Hi,
Does somenone test ground loops in conjunction with BGT?
Battery Ground Tweak (BGT) - audiodirection
NEWAS Audiophile and high-end audio equipment forum - Battery ground tweak
Thanks: David
Does somenone test ground loops in conjunction with BGT?
Battery Ground Tweak (BGT) - audiodirection
NEWAS Audiophile and high-end audio equipment forum - Battery ground tweak
Thanks: David
People have commented on the use of batteries before, claiming audibly similar results. I have not looked into the combination of the two and no one has commented on the two together, at least to me. Batteries are pretty slow devices and so are most capacitors, when compared to an unterminated wave guide with minimal capacitance and some metallurgy tweaks to enhance what these loops accomplish.
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After the post I made a comparison
I've put 22000uf BHC capacitors with 9v alcaline batteries wired on the star grounding of cdp and 211 SE integrated amplifiers, hours after hours I've gained a lot in focus and depth. I feel more impact than with basic loops (lamp cord ones). When I put batteries AND loops I can feel the effect of loops too. So it seems to be ok melting it!
I've to test better loops with litz occ ones!
I've put 22000uf BHC capacitors with 9v alcaline batteries wired on the star grounding of cdp and 211 SE integrated amplifiers, hours after hours I've gained a lot in focus and depth. I feel more impact than with basic loops (lamp cord ones). When I put batteries AND loops I can feel the effect of loops too. So it seems to be ok melting it!
I've to test better loops with litz occ ones!
OK, after Bud's EnABL making a big difference in my el-cheapo JVC bookshelf speakers, I wanted more. So, I soldered a wire from the negative lug to the speaker basket. I did this first for just one speaker and hooked it up along with the other speaker. There was a clear sonic difference between both channels but I really could not decide which was better so I did the other speaker too. Hooked them both up and Wham!!!
Firstly, they both turned louder than before. I had to dial down the volume a notch from my old listening level. Bass deepened. I now know what people mean when they say "speakers disappeared".
I know it sounds crazy but it's what has happened. It actually IS crazy what a difference this made. Is this supposed to have such a huge effect? One thing though - listening is not as pleasurable as before because there is one (more?) frequencies that are a little hard hitting. I can literally sense my eardrums complain even at low listening levels. Anyone experience this? Anyone know how to mitigate this? Will this improve over time or as my ears get used to it?
Firstly, they both turned louder than before. I had to dial down the volume a notch from my old listening level. Bass deepened. I now know what people mean when they say "speakers disappeared".
I know it sounds crazy but it's what has happened. It actually IS crazy what a difference this made. Is this supposed to have such a huge effect? One thing though - listening is not as pleasurable as before because there is one (more?) frequencies that are a little hard hitting. I can literally sense my eardrums complain even at low listening levels. Anyone experience this? Anyone know how to mitigate this? Will this improve over time or as my ears get used to it?
I did. With the mini-compo amp that the speakers were bundled with and with a TDA7297 amp. With the mini-compo amp the magnitude of discomfort is lesser than the TDA. But then that amp is a crappy one and the TDA is much more detailed and better overall except for the discomfort.
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Frequency mitigation
Over the years I have experienced such annoyances. My primary source is CD. and I have tuned/tweaked my system to minimize the brittleness that I hear in the upper frequencies.
To me the easiest thing is to change are amplifier/preamp coupling caps. Second, would be the capacitors in the speakers crossovers. Capacitors, in my experience, can have the greatest impact on the overall system sound. Polyester capacitors, I have found, really contribute to that edginess.
The more difficult chore is to tune the system via interconnects and speaker cables. Cable topologies really make a major difference. In my case, I found speaker cables, followed by interconnects allowed me to hear the differences of various capacitors, preamp tubes, amps, and ground loops. However this path took considerable resources and time before I settled on what I consider a happy medium.
Without knowing all the details of your system, I would suggest a paper-in-oil for the coupling capacitor for either amp or preamp. These caps tend to generate a smoother fuller sound. Replace any polyester caps with better grade capacitors. Polypropylene capacitors are reasonably priced, and can be used in speaker crossovers. The foregoing are very general recommendations.
I can make more specific capacitor, IC, and cable recommendations with greater details about your system(s).
Over the years I have experienced such annoyances. My primary source is CD. and I have tuned/tweaked my system to minimize the brittleness that I hear in the upper frequencies.
To me the easiest thing is to change are amplifier/preamp coupling caps. Second, would be the capacitors in the speakers crossovers. Capacitors, in my experience, can have the greatest impact on the overall system sound. Polyester capacitors, I have found, really contribute to that edginess.
The more difficult chore is to tune the system via interconnects and speaker cables. Cable topologies really make a major difference. In my case, I found speaker cables, followed by interconnects allowed me to hear the differences of various capacitors, preamp tubes, amps, and ground loops. However this path took considerable resources and time before I settled on what I consider a happy medium.
Without knowing all the details of your system, I would suggest a paper-in-oil for the coupling capacitor for either amp or preamp. These caps tend to generate a smoother fuller sound. Replace any polyester caps with better grade capacitors. Polypropylene capacitors are reasonably priced, and can be used in speaker crossovers. The foregoing are very general recommendations.
I can make more specific capacitor, IC, and cable recommendations with greater details about your system(s).
Most likely it was because the outputs are all run through IC op-amps. They produce noise that gives that harshness. If you find a CD player that uses discrete outputs - or transformers - you should see that harshness disappear. Its not the fault of the digital process. Digital gets blamed today for that harshness. Its how the IC chips in the outputs generate noise which causes the accuracy of digital to make the noise much more apparent than analog that tends to be too smooth for realistic reproduction, but pleasant.
I no longer use my DacMagic. But, several years back I had my DacMagic modified. All the output IC op amps were removed and replaced with high quality transformers. I still have the mod description on file. Here is a copy..
~Analog output stage Transformer bypass modification- Replace the entire analog output stage (A very large number of signal parts...) with modified Lundahl Analog output stage transformers. These are directly coupled to the Twin Wolfson DAC chips. They are wired with silver wire and cotton tubing to the circuit and to the corresponding output jacks. The analog output stage parts are completely turned off, reducing a large amount of ambient noise inside the chassis and reducing heat from the voltage regulators heatsinks. The output now becomes 100% true balanced or single ended RCA.
You want to hear the harshness gone? That did it. Also, the bass improved and greater smoothness became apparent. That is why when I replaced the DM I got myself a PS Audio NuWave Dac. It has all discrete outputs. CD's get blamed for what they expose. Also, getting a DAC that plays in native mode is another step closer to better sound. Other tweaks in set up I have. But, for now this may open up a discussion about better sound from CD's and digital in general.
Yup.
At least too much in that spot. You might place the pigtails, I am assuming they are ground control types made from a short length of many many fine wires bundled in a cable, at the amp out put ground plug. Or on an unused input ground for the amplifier. If the unusual harshness returns then the speaker to frame is likely all your system can stand.
I have discovered, much to my surprise, that placing line level isolation / audio grade transformers between preamp and amp allows for more ground control loops to be added to the system. I suppose this makes as much sense as the rest of the this stuff......
So what's the definitive consensus on the wire geometry to be used? Is this it?:
Question: What should be the end to end length of an individual pigtail? 12 inches?
3 bundles of 40 AWG coated wire, each bundle consisting of 46 twisted strands - twist rate: 1 full turn per inch
These 3 bundles then need to be twisted together in the direction of the individual twists - twist rate: one full turn per 2 inches
These 3 bundles then need to be twisted together in the direction of the individual twists - twist rate: one full turn per 2 inches
Question: What should be the end to end length of an individual pigtail? 12 inches?
I did explore a variety of overall gauge equivalents. Seemed that 140 strands of #40 (#15AWG equivalent for matching circular mils per amp with a solid wire) was the best balanced in the twisted three hank medium of type 2 Litz. There are folks who think the braid should be tighter, to avoid RF attaching itself to what amounts to a stub antenna. I haven't had any problems, even when the twist relaxes from it's spooled containment. With that much surface area available, a total length of 6 inches was the most versatile length, working well in every instance, though some times better than at other times.
I would recommend caution and sticking fairly closely to the plan developed for widest usage, as above.
I would recommend caution and sticking fairly closely to the plan developed for widest usage, as above.
Thanks! Bud.
3 bundles of wire. Each bundle consisting of 47 strands of individually coated 6 inch long 40AWG wire. Twisted with a twist rate of 1 full turn per inch.
These 3 bundles then need to be twisted together in the direction of the individual twists with a twist rate of one full turn per 2 inches.
Solder ends to form pigtail.
3 bundles of wire. Each bundle consisting of 47 strands of individually coated 6 inch long 40AWG wire. Twisted with a twist rate of 1 full turn per inch.
These 3 bundles then need to be twisted together in the direction of the individual twists with a twist rate of one full turn per 2 inches.
Solder ends to form pigtail.
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Has these Audio Vaccine's Music Serum plugs been covered yet here? Is the mechanism the same or different than BudP's tweak? They come attached to both + and - terminals...
Audio Vaccine Music Serum
http://www.monoandstereo.com/2014/11/audio-vaccine-music-serum-plug-in_16.html:
“Music Serum implements different metals and dedicated selection of custom wires. For the accurate combining of all metals we have developed a manual »knitting machine for metals«, which is designed to hybridly combine all metals with accuracy beyond millimetres. The central part, functioning as a sound cleaner, is made of composite materials of accurately defined dimensions in the interior. All procedures are finished with crimping, without any soldering. All interior isolations are made of teflon! Decorative wooden ends are handmade of ten-year-old dried walnut wood.”
Audio Vaccine Music Serum
http://www.monoandstereo.com/2014/11/audio-vaccine-music-serum-plug-in_16.html:
“Music Serum implements different metals and dedicated selection of custom wires. For the accurate combining of all metals we have developed a manual »knitting machine for metals«, which is designed to hybridly combine all metals with accuracy beyond millimetres. The central part, functioning as a sound cleaner, is made of composite materials of accurately defined dimensions in the interior. All procedures are finished with crimping, without any soldering. All interior isolations are made of teflon! Decorative wooden ends are handmade of ten-year-old dried walnut wood.”
Nope, has nothing to do with what Ground Control or other suitable devices made by experimenters exploring what I have pointed to as an unexplored sonic gold mine. The returning electrical field and what condition it is in is what these devices act upon. These GC devices are never hooked across the + / - terminals.
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