carlosfm said:Congratulations, pinkmouse.
If all the devices in studios had op-amps like those we would have better recordings.
Thanks Carlos, this is the same studio I sold a pair of 15" Tannoy Monitor Golds to as their main monitors, so I'm doing my bit
What circuit did you use the 2228s in? I ought to build a new phono amp someday, and I would be interested in trying them out this way.
fedde said:No !!!!!!!!!!!!!
Why did you sell them ???
Well, in the best capitalist traditions, I was a middle man for a 10 cut%
I was also a little underhanded, in that I couldn't afford them myself at the time, but when I can, I know exactly where they are, and what the guys will want for them
fedde said:
So I compared them today. I'm using Caddock resistors now at feedback location as they are better sounding than Riken (especially with Cardas PS cable). Riken are more flat sounding and there is not that much depth to the soundstage (same goes for Kimber cable). I checked 250K and 300K for feedback. Initially my impression was that 300K is better as the vocal was more pleasing, but after having a friend of mine listening to the setup, we both came to conclusion that 250K is definitely better value for feedback resistor. It's provides better soundstage (with more depth) and instruments are defined better (in their own separate space). With 300k it seems like everything is smeared somewhat. So 250k Caddock it is. I still didn't check 200K value
It is both resistor and the placement. This location is very sensitive to any changes.
I figure, it's not that much electronic characteristics, as the material used for making the resistor mostly. If you are not sure how much of this is science and how much of it is fiction, why don't you try it yourself and finaly get to know?
I figure, it's not that much electronic characteristics, as the material used for making the resistor mostly. If you are not sure how much of this is science and how much of it is fiction, why don't you try it yourself and finaly get to know?
I will try it out.
I just think that if what you had experienced is all scientific and verifiable (and objective), then all the foundation based on which electronic circuits are designed (and simulated) should be thrown out of the window.
The fact that so many of them are still in use today and work just fine make me question if what you heard is more psychological than anything else.
But I will try it myself, someday,
I just think that if what you had experienced is all scientific and verifiable (and objective), then all the foundation based on which electronic circuits are designed (and simulated) should be thrown out of the window.
The fact that so many of them are still in use today and work just fine make me question if what you heard is more psychological than anything else.
But I will try it myself, someday,
millwood said:
What I experienced, doesn't negate anything you mentioned above. The gain was according to the resistor's value used, as well as distortion factor and frequency response (to mention just few). What was different, was the sound, which is more than just some electrical parameters I mentioned (just to simplify the matter).
As a side note I will add that I built two exactly the same amps (I did it yesterday) and the only thing that was different was the feedback resistor's value (250k and 300k). I did mark the amps and my friend could tell right away which one he preferred.
I also used very revealing speakers (AudioTechnology and Triangle drivers in solid maple box with no crossover in a midbass and just single MIT RTX cap with tweeter), silver interconnects and copper foil speaker cables. This setup was much more sensitive to any source changes than the one I was using before. The DAC was no oversampling TDA 1543 based, which BTW is better than my previous PCM1704K based unit.
I have been a long dis-believer of golden ears (partly because I am half deaf I guess), and throughout those years, I have not seen one reputable experiment that the golden ears can point to that sustantiate their claimed capabilities from "musical cables" to "brilliant fuses".
I will point out one thing: Prof. Leach at his site has an article about an experiment that tests people who claim to hear the difference between tube amps vs. solid state amps. The test subjects are musicians (like 30+ of them as I recall). The result?
Only one (1) person out of that group can reliably tell tube amps from solid state amps and he did so NOT by listening to even harmonics)) but a hum distinct in that tube amp.
If those guys had trouble telling valves from transistors, try to think your shots at telling a mica cap from a film cap,
I will point out one thing: Prof. Leach at his site has an article about an experiment that tests people who claim to hear the difference between tube amps vs. solid state amps. The test subjects are musicians (like 30+ of them as I recall). The result?
Only one (1) person out of that group can reliably tell tube amps from solid state amps and he did so NOT by listening to even harmonics
)) but a hum distinct in that tube amp.If those guys had trouble telling valves from transistors, try to think your shots at telling a mica cap from a film cap,
good last few posts and there is validty in them...placement is crucial of certain parts when you have a alot of gain going on in a small IC...touching any part when in circuit even causes a difference...vibration is also a factor....I think it was staed by Peter in a post that you can build identical amplifiers and get different results....thats so true..........who knows if you overheated a resistor when soldering...or a cap...what if that was made on a monday when someone was not doing there Job.......heck....to build something to your expectation is a virtue for yourself and not a standard or reference for others...but it is a base to work from from experience of trials and tribulations others have gone through.....thats all for now..LOL
DIRT®
DIRT®
JOE DIRT® said:
you cannot have (tuely) identical amplifiers and yet they sound different. You can, however, build amps using parts from the same manufacturer, and based on the same topology. Yet they sound different.
That is due to variations in the parts. In essence, you cannot have "identical" amplifiers.
The key question is how different those amps are and how many of us can reliably tell them apart.
Again, if musicians have trouble telling valve amps from transistor amps, how many of us can tell a BC polyester cap from a Panasonic film cap?
Shall I suggest "None"?
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