Why silver? Thinking about "non-stick" pots and pans - I doubt they're silver plated, or are they?
Also, how do they get the teflon to stick to the pot/pan in the first place?
They're not copper, either.
The process is a completely different one- powdered PTFE is blended with some fillers, then sintered on. The surface treatment needed to get a decent bond is mostly a mechanical roughening, though some use a tie layer as well.For wire, a cross-head extrusion process is done, where the PTFE is applied in the melt under pressure. The Cadillac of that equipment is Genca- I haven't been over to their website in some years, but it's probably worth checking out for details on how the process works.
Thanks Cliff & SY
Actually, IIRC, they did claim to be solid copper, but the "solid" part of the claim didn't stand the test of time, when the white metal started showing through.
For that matter the "non-stick" part of the claim didn't stand up to some of my Mom's more *ahem* extreme cooking activities either. In retrospect, after reading about the outgassing of nasty chemicals, I'm not sure having teflon-coated cookware in our kitchen was such a good idea.
Actually, IIRC, they did claim to be solid copper, but the "solid" part of the claim didn't stand the test of time, when the white metal started showing through.
For that matter the "non-stick" part of the claim didn't stand up to some of my Mom's more *ahem* extreme cooking activities either. In retrospect, after reading about the outgassing of nasty chemicals, I'm not sure having teflon-coated cookware in our kitchen was such a good idea.
Are you on steroids Mr. Curl?
Well, I will never-ever confront you again, even from a distance.
Mr. Curl kicking (Joachim is on diet I think):
http://www.diyaudio.com/forums/attachments/analogue-source/396011d1390727425-mpp-john-allen-me.jpg
George
Well, I will never-ever confront you again, even from a distance.
Mr. Curl kicking (Joachim is on diet I think):
http://www.diyaudio.com/forums/attachments/analogue-source/396011d1390727425-mpp-john-allen-me.jpg
George
I use tefzel heatshrink, raychem rt-555, and tefzel over kapton for cold applications. Kapton remains flexible to 1.8 kelvin, tefzel remains flexible to 77K and is far more abrasion resistant than kapton.
Nice link, thanks.
Their velocity equations are valid only for coaxial cables as well as for striplines as long as the aspect ratio is large, IE very thin insulation with conductors at least 10 to 100 times wider. Once we go to parallel runs where the magnetic and electric fields are no longer constrained, we have to modify the equation a tad..v = 1/sqr(LC), or 1/sqr(EDC), or 1/sqr(epsilon*mu).
jn
Are you on steroids Mr. Curl?
Well, I will never-ever confront you again, even from a distance.
Mr. Curl kicking (Joachim is on diet I think):
http://www.diyaudio.com/forums/attachments/analogue-source/396011d1390727425-mpp-john-allen-me.jpg
George
Steroids , nah , Its all those J-fets ....
You are using Tefzel on your audio cables ? Plumbers tape if you want to play around with teflon ...
Yes. The wires are insulated with a kapton film, spirally wrapped with a 50% overlap. Once kapton has a little nick or tear, it goes all the way. Tefzel overcoat protects it.
By cold application, I meant liquid helium, normal and superfluid, and liquid nitrogen. While we keep the home thermostat set rather low for my taste, it ain't that low...
I've considered making some controlled impedance cables using plumbers tape, but never did so. But it is great if one wished to make a really low impedance speaker cable with teflon. I'd worry about pinholes though.
jn
I have some ribbon cable 12-#32 teflon wirewrap very carefully woven together with fiber (not sure what) I figure about 10 or 12 bound together in alternating layers would make a low impedance 12 guage cable.
Pinholes yes, a plumber told me the tape is only useful as a dry lubricant enabling very tight fittings. I'm hooked on the shark bites myself.
I love em too. But, I've only used them for my 15psi radiant heat runs where I can get to the connection if it fails.
I'm still wary of them for domestic hot and cold.
jn
Gentlemen, I look like that in my picture, because I am an old man, and like my father before me, and friends my age, we start to look that way. Of course my doctor would like to see me lose weight, and I have to try at least, to do so.
I have come to a personal revelation in my thought process and want to start on a new (yet old) tack of emphasizing audio QUALITY rather than schematics and the 'laws' of physics and such.
Audio quality is what I have a lot of experience with, and I think that it is the most left out portion of what is usually discussed here.
I have come to a personal revelation in my thought process and want to start on a new (yet old) tack of emphasizing audio QUALITY rather than schematics and the 'laws' of physics and such.
Audio quality is what I have a lot of experience with, and I think that it is the most left out portion of what is usually discussed here.
Live Recording
Interesting point Richard,
Having done a lot of live recording, I can say there have been those which have had the best spectral reproduction on playback, and those which reproduced the spatial positioning of the microphone the best, and they are not necessarily both present in the same recordings.
Perhaps the most stunning live recording I ever did was using the Etymotic ear-canal microphones. For those who have never used them, they are a set of small-diaphragm mics hanging on the pinnae, with small pickup tubes which you push down your ear canal until they are within a MM or so of the eardrum. Effectively they are pressure-zone mics, monitoring the pressure at the eardrum.
Although they arguably do not have the flattest frequency response, what they do pick up is spatial clues encoded acoustically by the external ear and canal.
I can remember one recording we did at a Synaudcon in Bloomington, IN, where my partner sat stage center with these mics in his ears in front of a string quartet. I had ET4 ear monitors with the deep canal plugs in the orchestra pit, recording. When my partner moved his head I literally got vertigo, and my vision swam. I concluded that the aural encoding was so coherent that my brain believed it more than it did my vision. Recording using that chain is an amazing and educational experience. I listened to the recordings a few years ago and had the same experience.
I'll let the better engineers here make conclusions on what this all means...I'm off to build a test stand for the new series GF6 engine oils.
And I hate leaky PEX. Soldered copper pipe and fittings, please.
Just my $0.015 (deflation) worth.
Howie
Howard Hoyt
CE - WXYC-FM 89.3
UNC Chapel Hill, NC
www.wxyc.org
Interesting point Richard,
Having done a lot of live recording, I can say there have been those which have had the best spectral reproduction on playback, and those which reproduced the spatial positioning of the microphone the best, and they are not necessarily both present in the same recordings.
Perhaps the most stunning live recording I ever did was using the Etymotic ear-canal microphones. For those who have never used them, they are a set of small-diaphragm mics hanging on the pinnae, with small pickup tubes which you push down your ear canal until they are within a MM or so of the eardrum. Effectively they are pressure-zone mics, monitoring the pressure at the eardrum.
Although they arguably do not have the flattest frequency response, what they do pick up is spatial clues encoded acoustically by the external ear and canal.
I can remember one recording we did at a Synaudcon in Bloomington, IN, where my partner sat stage center with these mics in his ears in front of a string quartet. I had ET4 ear monitors with the deep canal plugs in the orchestra pit, recording. When my partner moved his head I literally got vertigo, and my vision swam. I concluded that the aural encoding was so coherent that my brain believed it more than it did my vision. Recording using that chain is an amazing and educational experience. I listened to the recordings a few years ago and had the same experience.
I'll let the better engineers here make conclusions on what this all means...I'm off to build a test stand for the new series GF6 engine oils.
And I hate leaky PEX.
Soldered copper pipe and fittings, please.Just my $0.015 (deflation) worth.
Howie
Howard Hoyt
CE - WXYC-FM 89.3
UNC Chapel Hill, NC
www.wxyc.org
Audio Quality
John,
Maybe I'm jumping the gun by anticipating what that discourse would be like, but without metrics, I have found such discussions usually degenerate into a subjective mess.
Can you suggest a structure for such a discussion to inhibit this tendency?
With respect,
Howie
Howard Hoyt
CE - WXYC-FM 89.3
UNC Chapel Hill, NC
www.wxyc.org
John,
Maybe I'm jumping the gun by anticipating what that discourse would be like, but without metrics, I have found such discussions usually degenerate into a subjective mess.
Can you suggest a structure for such a discussion to inhibit this tendency?
With respect,
Howie
Howard Hoyt
CE - WXYC-FM 89.3
UNC Chapel Hill, NC
www.wxyc.org
Interesting point Richard,
Having done a lot of live recording, I can say there have been those which have had the best spectral reproduction on playback, and those which reproduced the spatial positioning of the microphone the best, and they are not necessarily both present in the same recordings.
Perhaps the most stunning live recording I ever did was using the Etymotic ear-canal microphones. For those who have never used them, they are a set of small-diaphragm mics hanging on the pinnae, with small pickup tubes which you push down your ear canal until they are within a MM or so of the eardrum. Effectively they are pressure-zone mics, monitoring the pressure at the eardrum.
Although they arguably do not have the flattest frequency response, what they do pick up is spatial clues encoded acoustically by the external ear and canal.
I can remember one recording we did at a Synaudcon in Bloomington, IN, where my partner sat stage center with these mics in his ears in front of a string quartet. I had ET4 ear monitors with the deep canal plugs in the orchestra pit, recording. When my partner moved his head I literally got vertigo, and my vision swam. I concluded that the aural encoding was so coherent that my brain believed it more than it did my vision. Recording using that chain is an amazing and educational experience. I listened to the recordings a few years ago and had the same experience.
I'll let the better engineers here make conclusions on what this all means...I'm off to build a test stand for the new series GF6 engine oils.
And I hate leaky PEX.
Just my $0.015 (deflation) worth.
Howie
Howard Hoyt
CE - WXYC-FM 89.3
UNC Chapel Hill, NC
www.wxyc.org
Many do not seem to know that a lot of our visual and aural 'intellegence' is learned. I have a friend who rminded me of this fact -- he was born deaf. In his 50's he had an implant that could take microphone fed signal and drives an inductive coupler into the reciever under the skull an attached to the nerve place in the brain where the ears signal would have gone if he had any.
He rely's on lip reading usually but when he turns his implant 'on' he says he gets disoriented for a while and dizzy etc until he learns what all those sounds are about and has learned to sort them out into intelligence/words etc. For us we learned to do that from birth and do it instantaneously, now.
It does not surprise me that those who listen more than others to music and get involved with more and more aspects of sound learn to hear more and understand, pick out more information to tune into. Until it becomes automatic responses to what is just a mess of sounds to others. We are given the basic hardware but after that much is just learned.
Its one of the reasons I do not get excited when I am asked for data from a ABX setup. Thats fine for people who will be asked goofy questions like - which do you like better or prefer. Then the louder one might be preferred... so match it to 0.1dB. And, learn that flatter, wider BW speakers are preferred. We should ask smarter questions.
Thx-RNMarsh
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Howard, this is the deal: You and I, and probably many others may, in fact, NOT agree on audio quality.
Demands for measurement, strictly controlled DB tests, and all around 'cheapness' might derail discussion, but what I have to specifically offer is AUDIO QUALITY. The rest can come from others.
I've been re-reading 'Zen and the Art of Motorcycle Maintenance' and I agree strongly with the author of this book that 'Quality' is the heart of good stuff, being motorcycles, autos, audio, telescopes, etc. and is often sadly neglected. It is the 'essence' of what I do when I design audio circuits, not specs, cost effectiveness, power, or anything else, so I will attempt to direct my input to it, once again.
Demands for measurement, strictly controlled DB tests, and all around 'cheapness' might derail discussion, but what I have to specifically offer is AUDIO QUALITY. The rest can come from others.
I've been re-reading 'Zen and the Art of Motorcycle Maintenance' and I agree strongly with the author of this book that 'Quality' is the heart of good stuff, being motorcycles, autos, audio, telescopes, etc. and is often sadly neglected. It is the 'essence' of what I do when I design audio circuits, not specs, cost effectiveness, power, or anything else, so I will attempt to direct my input to it, once again.
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