Hi,
That's probably why they demoed it (I was at hotel Kempinski, Frankfurt at the time) with the Onken system.
L'Audiophile started in 1977 but maybe the ran the first articles in La (Nouvelle) Revue du Son?
Is this the one?
Ralisation d'un amplificateur classe A de 20W
I was fortunate enough to talk to him a few times (tube stuff mainly). He's typically French in answering questions, he'll give you an answer that only those that would have no need to put the question would understand.
His designs measured O.K. Matti Otala was never far away...
Ciao,
That's probably why they demoed it (I was at hotel Kempinski, Frankfurt at the time) with the Onken system.
L'Audiophile started in 1977 but maybe the ran the first articles in La (Nouvelle) Revue du Son?
Is this the one?
Ralisation d'un amplificateur classe A de 20W
I was fortunate enough to talk to him a few times (tube stuff mainly). He's typically French in answering questions, he'll give you an answer that only those that would have no need to put the question would understand.
His designs measured O.K. Matti Otala was never far away...
Ciao,
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Thank you for the feedback, I'm considering making one, a Russian user here says the lower Watt version sounds better.
Any other amplifiers to recommend to my consideration list? Then I'll look them up.
This will be a fairly slow project with carefully selected parts, I may even make two versions so I can compare components here and there.
I don't really care for the component controversy, I'm a don't believe it until I hear it type, if I make two identical amplifiers with different resistors, like Holco versus Takman or whatever and they sound the same, fine, I'll believe it then, if I'm convinced the transducers are sufficiently chameleonic, however I'm pretty much neutral and tabula rasa until that rubicon =)
I can respect that some people here have "been there and done that", but I haven't =)
The previous forum I spent a few years at tends to think all capacitors sound the same, finally a Russian EE pointed out Cyril Bateman to me, which my acquaintances still don't seem to care for in the slighest.
Who's to say we won't get a Cyril of resistors and cables in the future?
May as well future-proof everything if the extra investment is less than what you'd win/lose at a casino in five minutes, that's reasonable isn't it?
Well that is my statistical analysis of sound quality I'm not aware of.
I don't buy the whole "subjective versus objective" talk, due to the above and that most objectivists I've ran into so far online are "truncation devices", at first it may look impressive and then eventually they say something insane.
Sorry, long ventilation post, I just can't stand these people which keep repeating that everything sounds the same sometimes. An ex-girlfriend used to tell me that all portable Discman players sound the same, one day she told me that all cameras at a decent level and above, take the same photos.
Umm, let's not forget "the blu-ray myth", it seems like some people just "don't believe" per default, until it's right before their eyes.
Edit
Any other amplifiers to recommend to my consideration list? Then I'll look them up.
This will be a fairly slow project with carefully selected parts, I may even make two versions so I can compare components here and there.
I don't really care for the component controversy, I'm a don't believe it until I hear it type, if I make two identical amplifiers with different resistors, like Holco versus Takman or whatever and they sound the same, fine, I'll believe it then, if I'm convinced the transducers are sufficiently chameleonic, however I'm pretty much neutral and tabula rasa until that rubicon =)
I can respect that some people here have "been there and done that", but I haven't =)
The previous forum I spent a few years at tends to think all capacitors sound the same, finally a Russian EE pointed out Cyril Bateman to me, which my acquaintances still don't seem to care for in the slighest.
Who's to say we won't get a Cyril of resistors and cables in the future?
May as well future-proof everything if the extra investment is less than what you'd win/lose at a casino in five minutes, that's reasonable isn't it?
Well that is my statistical analysis of sound quality I'm not aware of.
I don't buy the whole "subjective versus objective" talk, due to the above and that most objectivists I've ran into so far online are "truncation devices", at first it may look impressive and then eventually they say something insane.
Sorry, long ventilation post, I just can't stand these people which keep repeating that everything sounds the same sometimes. An ex-girlfriend used to tell me that all portable Discman players sound the same, one day she told me that all cameras at a decent level and above, take the same photos.
Umm, let's not forget "the blu-ray myth", it seems like some people just "don't believe" per default, until it's right before their eyes.
Edit
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Hiraga THD measurement here
http://www.diyaudio.com/forums/solid-state/5462-hiraga-le-monstre-110.html#post4020049
diyAudio
Edit -
How many amplifiers did he make exactly?
http://www.diyaudio.com/forums/solid-state/5462-hiraga-le-monstre-110.html#post4020049
diyAudio
Edit -
How many amplifiers did he make exactly?
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I made the original German version of the Le Monstre in 1983.
We showed it in the Kempinsky Hotel, High End Fair with a pair of Petite L`Audiophil we also build.
By pure coincidende it came back to Papa.
A friend of mine 5kM from me has it. He rescuded it from the waist bin and after some minor repair it does the dirty deeds still well.
I can make some photos.
We showed it in the Kempinsky Hotel, High End Fair with a pair of Petite L`Audiophil we also build.
By pure coincidende it came back to Papa.
A friend of mine 5kM from me has it. He rescuded it from the waist bin and after some minor repair it does the dirty deeds still well.
I can make some photos.
Here is the schematic :http://amplipassion.pagesperso-orange.fr/Pdf/8Watts/8Watts_Schema.pdf
Seems to be current feedback so no new thing under the sun.
Seems to be current feedback so no new thing under the sun.
"Bad" recordings sound dreadful on lower performing systems for various reasons, Dejan - there are many issues that cause them to sound unpleasant, including such things as transfers through noise reduction processes which did an appalling job - I have one of the latter, a Gene Pitney roughie, which can sound unbelievably obnoxious; it's hideous on a typical hifi system. This was a satisfying one to get over the hurdle - and the technique every time is to lift the replay quality to the point where you don't notice the overt mangling any more; the musical message overrides all the damage that was done to the recording ...
The magic wand is trial and error, Frank ... I was lucky enough to start major experimenting in audio using source material which many would consider 'difficult', so right from the get go I had the "right attitude", so to speak. There were times when I thought a particular recording was beyond redemption, but then I managed to squeeze in a significant improvement - and that recording suddenly came together, had got over the hurdle of there being "sufficient quality" in the system to make it subjectively "work" ...
... I was lucky enough to start major experimenting in audio using source material which many would consider 'difficult', so right from the get go I had the "right attitude", so to speak. There were times when I thought a particular recording was beyond redemption, but then I managed to squeeze in a significant improvement - and that recording suddenly came together, had got over the hurdle of there being "sufficient quality" in the system to make it subjectively "work" ...
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Hi,
It's just that I'm having a hard time imagining how one could turn a bad recording into a passable one without being able to alter the recording proper....
If you can make it listenable on your system by means of an EQ or something then that's fine but you're not going to keep records of every single record to dial in the proper EQ each time or, do you?
Cheers,
It's just that I'm having a hard time imagining how one could turn a bad recording into a passable one without being able to alter the recording proper....
If you can make it listenable on your system by means of an EQ or something then that's fine but you're not going to keep records of every single record to dial in the proper EQ each time or, do you?
Cheers,
Zero EQ'ng, anything like that - the recording has to sink or swim, entirely on its own merits. For the majority of recordings that are "impossible" to listen to it's because the treble end of the spectrum comes across as too much of a mess, the lack of clarity there is too much to put up with, so by one means or another people will pull the sliders on that part of the spectrum ... uh,uh, wrong move - that's where the information lies that gives life to the recording - you end up with the proverbial "dead parrot" trying that technique, .
The solution is to clean up, to clean up the treble performance of the system - absolutely crucial!! If that's a tiny bit wrong, it's the kiss of death for difficult recordings - get it right, and those recordings deliver verve, life, energy in spades - because the treble is happening without 'pain' ...
.The solution is to clean up, to clean up the treble performance of the system - absolutely crucial!! If that's a tiny bit wrong, it's the kiss of death for difficult recordings - get it right, and those recordings deliver verve, life, energy in spades - because the treble is happening without 'pain' ...
The "bad" is all that which was not part of the musical performance which occurred at the time of the recording - the idea is to make sure that that particular part of what you hear during playback is at the lowest level possible, and is not accentuated or emphasised in any way. Sibilance is a classic area where many systems get it wrong - they intensely highlight that aspect of the sound, they put a super strong marker pen over it, to make sure you notice it happening ...
Nothing against sound processing per se, but that "doesn't solve the problem" - you're just making it less obvious where the problems are; I prefer to solve the problems, and then all playback works better: I can go from opera, to Foo Fighters, to a big band recorded in the 40's, to Bartok chamber music, - one after the other, and they all work, they all have their musical integrity intact ... that's what I'm after ...
There are always good recordings - they're the ones that don't provoke unpleasant artifacts, don't make you aware of system problems ... simple example, you have very blubbery bass, so if you never listen to anything with meat at the low end you would think everything's fine.
"Audiophile" recordings can be quite laughable in this respect - I have a few from "those labels", discards from the local library - and they are some of the weirdest, "poorest" recordings I have. They've obviously been heavily cooked, to sound impressive on ya typical pretentious system - they are quite uninteresting to listen to, with treble sometimes dramatically attenuated, so no-one is offended ...
"Audiophile" recordings can be quite laughable in this respect - I have a few from "those labels", discards from the local library - and they are some of the weirdest, "poorest" recordings I have. They've obviously been heavily cooked, to sound impressive on ya typical pretentious system - they are quite uninteresting to listen to, with treble sometimes dramatically attenuated, so no-one is offended ...
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