Synergistic Red Fuse ...
theaudiotweak ... Acoustic paints already exist. Check this out ... Its called AVA or Anti Vibration Magic. https://www.audiyo.com/accessories-tweaks/vibration-control-avm/anti-vibration-magic.html I know someone who swears by this stuff. He’s painted the entire interior of his electronics, tubes, caps ... the whole nine yards ... and even the speaker "baskets." Frank |
My Mother (age 93) is looking forward to auditing the Blue fuse in her new Nelson Pass amplifier ! Priceless! 👍 oregonpapa: Allan ... And this is what concerns me, again. An accurate system should not just disappear, but transport you to the recorded/created location. If it sounds like it's in your room, you have colored your system. There is of course nothing wrong with this, as everyone should make their system sound as they enjoy. |
Frank I just checked my purchase file..bought my first slug of AVM in March 2008. Painted the inside of SC4s back in '94 with Cascade Vbloc..gallon in each speaker..that made a hugh difference to seal away all that glue and mdf. Use the new version of Cascade as it turns from purple to black when dry. So it can be carefully applied to some baffles and bezels or inside any box. Tom |
@rauliruegas & @nonoise, thank you for your gracious and reasonable responses to my previous post. To some of the other recent posters: Regarding "I am there" vs. "they are here," the following thread from 2010 may be of interest, in which there was an extensive and particularly intelligent discussion of exactly that question: https://forum.audiogon.com/discussions/quot-they-are-here-quot-vs-quot-you-are-there-quot @theaudiotweak, Tom, am I correct in inferring from some of your recent posts that you consider the patent question about the Blue fuse to have been answered? If so, can you explain further? The Blue’s description at the SR website states in part as follows: The new SR BLUE Quantum Fuse was developed over a two year period and represents our most advanced UEF Technology to date. At its heart is a completely new UEF / Graphene coating that delivers a dramatic increase in resolution and holographic realism over SR Black.... Yet none of the four patents we have determined to have been granted to Mr. Denney make any mention of fuses, UEF (Uniform Energy Field) technology, or Inductive Quantum Coupling. Regards, -- Al |
Al, You or I found Mr. Denney’s latest patent on line and posted its reference number on this thread. I don’t see any connection between any of his patents and black and blue fuses. The latest patent has to do with an acoustic paint and is written in a typical broad and vague manner as if it was drawn for protection prior to a final operating product...TBD..like. Using my phone right now but I think I remember something about activation by an electronic device. Could be part of the continuum of the UEF. Just thinking like I usually do on the crazy edges. There are some old and some new methods on room or resonance control within a room or on a surface. Some of these work and are now expired patents. Most were described incorrectly from the outset and one that has worked for nearly 30 years is thought to control standing waves..when in fact it eliminates a portion of a specific wave type.. So it could be that acoustic paint formula could be activated by a transmission wave of sorts and produce a higher contrast audio event. Maybe ..kinda like movie screens have a different surface treatment to amplify light or boost contrast..or increase the viewing angle. Some screens do all three at the same time. There are a couple new things coming one mechanical and one electronic both of which are well detailed as to why they work but need to be experienced in the first person to fully comprehend and understand..Both greatly enhance music and make for greater reality as was discussed in the link Al posted.. No paint. Tom |
Oregonfrank The acoustic paint is being applied to panels and then the panels placed on walls. Ted Denney’s Facebook page has all of the info on it. In addition to audio applications Denney wants to use it for industrial applications to dampen noise. >>>>>Whoa! Hey, that exactly what C37 lacquer was used for, in addition to the other things I mentioned. Spruce panels or whatever could be painted with C37 and mounted on the wall. |
theaudiotweak A non secret, 25 years ago a friend took me to Boston to meet a eccentric fellow by the name of Clark Johnson it made a impression that has stayed with me ever since. He sold us a big bucket of this really thick paint, called Acoust-X, I have zero affiliation with the company. It is very very cheap in comparison to its performance, I think its around $40 a gallon. It is water based, does not contain lamb fuzz or recycled sponges. It does however contain ceramic micro spheres, cant see them so I am sure some will call it voodoo, Tell you what inside speaker cabinets, and speaker driver frames or baskets it will take your breath away. Anyone who owns a vibraplane look underneath and see what it is coated with. I know Totem was using it 25 years ago. Bought new subs couple years back 1st order was take them apart. The stuff is so good I have already discussed with the wife, painting the whole sound room with it, and then reapplying the brilliant color we have now. Giant project, but well worth the effort I am sure. |
Mr. Perfectpathtech That may have been like the original Cascade product that went on gray and stayed that color. The new Cascade goes on purple and drys black. I feel the original and new perform slightly different..I too have painted all my subs and bookshelf speakers as well a my former SC4’s. Makes a huge difference. If you do a pair of speakers on their insides you need to keep track of how much is used in each one. You do this to maintain a balance. While this product is drawn into the wooden material it also disrupts certain wave types that travel on these surfaces when fully cured like concrete containing super fine aggregate. I found this product link for some that may wish to mix their own..ceramic spheres like Geoff some times speaks of and may well be used in the products you and I have both used in the past. There are many more. Tom .http://www.hytechsales.com/insulating_paint_additives.html |
AVM love that stuff as well 2005 was my intro to it, knee jerk reaction was, I am not painting that on my electronics period, was coaxed into tying it on fuses first, was so taken back with its performance, dove right in. Not cheap $2000 a liter, but nothing compares. Anything since is chasing his ground breaking work. 90% of what he produces is already sold to medical equipment manufactures. That should quiet the naysayers. I do personally know the owner became good friends over the years. |
Ceramics is an excellent natural resonator, I.e., energy dissipator; I use ceramics in at least two products. I use glass microbeads in another product ((iso stand) but the application is quite different from ceramics inasmuch as the glass microbeads are loose like sand, only more uh, slippery than sand. I’m also a big fan of the DH Diamond hardness ceramic cones. I won’t even mention The Ceramique speakers by Kharma. And we’ve all seen the advisability of ceramic body fuses on these very threads. |
almarg: To some of the other recent posters: Regarding "I am there" vs. "they are here," the following thread from 2010 may be of interest, in which there was an extensive and particularly intelligent discussion of exactly that question:That was an interesting read. Some good points, some wrong, some missing. Thanks for posting the link! oregonpapa: Jay ... As far as accuracy goes, the bad would be that you are hearing the sound of your room - or some jumbled mess - in addition to the recording venue. The worst would be if you're only hearing your room, outside of audio with the greatest amount of reverb. If you are being transported to the recording venue, you should not hear your room, as any room reverb should be enforcing the reverb of the recording. |
The perfect room would sound like the the open air spaces of a desert or the Bonneville salt flats when no one’s racing. With no boundary effects other than salt or sand below the resulting p- wave would have little or no interference. That is the key the removal of horizontal and vertical wave interference which will return to the source thru all the attached boundaries faster than the speed of sound thru air. That is the sound of a room with boundaries. Tom |
theaudiotweak The perfect room would sound like the the open air spaces of a desert or the Bonneville salt flats when no one’s racing. With no boundary effects other than salt or sand below the resulting p- wave would have little or no interference. That is the key the removal of horizontal and vertical wave interference which will return to the source thru all the attached boundaries faster than the speed of sound thru air. That is the sound of a room with boundaries. Tom I was wondering why I kept hearing sonic booms in my room. I shall be moving to the desert ASAP. 🦂 |
oregonpapa: We're only hearing what came through the microphones. This is NEVER the case. You are hearing every coloration after the microphone, including your gear, speakers, and room. The goal of an accurate reproduction means minimizing every coloration coming from your power, source player, and onwards. The source material has already gone through a boatload of colorations, after the microphone. |
Meanwhile, with these new SR Blacks, it got to where I had so many people playing in my living room, I had to go out the back door and come in through the front. I was hoping to switch the feeling of, "They are here" with "It's like you are there", but I was doubly confused when, upon entering, they stopped and greeted me with, "This isn't who it would be if it wasn't who it is". Man, these Blacks in my AC mains are blowing me away--to what do I owe this aural transfiguration? I did have SR Black 8A fuses in my ARC 210s, which call for a stock 7A. I had ordered some extra fuses during the three-for-two sale, so I pushed those 8A's up to 10A's. Sure, I could take a hit on ruination, but I have 240 volts at the wall anyway, meaning, I have already put my faith in that step-down transformer for 4000W of smooth power---why not push the envelope on those gatekeeper fuses--so what's with these things? Is all that power really going through those tiny filaments, or are they on a side track, ready to receive an overload off the main flow? But then, none of the amps work without those fuses, so tell me--why do these things sound so much better three amps over stock? I am just floored by yet another plateau of rich detail, and I was really only looking for something out of putting the SR Blacks in my REL Strata III's. All combined, I feel like I am there, they are here, and we are all one big metaphysical mashup--damn, this is some good sh-t...... |
Dear @oregonpapa : """
In other words, the best we can ever hope to hear is what entered the microphone? """ not really because no one of us or high end audio item manufacturers has total control of what happens trhough the whole recording sessions till the LP is in our hands. So, the best we can acomplish ( some day. ) is to listen what is in the recorded LP grooves. As a fact my traget is to mantain at minimum all kind of distortions at each single link in the whole audio system/room/ears chain. Regards and enjoy the MUSIC NOT DISTORTIONS, R. |
^^^ Same here raul ... Its amazing how many gremlins lurk in our listening rooms, electronics and equipment racks. Their goal is to smear the sound. Over the past two years I’ve made a concentrated effort to kill as many of the gremlins as possible. The SR fuses have been a big help. So have the Herbie’s tube dampeners and the SR room treatments. The new BLUE fuses have brought everything up to a new, and unexpected level. I was just listening to Charlie Mingus’ "Tijuana Moods." I don’t care what others are saying ... they were in the room. *lol* http://www.ebay.com/itm/LSPCD-2533-CHARLIE-MINGUS-TIJUANA-MOODS-CLASSIC-RECORD-GOLD-CD-FACTORY-SEALE... Wow ... look at the prices for some of these out of print CD's. Are they really selling for these prices or do the "sellers" suffer from delusions of grandeur? Frank PS ... Has anyone else posting here ordered any BLUE fuses? It would be nice to compare notes. |
@oregonpapa RE: Gold CD, I just cued up the album on Tidal. Very nice but I wouldn't pay $600 for a CD, no way. Do you own the Gold CD or LP? I wonder if SACD for $29 would be on par with the Gold CD. Someday I will try the SR Blue. I dropped $600 in SR Black's and HiFi Supreme's last month (6 components all together) 😊 |
Hi Veerapaneni, you should have heard an improvement through such a pre-amp as yours--can you describe the rest of your system? I plan on getting the Blues for my Maggies, but happy at this moment, as described above. But seriously folks.......I am hoping Almarg and peers will answer my question about AC mains and the functions of their fuses, as I am quite surprised with the sonic gift they are providing. |
lilitk ... I have the gold CD. I bought it at the original price years ago at the CES show in Las Vegas. I also have the LP. At this moment in time, I’ll take the gold CD over the LP. Tonight’s listening session was amazing. After listening to Charlie Mingus, I kicked back to an evening of Cal Tjader. What a great jazz group it was too. I was fortunate to hear Tjader live in a jazz club in Hollywood as a senior in high school. A rockin’ good time. http://www.ebay.com/itm/Cal-Tjaders-Latin-Concert-LP-by-Cal-Tjader-Vinyl-Jul-1991-Original-Jazz/1125... http://www.ebay.com/itm/CAL-TJADER-LATIN-KICK-ORIG-US-1958-PRESSING-FANTASY-3250-RED-VINYL-/11257639... http://www.ebay.com/itm/CAL-TJADER-QUARTET-Red-Vinyl-Gerald-Wiggins-fantasy-3307-MONO-Latin-Mambo-/3...~ For those of you who are getting into the SR BLUE fuses, please post your results here. Thanks ... Frank |
Jafreeman 9-27-2017I can’t explain that, Joe. Obviously a 10 amp fuse comes a bit closer to being no fuse than a 7 or 8 amp fuse that is otherwise similar, at least in terms of lower resistance, lower voltage drop, and reduced fluctuations in voltage drop as current demand fluctuates. But I would expect both those differences and any resulting sonic differences to be small, especially between the 8 and 10 amp Black fuses you’ve tried. And especially with a robustly designed amp such as the REF 210, which per its description at arcdb.ws has numerous internal voltage regulators, large amounts of energy storage in its power supply (787 joules), and does not have a huge difference between its current draw at idle and at max power (that difference being well under 2:1). Unrelated to the fuse question, though, after looking at your system description it appears that you are connecting your REL subs at speaker-level, and I assume you are using the balanced inputs of each sub, since the amps are fully balanced. Assuming that is the case, I’m wondering where you are connecting the ground wire from the subs (i.e., what would be the black wire in a typical REL Speakon cable)? Regards, -- Al |
veerapaneniThat’s because you are immune to "expectation bias." Send it back for a refund. veerapaneniBecause it’s an ac fuse and it doesn’t matter, even if it were a dc fuse it still wouldn’t matter. Cheers George |
The term "expectation bias" has been used many times in this thread. Its total bunk. I know what I hear and I hear what I know. The BLUE fuses are a major step up from the BLACK fuses .... as the BLACKS were from the RED fuses ... and the RED fuses were from the stock fuses. Once again, without hearing for themselves, the naysayers are coming out of the woodwork in an attempt to throw ice water on a perfectly good thing. Gets a bit old, doesn’t it?? Frank |
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Al, thanks for your response to my question on "pushed-value" SR Blacks in my AC input. Of note, the front-panel display on each amp now reads at 120-121V, whereas at lower fuse ratings, the line voltage was at around 117V. The operating range of the ARC 210's is 105V-130V. I'm glad you asked about the REL subs and Neutrik SpeakOn wiring. The Neutrik plug is the NL-F4C, a four-terminal plug supplied with the REL's. When I went to mono block amps and a sub for each amp, I followed the advice of my High-End retailer here in Mpls. For Magnepan speakers, I am using the 4 ohm speaker output terminals on the ARC 210s. I have connected both SpeakOn red and yellow (+) wires onto the 4-ohm (+) terminal of the amp and the black (-) wire to the 4-ohm (-) terminal on the amp. I left these wires in their original places on the Neutrik plug end. And where do I have the Neutriks on the REL input terminals? I have left them in the unbalanced high-level inputs a long time ago. This is the input recommended for a stereo amplifier. The balanced high-level input is described in the REL manual as being used for bridged-mode amplifiers. Thinking this was not my situation, I have ignored that input all these years. although the REL manual goes on to say, "Monoblock amplifiers may or may not be bridged output." Perhaps I should be using the balanced inputs on the REL's? Regards, Joe |
