Passive parts: Do they make a difference ?


For those of you that are "curious" or "unbelievers" about the effects that various grades of passive parts ( capacitors, resistors, diodes, etc... ) play in the sound and measurable performance of a circuit, take a look at this article by Bob Pease about dielectric absorption in capacitors on the National Semiconductor website.

Bob refers to "soakage" of the capacitor ( the cap is "soaking up energy" rather than passing it on ) instead of dielectric absorption, but it is the same thing using different terminology. While the article is technical by nature, one with a basic understanding can simply view the graphs and O'scope photo's and see that there truly are very measurable differences in performance amongst passive parts.

This article goes on to demonstrate how one can use lower grade passive parts and still obtain good performance, but additional corrective circuitry becomes a necessity if one takes that route. In audiophile lingo, this would be akin to building a sloppy circuit and then resorting to using tons of negative feedback to correct it. As such, the "most correct" approach would be to use higher grade parts to begin with. The end result of such an approach would be a shorter signal path with less potential for signal degradation to occur.

As a side note, Bob talks about the differences in how circuits lock or sample in an ADC ( Analogue to Digital Converter ). The same basic circuits / comments / observations would apply to a DAC ( Digital to Analogue Converter ) as they are basically the same circuits working in reverse.

Other than that, i'd love to see others contribute locations of other sites that have various points of view / comments on the "quality" of "passive parts". Obviously, this post and the info contained in the link are also open for debate, so fire away with comments as you see fit : ) Sean
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sean

Showing 1 response by zaikesman

I have zero experience building gear as a hobbyist, so although I never doubted in theory that passive parts could make audible differences, it was only when I got a phonostage with plug-in sockets for changing loading resistors that I was able to hear this for myself. After settling on the best loading value by substituting with decent but inexpensive resistors, I got some recommended premium resistors in that value. The sonic difference was far greater than I had imagined it would be. A resistor seems like the simplest of parts, and I wasn't sure exactly what I would hear when I sat down to do comparitive listening tests - I was mentally preparing to have to strain to hear any difference at all, maybe a touch more transparency, I guessed.

The expensive resistors did offer that (more clarity and resolution), but what surprised me most - and I was totally not prepared for - was that the premium jobs revealed the cheapies as being not tonally neutral. I don't know whether I would have even heard the colorations of the inexpensive resistors had I not done the comparision, but if I had, I sure wouldn't have thought to lay it at the feet of one measely resistor per channel. And the transient articulation, dynamics, and imaging palpability improved too. After getting a taste of the better stuff, the cheap resistors (and they weren't bottom of the barrel by any means) just sounded a distinct bit veiled and artificial in comparision - they simply didn't get out of the way like the premiums did. Now multiply this over the number of resistors in an entire circuit (OK, I know it's not quite that simple, but still...) and you begin to see how this sort of thing could matter quite a lot.