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drdna wrote:

You had described the Melquiades as a "reality Reconstruction" amplifier. In my mind, I have always associated the unpredictable quality you describe with a "closer to reality" sound in my system.

Well, I might describe Melquiades as whatever I want and label it with anything I want. I am comfortable with my descriptions and labeling. The whole point for people to collaborate the Reality Reconstruction effects is to have commons tool with common effects. I made Melquiades publicly available that enables others to browse and to experience my version. If you wish you might build Milq and to observe how much closer or further I am with Melquiades. I do not take this subject as ego trip but rather as an opportunity to evaluate what is worthy to do. As far as “unsystematic and chaotic nature of the amp’s timing”, Adrian, it was not in epicenter of my attention. You might always associate the unpredictable quality of your playback as closer to reality but with all honesty over the years of doing audio and talking with many different people  I never heard anybody comment about randomness of pace and I never heard anybody recognize it publicly as a virtue.  The randomness of timing might be a new good thing that I might need to pay attention, or might not be. I do not know at this point. I heard a number of 300B amps and I never had the same positive expires with unsystematic nature of sound as I had with this last week amp. It is might be what your 300B does or it might be not even relevant to DHT amp at all as do not forget the NO ONE ever among the DHT community spoke about the randomacity of timing (at least I never heard). Who knows it might be that specific topology of power supple is something that randomizes the amp’s texture, like half-period tube rectification or something like this… In such case it will not be related to 300B or DHT at all.

Anyhow, the Melquiades does have some “tricks” in the realm of dynamic viscosity. It is what make it quite different in term of Reality Reconstruction as I feel that propagation of sound via air does not have linear “audio dynamic”, soft of speaking. If the randomness of time is a next thing that I would attribute as necessary characteristic in Reality Reconstruction then I will tech my amp to have it. At this point I am enthusiastic about the timing randomness but it need to be settled down, interpreted and extrapolates in some kind of electronics-viable format. As I said in my post above – I like the effect but I am not giving up anything else for it as in my view “Reality Reconstruction” is a presses not a functionality.

drdna wrote:

It is not enough that the stereo neither adds nor subtracts colors or signal.

This is a bit more complicated as we always shell ask what is the original “colors”. The colors of signal? The colors of live sound. The colors of composed-in intentions? The colors we would like to hear in context of our expectations? Ok let make it a bit more complicated (be advice that it is “loaded”): The colors we would like to hear in context of our realizations? I do not think that anybody would argue that Vincent van Gogh’s colors were very realistic in context of his intentions and in context of his methods of expressivity.

drdna wrote:

In the same way it is not enough for a window to have perfectly smooth glass surface or the paint exactly on the pane, not on the glass at all. I use the window to see through to the outside. I use the stereo to heard the Sound.

I sounds like a comfortable and popular audio association but I think it is a self-deception.  I would disagree that we use a window to see through to the outside. If we are willing to see outside then we go outside and see what we see. If we intend to look at the outside through the window then we intentionally engaged window into our perception of what is outside. Therefore the window frame and the characteristics of glass are also the filters of our perception about the outside world.

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