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Class "A" sound, as related to Stereophile.


It's all about the sound.

It's all about sound, not how much it cost; when I got into "high end", I knew right off the bat I couldn't afford it, but I had to find one thing for sure; how do the various components sound in regard to Stereophile's classes, or ratings? In order to know this; I had to acquire the ability to identify "Stereophile's" class "A" class "B" and class "C" sounds, and the only way to do that was: first, subscribe to Stereophile, and next was to go to every high end audio salon within driving distance; there were 5 well stocked "high end" salons within driving distance. (Since I didn't take my wife, that created some problems)

After a few years of subscribing to Stereophile, plus auditioning equipment that Stereophile recommended, I knew the sound of those recommendations, and I absolutely concurred with them; "If you want to hear the music, you got to pay the piper". While that's true, it's possible to get class "A" sound with class "B" bucks or less.

At this moment, I am looking at 8 capacitors that cost $25 dollars each, plus 2 mono blocks with an instant resale value of 6K. Once I take the covers off and go in with my soldering iron, these mono blocks are worth a resell of O; my mission must be a success. After a successful mission, the resell is still 0; but those mono blocks will deliver class "A" or "A"+ sound, and that's some sweet music.

I have to visualize and hear music in my head before I can modify a component to deliver class "A" sound; but that's the only way for me to get what has become a necessity.

The pressure someone is under when they modify, is great, but the rewards are glorious. On these mono blocks, they are too small for the huge capacitors, therefore I have to figure a way to make the case larger. My reward is "sound" with absolutely no relation to money. I often wander if someone with a fat bankroll can identify the sound, or only how much they paid for each piece.


Happy listening.

orpheus10
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orpheus10 OP
8,668 posts
 

Those are very good recommendations Eric; I've looked at what a number of those people have to offer, and it's all good. Going with someone who has all the test equipment, expertise, and cabinet making facility's is the best way to go.

Parts Express is fine for putting a speaker together for bedroom, or entertainment room, but not for your A-1 rig.

I agree with your post Dave; once you get it together, it's about fine tuning. I have a right channel problem; the right side of the sound stage is emphasized. It took me two years to determine that it had nothing to do with the rig, it's the room. I know it's better to correct that, than simply turn up the left channel in order to compensate.

In regard to which is most important; source, or speakers; the source is most important. Some will say that 60% say speakers, therefore they must be right; I say that means 60% of the people are wrong.

That can only be right if you prefer to listen to the speakers as opposed to the music. It's very hard to help anyone in regard to speakers; all I can add to that is there are many different sounds within "Stereophile's" rating system, and if you're a serious music lover, and listener, you have to rely on some "high end review". I've been told that some of the best speakers are affordable, so that's no longer a major problem.

I hope I've responded to everyone's posts.


Enjoy the music.
dlcockrum's avatar
dlcockrum
2,190 posts
 
Hi o,

My recent experiments with vibration control/dissipation have been a real eye opener. In retrospect, I realize that I have seriously neglected investing time and money into this important aspect of our hobby/obsession, feeling (in ignorance) that heavy, rigid, mass-filled equipment stands firmly spiked to the floor along with a massive sand-filled platform underneath my turntable was "good enough".

I am far from "optimizing" system-wide vibration control, but far enough into it that I am convinced that many of the perceived sonic shortfalls of our existing equipment can be largely ,alleviated, or at least audibly reduced, by addressing the vibrations inherent in our components, our rooms, and our listening environment.

http://www.stereophile.com/reference/52/index.html#7gKzV9vFIbL28AQH.97

I have invested less than $1k in vibration control products thus far and the positive effect is more pronounced than any $1k I have spent on anything in audio (other than room acoustical treatments and music). Significant gains in fidelity can be made for the price of a cheeseburger once you understand what does what.

BTW - this is an area where the source is the highest priority.

Best to you o,
Dave

orpheus10 OP
8,668 posts
 
Dave, I'm in the process of building a table for the TT to record on the concrete floor in the basement; no vibrations there, but upstairs on hardwood floors, that's like a springboard for a TT..  Soon will be my first time to seriously get into room acoustics.

Thanks for the info
dlcockrum's avatar
dlcockrum
2,190 posts
 
o,

Don’t be fooled by the concrete slab. My whole house is on a concrete slab and everything from my TT to my SACD player to my preamp to my power supplies to my AC enhancer to my amp to my speaker cables has benefitted significantly from additional vibration isolation. And don’t forget about dissipating the internal vibrations generated by your TT motor, CD transport, and the transformers in your components.

Next for me is speaker isolation.

Best to you o,
Dave
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