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About tuga

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  • Location
    Oxfordshire, UK
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Wigwam Info

  • Digital Source 1
  • Digital Source 2
  • DAC
    Teac UD-501
  • Integrated Amp
    Bspoke SS integrated
  • My Speakers
    Stirling LS3/6
  • Trade Status
    I am not in the Hi-Fi trade

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  1. SS amps distortion is also 40 to 80dB below in level to that of SET amps at their normal/correct operating power. AN Jinro Marantz SM-11S1 Why would anyone run a power amplifier to clipping? Certainly not an inteligent audiophile, but electric guitar players do. That, and the high levels of distortion produced, are the reasons why valve amps are so loved by guitar players. But I would want my recording to be played through a guitar amplifier. It would sound like dung.
  2. This is probably down to the large amount of distortion produced by the valve amplifier at higher SPLs. But could also be caused by an under-specified power supply in the SS amp?
  3. Has it burnt yet? Burnr-in, I mean. Heath, and safety, and all that...
  4. Simple circuit, accurate, low output impedance.
  5. Don't you need a very wide bandwidth (1MHz?) to accurately reproduce a transient at 20KHz?
  6. Current 800 series measure a lot worse than the F and Matrix series. In all parameters. (see Stereophile) Things are a little better in this latest iteration but their decision to use a first order crossover between the mud and the tweeter is absurd.
  7. This is the most relevant reason not to read reviews.
  8. The problem with that approach is that what sounds convincing, natural and believable to me may not do so for others. In my experience equipment which reproduces the signal more accurately sounds more convincing, natural and believable but that is not the experience of many others... Measurements help me to shortlist which components are worth listening and determine potential causes of shortcomings which I identify when performing listening assessments. P.S.: I'd say measurements are as important as listening.
  9. I'd say you would need all measurements, with the exception of the box size and weight. 😋
  10. This piece by JA is a long but interesting read: The 2011 Richard C. Heyser Memorial Lecture: "Where Did the Negative Frequencies Go?" Measuring Sound Quality, The Art of Reviewing This is a table I prepared for my 1997 AES paper on measuring loudspeakers. On the left are the typical measurements I perform in my reviews; on the right are the areas of subjective judgment. It is immediately obvious that there is no direct mapping between any specific measurement and what we perceive. Not one of the parameters in the first column appears to bear any direct correlation with one of the subjective attributes in the second column. If, for example, an engineer needs to measure a loudspeaker's perceived "transparency," there isn't any single two- or three-dimensional graph that can be plotted to show "objective" performance parameters that correlate with the subjective attribute. Everything a loudspeaker does affects the concept of transparency to some degree or other. You need to examine all the measurements simultaneously. Read more at https://www.stereophile.com/content/2011-richard-c-heyser-memorial-lecture-where-did-negative-frequencies-go-measuring-sound-qua
  11. Don't forget to buy one of these: And you'll need to perform a lot of sound and distance measurements to find "the spot". 😅
  12. Going back to the Zus, yes both drivers are in phase but have you looked at the listening window frequency response plot? Or the horizontal dispersion pattern? Or the waterfall? I'm sorry to say this but I believe your priorities are misplaced where it comes to speaker design and performance.
  13. The audibility of phase alignment is not consensual amongst designers. Here's what Linkwitz has to say on the matter: Sound reproduction is about creating an auditory illusion. When the recorded sound is of real instruments or voices there is a familiar, live reference in our auditory memory. The illusion of hearing a realistic reproduction is destroyed by distortion that is added anywhere in the signal chain from microphone to loudspeaker, but the speaker is by far the biggest culprit. Every designer focuses on the on-axis frequency response as if it were the all determining distortion parameter. Sometimes great attention is paid to the phase response in an attempt to preserve waveform fidelity, which at best can only be achieved for a single listening point in space. Ignored usually, though of much greater importance, is resonance in drivers and cabinets and the slow release of stored energy that goes with it. Furthermore, the uniformity and flatness of the off-axis frequency response which we hear via room reverberation and reflections is rarely a design goal. You can check the naturalness of the timbre by listening from another room. Does it sound like a loudspeaker is playing? The imbalance in the speaker's power response between low and high frequencies destroys the illusion (...) Now, a first-order crossover can be made phase-perfect at one point in space, but I feel quite strongly that you cannot just look at a speaker's performance at one single point in space. The off-axis response is also very important to a speaker's overall performance in a real room, because the radiation in these other directions will add, through reflected and reverberant interactions, to what you hear. Typically, we don't listen to speakers outdoors or in anechoic chambers. P.S.: the measurements I posted above are from a speaker which costs less than £1k https://www.stereophile.com/content/kef-ls50-anniversary-model-loudspeaker-measurements
  14. He has to say it, or he'd lose his source of income. That's why one should learn to interpret measurements instead of reading JA's conclusions, as he is always dismissing serious shortcomings, calls them character. Oxdung!
  15. Let's compare waterfalls: