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Computer Audiophile


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About fas42

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    Blue Mountains, Australia

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  1. I think there is more than one "broken record" here ... .
  2. If you're using the characteristics of the room to enhance the listening experience then it will matter - for me, I've found that getting the sound coming out of the speakers 'right' is the most important thing, because then my mind adjusts for everything else. You no more need to get the room "perfect" than you would if you had a group of live musicians walk into your home, and perform for you.
  3. Why Class D Sucks

    Yes, the mind adjusts - most definitely ... however, some forms of distortion, noise are almost impossible to adjust for - you have to walk away from it - and others are too tiring to tolerate beyond a certain period of exposure - classic audiophile "listener fatigue".
  4. Thanks for the thoughtful response, which actually addressed the OP - the checklist you have there is exactly what I'm getting at, except that I don't worry about the room aspects.
  5. You're talking of "recordings that don't contain any of the stereo clues necessary for proper reproduction"; I'm saying, those very rarely exist. They may not be stereo in the classic sense of the use, but they contain acoustic information sufficient for the rebrain to reconstruct the spaces of the musical event, or creation. People accept that extreme, obvious manipulation works - the Pink Floyd sort of stuff - are adamant that the human hearing system is very crude, falls to bits when an enormous number of crutches are not in place to help it totter down the hallway .. but my experiences are otherwise; the ear/brain can work out what's going on if the clues are not horribly confused by too much distortion being present. So, if one's system is not up to scratch, you never hear the illusory aspect; my system is usually not in this space, because I have to carefully condition it beforehand - and I'm not motivated enough to go to the effort, at the time. But that doesn't stop me being aware of the information in the recording that will trigger the experience - I can 'hear' the potential.
  6. Why Class D Sucks

    You know, I thought about driving some people here hysterical, by mentioning how at one stage I "tuned up" an Aldi TV which used some rubbishy class D amps on the internal speakers, to actually do a pretty decent job of getting a lot right when playing from CDs ... but then I thought about it a bit, and changed my mind ...
  7. Why Class D Sucks

    My first such project was in high school - I had a classic transistor radio for the times, a big fella which was perfect for soaking up the magical music that filled the airwaves back then - was always on. Trouble was, it chewed up batteries, and it was a bigger, more expensive one ... one day, came across this whopping big transformer - can't remember what it came from ... Hallelujah!! One of the secondaries was right voltage, so added the rectifiers, etc - the extras were small enough to squash inside the case the transformer was mounted in; added a socket to the side of the radio ... and away it went! Lasted out my years at school, I think I gave it to my brother in the end ... the radio is probably worth something now, as an "antique", .
  8. Ummm, from the OP, Have we got this under control, as step 1?
  9. My claim is unverifiable, because it's something that happens in my head - but, everything indicates that it happens for others as well - and I've pointed out a number of times where they have corroborated this behaviour - from George's POV they're as mad as I am .. . At the very least, a much higher level of SQ is attainable with reasonable cost components - I'm also pointing out that implementation shortcuts, cost cutting is a major killer of the potential of this gear; and an astute DIYer can "fix" so much here.
  10. You: "Your 'illusion' is really nothing special" ... George: " I'm mocking your unsubstantiated, unsupported, and altogether impossible claims" ... so, which is it to be ... ?
  11. Not many of you would be good scientists, it seems to me ... a little lesson in how to understand how the world works: if something unexpected happens, you investigate it; and you keep varying parameters to see what is most important, and where the "edges are" - if someone says, "Well, first of all, you have to pour lots of money into it!!", a perceptive individual mght say, "Really?? Why? ... hmmm, could be interesting to work out an optimum Value for Money equation, etc, etc ..."
  12. You're getting a huge clue, right there - and you can't see it ... Mario's recording is feeding your brain a perfect meal of acoustic cues - because he went to so much effort in the setting up process - and the illusion pops out. His spotlighting of the musical event was so deft, that any anomalies of playback weren't getting in the way of "seeing" the piano. All you have to do is consider improving the process of creating the sound waves in your room, as replicas of what is on "lesser" recordings - and the same thing happens for them, in the listening. This is what I realised is going on, as the system improves - the brain is getting enough info to recreate "realism", even on the dumpy recordings.
  13. When I started getting good sound 30 years ago I only knew as much as the next audiophile, at that time. Before that I had done the usual rounds of building systems from kits, own speakers, etc - and was getting the usual results ... absolutely nothing to get excited about there ... . Perseverance and luck got me over the line - which then got me really revved up, steadily, over the years - how do I make sure that I can always "pull this off" ...
  14. Tsk, task, we're seeing the not-so-nice George, - by nature, I'm a perfectionist; I am a programmer who writes code that doesn't have bugs - and by that I mean I can't relax until every last known problem is eradicated, I don't stop until I'm totally confident that nothing is wrong with a system ... my stepson "employed" me to test software and systems he was working on, years ago - "Frank has an uncanny knack of unearthing every little wobbly area in the code, blast it!!", or words to that effect ... That's what got me convincing sound in the first place ... my "listening rooms" are merely where I've plopped the gear while I'm working on it - the current stuff is just sitting on a bed in the work room; this is good enough for telling me how I'm progressing.
  15. Not true. I've already listed the major steps I took on my first good rig, for all to see - all it requires is for someone to do similar, and there's a good chance they will hear something. What I hear is a powerfully convincing illusion - the sound is as "big" as how the recording was put together, and the speakers completely evaporate; I'm not evaluating an audio system playback, I'm in the presence of a musical happening which is far larger than any puny audio rig, . Alternatively, go along to where some musical buskers, or do is, where zero, I repeat, zero PA is "helping" the sound - and sidle up nice and close to the action. And listen. ... That's what you get from a competent audio system.