That is why we had to design our interconnects to specific requirements. I had tried many interconnects throughout my hobby days, and finally decided it had to be done. Interface specifications and interconnects are a mess. To get the right performance, they all need to meet tighter specs.
Microphone cables I have tested generally do have higher impedance in a way that benefit closer to a proper match.
Need to look at CSD. But I hate to go into detail every time someone in the forum asks. Please search the forum. That is normally what I do. 80% of the time I find that someone else said.
In my experience, if I hear a difference but cannot see measurement difference, it generally means I and not doing the measurement the right way or so far as not doing the right measurements. What you see in the books are the bear minimum for educational purposes. Sometimes we need to be creative in how we do things.
Yes the 107 xover is a forest of bipolar electrolytics.
When I listen to them I get momories from 'sound' decades ago.
Is there an evolution in voicing of speakers that is responsible for that?
Or is it my own evolution?
I feel that the 107 sounds heavy, slow, that sort of thing.
But it does sound well in the sense that I can listen to it anytime.
Still to much sizzle in the highs though.
Jan
It's years since I've done this stuff. and I can't even remember what the standard impedance is for balanced line microphone cables with XLR connectors. Is it 300 or 600 ohms?
But it's an exacting design built to reject mains hum and radio interference in studios and mixing consoles and live events. The idea is you terminate the cable with a resistor of the same Characteristic Impedance. This way you get no reflected signal.
The point is, that the cable's characteristic impedance has to match the load or you open it up to see the capacitance or inductance of the cable depending on the mismatch. A metre of typical 110 ohm Belden cable has a capacitance of about 40pF, and inductance of 0.6uH. If the source impedance is significant, you will get tonal changes and unwelcome noise on the system if you don't terminate with 110 ohm load.
So there is a real physical explanation of changes with cable type here. We are much sloppier in audio with RCA phono, which terminates unbalanced 110 ohm cables with 47K as often as not, and thus adds roughly 100pF of capacitance. It shouldn't matter too much as long as the preamp's output impedance is below, say, 600 ohms. But again, you will get tonal changes with different cables. Say 50 or 75 ohm TV aerial cable types.
For all that, this difference is tonal rather than adding distortion, so is benign IMO. You would however need to be much more careful with a digital interconnect because it matters a great deal at radio frequencies.
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I added bold text to the fundamental flaw in what is otherwise an statement I agree with. Too often we get stuck in current understanding and use it as a final resting place instead of a stepping stone. I think what soongsc stated below is a more accurate way of describing how we should look at things. Fact is, no one has been able to nail down what is the formula for best sound and if it were purely engineering, you could take your current knowledge and create a product line that would easily sale into the HiFi market, without trouble or need of marketing. It would be so superior in its design that the outcome(sound) would speak for itself.
Being "creative in how we do things" is how snake oil is born. People need to realize that there are already concrete ways of testing components. If you think you hear differences yet cannot measure differences then doing a SBT or DBT is the way to find out if those "differences" were real or only imagined. There are enough imagined opinions about cables, caps, power cords, amps, DACs, etc already that contribute nothing to the knowledge we need.
Could not agree more, especially with the embolden text. While i do not expect test to be done on every subject in the audiophile world, you must admit that a lack of this type test for caps is quite interesting.
This is 100% correct. More elaborate sensory testing is called for when something is believed to be heard that has no obvious cause (e.g., changes in level or frequency response above well-established thresholds, microphonics, noise, polar pattern...) and one wishes to determine if it's real or a mental artifact. 3dB midrange peak and something sounds forward? I don't think it's much of a stretch to go and fix that without involving a sensory panel!
I'm not certain of the relevance of characteristic impedance for analog audio and short (meters) wire runs. In analog audio, at least for the past 50 years or so, the standard is a low source impedance and a high load impedance. The characteristic impedance of the wires doesn't really directly enter in to that (there can be indirect effects with incompetently-designed sources, but there are very few of those except with some of the very cheapest and some of the very most expensive gear).
Incompetence is possible, as I built the pre-amp. It is based on the F5X preamp by EUVL. The source is an OPPO 105. My version if his preamp is not throughly tested like his final version will be. The Oppo seems to be a fairly well constructed product. I would guess that buffers on the outputs of both might negate the change, but it is interesting none the less.
LOL! Well, at least it's easy to spend a few minutes with a signal generator and scope to nail down the issue.
Kef speakers are avg at best , never heard one worth the beans ...
Not possible to come up with a winner, each application will produce a different winner and if selling in the market place , that alone will dictate another flavor of the month winning cap ...
You might have missed the good ones
But seriously, I attended a demo of the (in)famous Blades at an RMAF a few years ago. I was underwhelmed. Also the music they used was so-so. I asked the man to play one of my own CDs (I think it was a Ricky Lee Jones) and he wanted to keep it!
Jan
You might have missed the good ones
I asked the man to play one of my own CDs (I think it was a Ricky Lee Jones) and he wanted to keep it!
Jan
Hilarious ...
How long before the ESR kicks in .....
I can using a WT2. A new thread was created in another forum where I shared PET vs PP film caps ESR. Worth a look.
Effect of Film dielectric type on capacitor ESR
Effect of Film dielectric type on capacitor ESR
Yes Jan, there has being a lot of progress in speakers and you ears may have learned too.
I am certainly more impressed by the mechanical design of that KEF then i am about the drivers and the crossover.
Nevertheless it is interesting to listen to an old stablemate.
Sometimes in speakers like that there is a romance that most modern high resolution speakers simply do not have.
It may be good if you measure them before you modify them.
I am certainly more impressed by the mechanical design of that KEF then i am about the drivers and the crossover.
Nevertheless it is interesting to listen to an old stablemate.
Sometimes in speakers like that there is a romance that most modern high resolution speakers simply do not have.
It may be good if you measure them before you modify them.
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