And the big joke is, that there is enormous dynamic range encoded on the CD of that album - subjectively, the scope of, the rhythm of the sound variations is immensely satisfying, in the same way as a full blown symphonic production ..We did that no CD but LP in 1970, wall of squall and no one gave a s**t. Zero dynamic range and the louder the better.
And the big joke is, that there is enormous dynamic range encoded on the CD of that album - subjectively, the scope of, the rhythm of the sound variations is immensely satisfying, in the same way as a full blown symphonic production ..
Whatever you say Frank.
In a conversation I had with him in the 1990s, speaker designer Dave Wilson, of Wilson Audio Specialties, described John Curl as "the master of low-level signal amplification....
Opinions are like ...you know yada yada
I feel like Ripley ... 🙂Whatever you say Frank.
One of the real pleasures on my audio journey has been discovering audio gems in the most unexpected places - recordings that many people would be happy to biff in the bin, disgusted that somebody would have had the temerity to actually archive the effort - which yield highly satisfying aural experiences if replayed well enough ...
Opinions are like ...you know yada yada
Yep, but still , good opinion to have ..... 🙂
Dave recently awarded me with a pair of Sasha loudspeakers for my efforts for him in the past. In the late 1980's he gave me a set of WATT-Puppies for the same reason. I appreciate his generosity in both word and deed.
the shites
Surely that's not saying you have a preference for open-loop circuits, but merely for pleasant distortion spectra ?
> pleasant distortion spectra ?
If open loop = " pleasant distortion spectra "
Then strangely " pleasant distortion spectra " = better intelligibility
If open loop = " pleasant distortion spectra "
Then strangely " pleasant distortion spectra " = better intelligibility
IME, much "pleasant distortion spectra" is about lopping off low level detail - if you don't hear extra sound information then the brain doesn't have to try and digest it also; so, yes, the primary sound is then more "intelligible". However, a good chunk of the soundscape, and potential of the recording has been chucked into the bin - my preference is to get full shebang; it's harder to make that happen correctly, but the payoff is so much greater ...If open loop = " pleasant distortion spectra "
Then strangely " pleasant distortion spectra " = better intelligibility
results
Maybe next you can report on some Y5U/Y5V ceramics.
All I know is that the first time I heard an amp withoutIME, much "pleasant distortion spectra" is about lopping off low level detail - if you don't hear extra sound information then the brain doesn't have to try and digest it also; so, yes, the primary sound is then more "intelligible". However, a good chunk of the soundscape, and potential of the recording has been chucked into the bin - my preference is to get full shebang; it's harder to make that happen correctly, but the payoff is so much greater ...
(global) feedback (everything else in the system equal)
I could hear that the vocal track had been overdubbed
(hear the slight timing differances between voices),
while before (I'd heard the song for years) I always had
heard it as a single voice. If this is "chucking into the bin",
then chuck away for my purposes ......
I suspect it is not the speed of the winding, but how well tension is controlled. If you run the roll speed over 2 or 3 Krpm and up range, you have no process control.
When you flatten a jellyroll where one component of the roll is a compliant plastic, the sides not being compressed will fluff out, introducing air. The best way to avoid this is to place the dielectric under tension.
Partially melting the mix to achieve a monolithic structure will certainly help against compressive forces such as physical pressure.
jn
Hi,
i speak from personal experience here as i have worked with cap mf'ers and what they know and do and why they do it. The main reason is not at all for audiophiles.... but for reliability. Air trapped between layers is a long term cap killer as ithe air gap is the most likely place a Voltage breakdown will occure. The audio caps are not built to high standards (except in their marketing, perhaps). Annealing process for Hi-Rel cap parts use is basically as I said.... without going into detailed processes.
You need to see how flimsy some caps are by taking them apart. They are very loosly wound. The bipolars may be the worse and they are used a lot in speaker cross-overs. Dont know of any that are as good as films in thier construction methods regarding loose winding plate/dielectrics. It may make a difference (loose vs tight) - even in power amps where there may be vibration.... amp plates, and the like. Each case is different situation.
While I am here --- dont use any leads which are stranded..... they let air inside th cap (space between individual wires) which is not only a reliability issue but also aids in oxidation of the plates. As most of you know, oxidized metal is not a good conductor and lose of C over time results as the Cap's plate area is reduced via oxidation expanding through out the cap. These are real world problems I found in the field and analyzed to cause. of course, the thinner the plate (eg metalized) the faster the plate is oxidized and rendered ineffective in its purpose.
A quickie description it was but my points are very valid.
THx-RNMarsh
Last edited:
All I know is that the first time I heard an amp without
(global) feedback (everything else in the system equal)
I could hear that the vocal track had been overdubbed
(hear the slight timing differances between voices),
while before (I'd heard the song for years) I always had
heard it as a single voice
The thing is to know how much was due to the amp not having that type of feedback, and how much to other qualities of the amp ... what I've frequently heard is a (typically expensive) system, amp, sounding "brilliant" with the tracks carefully selected to show it off - so, right, let's try this CD of mine with quite a complex soundscape ... good grief, half the sound elements have disappeared! What's left is pleasant enough in its own right, but I'm certainly feeling short-changed ...
> The thing is to know how much was due
> to the amp not having that type of feedback,
> and how much to other qualities of the amp
Good point !
> to the amp not having that type of feedback,
> and how much to other qualities of the amp
Good point !
Another approach would be to always use the most ideal and best made parts everywhere. Then you are more assured of getting the best results possible without always knowing what is contributing or not. It just cost more.
THx-RNMarsh
THx-RNMarsh
Hi,
i speak from personal experience here as i have worked with cap mf'ers and what they know and do and why they do it. The main reason is not at all for audiophiles.... but for reliability. Air trapped between layers is a long term cap killer as ithe air gap is the most likely place a Voltage breakdown will occure. The audio caps are not built to high standards (except in their marketing, perhaps). Annealing process for Hi-Rel cap parts use is basically as I said.... without going into detailed processes.
You need to see how flimsy some caps are by taking them apart. They are very loosly wound. The bipolars may be the worse and they are used a lot in speaker cross-overs. Dont know of any that are as good as films in thier construction methods regarding loose winding plate/dielectrics. It may make a difference (loose vs tight) - even in power amps where there may be vibration.... amp plates, and the like. Each case is different situation.
While I am here --- dont use any leads which are stranded..... they let air inside th cap (space between individual wires) which is not only a reliability issue but also aids in oxidation of the plates. As most of you know, oxidized metal is not a good conductor and lose of C over time results as the Cap's plate area is reduced via oxidation expanding through out the cap. These are real world problems I found in the field and analyzed to cause. of course, the thinner the plate (eg metalized) the faster the plate is oxidized and rendered ineffective in its purpose.
A quickie description it was but my points are very valid.
THx-RNMarsh
Wait ! No stranded ...... 😱
So using the higher voltage of the same cap and make is a more costly but better way to go then. 😱Another approach would be to always use the most ideal and best made parts everywhere. Then you are more assured of getting the best results possible without always knowing what is contributing or not. It just cost more.
THx-RNMarsh
- Status
- Not open for further replies.
- Home
- Member Areas
- The Lounge
- John Curl's Blowtorch preamplifier part II