New Tweak --- Its Fantastic


THE NEW TWEAK

Over the good part of this past year I’ve been beta testing a new tweak, the name of which is "Total Contact." Its a hi-bred graphene contact enhancer that is different from all other contact enhancers that have come and gone for one reason or another. I’m not new to these contact enhancers, having had quite a bit of experience with a product developed by the late Brian Kyle and his "Quick Silver" contact enhancer. The "Total Contact" is different ... a LOT different.

"Total Contact" is graphene based and is not a vibration control. It eliminates micro-arching between two contacts. Micro-arching, much like Micro-vibration smears the sound in our stereo systems. Its the type of distortion that we don’t know is there .... until we eliminate it. There is no break-in as we know it. The sound is improved right off the bat, but what you hear is only a smidgen of what’s to come.

I tested three generations of "TC," each of which was an improvement over the previous incarnation. The final mix was cryogenitically treated and made for a more effective, much smoother application. It comes in a large hypodermic needle type plunger containing 1.5 ml of product and includes a instructional DVD and an application brush.

The application should be applied with a very thin coat to all of your electrical connections .... from your cartridge pins to your power cords. I did my entire system, including the ends of my fuses.

Upon initial application, you will notice an improvement in clarity, correctness of tonal balance and a more overall organic sound. But ... that is just scratching the surface of what this magic paste does. As it cures, the improvements become more apparent. Much more!

There are two real break-through events that happen almost to the day with "Total Contact," one at four weeks and another at eight weeks . At four weeks, you’ll get a real jump in clarity and overall improvement. That’s only a taste though of what’s to come at eight weeks. At eight weeks your system’s focus will make a jump in SQ that is so real - its surreal.

After 40 years in the hobby, and a total tweak nut, I have never heard anything that does what this graphene paste does. The see-through clarity at eight weeks becomes simply amazing. The "paste" eventually cures into a kind of polymer plastic and it seems that the sound improves with each listening session. So, its important that you leave your contacts alone for the duration. If you’re the type of person that continually switches wires in and out, you’ll have to re paste until enough time has elapsed to get "the cure."

The only problem I had was with the first batch and that had to do with shorting out a tube pin in the line stage. Use the "TC" very sparingly on tube pins, if at all. I only had problems with the line stage tube pins. The Amp, CD Player and Phono Stage has had no tube pin problems at all.

Tim Mrock, one of our fellow A’goners, is the developer of the product. Its taken Tim 15 years and several patents to get it right. Tim has "pasted" every electrical contact he can find in his audio system, all of the switches in his circuit breaker box, every contact in his car ... and has used it in commercial applications such as hospital circuit breakers, surgical lights ... and other places where efficiency and long life of electrical components are deemed important.

This product is highly recommended to anyone who truly wants to get the most out of his/her audio systems. There’s enough product in each tube to do at least two audio systems as it just takes a very thin coat on each application to be effective. The last tube was enough to do my system twice and then a friend’s system this past weekend.


Frank

PS: There were a couple of other A’goner beta testers of this product as well. Hopefully, they will chime in here with their experiences for comparison. I "pasted" both of Steve Fleschler’s systems a few days ago, perhaps he will comment on his results too. We forgot to paste Steve’s power cords though, so there’s a lot more to be had from Steve’s two fantastic systems.

Frank
128x128oregonpapa
^^^ Dead end for the arsonists ... the building they've been trying to burn down is made of concrete.

Frank
@tommylion

I have been following your thread on the gutwire, which is excellent.
Next on my project list. I am going to roll my own ground cables, and put together my own drain box.
Like yourself, I was surprised  at how important grounding points are.
Last spring I put my new product on just the clamps on my grounding rods. It was amazing how those 3 points made such a huge impact.
For fazee or anyone else with a limited audio vocabulary, words starting with A through L. Feel free to use your own words to describe what you hear. Please disregard typos, they are not your humble scribe’s. 😛

Accurate - The music is unaltered by the recording or playback equipment. Ideally, to sound identical to the original music.

Aggressive - Forward and bright sonic character.

Airy - Spacious. Open. Instruments sound like they are surrounded by a large reflective space full of air. Good reproduction of high frequency reflections. High frequency response extends to 15 or 20 kHz.

Ambience - Impression of an acoustic space, such as the performing hall in which a recording was made.

Analytical - Highly detailed.

Articulate - Intelligibility of voice(s) and instruments and the interactions between them.

Attack - The leading edge of a note and the ability of a system to reproduce the attack transients in music.

Attack (2) - The time taken for a musical note to reach its peak amplitude eg. notes will tend to sound more defined rather than blended with other notes.

Balance - essentially tonal balance, the degree to which one aspect of the sonic spectrum is emphasized above the rest. Also channel balance, the relative level of the left and right stereo channels.

Bass - The audio frequencies between about 60Hz and 250Hz.

Bassy - Emphasized Bass.

Blanketed - Weak highs, as if a blanket were put over the speakers.

Bloated - Excessive mid bass around 250 Hz. Poorly damped low frequencies, low frequency resonances. See tubby.

Blurred - Poor transient response. Vague stereo imaging not focused.

Body - Fullness of sound, with particular emphasis on upper bass; opposite of Thin.

Boomy - Excessive bass around 125 Hz. Poorly damped low frequencies or low frequency resonances.

Boxy - Having resonances as if the music were enclosed in a box. Sometimes an emphasis around 250 to 500 Hz.

Breathy - Audible breath sounds in woodwinds and reeds such as flute or sax. Good response in the upper mids or highs.

Bright - A sound that emphasizes the upper midrange/lower treble. Harmonics are strong relative to fundamentals.

Brilliance - The 6kHz to 16kHz range controls the brilliance and clarity of sounds. Too much emphasis in this range can produce sibilance on the vocals.

Chesty - The vocalist sounds like their chest is too big. A bump in the low frequency response around 125 to 250 Hz.

Clear - See Transparent.

Closed - A closed-in sound lacking in openness, delicacy, air, and fine detail usually caused by Roll-off above 10kHz; in contrast to Open.

Congested- Smeared, confused, muddy, and flat; lacking transparency.

Coloured - Having timbres that are not true to life. Non flat response; peaks or dips.

Cool- Moderately deficient in body and warmth, due to progressive attenuation of frequencies below about 150Hz.

Crisp - Extended high frequency response, especially with cymbals.

Dark - A tonal balance that tilts downwards with increasing frequency. Opposite of bright. Weak high frequencies.

Decay - The fadeout of a note, it follows the attack.

Definition (or resolution) - The ability of a component to reveal the subtle information that is fundamental to high fidelity sound.

Delicate - High frequencies extending to 15 or 20 kHz without peaks.

Depth - A sense of distance (near to far) of different instruments.

Detail - The most delicate elements of the original sound and those which are the first to disappear with lesser equipment.

Detailed - Easy to hear tiny details in the music; articulate. Adequate high frequency response, sharp transient response.

Dry - Lack of reverberation or delay as produced by a damped environment. May comes across as fine grained and lean. Opposite of Wet.

Dull - See Dark.

Dynamic - The suggestion of energy and wide dynamic. Related to perceived speed as well as contrasts in volume both large and small.

Edgy - Too much high frequency response. Trebly. Harmonics are too strong relative to the fundamentals. Distorted, having unwanted harmonics that add an edge or raspiness.

Euphonic - An appealing form of distortion that generally enhances perceived fidelity, often ascribed to the harmonic elaborations of some valve amps.

Fast - Good reproduction of rapid transients which increase the sense of realism and "snap".

Fat - See Full and Warm. Or, spatially diffuse; a sound is panned to one channel, delayed, and then the delayed sound is panned to the other channel. Or, slightly distorted with analogue tape distortion or tube distortion.

Focus - A strong, precise sense of image projection.

Forward(ness) - Similar to an aggressive sound, a sense of image being projected in front of the speakers and of music being forced upon the listener. Compare "Laid-back".

Full - Strong fundamentals relative to harmonics. Good low frequency response, not necessarily extended, but with adequate level around 100 to 300 Hz. Male voices are full around 125 Hz; female voices and violins are full around 250 Hz; sax is full around 250 to 400 Hz. Opposite of thin.

Gentle - Opposite of edgy. The harmonics (of the highs and upper mids) are not exaggerated, or may even be weak.

Grainy - A slightly raw, exposed sound which lacks finesse. Not liquid or fluid.

Grip - A sense of control and sturdiness in the bass.

Grungy - Lots of harmonic or I.M. (Intermodulation) distortion.

Hard - Too much upper midrange, usually around 3 kHz. Or, good transient response, as if the sound is hitting you hard. Uncomfortable, forward, aggressive sound with a metallic tinge.

Harsh - Grating, abrasive. Too much upper midrange. Peaks in the frequency response between 2 and 6 kHz. Or, excessive phase shift in a digital recorder’s low pass filter.

Headstage - The perception of the Soundstage while listening to headphones.

Highs - The audio frequencies above about 6000 Hz.

High Midrange (High Mids, Upper Mids) - The audio frequencies between about 2kHz and 6kHz.

Hollow - Recessed mids.

Honky - Like cupping your hands around your mouth. A bump in the response around 500 to 700 Hz.

Imaging - The sense that a voice or instrument is in a particular place in the room.

Juicy - Sound that has joie de vivre, energy and life.

Laid-back - Recessed, distant-sounding, having exaggerated depth, usually because of a dished midrange. Compare "Forward".

Liquid - Textureless sound.

Low Level Detail - The quietest sounds in a recording.

Low Midrange (Low Mids) - The audio frequencies between about 250Hz and 2000Hz.

Lush - Very Rich/Full.

Lush (2) - A "lush" sound has a sense of warmth and fullness. Notes are more authoritative and have a sense of life about them. It is a sound free of any sibilance or brightness. It does not mean colored, however. It is an open and inviting sound enveloping the listener into its soundstage. (source: unkown headfier)