Kevin Wood

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About Kevin Wood

  • Rank
    Junior Wammer

Wigwam Info

  • Turn Table
    SL1210 Mk 2
  • Tone Arm & Cartridge
    Benz ACE L
  • SUT / Phono Stage
    Partridge / VSPS
  • Digital Source 1
  • DAC
  • Pre-Amp
  • Power Amp/s
    Quad 405
  • My Speakers
    Eminent LFT-8b
  • Trade Status
    I am not in the Hi-Fi trade

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  1. Kevin Wood

    Class A amplification & Valve rectification musings

    Yep, it's power dissipation that reduces as output power increases. Draw from the supply should remain exactly the same.
  2. Kevin Wood

    Help with valve power mono blocks decision

    Apologies. Thought you were referring to Rabski's.
  3. Kevin Wood

    Help with valve power mono blocks decision

    If it has one tube per channel surely it can't leave class A* as it will be single ended. *- Except by clipping
  4. Kevin Wood

    220 vs 240 Volts

    If it's properly compliant with the UK regs it will work with no problem. UK and European regs have been harmonised so the allowable voltage ranges overlap completely now. Valve equipment can, in practice, be a little more fussy and needs some care, but anything solid state should be fine.
  5. Kevin Wood

    Linn new product launch

    So, nobody's going to spill the beans on this "exciting new product and upgrades" on any of the many other Hi-Fi forums on the internet, thus " spoiling the launch " then? Oh, wait!
  6. Kevin Wood

    Burn In - warning could get controversial!

    This is a very valid point, IMHO. If burn-in indeed makes a difference, why is it always an improvement? Isn't it equally likely that things go the other way? Why don't people sometimes say that they ceased to like a device after the burn-in time? This tends to suggest it's actually a psychological "getting used to" process, IMHO. For the sound to change during burn-in some characteristics of the components inside the equipment must be altering. Aside from some gettering action inside valves, and perhaps reforming of electrolytics when they've been on the shelf for a long time, I can't see why any change would always have a positive impact on sound quality.
  7. Kevin Wood

    Mains shield earthing?

    Sounds like an interesting project.
  8. Kevin Wood

    Listening to music with hearing aids

    It's also worth considering that hearing aids are normally aimed at allowing hard of hearing people to communicate rather than to listen to music. In addition to boosting and cutting parts of the frequency range they can shift sounds higher or (usually) lower in frequency to make them noticeable, for example. You may or may not want to listen to music through them, it really depends on individual circumstances. It might be better to eq your system to match your hearing. My father is quite badly hard of hearing (mostly HF loss) and to listen to a set of keys jangling through his hearing aids you would think you were hearing leaves rustling. Sadly, whereas he used to love Hi-Fi and attending classical concerts, things have deteriorated to the point where it's just a confused muddle these days and he rarely does either. A NHS hearing test only measures up to 8 KHz, so well short of the full range of healthy (well, at least, youthful) hearing. Anything above this range isn't useful for communicating, so not considered essential although, of course, it might be for enjoyment of music.
  9. Kevin Wood

    Super couldn't hear a difference

    Absolutely agreed, but the manufacturer will hopefully at least have tweaked the crossover until it doesn't sound awful and not given himself the impossible task of integrating two widely separated treble drive units with considerable overlap in the frequency domain. You can do much better with DSP, of course, and you can make steeper crossover slopes work, so the overlap becomes less of a problem. One of the projects on my "back burner" is to try a DSP active crossover with my Eminent LFT8s, so I'm on the same page as you.
  10. Kevin Wood

    Mains shield earthing?

    Agreed - any reason to isolate the screen at one end of a cable is down to its use as an interconnect, not as a mains lead, so connect screen at both ends. Don't rely on the screen for the earth connection, however, and make sure the cable you use is rated for mains voltages and protected by a fuse appropriate to its current rating. I'm not sure I've ever seen properly rated mains flex incorporating a screen for sale.
  11. Kevin Wood

    Super couldn't hear a difference

    The point is that, if you feel the need to adjust the tonal balance of material for whatever reason, and there are valid reasons, such as the production of the recording being poor, about the worst way you can do it is to add a second HF source close, but not close enough, to the tweeter that has been carefully integrated into the other drivers in your speaker. How many serious Hi-Fi speakers have more than one HF driver? I'm struggling to think of any, aside from a few with back-firing tweeters. The reason is that the wavelengths are so short in the higher audio frequencies that you can't integrate more than one driver without ruining the stereo imaging and creating comb-filtering effects which spoil the frequency response. Why should that be any different for an add-on tweeter in a separate enclosure? The best way is to use tone controls, as mentioned, but the flat-earthers will be out to get you if you do.
  12. Kevin Wood

    Super couldn't hear a difference

    Oh, for the days when we used to be allowed to have treble and bass knobs.
  13. Kevin Wood

    CD Players - Old vs New

    Yes, indeed, because the data absolutely has to be bit perfect if it's a CD ROM. With audio, Red book works on the basis that it's better to fill in any erroneous samples with interpolation than to refuse to play the CD.
  14. Kevin Wood

    Super couldn't hear a difference

    Yes, speaker manufacturers go to great lengths to ensure the HF output of their products disperses reasonably widely but without a load of diffraction or overlap to spoil the imaging. What's the point of adding another drive unit with overlapping frequency response a couple of wavelengths away? It just ruins everything.
  15. Kevin Wood

    CD Players - Old vs New

    I wouldn't say it manifests as anything as subtle as that. CD has robust encoding which means that most bit errors at the physical disk level are corrected by the replay hardware resulting in a bit perfect output to the DAC. If a few samples are bad, then interpolation is employed to restore them without causing a noticeable degradation in quality, since the interleaving normally means that erroneous samples are spread widely amongst correct samples. If enough bit errors are present that the error correcting algorithms start to fail, then the results are not subtle at all. It's all or nothing. A CD rom drive uses the same error correction mechanisms as real-time CD playback - it has to, because the algorithms are burnt into the CD itself. The advantage with ripping is that the ripping software can make multiple passes over parts of the disk which don't read reliably, and they can also use online services to determine if tracks have been read bit perfect and flag up any which contain errors. Once ripped, of course, you then play from a medium such as a hard drive, which does deliver bit perfect samples every time as it is a much more robust storage medium than real-time CD playback.