So after these discussions I was compelled to once again try removing the .01uf polystyrene from the magnepans, and this time around, the difference was positive. I had been using an iPad for a source when I changed out the crossover caps, and at the time had sounded better with the tiny bypasses, adding some extension and clarity to the treble.
Now with them removed, the midrange has been improved, so thanks!
The other parts are some Arcotronics motor run...
Now with them removed, the midrange has been improved, so thanks!
The other parts are some Arcotronics motor run...
I don't believe it's so much about the equipment (once you get above a basic level), more about how one listens. For example, my wife and I hear things completely differently. On the same piece she will hear all the words, and how their meaning is conveyed, while I will hear the timbre and emotion of the voice. I don't even need to understand the words, and in fact foreign language songs are often better for me! So depending on how you listen, you may, or may not, hear these differences.
Too much focus on the sound of the music only takes away from the full enjoyment of the music.
I'm as guilty of it as anyone.
I'm as guilty of it as anyone.
l think focusing on sound is part of the process to better music enjoyment. Actually most of the sonic improvements will correspond with measurable improvement of some form, but not all are the common measurement standards. Most standard measurement data correspond with forced response of the DUT, the natural response and reactive issues are often not observed.
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All so true, I'm finishing a system now, and while I'm pretty sure the "numbers" are great by all standards, it just isn't quite there yet.
Have been through this with other systems as well, each with their own signature or balance.
Starting to feel a bit silly, as most of my engineering or cooking isn't nearly as obsessive.
I have a new challenge for someone like Tony Gee; to rate combinations of different types.
One of the top rated parts (Duland) is a composite of two parts, likely of different materials, perhaps.
I wonder what some of the perfect ratios would be between certain parts, and possibly some small damping resistance as well?
Have been through this with other systems as well, each with their own signature or balance.
Starting to feel a bit silly, as most of my engineering or cooking isn't nearly as obsessive.
I have a new challenge for someone like Tony Gee; to rate combinations of different types.
One of the top rated parts (Duland) is a composite of two parts, likely of different materials, perhaps.
I wonder what some of the perfect ratios would be between certain parts, and possibly some small damping resistance as well?
Years ago I used to be very skeptical that interconnects and speaker cables would make a difference in sound quality! But I had to see for myself if these cables would make any differences. Well it definitely does! I had auditioned speaker cables, interconnects, USB cable and even saw a difference in picture quality with HDMI cables from Wire World. I can say that when I had auditioned some Jade audio interconnects, the ones that use a gold/silver wire really surprised me with how well they sounded in my system!
That being said, I am like you wondering about the different ratios and materials that could be used and the effects they would have!
That being said, I am like you wondering about the different ratios and materials that could be used and the effects they would have!
In capacitors, I am guessing the ratio of plate material geometry, thickness, roll, and material themselves are all related.
My limited experience with USB cables is 30cm length gave the most balanced sound quality for the two sound cards I tested each using different connectors. When the length is the same, then the built quality and material differences are pretty much related in further improvement.
Interconnects is a different beast and raises lots of controversy. My findings is that the impedance matching is important. Once this matching is right, the material and built further improves the sound quality.
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My limited experience with USB cables is 30cm length gave the most balanced sound quality for the two sound cards I tested each using different connectors. When the length is the same, then the built quality and material differences are pretty much related in further improvement.
Interconnects is a different beast and raises lots of controversy. My findings is that the impedance matching is important. Once this matching is right, the material and built further improves the sound quality.
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soongsc, I've yet to hear back from a CDE distributor here in the USA. I guess I will have to try again and see what the delay is for getting some CDE 950C caps you mentioned. Do you agree with the others here that I should try and use the Wima FKP2 or Vishay KP1830 in a .01uF, rather than the MKP1837? I was going to order a few of the .01uF CDE rated at 3000V, but now after a few members here recommend the other caps over the CDE and MKP1837. What is your take on this?
The bypass caps I have used are the Wima (should be the FKS2 according to my memory of the decision process). I think metalized films are fine for line signals. I really cannot say about other preferences I have not tried because I don't have sufficient data on other systems to even make an educated guess, there are just too many variables that influence sound and perception.
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The capacitance of interconnects is probably their most important meas. variable. The lower the pF value the better. It's easy to measure your if you have a good quality LCR or capacitance meter. Below 30pF/foot is good. Below 20 is even better.
That may be an easy way, but when we look at matching, the device input impedance curve is important. Older devices may have input impedance curves that match interconnects more closely whereas more recent designs seem to have a flatter input impedance curve. Also, when you lower the input impedance value, for the same interconnect, you effectively have a flatter combined impedance curve.
Reading all this is making me want to put an output resistor in my dac.
I admit I haven't been looking to change cables anywhere. I had noticed a long time ago, in a '70s era thrift store find tuner/amp, that I couldn't afford to buy speaker cable for, went to an aerospace surplus yard and bought a bunch of 10 ga wire to use. It was maybe nickel plated, something or another, but sounded very nice with longer runs compared to the standard copper cables over shorter runs.
Maybe with some fancy new metalized inks/polymers, we can print our own capacitors soon?
I admit I haven't been looking to change cables anywhere. I had noticed a long time ago, in a '70s era thrift store find tuner/amp, that I couldn't afford to buy speaker cable for, went to an aerospace surplus yard and bought a bunch of 10 ga wire to use. It was maybe nickel plated, something or another, but sounded very nice with longer runs compared to the standard copper cables over shorter runs.
Maybe with some fancy new metalized inks/polymers, we can print our own capacitors soon?
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If you guys like experimenting with various low value capacitors to enhance the treble performance of your sound system, why not place that small value of capacitance in parallel with the series resistance that would normally connect in series with your tweeter.
It would more than likely be of audible benefit there than across the series capacitor you are bypassing now.
Or alternatively, reduce the value of the series resistor connected to the tweeter by paralleling higher values of resistance (say 100 ohms more or less) across it, doing this will offset the ESR of the series capacitor for the tweeter. After all, that is what you are trying to fix.
C.M
It would more than likely be of audible benefit there than across the series capacitor you are bypassing now.
Or alternatively, reduce the value of the series resistor connected to the tweeter by paralleling higher values of resistance (say 100 ohms more or less) across it, doing this will offset the ESR of the series capacitor for the tweeter. After all, that is what you are trying to fix.
C.M
I have tried those, no audible effect to me. Then I looked a bit deeper and discovered the parallel method does not work for resistors because the reason behind sound coloration is different.
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Well, I just received an email that the CDE 950C caps are not available in the USA! Go figure! 🙁 I see they sell them on eBay, perhaps I can order a few and hope they are OEM! Do any of you guys here think they will be compatible to the Audyn Plus series caps? Thanks!
Well, not exactly. IMO, the very small (0.01uF) bypass cap's ESR doesn't go below 1 ohm well above 1 kHz (I've measured this) and it's effect isn't felt until higher freq. Thus, sweetening the very high freq.
I will run some bench tests on a 0.01uF and 0.1uF cap paralleled and not paralleled with a 2 ohm resistor. The tests will track elect. impedance, phase and ESR from 10 to 20 kHz.
Presumably this only applies if the resistor is after the crossover, just in front of the tweeter? 😕 My attenuation resistor is before the crossover.
Would these caps be ok to use for bypassing?
http://www.mouser.com/ProductDetail/WIMA/FKP1R021005D00JSSD/?qs=ISKKXg98%2b1lGv7LG6vo2Gg==
http://www.mouser.com/ProductDetail/WIMA/FKP1R021005D00JSSD/?qs=ISKKXg98%2b1lGv7LG6vo2Gg==
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