John Curl's Blowtorch preamplifier part II

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argumentum ad hominem

if you want to add your own preference to what the artist presents I could care less

I criticized a course of action not anyone's character. Attacking your motive is a real stretch here and I don't think it is in the spirit of the term. If you think designing audio electronics to be ruler flat and as distortionless as possible over as wide a dynamic range as you can i.e. as precision instrumentation is not what you want, fine. So OK "I could care less" maybe sounds hostile, just leave it at there is no engineering discussion here.
 
I know what you mean - I think - however, an LP record/playback system is so flawed it can only sound good but not also accurate.
If that makes any sense.
THx-RNMarsh
Yes, makes sense to me.
Add into the mix that differing vinyl formulations sound different and there is no hope of ultimate 'accuracy'.
Vinyl can sound very nicely good, just as MP3 can sound good, ditto Wavebourne's video of a Pandora feed.

So this all brings up the subject is what is 'accuracy' and how important is it really ?.
It also brings up the question of what really does happen at the final point in the replay process ?.
My filter material mixture changes the sound of speaker drivers just by applying it to the magnet assembly, ditto addition to cables and power feeds etc.
I have a guitar practice amp with a perforated steel mesh protecting the drivers...applying the mixture to this mesh also changes the 'in room' sound...Bybee Room Neutralisers equivalent ?.

Just about any 'drive you out of the room' system can be transformed in an instant to one that is pleasing long term with the 'wrongs' diminished and the 'right' bits emerging more clearly.
IOW 'coherence' is restored resulting in better mono, L/R and depth portrayal, better intelligibility and separation in sound sources, in short more natural sounding despite recording embedded distortions and FR limitations.

We all strive for a system that will pleasingly play just about any music or recording quality, tv/movie sound included.
Interesting points are that in a replay chain the speaker drivers are the final transductors and impart their final and dominant signature.
Upstream items (cables, electronics etc) can still be differentiated despite this.
Each transduction point (connection or transducer) in the energy path adds it's own signature according to the materials (and their history) used.
These individual equipment signatures interact with the last and then the first being the most important.
Placing my mixture at beginning and end points of a system effectively cause the system to 'disappear' and recordings vary more so by resolution than 'cringe' or 'wow' factor.
Ie, good recordings are interesting because there is plenty of information, bad recordings are boring because of lack of information.
Dead quiet electronics stages go a long way to reducing the above dependencies.

Dan.
 
When I had some of those (elusive) audio nirvanas the power filter was in the system. No drugs involved. Hardly a datapoint, I know.

I made it with canned filters from UPSs. A big IEC one for the input and smaller ones for the outputs. I improved them with small series resistors and more caps. (I think the series R would harm reliability if this was a mission-critical power filter. Some PSUs take in a large current transitorily.)

These canned filters are usually CLC: one differential mode C, one common mode choke, two common mode C with the center point to earth.
 
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