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fas42

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About fas42

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    Blue Mountains, Australia

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  1. If one wants to play around in this area oneself, a nifty DIY project is this one, https://www.audiocircle.com/index.php?topic=18441.0 ... Felicia . Tried this sort of thing a couple of times - the previous, Philips HT setup had a decent version of this - and was of benefit to the SQ ... downside is that one is playing with mains voltages, so full care is needed if attempting such.
  2. The great thing is that "poorly designed products" have a neat sticker on the front panel, clearly stating that an unskilled circuit designer was used ...
  3. I'm rather chuffed that you thought one concept bore merit ... . The story is that on my first ambitious rig, 35 years ago, it was quite obvious that the quality of connectors had a big bearing on what I was hearing, very early in the piece - every time I pulled them apart and meticulously cleaned them, with alcohol, the SQ went up. Now, having a few bits of stuff upstairs , I decided that it was important to make this part of everything work better - repeatedly cleaning was very annoying, and of short term benefit; next step was contact enhancers, the liquid ones - which were a mixed bag: longer term stability, but the end quality was worse! So, it was sorta obvious what I had to do - I did the hardwiring in a way that could be reversed, by removing connectors if necessary and feeding the cables straight through to the board traces ... voila, no more SQ issues from this aspect. From then on, I could readily pick up the signature of a bad connection - an edge, unpleasantness, irritating 'offness' to the overall sound - far too important to eliminate this, than to worry about "money matters"
  4. Dear me ... it's trivially easy for HF muck to pass through the power transformer, typically a toroid - the capacitive coupling between the windings is plenty high enough for RF to laugh at this as being 'isolation' ...
  5. Well, finally the penny's dropped ... the design of the the plotting library interface was not thought through well enough - if one only has a wheel which is clickable as the middle button, then one has to be paranoid that the wheel is not rotated the tiniest bit while doing the marquee select; if a rotation is detected, at all, then the select operation is terminated ... so, if one is being casual, or a bit tired, or just normally human - then you will end up swearing at the software ... .
  6. Paul's done his run with DeltaWave, using the approach that he tunes into - I intend to try and bury deeper using the same software and find something meaningful in the recorded waveforms that differentiates them; that could be related to the power cables ... but bear with me - this won't be a 10 minute exercise, done so that I can dump something I'm uncomfortable with over my shoulders, and forget about it ... . These sort of audible differences are, again, exactly what I worry about as I work towards optimum SQ - systems change in perceived quality as a whole variety of factors indulge in an interplay of causes and effects ... very ordinary factors many times: how long has the system been on; how loud has it been running; what types of music, meaning the composition of the frequency spectrum - all this 'stuff' adds up, and could be a significant part of why the different segments of that video sound different. If people have an agenda where they "have to believe" that something is not relevant, because it doesn't suit their world view, the they're not going to get far in terms of gaining greater understanding ... unfortunately, the SQ of audio is fragile, and typically becomes more so, the higher you aim - the higher the quality, the greater the need for complete integrity in every part; what works OK for a throwaway setup will be a nightmare, subjectively, for the "best systems".
  7. Being pretentiousness about having the 'right" brands, and paying the "right", elevated amounts of money for things are an important part of the game of life for many people ... last visit of the very good wine shop up the road, there was a casual tasting of Penfold's reds, the people who do the Grange - some of the labels lower on the rung, but still very pricey. Ummm ... far, far too young, should never have been opened - not a single one was was anything more than a bit of plonk to go with a barbeque, in terms of what it was like as a drinking experience ... since the brand had the name, they could get away with prices no other local producer would dare try.
  8. When the teenager rolls up beside one, in a vehicle with the body panels rippling with vibration, letting everyone know what his favourite doof doof music is ... (What? You mean that there are actually some tracks don't just sound like, doof, doof, doof, doof, doof, doof, ... that's remarkable)
  9. Just had a quick listen of a couple of tracks from Neil Young albums, on YouTube - Hitchhiker, and Mirror Ball ... I have not kept with the man, so these are completely unknown to me. Former shows he has not changed one iota from where he started, decades ago, with Harvest; the latter has the infamous heavy distortion guitar, but is well recorded - a good test album for whether a rig can reproduce the clarity of the other sounds while carrying the strongly distorted guitar.
  10. Couple of points: the replay quality of the laptop is never going to be a bit above reasonable; the imaging in fact pulls quite strongly to the left with many recordings, appearing to occur in the range from strongly left to centre of the speakers - which appears to a combination of the relative quality of the channels, and all the bits and pieces of stuff around and almost over the laptop - and finally, the only headphones I have are very, very, very ordinary, old ones; they are far too irritating, and awkward to use with current gear.
  11. Thanks for that rundown, Blackmorec, it gives me an excellent handle on where you're at. Not obsessive ... people could, would say I'm obsessive in worrying about system integrity - it's merely that one has "cornered" a key factor about what's important, and so a lot of effort is spent on dealing with that. There's an excellent, historical reason for why I think the way I do - when it happened for me, I got the whole shebang; there was no collapse or diminution of soundstage when I moved around, none whatsoever ... I lucked on getting a 'premium' version straight off - there appeared nowhere to go, in terms of "making it better!" The big drama for me was to stop the gear from losing that peak tune that made such happen - that's always been the battle. You see, and very unfortunately ... that simple hardwiring of the whole chain could be the one last major obstacle to getting the next level of SQ. Every rig along the way that I've played with has always had that happen as the first step - because it's always transformed the playback from something that I couldn't tolerate for any length of time, to a status where most recordings could be thoroughly enjoyed at some volume level - plenty of issues still, yes, but the sense of 'musicality' was in the room. That's the theory - but my experience is otherwise. The performance of the room is secondary, as far as the ear/brain is concerned - in the same way as if you had a live rock band - no PA - squeezed in to your living room; as compared to being set up on a sports oval, the sound of what you hear changes, but the integrity of the primary sound makers doesn't alter. In the case of a recording, the primary sound makers are the music plus the captured or manipulated acoustic; and that is what dominates - it nulls out the room contribution, subjectively. The soundwaves reaching out ears are split, by our mind - one lot is attached to the recording event; the rest is the reaction of the room to the former. In the same way someone can talk to you at the same time as you listen to live music, and you will never mistake that as being part of the music making - so also can our minds discard what it evaluates as not being part of the primary sound of the recording. The big problem normally is that the mind has to work too hard to separate these two sound streams, so it gives up - it's too much of a jumble; so then you have to apply acoustic treatments, solutions to aid the listening brain focusing on what you want as the primary stream. But, the good news is that if one achieves a high enough attenuation of distortion artifacts in the replay chain, then this is adequate for the mind to do full separation, without acoustic aids.
  12. Okay, looks like it's my laptop, regarding middle button marquee selecting on a graph being erratic ... went back about 8 versions of DW, and it's still poor at registering the mouse actions. Can't think of anything particular to blame - perhaps I had 'learnt' how to compensate for the lack of response, and was automatically zooming using the other methods, when I was constantly playing with DW ...
  13. Started listening to the video, and the difference between the bog standard and the Furutech were a classic example of the area that I work in, when sorting out SQ - the "rough edge" of the former is the typical distortion artifact that so many audio rigs exhibit, that needs to be got under control. This is a noise issue, and the construction of the cable plays a major part in determining the nature and levels of this factor.
  14. This could be very well true, down in Australia now - I haven't been to a 'premium' event in some time, and they may have learnt from each other, to elevate the standard. Even 30 years some of the best presentations showed that the equipment was up to it, if it was intelligently handled - but lack of the latter was far too evident, far too often. Typically, musical climaxes were torture, the huge levels of OTT distortion were diabolical - the rare ones that carried this off without drama demonstrated that it was indeed possible to get it right. The obsession in the 'pro' ranks used to be to make it loud, loud, loud - above everything else - certainly amateur affairs I come across now are still as bad ... just wander by a fashion parade, for example!
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