Indeed, you can never become famous, regardless of your abilities.
I've brought back to life thousands of vintage pieces for customers, as well as my own stuff over the decades, as well as modern stuff.
Yes, I aquired a healthy and impressive reputation from the hard work involved, and that's all I can ask for.
Besides, it's not all about garnering fame or fortune, but inner satisfaction.
The stuff I've designed has impressed who saw/heard it, even if it's from a small part of society.
The linked article (2003) you quoted is interesting enough, thanks.
However, the last statement of that article is: "temperature and humidity have very little affect on sound for most outdoor live shows".
Here because I asked what "sounds" we wanted to talk about, otherwise we unnecessarily split hairs.
Agreed.
As said my actually preferred sounding fuses (few cents from AE) are in glass container with leads: I just soldered them in series to the tweeter of my loudspeakers between the binding post and the internal wire.
In attachment there is what I made with original Bussmann audio grade fuses soldering two leads at their ends (not so easy due the fuse itself breaking for the heat) and removing both the fuse holder and a lot of related contacts.
I replaced these with the above described glass fuses with leads.
A side thought: if components, like fuses, modulate sound, then it will make a difference whether few or many components are involved in a sound - conceivable. If many components are involved, the sound will become increasingly inaccurate, muddled, noisy - conceivable. With highly complex devices the audible modulation by e.g. fuses will not be as clear - or hardly audible - as with less complex devices - conceivable ;-)
In a so very friendly way my opinion is that reasoning that way leads to "audio-madness" just because it is not the "real" subject to be analyzed, it may be an inspiration of new ideas, but not a viable way. IMHO
Yet I perfectly agree.
In my humble opinion the "real" subject is the sound final result of all those "contacts" and components.
All those contacts and components surely does matter, but in my opinion at the same time thinking about them from the beginning is like taking it from the wrong direction.
IMO The easiest way is to start from an existing device that you liked it so much that then you had bought it, and try to improve its sound quality in any way possible [it's quite (but not too) obvious, I know].
Since I am not a designer for me start from the reverse direction you described it turns out to be the easiest way and sometimes I also destroyed devices in order to try to reach a better sound.
Sometimes I really had so very fun, and my ears too.
C'est la vie!
Yet I perfectly agree.
In my humble opinion the "real" subject is the sound final result of all those "contacts" and components.
All those contacts and components surely does matter, but in my opinion at the same time thinking about them from the beginning is like taking it from the wrong direction.
IMO The easiest way is to start from an existing device that you liked it so much that then you had bought it, and try to improve its sound quality in any way possible [it's quite (but not too) obvious, I know].
Since I am not a designer for me start from the reverse direction you described it turns out to be the easiest way and sometimes I also destroyed devices in order to try to reach a better sound.
Sometimes I really had so very fun, and my ears too.
C'est la vie!
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Surely that means the most simple HiFi, with the least amplification stages, and least interconnects between components would be best. Perhaps all power supplies in one box, and phono stage/DAC, pre-amp and power amp in another. But then you look at the complexity of AV amps, with 100s of components and soldered connections in the signal path, they should sound terrible.
I wonder if the "distortion" rises exponentially with every added amplification stage.
Not exponential, but it adds up;-)-;
As an aside: it doesn't matter at all when listening (testing, as I'm now doing here my 50 MosFets) if the head has a different position each time. Also it doesn't matter if the bells of the church nearby are ringing, if cars are driving around or not driving around, if.... doesn't matter. Some parts really get into it, play highly musical, others just snot along. On the note, for example, there are characteristics like - always relative, in relation to the players:
I really love all the parts, so many characters, so many individuals;-) But for a reorder only some will come into the choice. Contrary types, so that a wide range of wishes will be fulfillable;-)
As an aside: it doesn't matter at all when listening (testing, as I'm now doing here my 50 MosFets) if the head has a different position each time. Also it doesn't matter if the bells of the church nearby are ringing, if cars are driving around or not driving around, if.... doesn't matter. Some parts really get into it, play highly musical, others just snot along. On the note, for example, there are characteristics like - always relative, in relation to the players:
- duller, more nervous, darker
- more elaborate
- more fluid, more open, better contours
- relaxed, from the middle, restful
- bumpier, duller, cloudier, min. more indistinct
I really love all the parts, so many characters, so many individuals;-) But for a reorder only some will come into the choice. Contrary types, so that a wide range of wishes will be fulfillable;-)
Who knows? The best practically has no market demand due to being not affordable, not available, potentially fatal hazard and/or toxic. No sane manufacturer would attempt production of the best bar none stuff, no way to compete against the affordable yet somewhat good enough.
Grumpy?
Hardly.
Speaking in factual honest terms is a blessing and appreciated by many, alas, some hate truthfulness.
;-)
Happy;-) Now 24 tested and 2 - 4 found good;-)
But it is already a recovery to be able to insert and hear after the test a piece of wire instead of a MosFet, or another component;-)
Aside - my experience:
The HiFi discourse is to be understood as two camps: Maximization and Minimization: the nice thing about minimization: every disc sounds good, but not because somehow nice tones or something, but because cleanliness, resolution, fine colors and fine contours. With maximization only "audiophile" things go: Candlelight strumming, slow blues, Ging Gong, that kind of thing (High End Fairs Music;-). Because the systems can't resolve any more: Component graves on multipath speakers, only three contourless tones)-; With normal discs with music, everyone would say: gray and flat and tired;-)
Happy;-) Now 24 tested and 2 - 4 found good;-)
But it is already a recovery to be able to insert and hear after the test a piece of wire instead of a MosFet, or another component;-)
Aside - my experience:
The HiFi discourse is to be understood as two camps: Maximization and Minimization: the nice thing about minimization: every disc sounds good, but not because somehow nice tones or something, but because cleanliness, resolution, fine colors and fine contours. With maximization only "audiophile" things go: Candlelight strumming, slow blues, Ging Gong, that kind of thing (High End Fairs Music;-). Because the systems can't resolve any more: Component graves on multipath speakers, only three contourless tones)-; With normal discs with music, everyone would say: gray and flat and tired;-)
"...everyone would say gray and flat and tired" Well, the absurdity of descriptions of sound reaching a new height, vibrations of air molecules described as a function of visible light...gray. So, do tell, what is "Red", what frequencies, what chords, tempo, musical composition? I got the blues just trying to understand these absurdities of descriptors.
-----------------------------------------------------------------------------------------------------------------------------------------------Rick...
-----------------------------------------------------------------------------------------------------------------------------------------------Rick...
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