listening, and looking at the volume dial (still had the Phonitor X as the pre-amp in the chain at this point, for non-SR1a related reasons), and wondering why now having TWO Vidars, in mono-mode, and much more power on top, was my listening level lower for the same volume position.
(Running two more powerful mono-amps won’t change the volume on it’s own if their gain is the same, though going SE input to BAL can … but it definitely shouldn’t reduce it).
Turns out that I had completely spaced on the fact that the M-Scaler results in a -3 dB change in level and DAVE in DAC mode also operates at -3 dB. Couple that with the -6 dB master level change I apply in my EQ tool to prevent clipping the signal there, and I’m as much as 12 dB down vs. what I could be at.
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Schiit claims dual mono Vidar has gain of 27 db as opposed to 22 db for single configuration. This sounds reasonable because +6db would be the result of two-amp differential out (2x voltage = 6db).
By the way, Dave has 8.75V balanced out for 0db operation.
In variable mode, the Chord’s maximum output level at 1kHz with the volume control set to “0dB” was 8.75V from the balanced output jacks, 4.375V from the unbalanced jacks and the headphone jack.
Read more at https://www.stereophile.com/content/chord-electronics-dave-da-processor-measurements#wlskPuUCOmP9iaFJ.99
You said you applied -12db. This means you have 15db of overall gain from Dave 0db output to Vidar output.
Overall output voltage from vidar seems 8.75V * 5.623 (=-12db) = 49.2V
49.2V would be totally fine for Vidars, although it could be slight departure of their sweet spot.
I am rather worrying about SR1a side. On calculation, it would result in 115.8 db spl between 20-200hz and 111.4 db spl for 7k hz and upper (because of gradually increasing impedance of the box; see below). I know you mostly listen to very good recordings, which has a few decibels of headroom before hitting 0 dbFS. But be careful, modern tracks having higher RMS level and 0 or less than 1db headroom could cause excursion limit on the ribbon (which Raal claims as 111 db spl)
I probably wasn’t clear …
With DAVE in DAC mode (-3 dB) I was running through the Phonitor X as a pre-amp/attenuator (DAVE -> Phonitor X -> Vidar(s)).
With DAVE in Pre-Amp (Digital Pre) mode, I was not at -3 or 0 dB! WAY lower than that!
So nothing to worry about.
I just dumb-arsed why things got quieter when switching to DAVE from the RME unit. Also, the RME was at 0 dB and Auto-Ref Level feeding the Phonitor X, so 6 dB higher output than DAVE …
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More importantly … how are you finding the SR1a out of the Vidar vs. the JHL?!
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Haha, I assumed you already removed phonitor X in the chain like you said before. No wonder. I am wary of drivers’ power handling. 
By the way, I am applying overall -26 db of pre gain to 2.5V 0dbFS dac unbalanced out. It’s higher than what I calculated yesterday… so it could be either JLH or Vidar has different gains from it claimed. Or both. I will figure it out later.
Speaking of Vidar, there were two immediate improvements. Tighter/deeper bass extension. While I couldn’t find any better details yet, mid and high information is presented in a more enjoyable way – more relaxed, more refined, and more natural/normal. I didn’t hear any degradation of micro-dynamics either (which I estimated to occur). Likely because my operating power range (<0.5W) didn’t touch crossovers that much.
Anyway, now SR1a is partly qualified to be keeper. Yesterday, while this headphone had several likes, I couldn’t think it in the same league with Verite (even admitting their different natures). Now I find myself enjoy sr1a quite a lot. Still this headphone dislikes nearly 40-50% of what I want to hear (marginally recorded treble-heavy tracks) though.
My current questions are
- Will I ultimately keep SR1a?
- Should I request Schiit to replace Vidar with Aegir with +$100?
The first question may need more time to make a verdict.
The second one … seems very tempting – knowing how amazingly Continuity output stage performs (I am still a big fan of Lyr 3) and how much power I really need.
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I don’t blame you man, curiosity and that endless pursuit for an “end game” setup will eventually win over if you have the means to upgrade.
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The SR1a definitely doesn’t do well with marginal recordings/masterings. And I wouldn’t use it on a primary diet of Spotify, Amazon or Google Music streams, either. It’s just so ruthlessly revealing that any little foible is audible, and “harsh” or “mushy” recordings just get highlighted for their faults.
I’ve tried using a NuTube buffer and an actual tube buffer with such recordings, and that helps some, but really a less revealing and brutally honest headphone helps more.
I’ve also employed the SPL Twin Tube plug-in for such marginal source material, and that helps too. Though it’s not a 100% solution, either, and not nearly as convincing as actual tubes.
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I wish I had those kind of opportunities where I live (H- Town, TX). Unfortunately I’ve to buy things in order to try them. Thanks for the amp suggestions/recommendations and based on your comment about the Benchmark AHB2 potentially being too reference-y for the already super neutral SR1a make me lean towards the SPL Performer s800 mainly because of the experience that I’ve with the Phonitor X and because of the “form factor vs power output”. It feels like the s800 is going to fit like a glove and be seamlessly integrated to my existing rig.
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There’s a meet coming up a couple of weeks from now where, assuming I can make it (looks promising), I’ll be able to run the SR1a with an s800.
Between now and then I should have had a chance to try the Aegir(s), AH2B(s), Anthem STR, at least one Chord Étude, maybe a Chord 1050.2 and some other high-end pieces.
The s800 was particularly interesting, especially initially, as it’d be a great pairing with my Phonitor X. Though at this point I am highly doubtful that my final SR1a chain will include a pre-amp at all and will likely use the variable outputs on the DAVE straight into whatever power-amp I settle on.
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I can’t wait to read your impressions on all those amps. Thanks for sharing the upcoming meet’s thread but unfortunately I can’t make it.
Interestingly, the first three days with Raal SR1a reminded of some of well-received tricksters in the headphone audio hobby: HifiMan HE-6, AKG K-1000, and Stax SR-009
(and extending this context to speakers, Magnepan should be listed too haha)
My foolishness led me to own those three at different times in my hobby history. All failed in the end.
All these three (indeed four including SR1a) showed me a sense of greatness at first listen, then started to tease me revealing a bunch of issues and concerns.
I still believe all those three have great technical potentials, and I’ve seen lots of enthusiastic followers for each even these days. But to me, getting those things right was damn difficult. Tried different amps, dacs, even cables. All of them help. None of them addressed my concerns enough.
What is different this time around is that getting Vidar addressed the most serious issues so simply that I can feel nearly ridiculous. Not completely resolved but I am seeing a lot of hope – I can definitely enjoy now. Worth-it yet to be fully convinced. 
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Given that my THX AAA 789 with a variety of <$1,000 headphones reveals more detail that most audio engineers and studios could ever muster, I’ve got a go-slow attitude toward the RAAL. I listen to a lot of obscure back-catalog, low-budget, or DIY productions, and none of it is going to benefit from revealing even more flaws.
There is often beauty in noise and distortion.
I’m intrigued and astounded by the transformational comments from @Torq and @TylersEclectic – as they both have very sophisticated equipment but still talk like it’s a religious awakening. Maybe I’ll bite after the second generation product is released.
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That might be wise. Honestly, SR1a seems to be voiced for mixing and monitoring rather than enjoying music (and as extension, I doubt its usefulness for mastering). High technicalities are not necessarily associated with high satisfaction (as a consumer) – sometimes they are even negatively correlated.
I am not disagreeing with high-performing audio devices (in this context, transducers).
As far as I believe, beyond a certain point, it’s a matter of presentation, instead of a matter of resolution and speed (which are already good among decent performers). Every second with SR1a I am asking myself this: “do I really need this excess details and speed?” (by “excess” I mean an incremental benefit from what I used just previously). For Verite, it was an immediate yes. For SR1a, I don’t know. Still figuring it out.
That said, go-slow could be a way to go for smart audiophiles for now. I am a susceptible (aka stupid) dude, and @Torq might be a challenging early adopter. Haha.
PS. speaking of recording quality, it is just sad that (1) some great musics were recorded poorly and (2) I enjoy lots of trash musics including cheesy pops or even anime tracks. That’s why I love ZMF – nearly ideal balance to my taste between revealing and forgiving. SR1a is challenging my hifi audio philosophy. It feels like I force to use a super car, say McLaren 720S, in a daily life.
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I think, in general, most people are better served, especially in audiophilia, by maintaining a due sense of caution about any new product. Especially where, as I have often said, in posts here and elsewhere, that reviews and impressions tend, by their nature, to exaggerate (sometimes significantly) differences between components.
I always recommend auditioning things before parting with one’s money. Preferably at length, in the context of your own system, in the way you’re actually going to be using them.
There would be a lot fewer FOTM-driven hype/swarm/close-to-immediate-sell-off cycles on Head-Fi, or around the reviews of other couple of channels/sites I can think of, if more people observed the above.
My own audio-exploration history has shown many, perhaps most, products that “wow” me initially often wind up becoming disappointing to outright aggravating overall over the space of a few days or a week or so. Might not even be the sound that causes the shift. But it’s common enough that I’ve made mention of it in more than one review and, when I encounter it, tends to turn up my caution level.
Most important here is making sure that when you choose gear you’re doing it because it fits YOUR preferences, desires and needs. @VimStory makes a very good point about high levels of technical performance not necessarily being desirable in all circumstances - especially in the pursuit of musical enjoyment rather than music production.
One of the most important things I look for when I am not in early-adopter mode (I usually am, but I waited 8 months to hop on the SR1a train), is the consistency of what is being reported by as broad an array of users (and preferably owners) as possible - regardless of whether they ultimately like/keep the product.
If almost everyone says, for example, “this is fastest, most resolving headphone I’ve heard” then there’s probably some fire to go with the smoke, even if half or more of them don’t actually like the overall product at the end of the day. But even when such comments turn out to be 100% true, that doesn’t mean that will be a good thing for everyone.
Ultimately understanding what you desire and enjoy the most, and not letting go of that, nor succumbing to fear-of-missing-out or peer-pressure, is the key to an easier, and more enjoyable, time in this hobby.
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While I had already decided to keep the SR1a, yesterday marked the end of my option to return them (as part of the two-week audition period you get when you buy them).
As mentioned above, initial “wow” responses don’t always work out well for me. The SR1a was definitely met with a “WOW!” response by me. Fortunately that has not only remained the case, but I’ve found myself enjoying it more and more the longer I’ve listened.
It is definitely not something that’s going to be for everyone.
I actually started applying EQ to them pretty quickly, mostly on the extreme low-end, though over the last two weeks, and as I’ve experimented with different amplification, I’ve backed that down significantly and now only have a progressive lift from 40 Hz down, and mostly to compensate for the fact that the wider you set the ear pieces, the lower the apparent bass level.
Their ability to be heavily EQ’d without it causing additional issues due to cup and enclosure interactions is a huge benefit - especially if your bias is not towards neutral. It is that ability that, for example, that let me apply a bass-lift that put my AB-1266 Phi CC on notice. Similarly, their speed and resolution, and huge extension, means I can EQ the relevance of the TH900 Mk2 out of my life, as well. And in both cases, get an overall, for me, vastly superior result. The same story repeats for most of my headphones.
As it happens, despite that ability, and the fun I’ve had with it, I have drifted back to essentially the SR1a’s natural tuning. It is still there if I want a different signature, but I’m liking them best fundamentally as-is at this point.
I will say that, if you decide to try them out … plan on doing so in a manner where you can spend the full couple of weeks with them giving them lots of listening time. That’ll give you the best chance of uncovering deal-killing issues vs. niggles vs. must-haves.
And there are niggles here …
The texture on the pads is smoothing out in places (wearing off). I want to make new cables (will do as soon as the necessary connectors arrive). I’d like some kind of micrometer setting for the angle of the ear pieces (which isn’t an issue in practice, more of an OCD thing). They’re unforgiving of upstream issues, be it gear or source material. And I can’t use them everywhere I want to.
But …
… even as (and maybe partly because) they’re completely disrupting my entire headphone collection and the rig I’ve built to get the most out of them …
… I love them and can’t get enough of them.
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By the way, I really think it weird that nobody in any forum discusses HOW to wear sr1a.
This is the most position-sensitive headphone in my audio life.
Largely I identified three important factors that HUGELY affect tonal balance:
- How much wings are angled horizontally
- And vertically
- How closely ribbons are placed relative to pinna and ear canals.
(click to expand; there is also a top view)
The picture above presents how I settled down.
At the moment, my findings include
- (1) affects perceived SPL (=loudness), treble response, and bass. My preference is the most closed angle (indeed over-closed as shown in the picture), as it minimized sub-bass quantity loss and tamed treble nastiness.
- (2) and (3) combinedly determine sub-bass extension mostly and high mid to less extent. To get the best result, I had to have my ears TOUCHED by sr1a’s metal frame.
Again, I’ve never seen such a dramatic change through positioning changes. K1000 had this trait but not this much. Probably the result of combination between ribbon as line sound source and full-leak structure. Measurably these changes occur at the much higher magnitude (some small changes inducing 10+ db variation) than pad rolling of circumaural headphones or even placement of loudspeakers.
Feeling very ironic – I was initially attracted by this type of headphones because I believed it could keep ears untouched in free air. But how I ended up was… haha. 
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The differences due to positioning are, as you say, huge. I’ve talked a bit about it earlier in the thread, but I wonder if it isn’t getting mentioned as much because it IS so big a change that anyone actually listening to them couldn’t miss it.
I am making pretty full use of these shifts in positioning. Often running wide open for big orchestral pieces, anything with strong positional elements, binaural stuff, and so on. And when doing so, with EQ applied to normalize the low and sub-bass fall off.
Most of the time I have them set so the vertical foam is a little forward of my ears, with them open (or closed, I supposed) to the point that they are not touching my ears. So, they’re firing back at me, with the opportunity for a little lateral dispersion. And then height wise, I have them a little lower than you do … which puts the wider (not quite widest) part of the wings over my ear canal (also seems to help with sub-bass level). So they’re more evenly covering my ears, top-to-bottom.
I’ll do a diagram too (nice, by the way) … but it’ll be a bit!
Much like the Abyss, how you have them positioned can make a huge difference to the sound, though unlike the Abyss you don’t have to experiment with seal as well.
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