Almarg
Thanks for the heads up.
Thanks for the heads up.
Synergistic Red Fuse ...
I installed a SR RED Quantum fuse in my ARC REF-3 preamp a few days ago, replacing an older high end fuse. Uhh ... for a hundred bucks, this little baby is well worth the cost. There was an immediate improvement upon installation, but now that its broken in (yes, no kidding), its quite remarkable. A tightening of the focus, a more solid image, and most important of all for my tastes, a deeper appreciation for the organic sound of the instruments. Damn! ... cellos sound great! Much improved attack on pianos. More humanistic on vocals. Bowed bass goes down forever. Next move? .... I'm doing the entire system with these fuses. One at a time though just to gauge the improvement in each piece of equipment. The REF-75se comes next. I'll report the results as the progression takes place. Stay tuned ...
Any comments from anyone else who has tried these fuses?
Any comments from anyone else who has tried these fuses?
4,839 responses Add your response
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In general, sarcasm, exaggeration, biting criticism, parody, etc., that a reasonable person can be expected to not take as literal truth, are not considered by the courts to be defamation. However, referring to a member as "deranged" is a violation of Audiogon’s terms of service. Note that if you point to the lower right corner of any post a "report this" link will appear. If you click on it you will see that one of the reportable categories that is listed is "abusive towards another member." Just FYI. Regards, -- Al (Licensed but non-practicing attorney-at-law) |
Aniwoffe 7.31. 16 " Is anyone testing these fuses before installation. Is it necessary ? Any advice would be appreciated " Wolf_garcia reply 7.31. 16: "Simply buy several and remain near your gear with a fire extinguisher for a day or two just to be safe" There is absolutely no Statistical or technical reason to justify this advice. Let's be clear. This is a patently malicious statement published in a public forum with intent to do maximum harm to the reputation of Synergistic research. This is actionable behavior in a court of law. It is DEFAMATION. Does anyone here know whether Audiogon has a policy designed to protect its members from this type of menace? Does Audiogon have resources to review his posts on this forums and make a decision on how to protect us from this deranged individual? Surely there must be minimum standards of decorum. |
aniwolfe The chance of getting a bad fuse is so unlikely that there is no need to be concerned about it. If the fuse is defective it it is likely open and unable to conduct. If this is the case no current will flow through it and you hear no sound at all. The chances of getting a shorted fuse that would endanger your component component s about as great as being hit by lightning. Of greater concern is the direction of the fuse. The fuse will work as intended only if it inserted in the correct direction. Unfortunately the correct direction is not specified by the manufacturer. To the best of my knowledge and belief, the manufacturer recommends inserting the fuse, turn the equipment on, and play. If the sound is obviously compromised, take out the fuse and insert it in the opposite direction. Here is what I usually do. I look at the writing on the fuse where the value of the fuse is shown. ( eg.800 ma). Install the fuse in the direction that allows me to read the fuse value. Turn on the instrument and listen to music you are very familiar with. The music should sound at least as good as it did with the standard fuse. If this is the case, leave the instrument on overnight and play the same music again. Your ears will let you know if the fuse is bad. If it is bad take it out the fuse, reverse its direction, and reinstall. Good luck. |
SR fuses have a rare and somewhat adorable attribute of not being rated with the accuracy of some, shall we say, "less precious" fuses, and might require you to use ones rated slightly higher than what your gear lists as appropriate…simply buy several (remember: 30 day return policy!), and remain near your gear with a fire extinguisher for day or two just to be safe. |
I have SS organ symphony on an RCA Papillon Cd that is surprisingly good and my current fav. Ormandy and Philadelphia Symphony Orchestra. I think it's a different version than the Biggs version but not sure. I buy most anything done by E Power Biggs when I come across it. Nothing like a good quality pipe organ recording to test ones system limits. |
7.30.16 I wrote: "The pre-amp was built the same way. Left preamp, left power supply, right preamp, right power supply." This statement is incorrect. The preamp consisted of 2 parts. The preamp and a single outboard power supply. I decided to make this correction before someone called 911 to report that there is a crazy man running around naked in the Audiogon fuse thread. |
And then there's the Hammond B3 as played by Barbara Dennerlein. :-) https://www.youtube.com/watch?v=60ut7yIuCEY |
Here's my favorite Saint Saens Organ Symphony. Unfortunately, I can't find it on CD. It may have been reissued on CD at some point, so its worth keeping an eye out for it: http://www.ebay.com/itm/SAINT-SAENS-organ-symphony-PHILADELPHA-ORCHESTRA-Biggs-COLUMBIA-STEREO-US-LP... Also, you guys might consider getting into some Wurlitzer theater organ music. Here's a bargain on three CD's by the great George Wright: http://www.ebay.com/itm/LOT-OF-3-George-Wright-At-The-Wurlitzer-Pipe-Organ-AUDIO-CD-407-422-478-/152... I have some pretty rare organ music on CD that I couldn't find on Ebay. Limited edition stuff I guess. One is a recording of the magnificent threater organ at the Nethercutt Museum in Sylmar. CA. I've heard it played in live concerts a few times. Once was for a trubute to the great early film comedian Stan Laurel. They showed early silent films of Stan Laurel while the organist played along with the films. Stan Laurel's great grand daughter was in the audience. At the time, she was in her middle 80's. I bought the CD at the concert. That particular organ is the second largest theater organ in the world. When the organist hit the bass notes, it was like WWIII. The other rare one I have is a recording of the big organ that resides at The Mission Inn in Riverside, CA. I think they sell the CD in their gift shop. Both the Nethercutt and the Mission Inn recordings will convince most that they should have some really good organ music in their collections. Its not just for the spectacular sound ... The music is great too. OP |
Al, Regarding "early"digital recordings I have no fear, as you note there are excellent sounding examples to erase any stereotypical assumptions. Once I found the appropriate digital source components I was able to move from vinyl without any looking back. In my early experiences Redbook CDs weren't the problem, inadequate playback components were the issue. Charles, |
Al if I’m unable to find this CD is there an alternative good organ recording you might suggest?Yup: https://www.amazon.com/Saint-Sa%C3%ABns-Symphony-No-3-Camille/dp/B000003CSK/ref=sr_1_1?s=music&ie=UTF8&qid=1469925056&sr=1-1&keywords=cd-80051 Saint-Saëns’ Symphony No. 3, known as the "Organ Symphony," is music that I would expect to have much broader appeal than the pieces on the M&K disc. And I would certainly consider your use of the word "majestic" to be applicable to it as well. I have this on the original 1980 Telarc LP. Don’t let the fact that it was digitally recorded and mastered in the early days of digital discourage you; the sonics of many of the digital recordings that were originally issued on LP by Telarc prior to and around the time CDs came into being are excellent. That said, assuming that the CD was created with no added dynamic compression relative to whatever minimal amount (if any) may be present on the LP, I disavow any responsibility for what may happen if and probably when some of the passages on this recording drive your amp well into clipping :-) Best regards, -- Al |
Hello Al, ,Thanks for the links. If I can find the CD of this recording I’ll buy it. This will be fun and interesting hearing it reproduced with my low watt SET system. Besides I need at least one majestic organ reference recording in my jazz dominate music library LOL. Al if I’m unable to find this CD is there an alternative good organ recording you might suggest? Charles, |
Hi Charles, Well, the works on the recording include Bach's famous "Toccata and Fugue in D Minor," excerpts of works by Vivaldi and Wagner, and a piece by a 20th century American composer named Alexander Russell. The performer, Lloyd Holzgraf, I understand was the long-time organist of the First Congregational Church of Los Angeles, where the recording was made, and he certainly gives a noteworthy performance IMO. However, organ music tends to be an acquired taste to many, and I would expect that there will be many to whom these pieces would not be appealing. And for that matter they are not pieces that I find myself wanting to listen to with any particular regularity, either. The following YouTube links appear to be uploads derived from CD transfers of the original direct-to-disc LP, each link corresponding to one side of the LP: https://www.youtube.com/watch?v=Jd0bETda5uM https://www.youtube.com/watch?v=c5nzfPi8w4E Best regards, -- Al |
Interesting stories, Wolfie. Redding is a beautiful town, of course. I'm not far from there, as I mentioned. Re the mention by the other gentlemen of "For Duke," I don't have that recording but I do have another M&K Realtime direct-to-disc recording of that era, "The Power and the Glory (Volume I)". It is a recording of classical music for organ, that was recorded in a large church that apparently has one of the world's largest organs. I'm hard pressed to think of superlatives that would do justice to its sonics. However I only played it via speakers once, as it is the only recording I have ever played that caused paint chips to fall from my ceiling :-) Best regards, -- Al |
Oregonpapa I will purchase the Von Gaylord IC you recommend. My initial reluctance to purchase an IC without an audition is because of my experience with the Audioquest Cheetah. It performs excellently only when connected between the CD player and the Pre-amp. It simply does not work between the pre and power amps. Earlier this year I made the decision to upgrade both interconnects and so I began the search by auditioning The Wywires Platinum IC and the High Fidelity CT-1. The Wywires defeated the CT-1 by a wide margin. The connection between Pre and power amps is secure. The designer of the Wywires cable ( I have forgotten his name ) was adamant that best results would be obtained if I connected his IC between source and preamp, so I know it will work well there. When I get the Von Gaylord IC I will first try it between Source and preamp. It is my belief that the best IC should go there. A quick word about the Wywires Platinum. It is truly awesome. Every now and then, I hear a component that is so perfect, in every possible way, that it is a joy to own. The Wywires platinum IC is such a product. Enough said. Just knowing you are using and enjoying the Von Gaylord IC is very reassuring. good luck |
charles dad 7.30.16 " What you say about the LINN is true and it was a standard bearer for generations, yet I still found the Well Tempered table better in my system." Charles, my post was intended to be about the direct to disc record. I mentioned the LINN because I thought you might be interested in knowing why I liked it so much. I already accept the fact the the Well Tempered table outperforms the LINN. Remember, I was enamored by the LINN in 1982. It is not surprising for it to be surpassed by many tables that came into existence in the 3 decades since then. Since I am not really seeking to build a state of the art system, I do not have strong motivation to travel long distances to hear equipment I have no intention of purchasing. Take care. |
I knew Lars and his wife for a while before knowing he was THAT Lars (we lived in Redding, CT), and also met Tom Gillette at a neighbor's party. Tom's cool...One thing Lars and I joked about regarding the Mpingo things was the fact that because I had a lot of guitars around, the ebony or rosewood components of those should theoretically have the same effect as Sun Mook's imaginary and expensive magic tweaks, and the discs cost about the same as a good guitar (!)…I keep my guitars in humidified cases generally so I never tested that theory, and it's clear I'm not prone to waste time on silly or useless nonsense like Mpingos... |
Hi Frank, Just out of pure curiosity what is the metallurgy of your Von Gaylord cables and are they shielded? I’ll acknowledge that many factors determine the final sound character of audio cables. We share very similar priorities I’ve come to discover from reading your posts over the past months. As you commented and I agree, for me it all begins with the demand for natural tone as the crucial necessity. Other important sonic factors follow once this mandatory criteria has been satisfied. I use the Ocellia Silver Reference cables (unshielded and with a paper dielectric)as they have fulfilled this role admirably. No question however that there are numerous excellent audio cables to choose amongst. I imagine that your Von Gaylord cables are wonderful. Charles, |
charles1dad It was in the very early 1980s that I heard the LINN. I was not involved in our lovely hobby during the years 1986 through 2000 due to work and going back to school.I did not return to the hobby until 2001 when I began assembling a modest multi channel receiver based system. I was not able to enjoy listening to music on this system so in 2003 I decided to build a modest, but musical, two channel system, which morphed into the system I now have. During this long period of inactivity I gave away all my LPs (about 300) and equipment (Quad Electrostatic loudspeakers, home built mono-block power amps, home built pre-amp etc). It was a fantastic system.Each mono-block consisted of 4 items : Left power amp, right power amp, left power supply and right power supply. The amp was rated at 50 watts per channel into 8 ohms, 100 watts per channel into 4 ohms, 200 watts per channel into 2 ohms AND 400 watts per channel into 1 ohm. It was in fact a 400 watt per channel amplifier that produced its maximum power into one ohm. It was developed to power the Quads which could not handle high voltage. The electrostatics panels would arc if exposed to more that about 45 volts. For best fidelity no protection of any kind was used. I used a thin wire to short its outputs and it simply burnt the wire. Each amp used eight 250 watt bipolar transistors per channel in the output stage. It outperformed every amplifier it was compared to, including the Krell. The pre-amp was built the same way. Left preamp, left power supply, right preamp, right power supply. It used FETs in the input stage and each power supply was what one would expect to find in a small power amp. I gave away all my equipment to friends. I could not bear to sell them. They were too precious to sell. |
Nyame ... I have the "For Duke" album. Its a sock knocker-offer. :-) On the Linn turntable: The first time I heard one was at an audio store in Van Nuys, CA. There was a tech there who modified Dyna MKIII mono amps and Dyna PAS pre amps. His name was Michael Frazier. He knew how to eke magic out of those Dyna products. Anyway, he had a setup consisting of his electronics, a pair of little Linn "Kan" speakers and the Linn turntable. Michael and I sat there after the store closed for a couple of hours just immersed in great jazz. I still remember one recording featuring John Coltrane that put Coltrane's tenor sax right there in the room. It was amazing. On the Von Gaylord cables ... What I look for mainly in an audio system is a natural sound to the instruments. If the instruments aren't tonally correct, what's the point? I've heard systems costing in excess of 100K that don't get this part right. While attending audio shows, I always seek out systems/products that get the tones right --- the rooms that play music. That's what drew me to the Linn demo rooms in years past. Well, this past June, at the Newport show, My friend Robert and I spent time, as we always do, in the Harbeth demo room listening to their great 40.2's. That was one of the best rooms at the show from a natural sounding standpoint. The Harbeth speakers are truly great in this regard. I could listen to them for hours on end. After the Harbeth room, my friend Robert and I wandered into the Von Gaylord room. It was just the two of us and the designer Ray Leung. Here, we had just left the Harbeth room listening to the 40.2's at $16,000 a pair, and walked into a room with small speakers costing $6,000 a pair making music at least as good if not better than the big Harbeth's. We couldn't tear ourselves away from Ray's room. It was that good. The speakers, electronics and cables are all Ray's designs. After the show, I tried one pair of Ray's IC's. They went between my turntable and phono stage. That's all it took. I was hooked. So, now there's another pair of Von Gaylord IC's (balanced) between the amp and preamp. A pair of Von Gaylord bi-wired speaker cables are in the system now too. All of these cables replaced some highly regarded cables in their own right. The improvements attained with Ray's cables are, in a word, stunning. Highly recommended. Here's a link to Ray's Von Gaylord site: http://vongaylordaudio.com/beta/ If you take the time to talk with Ray, you'll find him to be a perfect gentleman with a ton of patients. Check out the reviews. OP |
Nyame, The "For Duke" recording was often cited as a reference standard by many reviewers in the early 1990s but I have not heard it. What you say about the LINN is true and it was a standard bearer for generations, yet I still found the Well Tempered table better in my system. My familiarity with Von Gaylord is through their highly regarded line of amplifiers and preamplifiers. I wasn't aware of their cables until Frank mentioned them in this thread. Charles, |
Oregonpapa I am warming to the idea of owning the Von Gaylord interconnect you made reference to in an earlier post. The fact that you purchased a pair (or two) is the highest possible recommendation. When I make the purchase will probably depend on the cost of my wife's up coming dental expenses. I went on the internet and was surprised to learn Von Gaylord manufactures complete systems including amplifiers and loudspeakers. Why do they hide their lights under a bushel? I lived in London for 5 years in the late 1960s and was convinced I was aware of the most important audio manufacturers. But I had never heard of RADFORD. I had always believed QUAD (The acoustical manufacturing Company) was the cat's pajamas. And then I heard a RADFORD system. RADFORD was a relatively small company not prone to advertising but maintained very high design and manufacturing standards. Their products were the best I ever heard in England. It now appears Von Gaylord is similar to RADFORD in many ways. Thanks again for letting me know about them. |
Oregonpapa & Charles1dad We briefly discussed the LINN turntable a few days ago. I will never forget the first time I heard the LINN. A friend of mine invited me to his house to listen to his system which consisted of the LINN turntable and Magnapan loudspeakers. He played a direct to disc LP named "FOR DUKE " by BILL BERRY & THE ALL STARS. I have never been the same since that night. The sound Stage was not just wide and deep but there was realistic height like I had never heard before. There were musicians blowing horns so I knew they were standing, and the pianist was sitting, Ray Brown's bass was also emanating from a lower level like it should. It was all there. And the Dynamics were unbelievable. At that time I had a THORENS TD-160 turntable. It had to go. That was when I decided to get the LINN. Have either of you ever heard this "FOR DUKE" record? |
almarg 6,582 posts 07-29-2016 4:15pm Interesting, Wolfie, that you should mention the late Lars Fredell ("The World’s Greatest Audiophile"), as just the other day I happened to be reading his brilliantly written and informative review of a Tenor OTL amplifier. As fate would have it I was invited to be in the (huge) room at the Tuscany Hotel in Vegas for the CES that year. On the same hall with Kharma, Wilson, Pipedreams and Walker rooms, also monster systems. The monolithic Rockport Hyperion speakers, which took four strong and coordinated dudes to move them since they weighed 500 lb each, were biamped by 4 Tenor amps. I am pretty sure this was the first year Tenor was at CES. Cabling by Jena Labs and Shunyata. I had five (count em) isolation stands in the room, one spring based stand under each Tenor amp and one sub Hertz Unipivot air spring platform under the CD player (Audio Aero). Jonathan Valin, who wound up shipping the whole schlmear back to Cincinnati for a review in The Absolute Sound, opined it was the best system at the show and was the best system he had ever heard, anywhere. Geoff Kait machina dynamica |
Wolfman wrote, "My dearly departed friend and neighbor Lars Fridell let Sun Mook dudes put their ridiculous little ebony discs in his listening room…another expensive bit of audio tricksterism that yielded no benefit." if you cannot hear Shun Mook discs, even one, either you’re all thumbs or just plain deaf. Shun Mook Mpingo discs are without a doubt one of the top ten tweaks of all time. Have you given any consideration to having your ears candled? |
mapman ... Is there a way that you can move your equipment so that its all behind your speakers? You say your gear is facing the speakers. I don't think that's the best situation. If the gear is facing the speakers, and the speakers are firing into the equipment (even from across the room), think of how this could be causing the equipment chassis, the amp stand and coffee table to vibrate (think micro level). I know you said there is "no noticeable feedback," but like I said in my last post ... think of an old tube TV set with white noise on the screen that you didn't know existed until you replaced it with the new LCD TV set. Take a look at my system page. Notice that there is a large glass coffee table right in front of the sweet spot listening chair. That table is about ten feet from my speakers. A few weeks ago, my friend Robert (Mr. Record) tried talking me into removing the heavy glass top and moving it out of the room. We finally did it. The thing is so heavy it took both of us to move it ... and it will never come back. Without the large glass top, I'm getting better bass than ever. Very natural, very defined and very deep. Its small things like this that make the differences. Funny how you don't know there's a problem until you remove it. I love free tweaks. On your ARC preamp: try moving the two tube rings as far up the tubes as possible without the top ring falling off. Be sure that they are still solidly on the tubes, but as far up as possible. Be sure that both rings are solidly touching each other all the way around. You should hear more overall clarity after you've done this little tweak. Have you tried removing some of the Mu Metal? I've experimented with Mu Metal in the past, and I know it reduces noise, but it can also be over done and have the effect of dulling the sound. So, there's a couple of suggestions. May work and may not. If not, nothing lost ... not even return postage. :-) OP |
Interesting, Wolfie, that you should mention the late Lars Fredell ("The World's Greatest Audiophile"), as just the other day I happened to be reading his brilliantly written and informative review of a Tenor OTL amplifier. Very sad that he passed away at only 58. Unfortunately I never had the pleasure of meeting him, or of sharing a listening session with him or his close colleague "Sam Tellig" (formerly of Stereophile), even though I live in the same general neck of the woods as they did at the time. In those days my work was sufficiently intrusive on my time that just being able to listen at home was a special occasion. But eventually I got my priorities in order :-) Best regards, -- Al |
To answer inquiring minds, I use Littlefuses. The send me 13 cents every time I mention that. I have stacked 2 maple butcher blocks under my main Silverline Prelude speakers (just to raise 'em 5 inches) with vibrapods under the speakers where the spikes would have been…on a wood floor this effectively keeps the speaker box from vibing into the floor. A toe can verify this. It works swimmingly. Outboard regulated power supplies here and there to keep DC out of things, a PS Audio Humbuster III, Power Port AC plugs, heavy duty Sorbathane feet under the tube amp, large alloy cones of some type I've had for decades under the preamp (mostly for ventilation really). See? I can tweak…but the zillions of little surfaces all over my largish room made up of art works, books, piles of yet to be laundered cash, furniture, a piano, guitar cases, shrunken heads of my foes, etc., all reflect sound waves someplace, and if my doubting the effectiveness of a half dozen tiny alloy cups stuck here and there on all this seems luddite, so be it. My dearly departed friend and neighbor Lars Fridell let Sun Mook dudes put their ridiculous little ebony discs in his listening room…another expensive bit of audio tricksterism that yielded no benefit. Note also that if a manufacturer makes claims of million volt treatment or esoteric graphite somehow giving a FUSE (not in the signal chain, a tiny wire designed to melt, etc.) magic powers when applied to the electrons flowing through it, they should at least TRY to explain how they got to that conclusion. Just sayin'... |
OP, For comparison, my main gear is in my office on foundation level, concrete floor with thin dense carpet and padding. A most solid foundation to start with. Bel Canto ref1000m amps are on an antique wood stand with soft padded top. SB touch on top. ARC Pre-amp, mhdt DAC and Linn turntable sit on a solid maple antique coffee table less than 2’ tall. It is quite heavy and rock solid. All gear is along left side wall. Isolation is quite good by design, by far the best I have ever had at home. How do I know? Its a small room with speakers facing gear and there is no noticeable feedback or noise with turntable playing even at top volume, which is never easy to accomplish. A solid foundation like the foundation level of a structure offers is the ideal location to start and makes all else easier. Detail, imaging, soundstage, dynamics are all top notch I would say, in line with the best systems I hear out there after a lot of attention in recent years. My best speakers, teh large OHM F5s, are in an adjacent room connected via in-wall wires to gear in room next door so no interaction between those and the gear driving them. Also when I had our house built, I had the walls surrounding my office where the gear resides fully insulated and a solid wood door put in. I can listen in there quite loud at night and bother no one. So I think I am in pretty good shape isolation wise. I also have done things to minimize RF and EM interactions as well, mostly all very simple low cost tweaks like setting my phono step up transformer in a mu metal foil container and paying careful attention to positioning of wires relative to nearby power transformers. |
Mapman ... Its a mystery to me as to why the fuses were so significant of an improvement in my system while no improvement was detected in your's and a few others. The only thing I can come up with is that I've spent an inordinate amount of time, effort, and money over many years to reduce micro vibrations throughout the system and in the listening room. Everything I could think of in the area of vibration control has, or had been addressed. Even after all of these years and effort, I'm still finding areas of improvement as new products are developed. The latest being the SR High Frequency Transducers (HFT's). These things are NOT subtle at all. Amazing, really. I've paid attention to large and minor details as far as micro vibrations are concerned from the turntable all the way back to the back wall of the room. My equipment stand is made of three layers of plywood with constrained dampening material between each layer. The stand is spiked to the floor. The equipment rests on granite platforms. each layer is machined to close tolerances with more dampening material sandwiched between the layers. The ARC equipment is built with dampening material inside the chassis and the tubes are dampened with tube rings. Even the placement of the tube rings has been done to ear. We have Warren Gehl at ARC to thank for that. He's an engineer with a specialty in vibration control. I've learned tons about this stuff from Warren over the years. Over time, Warren has developed a turntable mat, a CD mat and even a tonearm wrap that works quite well. He's responsible for the design of the granite platforms that my electronics rest on and that are on top of my speakers. So, here's the bottom line. I think that because such attention has been applied to the fine details, any improvement (or detriment) can be heard immediately ... and they can be profound. You asked me to compare the speaker platforms to the fuses. The Mapleshade platforms were a major step from top to bottom. As the bass was cleaned up, it affected the mid-range and the highs significantly as well. Everything was more focused in a big way. I finally had a bass that was clearly defined. With the fuses (and keep in mind here, there is a huge difference between the SR Red fuses like you tried and the Black fuses), right off the bat, from the first RED fuse, it was like going from a standard tube TV set with white noise that you didn't know was there, and then converting over to a new LCD TV. The clarity, depth and width of the sound field were improved dramatically. The most striking improvement from the fuses, especially the Black fuses, was the improved organic nature of the sound of instruments. Much more realistic and emotionally involving. Its what compelled me to start this entire thread in the first place. So, I would encourage anyone reading this who is seriously into great sound and music to seek out ways to get everything in the system under control from a vibration standpoint. Consider the room itself to be part of the system and control that too. It can be something really inexpensive like tube dampening rings, cable elevators for your speaker cables, or expensive as well, like Shakti Hallographs in all four corners of the room. Everything makes a difference for better or for worse. Find the better and chuck the worse. :-) http://shakti-innovations.com/hallograph.htm So, what do you think, mapman? I have no way of knowing what you've done in the way of fine details as described above. I'd be really interested in your assessment. Thanks ... OP |
Mapman wrote, "Obviously you believe the problem has not been solved effectively. That’s fine." nope, one, never said it. What's obvious is there's been an evolution of fuses over the years. You know, since fancy expensive audiophile fuses first came out twenty years ago. Mapman also wrote, "But I notice you tend to fear problems are more severe than most." Maybe I'm more aware of problems than the average bear. I'll sign up to that. Not fear. Mapman also opined, "Maybe consider dumping your fuse less Sony Walkman and trying "a real system". With fuses even." No fuse. No power cord. No ground, no house AC. No interconnects. No speaker cables. No problem. Finally, Mapman said, I'm pretty sure in frustration, "Then you can actually you know do something to learn about what fuses sound like rather than just theorize." Huh? I'm the one who can hear, remember? |
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Geoff repeating your same arguments over and over does not make them any more or less true. Obviously you believe the problem has not been solved effectively. That’s fine. But I notice you tend to fear problems are more severe than most. The old making mountains out of molehills thing. Its not healthy. Take a chill pill grasshopper. Things really ain’t so bad. Maybe consider dumping your fuse less Sony Walkman and trying "a real system". With fuses even. Then you can actually you know do something to learn about what fuses sound like rather than just theorize. You talk ab out aftermarket fuses. There are "aftermarket" fuses of good quality that cost just a few bucks. Are these good enough for some the uber systems in these parts? Don’t know. But little risk for anyone to try and then maybe even compare to those in the elite fuse club later. Then one would know if one cares. But clearly the more one already has invested in a hifi the less likely they will split hairs over a couple hundred bucks. My new product, the Mapman "funky fuse" is still under development. The casing will be formed from a solid block of proprietary graphene infused alloy I’m building in the mapcave with very low overhead to maximize the profits I am smelling. It will be the best fuse ever and few will be able to afford it! Believe me! :^) |
Mapman wrote, "So while I do not think all fuses are created equal, I also believe that the problem fuses address has been solved effectively by many commercial fuse products over the years and for very low cost." Nice try, but the commercial fuse companies have not even caught up to wire directionality thing. Nor will they. There is not a single problem fuses address, either. Haven't you been paying attention, grasshopper? What else, you ask? Aftermarket fuses, for the most part, while they all appear to have their own innovations and or implementations, and rightfully so, since no one has a monopoly on fuse technology, employ better alloys or purer pure metals for the wire itself and for the end caps. They employ an anti resonant body or some other anti resonant function (e.g., beeswax). They employ EMI/RFI absorption techniques, e.g. Graphene and whatever Audio Magic uses in their nano fuses like Beeswax, etc. AND the manufacturers understand wire directionality and usually provide ARROWS to assit the end user in determining correct fuse orientation. What’s not to like, grasshopper? cheerios |
