@Pilover2000
That is also correct and includes another level. The memory (stored as an emotion) and a haptic, sensual element when handling a record player. You look at the rotating and playing record almost in love.
That is also correct and includes another level. The memory (stored as an emotion) and a haptic, sensual element when handling a record player. You look at the rotating and playing record almost in love.
This only goes to show how comprehensive a comparison is when it comes to the audio comparison of amp-concepts: the prerequisites for an assessable audio comparison must be taken into account. And most people don't even know where their speakers are positioned because they don't know, for example, that most multi-channel signals are on all the channels involved: Mono;-) So how do we want to assess amplifier concepts in terms of sound without profound and comprehensive knowledge;-?
I remind you of this homework - one - of the few - door into understanding electronics and audio(-:
Homework, because this will be your practical experience that nobody will take away from you
Agreed. As I wrote, today, the physical signal transfer-chain parameters are, relatively, easily made to exceed human hearing acuity.
Also, agree. The complex room-speaker-psychoacoustic interaction presents the greatest area for subjective realism improvement for in-home music reproduction. Of these, perhaps, the most problematic to effectively address may be the room. Certain speaker design can much mitigate the inevitable presence of the room via controlled directivity.
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A general side note:
For almost 40 years I have been comparing the circuits and published measurement results of various power amplifiers in the DIY sector, but also in the commercial professional sector.
To this day, I have not been able to identify any significant improvements, nothing that would really make a difference in daily operation.
But one point, which only contains the recipe - the guidelines of Douglas Self's Blameless concept, which are not really new either, impresses me in its simplicity and incorruptibility.
Can we find a catch on a ReVox B750, for example? Or claim that the Millennium Crescendo (2001) is even a bit better than the 1981 Crescendo? Published in Elektor magazine. No!
For almost 40 years I have been comparing the circuits and published measurement results of various power amplifiers in the DIY sector, but also in the commercial professional sector.
To this day, I have not been able to identify any significant improvements, nothing that would really make a difference in daily operation.
But one point, which only contains the recipe - the guidelines of Douglas Self's Blameless concept, which are not really new either, impresses me in its simplicity and incorruptibility.
Can we find a catch on a ReVox B750, for example? Or claim that the Millennium Crescendo (2001) is even a bit better than the 1981 Crescendo? Published in Elektor magazine. No!
The Revox B750 had some room for improvement, while the 1981 Crescendo would had greatly benefited from a revision,
as it is it s a recipe for oscillations because the designer misunderstood his own design and chased the lower possible THD.
As for the Revox B750 i had the chance to make a listening experience in an audio fair when i was 15, the technician kindly made
me a demo with several speakers in a comparison with a Tanberg 2040, of course the higher power of the Revox made a difference in sound quality perception.
as it is it s a recipe for oscillations because the designer misunderstood his own design and chased the lower possible THD.
As for the Revox B750 i had the chance to make a listening experience in an audio fair when i was 15, the technician kindly made
me a demo with several speakers in a comparison with a Tanberg 2040, of course the higher power of the Revox made a difference in sound quality perception.