If you read my posts you will see that I regularly recommend "comparison" as the BEST method that us amateurs can achieve with our limited resources.
Check out the Hamon divider.
It is "comparison" to achieve better than 1ppm for a 1:9 resistance ratio and with care approaching 10ppb (0.01ppm)
Check out the Hamon divider.
It is "comparison" to achieve better than 1ppm for a 1:9 resistance ratio and with care approaching 10ppb (0.01ppm)
AndrewT,
I think we both have the same goals in mind: trying to contribute and be helpful to this beloved hobby of ours.
Same goals, just different approaches (based on our respective experiences).
Peace AndrewT
Regards
Scorpion
[B]220R Shinkoh Tantalum- 1Mega Riken Ohms- 220K Amtrans AMRG[/B]
220R Shinkoh Tantalum- 1Mega Riken Ohms-220K Amtrans AMRG
Ok, after about 150 hours, the sound of the Amtrans AMRG carbon film is pretty stable and I feel I can describe the results. The "break in" of resistors is -- so far-- much quicker than that of caps. The sound stabilizes in about 100-120 hours so far...while I had caps that took more than 500 hours. Therefore, pleasant surprise.
I listened for about 6 hours just in the day of yesterday. Always with the same cuts from the same CDs. Got to bed real late (too late) because of that.
Ok, the sound of Amtrans AMRG carbon film @ 3/4 watts in the 220K position.
In bold is what I have decided to add from first report after hours of critical listening. I did A-B-A swaps with the Allen-Bradleys again to have as "fresh a memory" as possible of sonic differences. Took only a few seconds per swap. Really user-friendly.
As I said, the Amtrans are more precise and give a little more details than the Allen-Bradleys. The image is also more precise and sure enough not as big. The silences around instruments are better without a doubt ( lower noise floor???) and so is the finesse, but, I think it is because the Amtrans is more transparent and less colored than the A-Bs and therefore let me hear more of the gears upstream. The strings of violins and/or guitars are not as rich as with the A-B but the pinching is clearer. Percussions have a little more impact and snap. The bass is not as round as with the A-Bs and seem to go a tad lower (the A-Bs have a bass bloom half a notch above)...still the bass is not what I would call very tight. Voices are presented a little more upfront in the soundstage giving them a little more palpability. Timbres are not as rich as with the A-Bs and maybe because of that, the Amtrans harmonics seem to be very slightly recessed compared to the formers. Timbres are still very good though....but once break in has taken its full effects, there is a lack of density, of richness in the upper mids and lower treble. Therefore, unless you put a CDs with big and full sound that "thinness" always remain I.e wich the vast majority of well recorded CDs... Overall, they are clearly not as euphonic as the Allen-Bradleys. They are not as colored.....but they are LIFELESS. You listen over and over again and something is missing. Like a lack of coherence. Very hard to get involved in the performance. A distance always remains with music.
Overall, I find them typically HI-FI sounding, in the bad sense of the word. Apart from the thinness of upper mids/lower treble, and the lack of life, I found myself listening to sound and NOT music. They are not bad per say as they do a lot of things very well, but I am a music lover first and the Amtrans don't allow me to hear it.
Let's move to the next one.
Regards
Scorpion
220R Shinkoh Tantalum- 1Mega Riken Ohms-220K Amtrans AMRG
Ok, after about 150 hours, the sound of the Amtrans AMRG carbon film is pretty stable and I feel I can describe the results. The "break in" of resistors is -- so far-- much quicker than that of caps. The sound stabilizes in about 100-120 hours so far...while I had caps that took more than 500 hours. Therefore, pleasant surprise.
I listened for about 6 hours just in the day of yesterday. Always with the same cuts from the same CDs. Got to bed real late (too late) because of that.
Ok, the sound of Amtrans AMRG carbon film @ 3/4 watts in the 220K position.
In bold is what I have decided to add from first report after hours of critical listening. I did A-B-A swaps with the Allen-Bradleys again to have as "fresh a memory" as possible of sonic differences. Took only a few seconds per swap. Really user-friendly.
As I said, the Amtrans are more precise and give a little more details than the Allen-Bradleys. The image is also more precise and sure enough not as big. The silences around instruments are better without a doubt ( lower noise floor???) and so is the finesse, but, I think it is because the Amtrans is more transparent and less colored than the A-Bs and therefore let me hear more of the gears upstream. The strings of violins and/or guitars are not as rich as with the A-B but the pinching is clearer. Percussions have a little more impact and snap. The bass is not as round as with the A-Bs and seem to go a tad lower (the A-Bs have a bass bloom half a notch above)...still the bass is not what I would call very tight. Voices are presented a little more upfront in the soundstage giving them a little more palpability. Timbres are not as rich as with the A-Bs and maybe because of that, the Amtrans harmonics seem to be very slightly recessed compared to the formers. Timbres are still very good though....but once break in has taken its full effects, there is a lack of density, of richness in the upper mids and lower treble. Therefore, unless you put a CDs with big and full sound that "thinness" always remain I.e wich the vast majority of well recorded CDs... Overall, they are clearly not as euphonic as the Allen-Bradleys. They are not as colored.....but they are LIFELESS. You listen over and over again and something is missing. Like a lack of coherence. Very hard to get involved in the performance. A distance always remains with music.
Overall, I find them typically HI-FI sounding, in the bad sense of the word. Apart from the thinness of upper mids/lower treble, and the lack of life, I found myself listening to sound and NOT music. They are not bad per say as they do a lot of things very well, but I am a music lover first and the Amtrans don't allow me to hear it.
Let's move to the next one.
Regards
Scorpion
220R Shinkoh Tantalum- 1Mega Riken Ohms-220K Riken Ohms
After removing the Amtrans AMRG, I put a NOS Riken Ohms @ 1/2 Watts, also a carbon film resistor like the Amtrans. Well, even from the get go, they are very different sounding resistors. The articles about Amtrans who supposedly bought the old Riken factory (or something to that effect) and has now "improve" the "recipe" and/or performance, I do consider "snake oil"....(Btw, I swap between the 3 of them, again a matter of seconds)
The Riken Ohms is much more musical and coherent than the Amtrans. As far as musicality goes, it is - so far- a close second to the Allen-Bradleys. The image is not as precise as the Amtrans but very close (and better than the A-Bs). Voices have a mid-hall presentation while the A-Bs present them further back and the Amtrans a little more towards the listener. Soundstage is about on par with the Amtrans but the latter are a little better in 3-D as you can hear a little bit more space (depthwise only because width space is equal) between instruments.
Bass with the Rikens has more impact while being fuller than with the Amtrans and sure not as round as with the A-Bs.
Transparency is right between the other Rs, but slightly closer to the Amtrans. Yet, there is more air with the latter. Yet, the Rikens have enough transparency to let "finess without thinness" in music, a feat that the Amtrans don't offer (omnipresent thinness in high mids and low treble, as said earlier).
The Rikens don't sound quite as rich as the Allen-Bradleys but richer than the Amtrans (the A-Bs are a bit fat sounding).
So, in resume, I find the Rikens to sit right between the A-Bs and Amtrans in most of their music presentation. Sometimes closer to one, sometimes to the other. Balanced and musical so far, yet not perfect.
It's a matter of proper match.
Let's give them a little more time. I'll report then with more details.
Regards
Scorpion
After removing the Amtrans AMRG, I put a NOS Riken Ohms @ 1/2 Watts, also a carbon film resistor like the Amtrans. Well, even from the get go, they are very different sounding resistors. The articles about Amtrans who supposedly bought the old Riken factory (or something to that effect) and has now "improve" the "recipe" and/or performance, I do consider "snake oil"....(Btw, I swap between the 3 of them, again a matter of seconds)
The Riken Ohms is much more musical and coherent than the Amtrans. As far as musicality goes, it is - so far- a close second to the Allen-Bradleys. The image is not as precise as the Amtrans but very close (and better than the A-Bs). Voices have a mid-hall presentation while the A-Bs present them further back and the Amtrans a little more towards the listener. Soundstage is about on par with the Amtrans but the latter are a little better in 3-D as you can hear a little bit more space (depthwise only because width space is equal) between instruments.
Bass with the Rikens has more impact while being fuller than with the Amtrans and sure not as round as with the A-Bs.
Transparency is right between the other Rs, but slightly closer to the Amtrans. Yet, there is more air with the latter. Yet, the Rikens have enough transparency to let "finess without thinness" in music, a feat that the Amtrans don't offer (omnipresent thinness in high mids and low treble, as said earlier).
The Rikens don't sound quite as rich as the Allen-Bradleys but richer than the Amtrans (the A-Bs are a bit fat sounding).
So, in resume, I find the Rikens to sit right between the A-Bs and Amtrans in most of their music presentation. Sometimes closer to one, sometimes to the other. Balanced and musical so far, yet not perfect.
It's a matter of proper match.
Let's give them a little more time. I'll report then with more details.
Regards
Scorpion
Attachments
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Interesting video of difference in sound between generic cement and Duelund Cast resistors on YouTube:
Comparison of Resistors, Generic Cement, DUELUND …:*Comparison of Resistors, Generic Cement, DUELUND Carbon/Silver, Autotransformer Attenuator - YouTube
Regards
Scorpion
Comparison of Resistors, Generic Cement, DUELUND …:*Comparison of Resistors, Generic Cement, DUELUND Carbon/Silver, Autotransformer Attenuator - YouTube
Regards
Scorpion
It is interesting to see how his test setup is done for sure and being there would have also been even better.
I must admin that I was reading some of the comments made by people and started to laugh a little. It reminded me of the old Sony TV commercial that was comparing their TV screen with the competition, showing their screen as the ultimate in colors but in the end you were watching the TV commercial through your own TV set... What I'm saying is that people are listening to this YouTube video which has compressed sound and we don't know what equipment was used to record it, and most probably watching on their computers or smart phones and then they're talking about "the sound seems to be fuller with this and that, better bass, etc...". I just thought it was funny that someone can comment on sound quality through a Youtube video.
That said, I like is ABC switcher for testing, it makes it easy and quick to compare, which is what I believe you wanted to show in the end?
Ciao!
Do
Hi Pinocchio,
Exactly, the ABC switching makes it easy to compare. Tiny differences can be heard. And music is compressed all the way for A, B or C.
What we don't know is wheter each resistor goes through exactly the same audio path or not.
Don't forget to PM me your coordonates. You'll see for yourself how easy it is to distinguish differences with quick swaps.
Regards
Scorpion
I too used to get quite irritated with people that refused to even consider that all the components can, and usually do, make a difference to the sound - and resistors are an obvious target for comparison as they do exactly what they're supposed to (ie to resist!) but with different characteristics, and this effects the sound to various degrees.
What I have noticed is that some people that use speakers/amps that are chosen/built for lower definition (more musical, more surround, etc, etc) don't exhibit the differences with changes in resistors to anywhere near the same degree.
Also people that are quite happy with quite dominant peaks/dips/bass-masking in their sound systems - surprisingly quite common and difficult to pick out any sort of details, let alone the differences in resistors.
I use quite a few of those 'audiophile quality' resistors (usually much more expensive too, unfortunately!) and for the initial evaluation of their sonic characteristics in particular positions in any circuit, I listened with headphones and found this to be a much easier, quicker way of determining component differences, and especially this rather contentious subject of 'burn-in' (every piece of machinery has a 'run-in' period, brief tho it may be, so why should an electronic component be any different?)
Also, some people just don't hear the differences at all, which still puzzles me a lot - even some people that play musical instruments - they just totally ignore such 'nonsense' and concentrate on the music instead - particularly in studios &/or mastering.
It's quite fascinating in it's own way ....
What I have noticed is that some people that use speakers/amps that are chosen/built for lower definition (more musical, more surround, etc, etc) don't exhibit the differences with changes in resistors to anywhere near the same degree.
Also people that are quite happy with quite dominant peaks/dips/bass-masking in their sound systems - surprisingly quite common and difficult to pick out any sort of details, let alone the differences in resistors.
I use quite a few of those 'audiophile quality' resistors (usually much more expensive too, unfortunately!) and for the initial evaluation of their sonic characteristics in particular positions in any circuit, I listened with headphones and found this to be a much easier, quicker way of determining component differences, and especially this rather contentious subject of 'burn-in' (every piece of machinery has a 'run-in' period, brief tho it may be, so why should an electronic component be any different?)
Also, some people just don't hear the differences at all, which still puzzles me a lot - even some people that play musical instruments - they just totally ignore such 'nonsense' and concentrate on the music instead - particularly in studios &/or mastering.
It's quite fascinating in it's own way ....
James,
Would you please share some of your experiences and results of your resistor tests?
All aboard, the more the merrier! It's always benificial to have other opinions.
And it's fun to read this stuff!
Ron
Would you please share some of your experiences and results of your resistor tests?
All aboard, the more the merrier! It's always benificial to have other opinions.
And it's fun to read this stuff!
Ron
Hi Jameshillj,
Thanks for sharing. I also went to places where we would change power cords or interconnects and where we could barely hear a thing !! Seriously ! No wonder why these people don't believe components can have their own sound in a highly transparent and revealing system.
Worse, in such cases "clean" sound is assumed as transparency, two very separate things. Obviously, component swaps can't be differentiated.
As Renron said, feel free to share your experiences. Mine were mostly done with caps (a lot), solders and AC plugs and outlets.
Now, it's the resistors' turn.
Regards
Marc-Andre
Yeah Mark, I too spent considerable time with capacitors and quite confusing things they are at times - the power cords and interconnects are fun and quite easy things to change -
Ron, I found a couple of reels of both the Manganin wire (similar in sound to the Rhopoints) and Isotan wire (similar sound to the Naked Vishays (TC2575s)) so can play around with these without huge costs - I like the extra detail and 'quietness' that these types of resistors produce (Rhopoints) in circuits like the series devices on the dc B1 buffer, for example - I didn't aim for super transparency and all that here - the naked Vishays were just a bit too bright - the PRPS are a good all round lower priced components and used these on the shunt regs themselves and quite happy with the total package in front of my LDR vol control.
I also haven't used many of the SMD resistors, apart from those round ones with metal ends from Rhodestein (Melfs?) that seem rather good, and haven't seen much discussion about the different brands and other things - this would be good to know.
I find the concentration on resistor types to be something added after the circuit has been optomised and functioning well - otherwise you can waste a lot of time/money on expensive dead stock items.
All the best ....
Ron, I found a couple of reels of both the Manganin wire (similar in sound to the Rhopoints) and Isotan wire (similar sound to the Naked Vishays (TC2575s)) so can play around with these without huge costs - I like the extra detail and 'quietness' that these types of resistors produce (Rhopoints) in circuits like the series devices on the dc B1 buffer, for example - I didn't aim for super transparency and all that here - the naked Vishays were just a bit too bright - the PRPS are a good all round lower priced components and used these on the shunt regs themselves and quite happy with the total package in front of my LDR vol control.
I also haven't used many of the SMD resistors, apart from those round ones with metal ends from Rhodestein (Melfs?) that seem rather good, and haven't seen much discussion about the different brands and other things - this would be good to know.
I find the concentration on resistor types to be something added after the circuit has been optomised and functioning well - otherwise you can waste a lot of time/money on expensive dead stock items.
All the best ....
Hi Jameshillj,
Thanks for sharing your experiences. Really interesting. I would like to give the Rhopoints a try but I just don't know how to get my hands on some (I think I have to order several from same values at once wich means a lot of $$$$).
Some of them have excellent measurements. If only I could get a pair of each value. ...
How would you describe their sound compare to Vishay Z-foil ?
Thanks again.
Regards
Scorpion
220R Shinkoh Tantalum- 1Mega Riken Ohms-220K Riken Ohms
Ok, so after more than 150 hours of "burn in" (constant music playing) and, since the sound has settled down, it's time to report on the Riken Ohms at the 220k position.
You will find in bold, what's been added.
The Riken Ohms is much more musical and coherent than the Amtrans. As far as musicality goes, it is - so far- as good as the Allen-Bradleys. The image is not as precise as the Amtrans but very very close (and better than the A-Bs). Voices have a mid-hall presentation while the A-Bs present them further back and the Amtrans a little more towards the listener. The voices on the Rikens have more body than with the Amtrans while not being as full as with A-Bs. Still, they are more delineated but at the same time, not too much. I find the voices to have the perfect balance.
Soundstage is about on par with the Amtrans but the latter are a little better in 3-D as you can hear a little bit more space (depthwise only because width space is equal) between instruments.
Bass with the Rikens has more impact while being fuller than with the Amtrans and sure not as round as with the A-Bs. If I might cut the "hairs in half", I might want a tad more deep slam but that's really being a little pushy here.
Transparency is right between the other Rs, but really closer to the Amtrans. Yet, there is slightly more air with the latter. Yet, the Rikens have enough transparency to let "finess without thinness" in music, a feat that the Amtrans don't offer (omnipresent thinness in high mids and low treble, as said earlier).
The Rikens don't sound quite as rich as the Allen-Bradleys but richer than the Amtrans (the A-Bs are a bit fat sounding). In fact, it would be even better to say that the Rikens sound just right as far as timbres go. Sweet yet detailed and natural. Very very good again here.
So, in resume, I find the Rikens to sit right between the A-Bs and Amtrans in most of their music presentation. Sometimes closer to one, sometimes to the other. So far they are far and away more balanced overall than the two other Rs. Very coherent and musical. Every spin is a treat.
Maybe the Rikens are not perfect but as far as synergy goes with the Shinkoh Tantalums and the other Rikens, something extremelly addictive is definitely happening. The soul of music is right there on every disc. Very cool.
Let's see if even more synergy can be found down the line with the numerous other combinations.
Regards
Scorpion
Ok, so after more than 150 hours of "burn in" (constant music playing) and, since the sound has settled down, it's time to report on the Riken Ohms at the 220k position.
You will find in bold, what's been added.
The Riken Ohms is much more musical and coherent than the Amtrans. As far as musicality goes, it is - so far- as good as the Allen-Bradleys. The image is not as precise as the Amtrans but very very close (and better than the A-Bs). Voices have a mid-hall presentation while the A-Bs present them further back and the Amtrans a little more towards the listener. The voices on the Rikens have more body than with the Amtrans while not being as full as with A-Bs. Still, they are more delineated but at the same time, not too much. I find the voices to have the perfect balance.
Soundstage is about on par with the Amtrans but the latter are a little better in 3-D as you can hear a little bit more space (depthwise only because width space is equal) between instruments.
Bass with the Rikens has more impact while being fuller than with the Amtrans and sure not as round as with the A-Bs. If I might cut the "hairs in half", I might want a tad more deep slam but that's really being a little pushy here.
Transparency is right between the other Rs, but really closer to the Amtrans. Yet, there is slightly more air with the latter. Yet, the Rikens have enough transparency to let "finess without thinness" in music, a feat that the Amtrans don't offer (omnipresent thinness in high mids and low treble, as said earlier).
The Rikens don't sound quite as rich as the Allen-Bradleys but richer than the Amtrans (the A-Bs are a bit fat sounding). In fact, it would be even better to say that the Rikens sound just right as far as timbres go. Sweet yet detailed and natural. Very very good again here.
So, in resume, I find the Rikens to sit right between the A-Bs and Amtrans in most of their music presentation. Sometimes closer to one, sometimes to the other. So far they are far and away more balanced overall than the two other Rs. Very coherent and musical. Every spin is a treat.
Maybe the Rikens are not perfect but as far as synergy goes with the Shinkoh Tantalums and the other Rikens, something extremelly addictive is definitely happening. The soul of music is right there on every disc. Very cool.
Let's see if even more synergy can be found down the line with the numerous other combinations.
Regards
Scorpion
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You can get the Rhopoints direcly from the company and pay the small-quantity surcharge fee or can also get them from either RS Components or Farnell/Element 14 - prices vary all over the place and well worth a phone call to confirm/offer option price
The difference between the Rhopoints and the Vishay Z-foils (TC 2575s) is not so easy to describe as these will vary a lot with where either of them are placed in any circuit (ie gain stage I/V resistors, gate stopper, etc) but broadly speaking, the rhopoints are a much more 'laid back' sound to the naked Zs - they call them the 'very analogue sounding resistor' and there's a bit in the description but the level in detail and transients are pretty much the same as the z-foils, just nowhere near as bright a sound - my impressions here, and mainly with class A amps and simple gain stages.
One thing that's worth a reminder is that these resistors take quite a bit of time to 'break-in' - something like 150 - 200 hours before they seem to settle into their final sound - it 'drives me nuts' sometimes to soak/play the new devices for a week before putting them to work
Again, some people don't accept there is such a thing as 'break-in time' and nothing you say will convince them otherwise - each to his own, I guess.
I quite like your descriptions of the different resistor sounds - it gives a reference and a rough idea what's different with them even if they're applied in different circuits, etc - a good starting point.
The difference between the Rhopoints and the Vishay Z-foils (TC 2575s) is not so easy to describe as these will vary a lot with where either of them are placed in any circuit (ie gain stage I/V resistors, gate stopper, etc) but broadly speaking, the rhopoints are a much more 'laid back' sound to the naked Zs - they call them the 'very analogue sounding resistor' and there's a bit in the description but the level in detail and transients are pretty much the same as the z-foils, just nowhere near as bright a sound - my impressions here, and mainly with class A amps and simple gain stages.
One thing that's worth a reminder is that these resistors take quite a bit of time to 'break-in' - something like 150 - 200 hours before they seem to settle into their final sound - it 'drives me nuts' sometimes to soak/play the new devices for a week before putting them to work
Again, some people don't accept there is such a thing as 'break-in time' and nothing you say will convince them otherwise - each to his own, I guess.
I quite like your descriptions of the different resistor sounds - it gives a reference and a rough idea what's different with them even if they're applied in different circuits, etc - a good starting point.
resistor break in could be settling to their final "dried" resistance value.
Many manufacturers of metal film and metal oxide recommend a low heat "bake" of around 80°C to 100°C
Carbon resistors are simply all over the place with time and temperature and humidity, that they are not worth evaluating.
Many manufacturers of metal film and metal oxide recommend a low heat "bake" of around 80°C to 100°C
Carbon resistors are simply all over the place with time and temperature and humidity, that they are not worth evaluating.
The Wifee would think I've lost what little mind I have left, if she saw resistors in the oven.
Might be worth it just for her reaction.
Do they emit fumes?
I know they do when I let the magic smoke out. 😀
Ron
Might be worth it just for her reaction.
Do they emit fumes?
I know they do when I let the magic smoke out. 😀
Ron
AndrewT,
Very true. Carbon comps -especially- are really all over the place. I knew -and tried- about baking carbon Rs @ low temp for hours. Didn't work much for me. A pair of 220K Allen-Bradleys with a 10% tolerance (real mesures at 242 and 245K) dropped no more than 5K after more than 8 hours in the oven...you should have seen my wife's face. Funny times !!! 🙂
Btw, I didn't know about MOX and/or metal film potentially needing "baking"....This would suggest a significant drift, no?
Back on carbons. Is their a limit about their drift? Would a 5% A-B drift as much as a 10% one? Or, is the % more about the initial match to desired value?
If carbons drift that much up to a known limit, then why not "trick them" by choosing a lower value, say a 200K for a 220K, knowing they will invariably drift with time...and maybe get real close to desired values ?
What do you think ?
Thanks
Regards
Scorpion
I would never use a resistor that I know will interfere with the performance of the amplifier.
That rules out ALL carbon types.
I'm left with the metal types, since I would never contemplate the tantalums simply on cost.
Now with the metal types where typically we see specifications for drift and soldering/humidity/other abuse tolerances getting up to around 1% amd we select for 0.5% matching between channels then obviously if we can reduce the changes to <0.5% we have a better chance of maintaining the designed performance for a long lifetime.
Maybe we need to check what effect our own variable soldering technique has on tolerance and adjust our values to suit the as installed condition.
To me that would be more valuable evidence than guessing at resistor types and using fancy language resulting from listening sessions.
That rules out ALL carbon types.
I'm left with the metal types, since I would never contemplate the tantalums simply on cost.
Now with the metal types where typically we see specifications for drift and soldering/humidity/other abuse tolerances getting up to around 1% amd we select for 0.5% matching between channels then obviously if we can reduce the changes to <0.5% we have a better chance of maintaining the designed performance for a long lifetime.
Maybe we need to check what effect our own variable soldering technique has on tolerance and adjust our values to suit the as installed condition.
To me that would be more valuable evidence than guessing at resistor types and using fancy language resulting from listening sessions.
Hi again Jameshillj,
Would you be kind enough to state which model series of Rhopoint resistors you tried. I would be interested in the ones you compared to the Z-Foils. Might very well give them a try.
BTW, so far the Rs are always swapped @ 220K position. So the description fits this and only position in the DCB1 AND the synergy with the Shinkohs and Rikens at their respective places.
I am certain that diffetent Rs might fit better according to circuit designs AND positions. But, at the end of the day, what's going to be interesting is whether - or not - some kind of a "house sound" would/could be recognizable from same brand at different positions.
One thing is for sure, differences are evident. True, some sound characteristics more than others (more subtles) but still they can be heard without any doubts.
Thanks again for your inputs.
Regards
Scorpion
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Hi AndrewT,
Thanks for your detailed answer. I do get your points about metal films vs tolerances vs intended designs.
But, I we were to "trick" the system by choosing a lower R value to compensate for the drift of CCs, would you then consider them or you would still rule them out for other reasons (like noise for example)? Carbons comp do have a specific sound. Lush and colored but highly musical and euphonic.
Now, as far as "fancy language" goes, IMHO I see nothing fancy about it. When I work with my health professional colleagues, we use specific medical terms in order to insure comprehensiveness.
I am certain you do the same with your fellow engineers. Makes everything more understandable. It clears potential confusion.
As we are - I assume - all audiophiles and, since the audio vocabulary is there, why not use it? Nothing fancy nor pretentious. Makes things clearer. That's all.
What's so fancy about words like soundstage, focus and image anyway?
I don't know, maybe it's just me.
Regards
Scorpion
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