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gmgraves

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About gmgraves

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  1. I often use MS to record. To me the results are very much like A/B or X/Y miking. MS has the advantage of having the L/R spread controllable from the mixer without having to physically move the microphones. I usually do MS using the stereo mike shown in my avatar picture (left of post).
  2. The important question to ask here is whether all that silver, milled aluminum, and 7N copper or high end plugs and sockets results in better sound and/or reliability? Personally, I’ve never had a tinned RCA socket fail. When cleaned with a good contact cleaner and coated with Stabilant 22A, as long as one isn’t the type who plugs and unplugs cables on their components habitually, there shouldn’t be any difference between a less expensive, yet competently made RCA socket than an expensive one like a WBT. And the gold on these connectors is merely jewelry from a practicality standpoint. I suspect the fast growth of these poor, third world countries has more to do with how far they have to climb than it has to do with any trickle-down Reaganomics!
  3. That’s my point. I buy performance, not bling. Maybe the answer is for more companies to make two versions of the same component. One version with enclosures like those dCS makes, and another version which is, circuit-wise, exactly the same, but has Van Alstine or Schiit types of casework with Van Alstine or Schiit style pricing. You want dCS bling along with your dCS sound? Fine. You pay for it. I just want the performance and the sound and don’t give a whit about the looks. Why should I have to pay for “bling” that I don’t care about, and which makes up as much as 70 - 80% of the unit’s retail price when all I care about is what the component can do?
  4. No car that has a chassis that flexes as much as the Allard’s is easy to drive. Fun car though!
  5. I've long suspected that the prices of "high-end" audio equipment is in large measure set by the "whatever the traffic will bear" philosophy of pricing. Unlike Ferraris, Lamborghinis, Audi R8s and the like, there is little correlation between the cost of audio components and their performance in many cases. I don't know if this still holds true, but using the formula that the retail cost of an item should be six times the build cost, I have to wonder how much of the cost of high end components is tied up in the "bling" of the fancy CNC aluminum casework in components like the dCS Vivaldi DAC. I recently saw damn good evidence that this is largely the case. Lumin sells a "Network Transport" (a music streamer sans DAC) called the U1. This puppy comes in two separate and very fancy cabinets. one for the unit itself and another for the separate power supply. It's about $6000. They also sell a U1"mini". The only difference I can see between the two is that the "Mini" doesn't have the power supply in a separate cabinet (it is the same circuit board however!) and the case that the power supply and main circuit board share is much simpler and less fancy than the full size U1. The list price of the U1 "mini"? $2000! That means that at the retail pricing level, the two separate enclosures account for FOUR thousand of the U1's $6000 price tag! That's pretty good (if a more than a little blatant) evidence of my suspicions RE High-End audio.
  6. Yes, aerospace-quality connections are gas-tight. All use gold pins - on both mating surfaces. Some have as many as 200 pins (maybe many more by now. My experience is from many years ago). They all twist to lock/unlock and the larger ones require so much force to do either that they require special pliers to provide enough torque to fix or unfix the connection. One would be wrong to assume that wire isn’t important in these applications, though. It is very important. Most aerospace applications use Teflon-coated wire. It’s really expensive, and is drawn from very high purity OFC copper. The Teflon coating is very tough, difficult to strip and impervious to most environmental hazards such as the vibration and heat of a rocket blasting off, the cold and vacuum of space, even the effects of fire. At Lockheed, in the cable lab, we’d get the cables back from testing Polaris missiles that blew up on launch or crashed and burned, to find that a wiring harness is the only thing that survived intact! But all those things that neurotic audiophiles nervously wring their hands over with regard to interconnects and power and speaker cables, such as the orientation of wire in a cable, or using different size strands in a cable or copying the cross-section of a nautilus shell or building the cables to the FCS number, the Fibonacci Sequence, or any other cultist beliefs, simply have no place in the real world of connections outside of audio.
  7. I don’t dismiss the lot. For instance, speaker cables can really make a difference, but there is a real reason for that. Amplifiers and speakers interact far more than say the output of a DAC and the input of an amp or preamp, which just need to be connected together by a reasonable length of coax. Although RG-59 has the closest impedance match, in the half-meter to 2 meter lengths commonly used in a domestic audio set-up, it’s not all that critical. But speaker cable (depending on the run length) can be critical to proper speaker performance. Some speakers are very cable sensitive and others (like Magnepans) don’t give a damn. 14 Ga zip cord is as good as a $10,000 run of MIT as far as they are concerned, but mY Martin Logan’s are somewhat cable sensitive. This is because the wire run becomes part of the impedance profile of the speaker an Hereford is part of the load the amp sees. on the other hand, interconnect sound and especially mains cable sound is just nonsense with absolutely no since behind it.
  8. Unless, of course, that “difference” is being imagined by the listener as in confirmation or expectational bias. in which case it cannot be measured for the simple reason that said differences do not really exist.
  9. I wouldn’t call something that is not quantifiable or even measurable and is in the middle of a circuit that has weak links on either end of it, (the mains wiring in the wall, and the tiny wires going from the IEC connector inside the audio component, not to mention the tiny fuse conductor in the line between the mains input and the primary of the transformer) meaningless. Only neurotic audiophiles would ignore the reality of the facts, and continue to insist that their imaginations are telling them the truth.
  10. sorry, it was a typo, not an attempt at an insult (which I would never do purposely).
  11. Well, denial isn’t just a river in Africa, as they say. Unless the power amp in question is pulling close to the rated mains maximum, the size of the amp is irrelevant. No noise on the line (and no RFI) means no noise or RFI on the line. So there is nothing for the boutique mains cable to do, assuming that at its short length, it can do anything (which is a huge assumption). So your retort about the headphone amp being “a low current device” has no meaning in this context.
  12. Interesting, but irrelevant. We are talking about boutique mains cables. I know nothing about anomalies in digital audio and can't comment on them, and I couldn't care less about video. So, I have no beef with you on those accounts.
  13. I like the way you and Alan F ignored the bulk of my post outlining the experiment which showed that there is absolutely no difference between the mains transmitted through a garden-variety IEC cable and an expensive Furutech DPS-4.1 cable. I wasn't discussing interconnects or USB cables, just these nonsense boutique mains cables.
  14. It is not a logical fallacy. My point is that if such an anomaly in conductors were found in mission critical applications, that anomaly would have been studied. That it hasn't (as far as I know), says that this anomaly has not been noticed and that there have been no incidents (that I know of, and I've searched extensively) that would bring such a an anomaly to light in the mainstream technological world.
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