CVJ

As expected, the temperature of the microRendu went from 82 down to 79 degrees.

Thanks - reset the LPS 1.2 to 7 volts output.

I am very pleased with the LPS 1.2 - it has made a major improvement in my Audio system. My audio chain is LPS 1.2 (set at 9 volts) > microRendu > AudioQuest Carbon > PS Audio NuWave DSD. Initially, the microRendu “balked” at the 9 volt 32 watt input, but after plugging in the old 9 volt power supply back in and then switching to the LPS 1.2 it worked. I was concerned that the microRendu might overheat, but after running the unit for 24 hours I measured the temperature of the microRendu at only 82 degrees and the LPS 1.2 at only 80 degrees so no worries there.

A relevant article in The N.Y. TIMES Magazine today about Neil Simon: But he is stumped. Let’s take a moment to look at the future of recorded sound, the topic that has got him so overheated. The invention of the phonograph in 1877 by Thomas Alva Edison, a k a the Wizard of Menlo Park, and one of the great visionaries in American history, marked the culmination of several decades of attempts to capture the magic of sound in physical, reproducible form. Early sound recorders used a large cone to capture the air pressure produced by sonic waves created by a human voice or an instrument. The cone directed sound waves against a diaphragm attached to a stylus, which thereby inscribed an analog of those waves onto a roll of paper or a wax-coated cylinder. The use of electrical microphones and amplifiers by the 1920s made it possible to record a far greater range of sound with far greater fidelity. Magnetic tape, which was pioneered in Germany during the 1930s, propelled another giant leap forward in fidelity, while also beginning the process of freeing sound from the physical mediums on which it was recorded. Tape could be snipped and edited and combined in ways that allowed artists, producers and engineers to create symphonies in their own minds and then assemble them out of multiple takes performed in different places and at different times. The introduction of high-end consumer digital-sound-recording systems by companies including Sony and 3M further loosened music’s connection to a physical medium, thereby rendering sound infinitely plastic and, in theory, infinitely reproducible. Then came the internet, which delivered on the mind-boggling promise of infinitely reproducible sound at a cost approaching zero. [Read more about sound fidelity and the biggest disaster in the history of the music business.] At ground level, which is to say not the level where technologists live but the level where artists write and record songs for people who care about the human experience of listening to music, the internet was as if a meteor had wiped out the existing planet of sound. The compressed, hollow sound of free streaming music was a big step down from the CD. “Huge step down from vinyl,” Young said. Each step eliminated levels of sonic detail and shading by squeezing down the amount of information contained in the package in which music was delivered. Or, as Young told me, you are left with “5 percent of the original music for your listening enjoyment.” Producers and engineers often responded to the smaller size and lower quality of these packages by using cheap engineering tricks, like making the softest parts of the song as loud as the loudest parts. This flattened out the sound of recordings and fooled listeners’ brains into ignoring the stuff that wasn’t there anymore, i.e., the resonant combinations of specific human beings producing different notes and sounds in specific spaces at sometimes ultraweird angles that the era of magnetic tape and vinyl had so successfully captured. If you want to envision how Young feels about the possibility of having to listen to not only his music but also American jazz, rock ’n’ roll and popular song via our dominant streaming formats, imagine walking into the Metropolitan Museum of Art or the Musée d’Orsay one morning and finding that all of the great canvases in those museums were gone and the only way to experience the work of Gustave Courbet or Vincent van Gogh was to click on pixelated thumbnails. But Young hears something creepier and more insidious in the new music too. We are poisoning ourselves with degraded sound, he believes, the same way that Monsanto is poisoning our food with genetically engineered seeds. The development of our brains is led by our senses; take away too many of the necessary cues, and we are trapped inside a room with no doors or windows. Substituting smoothed-out algorithms for the contingent complexity of biological existence is bad for us, Young thinks. He doesn’t care much about being called a crank. “It’s an insult to the human mind and the human soul,” he once told Greg Kot of The Chicago Tribune. Or as Young put it to me, “I’m not content to be content.”

I gave up on Linn Kazoo streaming FLAC files and went back to Lümin, which streams FLAC without any issues.

No, I mean a 96/24 FLAC file

I am streaming Tidal via a microRendu to my NuWave DSD, using Kazoo on a mini iPad. The microRendu is set to stream FLAC using the MDP/DNLA setting. Yesterday, as I was streaming a “Master” file, Kazoo (for the first and so far only time) showed that it was streaming “ FLAC 0 kHz/0 bit 1.4 Mbps” format. And my playback system sounded so much better than ever before. But today, playing the same file, Kazoo is back to CD quality; and I am going nuts trying to find out why I can not get back to FLAC quality. I have tried everything I can think of...but still no joy. I am hoping someone reading this can help me get back to audio Nirvana!

Lots of info about the Signature Rendu n the Sonore forum ...

I use my audio system mainly to listen to Tidal FLAC 1,441 kbps streams. My setup: A pair ofMartin Logan Aeon-i speakers, powered by a Krell KSA amplifier/Krell KSL-2 Preamp Combo. The Tidal stream from my router has a wired connection to a Sonore microRendu, which turn is connected to the USB input of a PS Audio NuWave DSD. The DSD is connected to the Krell preamp with a pair of balanced XLR cables. This system provides great undistorted audio with spacious staging of 2 channel classical music as it might sound in a Symphony Hall or Opera house with a seat in the center section. The reason for this post is to share the discovery that you do NOT need a PC with Logitech Media Server running or an account with Logitech’s Mysqueezebox. These items add unneccessary complexities to the task of streaming Tidal to your audio system. Instead simply install the LUMIN app on your iPad. It will serve as an elegant and intuitive “controller”, telling Tidal what albums/tracks you want to listen to. You can easily save your favorites in a playlist format. I hope this will help other audiophiles to enjoy their Tidal and microRendu Combo to the fullest? Claus

I am using microRendu (version 2.6) and Squeezelite/Logitech Media Server (version 7.9.1) to stream TIDAL (HiFi) to my Peachtree DAC with iPeng on my iPad as my easy-to-use album/track selector. I do not have any local content - all I want is TIDAL. This setup has worked flawlessly for the past several months; but yesterday, a major problem was caused by mySqueezebox. For some reason, my Username/Password combination is causing the LMS to abort, and I get the following error message: "An unexpected error occurred while validating your squeezebox account... ". The LMS Diagnostic screen shows OK for Port 3483 (slimproto), Port 9000 (HTTP) and Port 9090 (CLI), before attempting to use my user name/password to press the "Apply" and "OK" buttons on the LMS screen. After I hit OK, the app aborts. Here is what I have tried several times during the past hours... all to no avail. 1. reinstall LMS. 2. rebooting my Windows 10 (64bit) PC, running LMS. 3. "restoring" my PC to a previous restore point befor the problem occurred. 4. using my web browser to sign in to mysqueezebox.com - no problem 5. Installing LMS on a Windows XP Pro laptop - same result. 6. tried umpteen various suggestions involving Windows registration settings and other (for me) incomprehensive computer nerd fixes. Since I am just an end user with only rudimentary PC skills - I am now completely at my wits end as to how to get this problem identified and fixed. I wish I could just eliminate the need for LMS to contact mysqueezebox in order to stream TIDAL in HiFi mode, using my microRendu and Squeezelite. If anyone on this forum can help me, I would be most grateful. Update: While waiting for a solution, I have “re-activated” my old Logitech Touch, which has no problem signing in to mysqueezebox.com and showing as a Player. But it sounds like s*** compared to my microRendu ? From your computer or mobile device open Kazoo and select the Room with the "OH" in the name and you should now see Tidal in Kazoo. On first use you will need to enter your Tidal Account information I did install Kazoo, but I do not see “the Room with the “OH in the name” or any Room - so I don’t see Tidal in Kazoo ?. All I can listen to are a couple of Linn Podcasts... It turned into a dead end. Unless you have a Linn Product installed, you can not add TIDAL in the ”Konfig” app. Just when I was about to give up, I discovered that the LUMIN app will control TIDAL and pass the HiFi streams to microRendu perfectly. I am back in Audio Nirvana ? Screw Logitech’s mysonicorbiter

As long as you turn the volume all the way down while you plug the 2 male RCA plugs into the AUX input of your integrated amp, nothing should go wrong and you might be pleasantly surprised by the quality of the sound. Leave the phono output alone. i am using the same kind of cable from the headphone out of my mini iPad 3 to my preamp and was blown away by the quality of the audio when I played this YouTube video:

disregard the above post. WMA lossless files also start stuttering after a longer interval.

After some "tinkering" with settings and disconnecting and reconnecting both my Peachtree DAC.IT and the MR, I was able to play WMA Lossless files from the Logitech Media Server on the ancient XP laptop and pass the stream through the microRendu's Squeezelite setting. But for some reason, FLAC encoded files (both 96/24 and 44.1/16) will only play for some 5 minutes before the mR starts "stuttering". I have increased the buffer size to 8192 and the Period Count to 2048, based on a suggestion made in another post, but that has not helped. Does anyone else have this problem?

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I received my mR today and have a comment about connecting it using the Squeezelite output to a Logitech Media Server running on an ancient Windows XP laptop. initially, this was a failure with the music stream stuttering and burst of "White Noise. This problem was resolved by "pointing" the server to Logitech's Squeezebox.com, and connecting to TIDAL's HQ stream - and this works without any noise or interruptions of the gapless playback to my system: Netgear Nighthawk router - cat6 Blue Jeans cable - microRendu - Peachtree DAC.IT - Krell preamp - Krell poweramp - Martin Logan Aero speakers. My initial impression is very positive - the mR does a solid job of streaming TIDAL HQ streams. As an aside, I am using the iPeng 9 IOS App to control the playback and that still uses the old XP laptop and the LMS server in order to accomplish that. I also have a Logitech Squeezebox Touch to stream my own music collection wirelessly, since that eliminates the problems caused by trying to use mR with Windows XP.