Detail of the different models.
We have created in the history of LA ROSITA six models since its creation in 2005
The Iota, Alpha, Alpha+, Beta , the Omega and the Pi
Iota and Alpha are not available in Asia. The Beta have been replaced with the BETA NEW with a new aluminum housing.
La Rosita ALPHA + :
La Rosita BETA NEW:
Transformation of the clock in a real master clock,
over sized power supply, decoupling power.
La Rosita BETA NEW:
To go beyond the first model of iota and Alpha, we needed more space, so was born
La Rosita π
No more compromise, A patented power supply, IFE type (Instant Full Energy), capable of producing unlimited energy without inertia ensuring compliance with the transitional, ever encountered on any digital machine
A deeper work on all the output stages and a unique treatment called DFTA (Direct Frame To Analog)
Guaranteeing a jitter & an insertion loss at zero at all levels of assembling.
Never music reproduction was closer to the music alive
La Rosita PI:
Here under a picture of the back of LA ROSITA PI.
In addition to the refinements found on the model we developed in the last 5 years, La Rosita π (Pi) is our ‘’exercise of style’’ as we say in France. First, it includes all possible options but we have implemented novel assembling techniques. Multiple refinements allow it to reach the lowest noise floor ever measured on a digital musical devise.
When no more words to explain just why a unit has reached such a level, the only solution is listening.
Avalaible since January 2011 , the Rosita ZETA is here.
Great bargain to enter the world of ROSITA
The Rosita ZETA has won a price from AUDIO ART as the '' Best Budget of The Year 2012 ''
Don't miss the article : http://www.audionet.com.tw/images/app/fck/file/20111227/LaRosita%20Zeta.pdf
My Hi-end wrote a nice article in their publication about the Rosita.
Thank you to Lio YE (Ciao-Ye) and Mark for the article and Mr. Yu for the translation about the BioClok.
More Technical info:
La Rosita is project towards music lovers and lovers of recorded music.
By the 90s, a number of experts agreed already that if the format 16/44 was enough to achieve very high quality music, in the mean time, the choices imposed by marketing to have a disc - recalling our LP- and the reading by optical light beam would provide constraints and degradation.
Even at that time, they began to talk about jitter as the main source of degradation of the musical expression. With digital reproduction, we are obliged to sample, ie "cut" the music in fragments in a given rate/cadency. This rate has been fixed from the beginning to 44100 fragments per second. This rate is a first temporal data subject to change. It depends greatly on the quality of the system clock that governs it.
It turns out that music itself is also governed by a cadence/rate/pace, the one of the partition. We face a problem that consists in not degrading the speed of the partition by the one imposed by the digital division. Other studies have shown that the human ear is extremely sensitive, with regard to music, to rapid changes of pace (jitter). On the other hand, it readily accepts the slow variations of the same cadence/path, called "drift". The following years have shown us that the figures put forward by one another were more focus on the "raw" precision of the clock embedded in devices because using oscillators and oscillating systems self-correcting themselves faster and faster but large generator of jitter.
Our clocks are made to not create jitter and minimum drift. Returning to our perception of musical pleasure, our team wanted to restore/return its rights to the cadence/path of the music to find back its essence. Almost all of our work in LA ROSITA converges towards that goal. With the changing time and the Compact Disc reaching a quarter of a century, we must also address the needs and expectations of modern music lovers and offer one easy access, comfortable to use, and open to future technologies.
The problem of reading a CD with a traditional player compared with ripping.
When CD was released, we were promised perfect sound. Do you remember? At the time, the manufacturers were telling us that the reading was taking place without error ... It will have been necessary that all written data on the media are prehensile on the first pass of the laser beam ... Broadly speaking, the read operation takes place in two stages. First extraction, according to a mode known as "downstream" (as soon as discovered, the information is transmitted to the next circuit), then the conversion, which transforms data collected into analog signals. In actual fact, a single reading is insufficient and some information are briefly analyzed. The discriminating power of beam is not working properly, especially since the number of "pits" (series of tiny indentations) are partially blocked. In proper terms, it means data are flawed.
To cope with this inherent principle of the CD, the creators of the device had provided corrections systems by interpolation (guessing the content of the sample and obtain an approximation by interpolating it off the neighboring audio samples). It takes the form of information "averaged" supplied to the converter each time a read error occurs. As one might expect it is where the trouble begins, especially since the ear is not insensitive to such "tampering" that nibble the natural ostentatiously. To burden the whole thing, the recording industry, bound by increasing tight cost, integrated the interpolation of reading mechanisms, letting pass to the "merchants of recorded music’’ discs less and less perfect.
When a computer collects data from an audio CD, it sees it primarily as a support of digital data. A ripping software as good as iTunes ® comes with an option: ‘’no error correction’’. Therefore, the computer has no choice but to move all data from the CD to the hard drive. Not obligated by a reading "downstream", the computer can pass back and forth on a given suspect data until it TOTALLY extracted. If the information had to be corrupted, then the application will refuse the entire CD and would display an error message.
a) It sure that all the information contained in the CD are in accordance with the matrix recording.
b) Interpolation and its litany of distortions no longer exist.
c) You start to get an idea of what La Rosita is: an uncompressed interface, completely transparent, a direct line between the music and your preamp.
For a no-compromise approach, the transmission of data uses the Wi-Fi.
Associated with currents conveyed, with decoupling power supplies and high frequency sampling, computers are the seat of electromagnetic interference as complex as polluting. In fact, many parasites take ground earth, spreading by all kinds of connectors and constitute a highly detrimental environment to the musicality of our audio systems. To overcome all these problems and decouple PHYSICALLY the computer -system of reproduction-, transmission WiFi becomes the ideal solution. We wanted La Rosita to be the ultimate answer to all problems mentioned above. By transmitting a signal WIFI fully integrated and consistent with the original master recording, the digital / analog conversion operates at last the quintessence of information.
LA ROSITA uses the ultimate in terms of electronic components.
The audio scheme uses oversize power supplies and it integrates a real MASTER CLOCK of "studio" quality level, that ensures perfect stability whatever the conditions.
For more information, please feel free to contact us
- La Rosita -
Room C, 13Fl-1, N0 160,
Min Chuan East Road, Sec.6,
114 Taipei. Taiwan R.O.C.
Tel : (886) - 02.2791.1319
Fax : (886) - 02.2791.1095
audio @ eamail . eu