GoodSoundClub's Home
Manifesto Copyright
Statistics Site Links
Site Map Surveys
Send Email to Romy the Cat
Some remarkable
moments in Audio?
Audio Knowledge Tree ™
Romy's "Audio Rules"
Audiophile Satire
Melquiades SET Amplifier
Macondo Acoustic System
End of Life Phonostage
Audio Demoronizator AD-1
My Exotic Audio Leftovers
My Playback System
» Tonality versus Frequenc»
» Ode to joy
» Micro Seiki MAX 282 Ques»
» Commercial finished horn»
» “Zarathustra” amplifier:»
» Audio equipment vs. live»
» Solid state revisited
» Micro Seiki MAX 282 User»
» SET and speakers: disreg»
» Jean Hiraga’s cooking of»
» Nikolaj Znaider's play a»
» A request to all members»
» Natalia Gutman (!) in Bo»
» How many channels does a»
» Eventually I’ve seen a l»
» National Youth Orchestra»
» A cutoff horn loudspeake»
» Bruckner 8 in Washington»
» Analog: a reduction of s»
» The sound compromises of»
» Tannoy Red or Gold monit»
» Crossover or non-crossov»
» Dubbing LP to digital.
» Getting more from MF cha»
» Ale horns on ebay possib»
» Impulse response, short »
» Roger Waters' Ça Ir»
» How to run MM-type cartr»
» Bravo, Stereophile: Adve»
» The Macondo’s Upper Bass»
» The pianist Yuja Wang … »
» 1st Guitar Thread
» The single-ended pretens»
» Better chassis design fo»
» Building a new music room
» Sansui TU-X1 Broadcast m»
» That is not 1812 and the»
» An unexplored way to dea»
Bookmarked are red
Sibelius Academy music l»
NPR's SymphonyCast
Classical Collections
Musical Instrument Jokes
Exotic Audio
Tin Lee Electronics
Tchaikovsky's Compositio»
Rachmaninoff Society
Daniels Audio
The Tape Project
JE Labs
Wiener Philharmoniker Di»
More Links »»
Romy the Cat's personal site dedicated to advanced audio and evolved music reproduction techniques

Romy the Cat’s Playback "Rules"

Here is a collection of my personal, highly subjective conclusions about the winning patterns that makes a playback system “to sound”. Certainly they are not “Rules” but rather an assemblage of observations that repeatedly and predictably work for me. I’m not an expert in many fields of the "Rules" but I do have multiple practical conformations in my and otheres listening rooms that the “Rules” do work.

Analog Sources

Cartridges moving coil only. Tonearms are long with excessive affective mass. A few cartridges with different profile needles are good. Whatever turntable used it should not produce the disgusting “ported” bass with hollow tone – the 99% of them do. I prefer very heavy TT with high inertia driven by low torque belts. Whatever type or topology phonocorrector is used it shall give out more gain then needed. The RLC RIAA is better than RC. No records treatment of any kind beside regular washing with alcoholic flue and vacuuming. No cable after step-up transformer, if a transformer is used. No contemporary LP pressing – they are all garbage.

Digital Sources

SACD, DVD-A, XRCD and many other “hi-resolution” formats should not be used. Properly implemented 20-24bit PCM is way more musical than anything else so far commercially supported. Digital is inherently not editable. A RAW 24bit file, right after A/D processor is true pure digital. If the file was expose to ANY further DSP processing, even change 0.1dB of gains is a terminal death of pure digital and birth of digital garbage. Any rate, resolution or format conversion, including putting the file to CD, DVD formats, is terminally killing the file.

Amplification Electronics

An amplifier has to have minimum amount of stages to serve the needed of the given gain. I am an advocate of DSET topology - Dedicated Single-Ended Triode™, The concept DSET implies a narrow-bandwidth parallel operation of the SET channels with an optimization of transformers, operation point, power supplies and other parameters specificity for the needs of the given bandwidths. I advocate no active crossovering around active stages but line-level crossovering integrated with DSET topology.

Loudspeakers

No ports. No dipolar operation in any forms. No synthetic driver’s cones. Wider dynamic range is better but after 110dB/W the Transient/Tone balance rapidly goes down. No impedance equalization, no resonators of any kind. No crossovers more then 6db/octave if possible; in very specific cases higher order might be used but very reservingly, very “creatively” and with the very well-determined purpose. Loudspeakers should have multiple channels and the channel should be painstakingly and meticulously time-aligned not only geometrically but acoustically. Any minute phase discrepancy between the channels religiously tabooed. Loudspeakers should be viewed only in context of their listening environment and should be positioned according the DPoLS concept (search my site for further explanations). The “quality” of the loudspeakers should bear ONLY on the quality of drivers and the loudspeaker design should recognize and to embrace (not combat!) the idiosyncrasies of drivers. Consequentially the design should furnish the best possible environment for the drivers to let them operate at their full natural blossom. Horn loaded loudspeakers are the most advance topology of any loudspeaker. The properly implemented and advanced performing home-based horn-loaded loudspeakers are practically unknown to wide audio public.

They were my very basic principles. If you do not like them then I have others....

Koshka2009.JPG

All context of this site except the Forum's posts Copyright © Roman Bessnow 2004-2018
All messages within the Site’s Forum Copyright © by authors of the posts
Last 24-hours posts:  6  
Total human visitors:  21,228,280  
   
      Search Site Forum
     Search Site via Google
 
Login:
Pass:
    Create a New Account
    Forgot your Account
AUG 17 Black Sheep Contempo»
AUG 18 Rossini’s Petite Mes»
AUG 19 Andris Nelsons, cond»
AUG 20 Chamber Music»
AUG 20 Borromeo String Quar»
AUG 21 Ying Quartet»
AUG 23 Landmarks Dance Carn»
AUG 23 Schuberts Summer Jou»
exclusive first listen: hel»
unearthing mendelssohn's lo»
felix mendelssohn's 'scotti»
felix mendelssohn's genius »
love and lunacy: vivaldi's »
composer, conductor lukas f»
modern music sweep for clas»
russian valentine: prokofie»
review: a rising star take»
review: semyon bychkov mak»
review: yuja wang plays da»
the nilsson centennial: th»
5 classical music concerts»
15 classical music festiva»
a ‘mile-long opera’ is com»
glenn branca, composer who»
in ‘firebird,’ the choreog»
review: chiara quartet say»
charlotte penton-smith»
a pianist’s sweat: the wee»
6 classical music concerts»
strapping on his cello for»
at the morgan library»
after a last-minute conduc»
review: we held our breath»
an orchestra adopts a city»
jesuit legacy in the boliv»
on the mattress for ‘sleep»
review: a star pianist fin»
a tone parallel to harlem:»
wanda wilkomirska, famed p»
trifonov and andsnes: diff»
7 classical music concerts»
More Music News »»
Terradellas, Domènec »
Schumann, Clara (13 Septem»
Fitelberg, Jerzy (20 May 1»
Purist Audio Design Pro»
Vitavox S2 Compression »
Lamm L2 Reference pream»
Conscience of audio rev»
Micro-Seiki MAX-282 To»
Tribute Output Amorphou»
Stage Acompany SA8535 d»
Kenwood L-02T FM Tuner
Musatex’s Bidat Model "»
“Tree Blind Mice” colle»
Electro-Voice T350 twee»
More Leftovers »»