I have recently paired an Audio Research DS225 Class D amplifier with an Audio Research tube preamplifier (SP8 mkii). I cannot believe how wonderful and lifelike my music sounds. The DS225 replaced an Audio Research SD135 Class AB amplifier. Perhaps the SD135 is just not as good as some of the better quality amps that are out there, but it got me thinking that amazingly wonderful sonance can be achieved with a tubed pre and Class D amp. I have a hunch that as more people experience this combination, it will likely catch on and become the future path of many, if not most audiophile systems. It is interesting that Audio Research has been at the forefront of this development.
Kosst, My last post wasn't directed at you, but more of a dismissal of class D as being worthless. Not in so many words by some, but I think one can read between the lines.
Looking back on what I said about 10% distortion isn't quite accurate, but some of these tube amps show just a handful of watts being useful up to about 1% distortion and this distortion rises quite rapidly as output goes up. With 10% being a approx. figure getting near these amps rated output. I don't know how you feel, but to me 1% or higher at a handful of watts output doesn't translate into very good performance, at least as far as I'm concerned....
But no matter what, transistors switching off and on will always make huge amounts of high order distortion.
@kosst_amojan It doesn't work that way IME. What makes distortion in a class D is how well the encoding scheme works. For example if PWM, any offsets generated by the comparator (or otherwise) can cause distortion. This means you have to be careful in such a circuit to block any DC that might come from your triangle wave generator- and in that circuit, the quality of the triangle wave is pretty important too. Its not uncommon for the encoding scheme to have troubles at lower levels. For this reason I prefer PWM as its problems are more likely to be at higher power levels rather than at low levels.
Each encoding scheme has its upside and also difficulties! But the switching of the outputs themselves do not contribute to distortion, which is a major advantage of Class D, since the operation of class A, class AB and B this is not the case.
LOL, I had to go look up what an E-bike was, isn't that sad, I'm getting old or lazy lol.
As far as A AB or D my favorite would be based on Tuning. That means, parts in a big heavy chassis? Nope, I can beat those up with a low mass amp of any type. Amps that have tons of dampening? Nope I want something I can apply variable tuning to. Amps with shielded transformers? Nope, I like open field designs. There are lot of criteria I have for amps A AB and D isn't one of them.
JA measuring amps means zero to me. I'm more interested in his latest test equipment (JA is a test equipment junky, in a good way).
Distortion? I haven't met anyone from this forum yet that deals with a well rounded view of distortion and the effects of. Lets see would that be effects or affects (wink). Here's a quick example. I walk into a listening room to listen with some guy talking about amp distortion and how he can hear it. Now we're standing in an untuned room and our breathing is at 10dB without anything else happening. He talks and I instantly can hear the room distorting, why and where. No music yet and we're at 55dB. So we turn on the music and I'm hearing all kinds of things happening that can and should be Tuned to give us the best soundstage for that recording, 65-95dB. Then after I do some tuning he's going to want me to tune it differently to his ears.
What am I thinking about his claim to hear the difference in .02 distortion? Excuse me I have to use the bathroom and read my Stereophile :)
Class D, as soon as your warranty runs out have fun getting somebody to fix it if & when it goes down, with all the surface mount components in new digital amps most techs won't touch them including me, (not wanting to use a magnifying glass or microscope) it becomes garbage or parts. I have one I use for a sub for my TV, but that's it. Very light weight power amps which is great, other than that no thanks, Ill stick to to things I can repair myself.
Class D, as soon as your warranty runs out have fun getting somebody to
fix it if & when it goes down, with all the surface mount components
in new digital amps most techs won't touch them including me, (not
wanting to use a magnifying glass or microscope) it becomes garbage or
parts. I have one I use for a sub for my TV, but that's it. Very light
weight power amps which is great, other than that no thanks, Ill stick
to to things I can repair myself.
With these, you can:
https://www.amazon.com/Magnifier-SOONHUA-Head-Mounted-Magnifying-Replaceable/dp/B0742CJJM9 Surface mount can easily be done if you have the right tools. Most class D amp use dedicated chips; for example a single chip that includes encoding scheme, high and low side level shifting, driver circuits and dead time circuits. The outputs don't see the same stresses as conventional power transistors because the heating cycles are less extreme and it is heating cycles that ultimately damage power transistors (although conventional devices can handle well over a million heating cycles so its probably moot). But most class D amps in high end use some sort of module so if one is needing repair, you just replace the module which is much easier than servicing the unit at the board level.
Speaking for myself, I love it when someone starts a thread with the title “the future of...” . Whatever comes next is whatever they’ll be peddling, singing the praises of etc. Class D, why are the fans of class d so defensive?
we get it. You like class D. But stop behaving like a cult and pushing your views as people skirt by, mumbling about having given at the office. Yeesh.
213runnin, Just look back on this thread and see how many so called audiophiles dismiss class D as the next thing to garbage. I would bet many of them never had class D amplification in their systems. I've had class A, A/B, and even a class H back years ago. Thee is nothing wrong with Class D. IMO.
Hello @pokey77... Yep, looks like I have missed this happily brawling "class struggle" all together *Grins!*
Or perhaps this a "religious" argument?! Like in.... How many comparators can dance on the head of a pin?
Or is this the eternal fairy tale of "Princess and the Class D pea?
Reality is that if anyone is wondering if class D amplifier development has reach maturity, they need not look at any nebulous future.... That future is, quite comfortably, right here and now. Of course, this might mean taking stock of reality, open ears, eyes, and minds, and drop dearly beloved preconceived pseudoscientific notions of inherent superiority of any class of operation over any other one. Just go out there and start listening to music and systems.... And I mean, LISTEN WITH YOUR EARS".... Put back stats, graphs, and spreadsheet into the closet, where they belong.... Eventually you might realize that what moves you is not whats inside the box, nor what the box looks like, nor how much it costs.... But just what that box does for living, and the beauty of the music it is capable of conveying.
Rare are the amps that not only deliver the main content of the music with resolution and precision, but have enough subtlety to let you experience the thought and emotion of the composer and the performer.... And even fewer that let you glimpse into the hesitations and misgivings that the performer might be having about the music.
I have experienced this rare magic from amps of most all classes or topology.... Be they tubed, such as the AudioResearch Reference series amps, SS like the Soulution amps, or certain class D amps like the Merrill Element 118, the Rowland M535 bridgeable and my beloved M925 monos.
I am currently evaluating a pair of Rowland M535 bridgeable amplifiers for which I am preparing a detailed scribbling to be posted on Audiogon. I am absolutely stunned by the coherence of their presentation, the musicality of the tembre, the vastness of the stage, the concreteness of images,
the complexity of the harmonic exposure, the abscence of distortive artifacts in complex and simple passiages alike, the living silence between the notes, the majesty of their authority, the tunefulness of the entire audible spectrum from deep bass to high treble, the elegant luminosity of the overall presentation, and last but not leas the sheer emotionality of what I hear. If they costed $46K for the pair I would merely call them splendid.... Yet, M535 lists at a smidgeon below $6K per chassis.... I scratch my head trying to find the right word to define what I am experiencing.
M535 is not simply "Good for a class D amplifier"..... It truly is instead, a magnificent instrument for making music, regardless of its class of operation. Ah yes, in case you wondered, it runs as cool as a proverbial cuke, as it appears to be approximately 97% efficient.
Nor what Jeff Rowland is achieving with class D amplifiers comes in isolation. Last spring I had the privilege of having in my system an early prototype of the Merrill Element 118 monoblocks.... different house sound from Rowland, but also enormously captivating, with wonderful dynamics and subtlety all their own. As what I tested whas a prototype with some crucial parts of the audio path not completely finalized, I can't voice any conclusive findings... Except for having the feeling that the final product is something definitely worth considering.
jeffwyo577 posts12-22-2018 2:53amClass D, as soon as your warranty runs out have fun getting somebody to fix it if & when it goes down, with all the surface mount components in new digital amps most techs won't touch them including me
This is also so true, yes built in obsolescence is what they do have, when they go smoking it up. The switch mode power supply (smp) board can "sometimes" be fixed but they do fry up in a spectacular way. The Class-D amp board, when it goes up sometimes becomes a junker, you can usually say goodby to them. And the manufacturers charge like a wounded bull for a new board, even at trade price, that's if they still have them as a spare part. It's sometimes better just to get a new amp if both smp and amp have blown.
kosst_amojan"SMPS's are notoriously hard on caps."
Do you have any "credible proof" of that as you
demand, insist, and require of others to deliver to you upon your sole, unilateral, and arbitrary demand "proof" supported by scientific data that you accept or reject at your singular discretion while you insist that lack of credible proof reflects "snake oil" "cons" and other such nonsense.
Nord has what appear to be great value for mostly the same Ncore and Ice amps (stereo/mono) as the uber expensive companies
NCore: The new board uses two Op Amps per channel and runs even further into Class A delivering up to 250mA of Class A current fed into the Hypex NC500 module.
Ah yes, the Rowland Daemon superintegrated.... Hope to have the opportunity of having one in my system some day and scribble about it... Meantime, for some info on Daemon, here is its page:
Ah yes, the Rowland Daemon superintegrated.... Hope to have the opportunity of having one in my system some day and scribble about it... Meantime, for some info on Daemon, here is its page:
Hello @uberwaltz, according to the verbal reports I have heard from earwitnesses at shows, Daemon sounds like those aforementioned dreams as well *Grins!*
Thank you 213runnin for that delightful bit of purple prose. I should like to counter with my favorite -- if admittedly pessimistic -- quote from our own Rodman99999...
"Just don't fall into the category of those whose minds, like concrete, are thoroughly mixed, and permanently set"
RODMAN99999
Yet things might not be quite as bad as that... Get out of the house a bit, get some fresh air.... You might even discover that the Earth ain't flat.
Thanks for that, guido. My mind used to be made up, back when I thought cables made no difference and all amps were pretty much the same, a bit of propaganda pushed hard on the Avs site.
Now I’m more of the school that believes everything matters. On that score I’m sure I’d be quite happy with a pair of Bel Canto monoblocks, or any other class d amp that is designed well.
live and let live. Surely everyone can choose for themselves without silly threads announcing that class A/B is dead, however.
Hello 213, I am completely with you on the subject of class A and A/B ill-conceived conjectures of their imminent demise... There are amazingly wonderful amplifiers from all classes and topologies.
While I remain an unapologetic fan of the Rowland house sound, during my visits at RMAF I was totally mesmerized by the tone of Soulution SS amps and by the ARC tubed reference series.
In the class D domain, the Bel Canto Black series is a fb example of high end amplification.... And Merrill Audio has introduced a brand new series of amplifiers based on a class D circuit of Merrill's own design... I had the fortune of having an early prototype of the Merrill Element 118 in my system during last spring, and while the prototype still displayed some minor teething issues, Element 118 certainly showed high promise, and the final product would be worth considering.
Really, the "my amp class's bigger'n'better'n yourn game is so much hogwash!
There are some top flight amps out there.... class a, ab, d, tubed, and so forth... Their tonal character and musicality is typically unique to the brand and to their design and execution, not so much to their class of operation.
Besides, what I enjoy need not be what everyone else loves.... Let's value diversity in this beautiful hobby of ours.
When I said sell your class A, AB, tube amps NOW before you can only get pennies on the dollar, what I meant was $5,000+++ amplifiers days are over, at least for anyone who does a modicum of research prior to purchase, or who expects commensurate value before spending 2-3-4++ times the money, or who isn't suffering from Napoleon issues.
Each day that I follow this thread and listen to my system with a lowly Audio Alchemy stereo amp (MSRP $2K) and then listen with an even more critical ear, I remain amazed at the sweet sound it produces IN MY CURRENT SYSTEM. When I bought the Hattor XLR passive pre I experienced a impedance mismatch, which I resolved by getting the AA matching DAC//Pre
Again, I refer anyone to the March 2016 review, wherein Robert Harley compares the AA kit to Soulution EXTREMELY favorably (same designer). Of course, if one's system tends toward bright then, who knows? And I am well aware that older Class D tech left a lot to be desired
Now that all said, I admit to wanting to explore more class D options. Nord's NC MK II monos are drawing me near, but funds ddo not llow me to get them without first selling mine, which I would not do as it provides so much musical pleasure
Interestingly, I have a pair of McIntosh 501s that are worth over $5,000 that I bought 10 years ago. Sell, I think not.
What is you 10 year old class D expensive amp worth today?
Tweak1, think before you condemn other amp types to the dustbin.
McIntosh will be alive and well 10 ulyears from now. Academic research has proven the best predictor of will you be in business next year is how long you have been in business. For McIntosh that is 70 years.
I shall not bash other equipment types, but know the imbedded customer base for both tube and SS McIntosh amps is not going anywhere.
How old are you Ihasaguy? The question is not who is willing to buy today but who will be around tomorrow that thinks the Mac is as cool as it once was?
I was a McIntosh dealer so don't get me wrong, but I saw the Mac buyer age right along with the product. McIntosh deserves to be one of the last guys standing but I seriously doubt any mega weight audio products are going to be here tomorrow. Any of them. That's just me speaking but that's also from the mouths of the designers themselves.
LOL clearly you are defensive when YOU need not as you have owned and enjoyed your amps for 10 years, you will likely be buried with them as I plan to do with my 22 year old Yamaha Royal Star motorcycle
Your 10 yo Mac tube amps are based on tube tech that was around for decades. That they might be worth $5K today would be for collectors more than for what can bought today, whereas class D was going through technology growing pains 10 yeas ago.
These days class D 's are damned good and in many opinions (Robert Harley as one example) equal to or better for a LOT less money than whatever the equivalent Mac to your 10 yo Macs would cost today
Dec 2018 TAS Jonathan Valin reviews MBL class D offerings and says:
For a preamp priced a hair under $15k and a pair of monoblock amps about a third the price of the Constellation stereo amp, this was highly competitive performance.
and with MBL 101 E Mk.II omnidirectional.speakers he says:
it was the sheer joy I experienced listening to the system. Driven by the Noble Line electronics the 101 E Mk.IIs were and are nothing if not continual goosebump-raising fun.
Now the MBLs pre and monos butt up against $50K, which is about on third the cost of their non class D
There is one amp what is now number one on my list. I always judge audio products on the DNA of each individual product. I judge audio by Tru-Fi. This means it needs to be able to reveal all the aspects/properties of sound. And it needs to do each individual aspect/property at the highest level possible.
I decided not to talk about brands anymore cause often people overhere feel so offended about it.
Many highend brands are now owned by investment companies. And they are only interested in one thing.......MONEY.
Several brands people mentioned in this thread are owned by investment companies as well these days. I have a lot of contact with the owner of the biggest technical support company in my country. He does the technical support of many highend brands.
He talks a lot about the cheaper parts they are using these days more often. I did listen to many highend amps in the last few years and almost each amp I found unacceptable. Based on the fact that they do not own all the different aspects/properties of sound.
These amps will never create a stunning endresult. The other problem is that most highend amps are also not precise enough. I have to admit that I am an extreme perfectionist. It needs to be superior and able to reveal all the aspects of sound at an ultimate level. In all other situations I am not interested.
In the last 10 years I only played with Pass Labs monos and poweramps. But there is a big chance I will buy a Gryphon Antileon Evo stereo poweramp in 2019.
The price in Europe is 36K, I do not know what the price is in the US. This 84 kilo beast is like 3 different poweramps in one box.
- you can use it as 2 times 150 watts pure class A - you can use it as 2 times 100 watts pure class A and the rest in class B. - you can use it as 2 times 50 watts pure class A and the rest in class B.
This is very unique and I also love the dna of these amps. It can create one of the deepest and widest 3-dimensonal stages in the world. But it is also ultimate in layering in sound. This is the most important aspect of sound. Based on the fact that our emotion is being stimulated the most by this property of sound.
The resolution is one of the best as well. I prefer it over any tube poweramp because it is more precise regarding all the aspects/properties of sound. Their philosophy is the same as how we like it.
Most people have no idea how instruments and voices sounds in real. That is why there are so many different amps for sale. Over 99% of all poweramps sound a lot different than instruments and voices in real.
The insight and knowledge in music and realims in sound is even by most people who work in audio very limited. This makes it for many brands possible to sell their products.
The biggest problem in audio is that most audio products and for amps counts the same are not able to create a good level in diversity (layering) in sound. Almost all amps are also 2-dimensional.
I auditoned many class D amps. They are getting better. But there is not even one I would sell to one of my clients. In my world at this moment it is unacceptable. Maybe in the future it can change, who knows.
Most people who work in audio does not even know all the aspects/properties of sound. They judge by trial and error. What is just pure audiogambling. Based on the fact that trial and error lacks any kind of foundation on which you make your decisions.
In 2017 and in this year I spoke with many distributers and manufacturers and they all agreed that trail and error has no real foundation. You never can extract the full dna of each individual part in an audiosystem. This is a 100% fact. But this is needed to understand why the sound and stage is what you hear.
Nobody will be calling any class D amp "legendary" 10 years after it was sold. They’ll all be in landfills.
Correct, not only do they sound questionable to many, but owners will be cursing the day they purchased them. As replacement boards will not only be obsolete, but very expensive if NOS in stock. As no one will be able to fix them down to component level economically, 4 layer pcb, double sided componentry, and all smd! all squashed into the size of a pack of cards, good luck !!!
But why would you want to replace your module on your 10 year old $2000 amp when you can buy a brand new better sounding stereo amp for a little over $1000 delivered?
There are guys buying super expensive class A amps right now that will be turning them around to get the latest new one in a year or so and lose $10,000 or more in the process. Some of the best sounding newest class D amps are so good and so cheap that you could just throw them away (or sell or give to your kids or use in secondary system, etc.) in a few years when a better one comes out. Never heard anyone cursing their inexpensive class D amp when it is no longer the latest thing. I think the rich guys do more cursing and also more straining.....lifting those beast of amps! I read a lot of reviews of the latest class a and a/b amps and it looks like the latest ones (and also getting more expensive every year as well) are really way better than those old amps that are 10 years old. All classes of amps are way better today than ever. Lets all sing along: "Who wants yesterdays papers?.....Who wants yesterdays amps?....nobody in the world"
There are many class D amps out there.....some sound eh....some sound middling, some sound very good and some sound really great. Just like anything, you need to do your research and buy from someone who gives a trial period......but the same is true with any class of amp.
newest class D amps are so good and so cheap that you could just throw them away
That's just great, depends just how well off you are. Try saying this to an owner who Class-D has just smoked it, as see what you get back in return. Also you sell them, so you and are definitely not impartial.
newest class D amps are so good and so cheap that you could just throw them away
What a wonderful throwaway society we now live in when we can even consider that statement as not only being relevant but likely the truth. Very sad reflection of todays mindset and the times.
If GaN acts like a V-Fet or a SIT, then they might be on to something.
The non linear gain curve of a modern transistor will generate odd order harmonics, which is where the problem in audio lies.
A SIT or V-Fet, produces predominantly even order harmonics, which is tied to possessing what is principally a linear gain curve. More akin to a tube. A triode tube, specifically. This is critical. Big time critical.
Class D, as it stands, produces what is predominantly odd order harmonic hash, which is filtered.
The shape of that odd ordered hash is mistaken for detail, as the components of it (mix of odd ordered harmonics) meander around (shift and change) in the presented mix.
I heard it for what it was the first time I head a class D amp, and it is there in all of them. Garish, faulted right to the emergent core, unlistenable. For me, that is....as I heard it and recognized it...that it is totally against the aim of audio technology, in my view, hearing and understanding. To take the worst and unwanted part of what solid state devices do and make it the ENTIRE waveform. Jebus.
This is mostly testable in a finished item...as Sony did it right and made a class D amp back in the day, with SIT or V-Fets as the output devices.
Audio is all about shootout and comparing. And the best one will always be chosen. You need to find the best one in each single price range.
So far I never auditioned a class D who was the best in it’s price range. All the ones who are less than the best one have no meaning in our world.
When you do not understand sound and music you will never understand audio either . Over 99% van all human beings don’t understand that much about sound and music.
I had conversations with many people who work in audio (just like me over 20 years of time). They all had to admit that their insight and knowledge was very limited.
I asked them all many different questions they could all not answer. This made them realize that they own a very limited level in insight and knowledge regarding music and sound. This is needed to understand audio.
The fact that audio is done all over the world by trail and error. Proofs on facts that the awareness of human beings is very little developed. Based on the fact that trail and error has no real foundation. When I talked about this with many people who work in audio. They realized that they cannot extract the dna of each single part in an audio system.
So you never will understand what you are doing. And it is just audio by gambling. They all agreed that there was no way to understand why the sound and stage(these are only 2 aspects of sound) is what they can hear. This proofs on facts that there is no foundation. You always need a foundation to understand exactly what you are doing.
Knowledge and insight is something you need to develope yourself. But....most people in audio are all just like parrots. They use they words they read from articles. Or they say the things distributers or manufacturers told them.
I give you an example; We were at the first presentation of the B&W 800D3. The person who did the presentation said: B&W did change over 800 parts compared to the former series2.
So we asked him a simple question: can you tell us some of those changements? But he could not, and he realized that he was only telling us a story from a paper.
Whe you let people hear instruments and voices in real, it becomes clear that most audio products sounds a lot different. This proofs on facts that most manufactures know little about sound and music as well.
Because if they would have known a lot about sound and music their products would have sounded a lot different. So what is needed to create audio products who sound more realistic an natural?
Yesssss research and knowledge and spending time how music and instruments sounds in real.
Some dealers want you to believe this, but I couldn't disagree more. A "shootout" is the worst way to evaluate an audio component, because what may appear at first
to be impressive or revealing often - over time - reveals itself to be distortion or some other anomaly. There's no substitute for relaxed listening over time in a familiar system, imo. That's when a component's true nature is revealed, and this approach to choosing components has served me well. "Shootouts" are for audio cowboys.
Trail and error is doing audio at the level of a child.
So many people asked me what do I mean with this?
I will tell you. Children will face many situations that they have no idea how to handle. Because they do not know the new situation and what the best way is to handle? So they react and hope it will work out ok.
I asked many people who work in audio for a long time about how they make their choices.
I will give you an example.
In 2017 I was in an audioshop and the person started to work in audio also in 1998 like I did. He received a new loudspeakercable and he wanted to test it.
So I asked him: this system overhere you will use and the loudspeakercable I see you will change?
He said yes.
So I asked him: which properties of sound you will take out when you take this loudspeakercable out?
Each audio product owns it’s DNA. I learned to extract the full DNA of each single audio product in any system. Because I had a mindset in 1998. I was aware that when I want to understand why each single amp, loudspeaker, source all sounds so different. I need to know the full dna of each individual part.
He said; I have no idea.
So I asked him; which properties of sound you will add when you replace it by the cable you want to test?
He said; I have no idea.
So I asked him; When you audition your system or the system of a client do you know why the sound and stage (only 2 aspects/properties of sound) is what you hear?
He said: I have no idea.
So I said: then you will never understand what you are doing.
It made him realize that he makes choices pure without any kind of foundation. So I said; when you do not know what you are doing, you are just like a child who does not understand how to make the right decisions.
And he said; you are so right.
People need to learn to think further. Trial and error is the main reason why most audio systems all sound so limited. Based on the fact that they are all incomplete. This means that they lack different aspects/properties of sound.
Each individual property of sound can influence your emotion. That is why each audiosystem what can reveal all the details and aspects/properties of a recording will always be a much more emotional and intense experience than any incomplete trial and error created system. And again this can be proven by sound.
The emotion of the music you always will find on the recording. That is why a system is needed that can reveal all the details and different aspects/properties of sound.
teo_audio If GaN acts like a V-Fet or a SIT, then they might be on to something.
And they are, the EPC guys (
Alex Lidow ceo ect) who invented the GAN, also invented the power mosfet many moons ago and sold the rights it to the world, for the moment only Technics are using the GAN with their limited availability $20k SER-R1 amps.
Many people see audio as a hobby and even believe (the same way as you believed in Santa Claus when you were little) on assuptions that you only can choose your personal system.
But the facts proof that almost all human beings cannot choose their own system the right way. And even this can be explained based on facts.
Sound and also music contains of many different aspects/properties of sound. When you are listening to your system most people can only distinguish 1 till 3 different aspects/properties of sound at the same time
But....when you want to make the best choices you need to be able to extract 8 different aspects/properties of sound with 1/10 of a second. There are not many people who have this level in insight.
This is why the whole world is doing audio by trail and error. It is based on the limitation in insight of human beings why it is still done by trial and error.
Many people who see audio as a hobby are their whole life busy with changing there system. They listen to it and often they focus on just one aspect/property of sound at the same time.
I give an example. (I had the same conversation with hundreds of people who see audio as their hobby)
You miss control and layering in the lowest frequencies. Most people will often try different cables to hope to solve the limitation they hear in the low frequencies.
After time they find a cable what gives a much better controled low freq. So they are happy and buy the cable what ’solved’ the problems.
They did choose this by trial and error. Based on the fact they they all have no idea which properties they took out by replaceing the cable for another one. Like they also have no idea which properties they brought in by the new cable.
And now you will read what sounds very familiar to you all. Because I saw the same kind of reaction hundreds of times before. After a few weeks they found out that the high frequencies are a lot less open than it was before.
So it all starts over again. And they will change one part for another one. It will never solve all your problems. Based on the fact that their choices will always be made by trial and error. So there never will be a real foundation.
The biggest limitation in audio is that most products do not own all apects/properties of sound. This means that they will always create a limitation in each single audio system you use them for.
It does not make sense which combination you will make, they will always create a limitation.
Hello Bo1972, you made your point abundantly and eloquently.... We get it... No need to beat a dead horse. Please rest your case... Or start your own thread.
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