My set up don't sound like that its big broad with lots of depth. Instruments takes to another level of realism. When I speak of no very transparent its refers to mid highs & up but its easily compensated with other caps. Bass wise your about the first user that I hear from that BG has no drive & punch strange must boil down to preference or room related etc.
Which type of BG? Standard ? C? FK? N? NX ?
My solid state power amp has 90,000 uf BG —— Quasimodo CRC snubbed Soft recovery bridge - 320,000 uf Nichicon, then 1 mh chokes, then only BG on the output stage 8 x 10,000uf FK, 4 x 2,200 uf N , 8 x 220 UF N and 16 x 0.1 uf NX
It’s the nicest sounding amplifier I’ve owned. Great detail, resolution,smoothness and a soundstage I could identify stage position and depth of the players. Yes very expensive and very good.
My solid state power amp has 90,000 uf BG —— Quasimodo CRC snubbed Soft recovery bridge - 320,000 uf Nichicon, then 1 mh chokes, then only BG on the output stage 8 x 10,000uf FK, 4 x 2,200 uf N , 8 x 220 UF N and 16 x 0.1 uf NX
It’s the nicest sounding amplifier I’ve owned. Great detail, resolution,smoothness and a soundstage I could identify stage position and depth of the players. Yes very expensive and very good.
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Yeah, Cerafines have light bass and less body. Upper mids and highs can get too hot. You can tame the highs with smaller Silmic II.
10uF BG
2,2uF Cerafine
0,47uF Silmic II
All in parallel. I don't know, I think 10uF Silmic II is good for me. I like the dynamics (BG & Silmic II best dynamics of all caps) and the tubey, silky sound of the Silmics. If its gets too bold I use large KZ with smaller Silmic II in parallel.
10uF BG
2,2uF Cerafine
0,47uF Silmic II
All in parallel. I don't know, I think 10uF Silmic II is good for me. I like the dynamics (BG & Silmic II best dynamics of all caps) and the tubey, silky sound of the Silmics. If its gets too bold I use large KZ with smaller Silmic II in parallel.
I have Standard & F. Btw, I also use transformer snubbing. I swear on HEXFRED rectifiers. What kind of amp do you have? JLH?
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FK is about the only BGs that I don't like unfortunately, don't like the highs falls in the same category as Vk. My exposure is only to Standard, BG N, Nx the little blue once which is very good when use as bypass for main PS cap. Also Type AC though only for XO but use in the right place sounds very very good. Seems like the total uf values that your using is overkill TicknPop.
This is where we differ SinGun. Tried many time with Silmic ll in the end I always remove them. For me its always a mix of Kz, a little cerafine & Bg Ns that I've collect long time ago. Key factor though is the main PS I always focus on this first before I move on to the rest. For starters I never use toroids .
Amp is Borbely Millenium. Biased at 2.5 amps in the original 1980 Krell KSA 100 chassis.
Hexfet bridges, one for each polarity. TO3 output devices.
The Borbely balanced, direct coupled, jfet/fet preamp, dac, phono stage have over 160 BG caps as Ps bypasses. Gain stages are N and Nx , shunt regulators are FK and N. Preamp in the picture, power supply is a separate chassis, discrete stepped attenuator, RTX servo, teflon bias bypass, 90 ma output stage bias.
Hexfet bridges, one for each polarity. TO3 output devices.
The Borbely balanced, direct coupled, jfet/fet preamp, dac, phono stage have over 160 BG caps as Ps bypasses. Gain stages are N and Nx , shunt regulators are FK and N. Preamp in the picture, power supply is a separate chassis, discrete stepped attenuator, RTX servo, teflon bias bypass, 90 ma output stage bias.
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Nichicon Muse ES bipolar caps measured: <-120dB THD, <-140dB IMDNobody ever did a serious quantification based on measurable numbers. Otherwise this ridicoulous caps rolling would have ended decades ago
I come from FM broadcasting world where bw=40-15000KHz and sourcing parts rely on GAM (MIL) or space list. Since many decades, I crossed a lot of esoteric theories that flooded audio market. So clearly, I'm not a believer, but I accept that The truth is out there 
I can admit that some people like musicians have precision hear. I also admit that parts sounding may differ according to manufacturing processes. Times to try.
I recently asked for 4.7, 10, 22, 47, 100, ... audio caps for input path of solid state preamps. Answers was to use long life or avoid electrolytics.
Seeking for another angle of view, what are yours advices for parts used in 3 cases:
- Strauss/Pavarroti,
- Pink Floyd/Tangerine
- Boney M
I can admit that some people like musicians have precision hear. I also admit that parts sounding may differ according to manufacturing processes. Times to try.
I recently asked for 4.7, 10, 22, 47, 100, ... audio caps for input path of solid state preamps. Answers was to use long life or avoid electrolytics.
Seeking for another angle of view, what are yours advices for parts used in 3 cases:
- Strauss/Pavarroti,
- Pink Floyd/Tangerine
- Boney M
Technically there is nothing new since decades. There have been high precision measurements of nonlinear distortion along caps that show real differences among different technologies. But if you put the numbers into context you will find that within a correct design the contributions to THD are ridiculously small.
For coupling caps upto 4.7uF any film cap will do, there are some nice red Wimas on the market.
Calling for "opinions" will not help you anyway. In the internet you may find any fancy opinion you are looking for. Buzzwords like "soundstage" are a strong indicator for audiofoolery, pure anecdotical and without any proof of evidence.
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Probably said with "tongue in cheek " Bucks . Way back in the mists of time ---okay the 1980,s ( or earlier ) JLH opened up several well known ( no names no pack-drill ) Polypropylene capacitors ,he found they were made with PACKING grade polypropylene.
Now I am sure some will say---wrong ! so for their information here is Lecturer Colin Hindle ( Edinburgh Napier University ) speaking on behalf of the British plastic industry on the DIFFERENT types of polypropylene -
Polypropylene (PP)
The power of advertising always amazes me even in my old age.
Now I am sure some will say---wrong ! so for their information here is Lecturer Colin Hindle ( Edinburgh Napier University ) speaking on behalf of the British plastic industry on the DIFFERENT types of polypropylene -
Polypropylene (PP)
The power of advertising always amazes me even in my old age.
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Have you tried some acrylic/plastic smd caps from Cornell Dublier/Panasonic/Rubycon ? They exist in low values 0.1 to 1 uF and a little more with Rubycon : excelent for local decoupling I have found, precision in pair with lytics from 20% to 5% according the serie or brand.For illustration FCA serie from Cornelle Dublier ! Better than MKTs, compact (inductance) when mkp are too much bulky... works well as final decoupling near the loads.
Wima mkp10 are good for a radial but pricey....but works fine as signal coupling in serie as said above...
Wima mkp10 are good for a radial but pricey....but works fine as signal coupling in serie as said above...
I come from FM broadcasting world where bw=40-15000KHz and sourcing parts rely on GAM (MIL) or space list. Since many decades, I crossed a lot of esoteric theories that flooded audio market. So clearly, I'm not a believer, but I accept that The truth is out there
I can admit that some people like musicians have precision hear. I also admit that parts sounding may differ according to manufacturing processes. Times to try.
I recently asked for 4.7, 10, 22, 47, 100, ... audio caps for input path of solid state preamps. Answers was to use long life or avoid electrolytics.
Seeking for another angle of view, what are yours advices for parts used in 3 cases:
- Strauss/Pavarroti,
- Pink Floyd/Tangerine
- Boney M
It strongly depends on:
1. What speakers you have.
2. What power amp.
3, What kind of SS preamp sound you have. MOSFET? BiPolar? etc.
and very much on:
How do you like your musical presentation!
A) Anlytical
B) Neutral (Questionable - what is neutral?)
C) Warm, Classical British, BBC Monitor style
Unfortunately audio caps are more expensive but they do sound better in most cases.
IMHO, if you are enjoying so many different musical styles (like me) I would put only Nichicon KZ, FG or FW in the signal path. If too hot in the upper mids and highs put a Silmic II or Nichicon VZ in parallel. If you really want strong body and bass and smooth upper midrange take Silmic II or Nichicon VZ instead.
You can combine with these caps and find out whats best for you.
My preamp:
-> opamp gain stage -> volume pot -> opamp buffer stage -> power amp
gain stage: Silmic II decoupling and Silmic II on siganl path
after volume pot: Jantzen Superior cap
buffer stage: Nichicon KZ on signal and decoupling
I use Silmics in the gain stage cos I want to use high resolution opamps like OPA1612, the resolution is outrageous so I want to tame it down a bit.
I use KZ on buffer stage cos I want the buffer as neutral as possible so I can hear the differences of the gain opamps better.
