Yes Correct, Another Audiogon member suggested I get some <<room treatment>> maybe some <<mineral wool insult>> I'll keep my eye open fora few sqaures of that material to place in the corners,,But actaully the gain is much higher than my normal listening of 20th C classical. The vid has higher gain only for showing off the perf of all components,, The Sony hasa crappy internal mic,,wish i had better.
All my upgardes purpose is to pick up the nuances in my classical music,,all which were missed by pre upgrade performance.
Quality parts = high fidelity. You will not attain high fidelity w/o high fidelity parts,,
Its that simple,
,sure i am aware some of these M caps are quite expensive,,,but well worth it.
I ONLY post a new vid IF there were gains made,,
All my upgardes purpose is to pick up the nuances in my classical music,,all which were missed by pre upgrade performance.
Quality parts = high fidelity. You will not attain high fidelity w/o high fidelity parts,,
Its that simple,
,sure i am aware some of these M caps are quite expensive,,,but well worth it.
I ONLY post a new vid IF there were gains made,,
In my opinion, and this is just my opinion, the room matters more than all the money you can throw at your system. It’s the single biggest factor. And I don’t mean you should go treating it with panels or whatever. Over treated rooms can sound dead and terrible too. It has to do with not only the walls but the amount of air in the room. Lots of factors involved.
My opinion...I think you would be happier in that room with a small two way or even better something like the KEF LS50 with a more point source presentation. I think the details you are hearing after upgrades are because you are removing bass because the speakers are not appropriate for that room.
My opinion...I think you would be happier in that room with a small two way or even better something like the KEF LS50 with a more point source presentation. I think the details you are hearing after upgrades are because you are removing bass because the speakers are not appropriate for that room.
I will be working on a SEAS Bifrioost 2 way,, but will swap the W18 Nextel fora W22 Nextel,,,will be all Munorf Supreme EVO SGO in the tweet and Supreme Aluminum in the midwoofer.
I isten at low vol, so the poor room acoustics you hear in the vid are not there when i listen at the gain i like, which is lower than in the vid = less echo and sounds gorgeous.
I listen at a gain where i can hear the slightest notes in my classical. But really the new Takman Rey's have opened the doors for the M caps and Sparkoslab opamps can work their magic much more cleanly
TAKMAN REY REsistors/MUNDORF SUPREME EVO CAPS/CAYIN CD17 Mark1 - YouTube
I isten at low vol, so the poor room acoustics you hear in the vid are not there when i listen at the gain i like, which is lower than in the vid = less echo and sounds gorgeous.
I listen at a gain where i can hear the slightest notes in my classical. But really the new Takman Rey's have opened the doors for the M caps and Sparkoslab opamps can work their magic much more cleanly
TAKMAN REY REsistors/MUNDORF SUPREME EVO CAPS/CAYIN CD17 Mark1 - YouTube
Hey there mozartfan, as someone who can hear differences in the ceramic vs mills resistor on my tweeter attenuation and/or cap type for the HP, I sympathize with you. I’ve not got into it quite as deep as you though, after watching your video in comparison to the overall sound (All you can do is compare within itself on a YT video) the piano seems exaggerated to me, I wonder if you’ve gotten into that Mundorf sparkle I often hear about? Now the cymbals did sound nice! ......but being subjective of a YT sound is a bit of a stretch.
When your voicing a system what is your reference? In other words do you have intimate exposure with real sound sources or are you just shooting for what sounds good to you?
Bob
When your voicing a system what is your reference? In other words do you have intimate exposure with real sound sources or are you just shooting for what sounds good to you?
Bob
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At the risk of dipping my fly in the ointment, a couple of points there.
The Bifrost is the Bifrost. You can't just chuck out the W18 and ram a W22 into it.
1/ The W22 requires a different box volume and tuning to the W18
2/ The W22 has a completely different frequency and different impedance response to the W18
3/ A loudspeaker crossover is designed for a specific combination of drive units: the Bifrost crossover will not work properly (or even competently) with the W22, which renders any speculation on the merits or otherwise of expensive components a trifle moot.
This is somewhat akin to your crossover speculations a couple of weeks ago on a different thread. You will recall you were intending to create an 18uF value as a compound of two different capacitors, and speculated that if you wired those capacitors (of fixed values) in series, they would 'sound better' than if you wired them in parallel. The problem there being that if you wired those capacitors in series, you would have had a final value of about 4.44uF rather than the target 18uF.
I would try a 2 way like KEF LS50 (no, I don't have these but I have heard them in a small room with close boundaries like you have and they sound fabulous) first. If you buy used, they will cost less than what you pay your tech per week or the amount of money you have spent on mundorfs.
The Seas drivers are nice and all that but the LS50 (and other similar speakers) is purpose built for a room like you have.
OK Richrad just installed ,,,ohh, another 10 Tkamn Rey's in the DPL,,with each pair/quad installed, the sonics resolution/sound stage went up and up and high and higher, more open each swap.
WE have ohh , another 10 + to swap out.
Now here's my Q to the board,
Can we say a res composite material alters the sonics as the current passes through.
So lets say you have 3 sets of marimbas, or musical bells, each with a different material,
Carbon
Metal oxide, and the mela comp in the Rey which is like nickle/chromium.
A marimba or wind chime made of each dif composite will have a different sound vs all others if we go through all the keys struck at the same force.
Can this be a close analogy?
p
WE have ohh , another 10 + to swap out.
Now here's my Q to the board,
Can we say a res composite material alters the sonics as the current passes through.
So lets say you have 3 sets of marimbas, or musical bells, each with a different material,
Carbon
Metal oxide, and the mela comp in the Rey which is like nickle/chromium.
A marimba or wind chime made of each dif composite will have a different sound vs all others if we go through all the keys struck at the same force.
Can this be a close analogy?
p
read Rickshaw's comment
**I find it ABSOLUETLY BIZZARE,, for anyone to spend $20 ona bulkm foil in any position >>>
Due to a YT review of bulk Foil Vishays as <<so much more open detailed,, simply the finest resistor in the world>>> so my tech guy < who is no longer around,, thankfully as he made off with $300 for swapping 12 res in my linestage pre,,, to Vishay's,,, all cost was <,$550>> = totally loss.
A res = a res = a res,, is not true, Each has its own distinct tonal properties
It was very bizzare of me to fall for the bulk foil snakeoil.
Carbon and Metal mirambas will not sound the same.
Resistor Sound Quality?
**I find it ABSOLUETLY BIZZARE,, for anyone to spend $20 ona bulkm foil in any position >>>
Due to a YT review of bulk Foil Vishays as <<so much more open detailed,, simply the finest resistor in the world>>> so my tech guy < who is no longer around,, thankfully as he made off with $300 for swapping 12 res in my linestage pre,,, to Vishay's,,, all cost was <,$550>> = totally loss.
A res = a res = a res,, is not true, Each has its own distinct tonal properties
It was very bizzare of me to fall for the bulk foil snakeoil.
Carbon and Metal mirambas will not sound the same.
Resistor Sound Quality?
b/c , i am trying to use a analogy here.
I know most DIYers do not believe that a res material comp has influnces on the sonics.
I had no idea about res makeup comp as a significant influence on sonics until my other tech guy swapped out the plate res in the Defy7 to some sort of carbon film which he raved about being the best res..
Immediaetly I noted the sound was altered to sound <<smooth>> perfect for jazz fans, but certainly not what I was after.
Pity I went and gave the go ahead to order the $300 in Vishays...when we already had the Takman REys on his shelf which were ordered before the Vishays..
This was for the linestage DPL
I should have figured, i like the sound of the Takman Rey's in the plate res on the Defy,, so lets go with that in the DPL linestage,,But i did not, i went on the $550 gamble and lost.
So to answer your Q, you know how a guitarist will carefully choose his guitar for a show,,, Each guitar has dif sonics that another.
When the current passes througha res, depending on the res material comp, will affect how the sonics are voiced.
But i am aware there are quitea few DIYers here, who think this is all snakeoil.
The zfoils made the DPL voicing like as if a steamroller flattened the sound like when we as kids placed a copper penny on the train tracks.
vs the Takamn Rey's which completely transformed the DPL with a new breath of fidelity.
A mirimba, wind chimes, tubular bells all will have dif sonics based on metals used in construction.
I know most DIYers do not believe that a res material comp has influnces on the sonics.
I had no idea about res makeup comp as a significant influence on sonics until my other tech guy swapped out the plate res in the Defy7 to some sort of carbon film which he raved about being the best res..
Immediaetly I noted the sound was altered to sound <<smooth>> perfect for jazz fans, but certainly not what I was after.
Pity I went and gave the go ahead to order the $300 in Vishays...when we already had the Takman REys on his shelf which were ordered before the Vishays..
This was for the linestage DPL
I should have figured, i like the sound of the Takman Rey's in the plate res on the Defy,, so lets go with that in the DPL linestage,,But i did not, i went on the $550 gamble and lost.
So to answer your Q, you know how a guitarist will carefully choose his guitar for a show,,, Each guitar has dif sonics that another.
When the current passes througha res, depending on the res material comp, will affect how the sonics are voiced.
But i am aware there are quitea few DIYers here, who think this is all snakeoil.
The zfoils made the DPL voicing like as if a steamroller flattened the sound like when we as kids placed a copper penny on the train tracks.
vs the Takamn Rey's which completely transformed the DPL with a new breath of fidelity.
A mirimba, wind chimes, tubular bells all will have dif sonics based on metals used in construction.
be significant circuit measurement differences
^^^
You see, I don't think you can measure the res material comp in a circuit.
But the nuances are vividly heard.
I'd say Jadis has some special circuit design, which is highly sensitive to changes in components.
I noted alot more solid tight bass when we swapped outn the Jadis original caps for Mundorf Supreme EVO SGO .47's, 12 caps, , 1 for each tube... When the tech swapped out the original Philips blue caps for Nichicon, the magic went <<poofff>> Glad we could get those Philips back in their home.
I think some of you should try placing ina pair of Rey's in any circuit, and see how it sounds vs the old res.
last point, all my upgrades are now working in unison, All together are likea domino affect,, The replacing of metal oxide res in the DPL made a really nice nuance, almost to the point of a modification.
Also I should note, it was genius of Richard Gray to suggest that I now have the option to swap out the 1st 12AX7 for a 12AU7,, Gone was the slight wooly/distorted forwardness in the mids. Much more quiet , natural, musical with the 12AU7. .
^^^
You see, I don't think you can measure the res material comp in a circuit.
But the nuances are vividly heard.
I'd say Jadis has some special circuit design, which is highly sensitive to changes in components.
I noted alot more solid tight bass when we swapped outn the Jadis original caps for Mundorf Supreme EVO SGO .47's, 12 caps, , 1 for each tube... When the tech swapped out the original Philips blue caps for Nichicon, the magic went <<poofff>> Glad we could get those Philips back in their home.
I think some of you should try placing ina pair of Rey's in any circuit, and see how it sounds vs the old res.
last point, all my upgrades are now working in unison, All together are likea domino affect,, The replacing of metal oxide res in the DPL made a really nice nuance, almost to the point of a modification.
Also I should note, it was genius of Richard Gray to suggest that I now have the option to swap out the 1st 12AX7 for a 12AU7,, Gone was the slight wooly/distorted forwardness in the mids. Much more quiet , natural, musical with the 12AU7. .
You may not think it, but you can. YOU maybe can't but that doesn't mean it can't be done.
WEll I guess Mr Carlson with his <<star trek space control>> size lab, perhaps he has some gadgets there which can eqaute into actual measurements what nuances i am hearing vs say the old Jadis stock metal oxide performance.
Richard Graw is pretty smart, he said, lets make 1 res value swap at a time, then move on to the next value,,He said he has a methodology in which he swaped 1st, 2nd,3rd and so on.
Each res roll, made changes in resolution/openess/dynamics, this latest was a huge nuance, however it was paired witha swap in the stock opamps in the Shanling dual LM's, to Sparkos-Labs descrete opamps duals..
I tried he discuss with Andrew how this 1 dual really madea huge gain in sound in the Shanling circuit,, vs the singles we swaped oyt,,he seemsed to say,, <<not really, the duals and singles are identical>> that a swap ina dual in a DAC circuit will not make any more upgrade in sonics vs a single replacement.
Possible the dual being the last opamp in the circuit is what made the more significant sound upgrade vs the 2 singles we changed out earlier..
He wrote<<<Can't say>> as if not at all interested.
But in spite of the dual swap from LM EI toa high tech Descrete opamp,, the last res swap really opened the circuit in the DPL,
I have some 1.1k's , 2.2k's and more 430k's we will chage out,,after these i think all res are now changed over to Rey's. At the time, pre 2000, Jadis used the best res they could find for their unique sound signature,,I can see why they used these metal oxide, for its neutrality/detailed soundstage,,,But they can not compete with Takman's high/superior technology of material composition.
Which i believe were in production maybe as of cerca 2012.
Electronic Circuitry Diagnosis And Fault Finding! [Repair] - YouTube
Richard Graw is pretty smart, he said, lets make 1 res value swap at a time, then move on to the next value,,He said he has a methodology in which he swaped 1st, 2nd,3rd and so on.
Each res roll, made changes in resolution/openess/dynamics, this latest was a huge nuance, however it was paired witha swap in the stock opamps in the Shanling dual LM's, to Sparkos-Labs descrete opamps duals..
I tried he discuss with Andrew how this 1 dual really madea huge gain in sound in the Shanling circuit,, vs the singles we swaped oyt,,he seemsed to say,, <<not really, the duals and singles are identical>> that a swap ina dual in a DAC circuit will not make any more upgrade in sonics vs a single replacement.
Possible the dual being the last opamp in the circuit is what made the more significant sound upgrade vs the 2 singles we changed out earlier..
He wrote<<<Can't say>> as if not at all interested.
But in spite of the dual swap from LM EI toa high tech Descrete opamp,, the last res swap really opened the circuit in the DPL,
I have some 1.1k's , 2.2k's and more 430k's we will chage out,,after these i think all res are now changed over to Rey's. At the time, pre 2000, Jadis used the best res they could find for their unique sound signature,,I can see why they used these metal oxide, for its neutrality/detailed soundstage,,,But they can not compete with Takman's high/superior technology of material composition.
Which i believe were in production maybe as of cerca 2012.
Electronic Circuitry Diagnosis And Fault Finding! [Repair] - YouTube
well acutally can not find production date for Takman Rey,, Seems they began development of this res back in 1997, then later relaesed their <,Maestro>> res,, and afterwards the Rey/Rex series.
btw I note that Cayin mentions they use Takman Rex.carbon in their units. Cayin is of very high quality standards and built with superior musicality. Further support to Takman's superior craftmanship.
btw I note that Cayin mentions they use Takman Rex.carbon in their units. Cayin is of very high quality standards and built with superior musicality. Further support to Takman's superior craftmanship.
Mozartfan, I will disagree with your statement that most DIYers to not think that the resistor material makes a difference. I think you are giving too much weight to a small group of members, who seem hell bent on convincing all of us that the material used in a resistor, capacitor etc does not makes a sonic difference.
I think there are a lot of members who do think that the materials used make a difference. They are just tired of being attacked if they express this opinion. Count me as a member of this group.
I think there are a lot of members who do think that the materials used make a difference. They are just tired of being attacked if they express this opinion. Count me as a member of this group.
Many audiophiles think that way. But each time the idea is put to a test, either:
a] no differences are heard.
b] the differences are easily measured.
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