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In Reply to: RE: I am looking for a more "ripe" color sound posted by amistf@tiscalinet.it on May 30, 2009 at 03:00:30
I googled your amp to get some background info. Are you familiar with this article? Has this been an issue with your amp?Thanks!
Edits: 05/30/09Follow Ups:
Actually, we're all looking for our personal preferences in what we think instruments and voices sound like. But it's clear that with quality gear you think your sound is sort of thin.
I'm going to suggest two directions to explore and I hope I'm not offending you if this is pedestrian: acoustical treatments and cabling.
Your room is your biggest component, bar none. Room acoustical problems are normal in virtually every room that isn't custom built (and even in some custom built auditoriums!) So don't be surprised if your problem isn't what the rig is delivering, rather what the room is subtracting. Explore it here in tweaks, get a cheap SPL meter and a free software analyzer, and test what your room is delivering from your speakers to your listening position. Then look up solutions here in Tweaks. There are many and a lot can be tested by cheap DIYs before investing in commercial products too.
OK, as to cabling (and you did double post in Cables, which is sort of frowned on as a first shot by the way). Cables do indeed impart their own sonic signatures and what works in one position may not be best in all others. You don't need all gold or all XYZ brand or all fat/thin or whatever. Mix and match slowly and carefully listening for that elusive quality of sound you are seeking. Cables is indeed where you should start that exploration in the archives, but here is where you'll find the info on filtering cables for RFI/EMI, and that's another issue that can make sonics sound brittle, thin, high pitched, etc.
OK, as to cables themselves, it seems you have 3 main variables to deal with: terminations (extremely important), wire itself, and configurations. I suspect in most cases it's in that order of importance, but YMMV. For my money, the lowest metal mass terminations possible that give good contact the better for terminations. Wire itself is a matter of matching the AWG and the specific metals used to the job and you cannot give any one answer for that. Configuration seems to be important in noise rejection; in many twisted or braided configs work well, but not necessarily in all. You simply have to read, think, then experiment.
I find that delivery of more info between pre and amp works best in silver for me. Delivery between amp and speakers or between components and amp works best with copper alloys, particularly with BeCu low metal mass terminations, but this is for analog. For digital I'm still experimenting. For speaker cabling it's similar to the ICs for analog but different AWG.
Copper and its alloys give a "fuller" sound, which might be what you're seeking.
When you're done with all that, come back to Tweaks to work on AC and RFI filtering schemes, as this changes your sonics to give more body with less irrelevant HF noise.
Lots to work on, amigo!
Being a class A amplifier it tends to warm up, but you can position your hands on top of it or on the chassis without the minimum problem. It sounds like the one referred in the article was defective...
Ok, that's good. I looked up your amp to see what kinda global/local feedback it had on it. In the tube world when an amp seems to lack "color" or not quite catch the timbre of the instrument, the global feedback circuit may need tweaking. You wouldn't happen to know the parameters the manufacturer setup for NFB constraints?
Thanks!
No, not at all.
The Stereophile review was very good...
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