I'll bet the ones you used were EXTRA shiny
BTW, I give a coat of Shellac (a local brand called Sheenlac) to my K73-16 axials. I don't claim that it improves the sonics, but it does improve the aesthetics - gives a vintage aircraft aluminium sheen, as well as protects the aluminium casing and end seals from humidity, oxidation, etc.
Well worth it I found, they take a long time to burn in. I used a rig to burn a variety of caps in then did back to back tests on a valve phono and in rogers 149's crossovers. They proved to be better than all the other caps I had to hand inc mundorf silver oils.
Best were the high voltage ones.
Best were the high voltage ones.
Some kind person, I wish I could remember who sent me a pair of K73-16 2.2uf caps ages ago to try out as DC blocking caps in my phono stage, I have been using Wima MKP1's.
I built another stage and decided to make use of the caps I was sent, I wasn't expecting much as they were basically a polyester cap, I have used Panasonic polyesters before and wasn't impressed.
But these caps have absolutely knocked my socks off, they are so much smoother and more detailed, if it was a fight the Wima's would be knocked out, dragged out and buried ten foot under by these caps. I just ordered a pair of Ebay to replace the Wima's in my other phono stage, these things are the best bang for your buck that I have come across.
I wish I could remember who sent them to me as I need to thank him so much.
I built another stage and decided to make use of the caps I was sent, I wasn't expecting much as they were basically a polyester cap, I have used Panasonic polyesters before and wasn't impressed.
But these caps have absolutely knocked my socks off, they are so much smoother and more detailed, if it was a fight the Wima's would be knocked out, dragged out and buried ten foot under by these caps. I just ordered a pair of Ebay to replace the Wima's in my other phono stage, these things are the best bang for your buck that I have come across.
I wish I could remember who sent them to me as I need to thank him so much.
your capacitor value selection has a big outcome on the sound you will hear and on the distortion some can measure.
If you use a DC blocking capacitor as a filter, then that has two consequences
a.) it filters out some of the wanted signal.
b.) it adds distortion that varies with the type and quality of the capacitor.
You can avoid both of those consequences by ensuring that your selected value does NOT act as a FILTER.
Make it big enough that the filtering effect is at least one decade outside the wanted audio frequency band.
If you want to pass 20Hz to 20kHz through a DC blocking capacitor where the following load impedance is 47k then your capacitor should be selected to pass 2Hz or lower into that 47k load.
F-3dB = 1/2/Pi/R/C
for 2Hz and 47k the required DC blocking capacitor must be greater than 1/2Hz/2/Pi/47k > 1u69F
If the capacitor is an electrolytic I suggest you double the capacitance to make the passing F-3dB about 1/20th of the wanted audio frequency.
If you use a DC blocking capacitor as a filter, then that has two consequences
a.) it filters out some of the wanted signal.
b.) it adds distortion that varies with the type and quality of the capacitor.
You can avoid both of those consequences by ensuring that your selected value does NOT act as a FILTER.
Make it big enough that the filtering effect is at least one decade outside the wanted audio frequency band.
If you want to pass 20Hz to 20kHz through a DC blocking capacitor where the following load impedance is 47k then your capacitor should be selected to pass 2Hz or lower into that 47k load.
F-3dB = 1/2/Pi/R/C
for 2Hz and 47k the required DC blocking capacitor must be greater than 1/2Hz/2/Pi/47k > 1u69F
If the capacitor is an electrolytic I suggest you double the capacitance to make the passing F-3dB about 1/20th of the wanted audio frequency.
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