BEST HARMLESS/SIGNATURELESS SPEAKERS CAPACITORS.

Dear friends: As I said before I had not high expectations changing the Wima FKP-1 instead the V-caps Teflon Cu at the input of my Levinson’s amplifiers.

I have to say that even that I bougth the 10% tolerance model in Wima ( because the 5% was out of stock. ) the capacitance was dead rigth: 0.033 uf with no deviation, in this regards better than the V-caps accuracy.

I had not big expectations if we think that the price of the Teflon Cu is 100.00 each one against 4.00 for the each Wima ! ! and that before this change I made it changes with Wima caps in the speaker crossover mid-range/band-pass/tweeter filters and before these speaker changes my system performed with really good quality performance level and high resolution where the Wima improved by a wide margin that quality performance levels and resolution.

Now, what is happening after I take out the V-caps and solder the FKP-1 in the Levinson’s?:

To say that the FKP-1 outperformed the Tweflon Cu could be a misunderstood because it did not outperformed but just " disappeared/burned " it so easy that it’s hard ( inclusive to me that I was in love with the V-caps. ) not only to believe it but to imagine it but it’s: beats totally the Teflon Cu ! ! ! ? ? !!!!

We have to think that through that input 0.033uf caps goes all the frequency range from around 60hz-80hz, that’s that affects the whole room/system performance levels. Due to that it’s a critical change.

First detected improvement was and is in the mid-bass where overhang or bloated performance gone and now the mid-bass has the tigthness as in live MUSIC ( overall IMD improved/goes lower. ) this made it that the over tones been improved too and that mid-range frequency recieved benefits about as the HF range too. Noise floor continued going lower and lower and the instruments notes are purer than ever. I don’t know how but in each frequiency range gone all " veils " and rigth now I have only MUSIC with out any sign of distracting " artifacts/colorations/distortions " and the like. It’s severely addictive and obviously a way new experiences for me and not only in my system but in any room/systems I listened trhough 40+ years.

I have no words to explain it because all the audiophile top adjectives has no " place " here because maybe you can’t understand it till you could listen for first time in your audio life that kind of system audio experiences.

If you have enough near field live MUSIC experiences what I can tell you is that I never before had that live MUSIC experiences.
The improvements are not in a few areas but in the whole quality and resolution performance levels. It’s a new audio world that I can asure you you just can’t imagine exist any where in a room/system but exist.


This is what I posted after the spekers crossover changes:

" In the Lyn Stanley Potions recording and in the very first track in the first minute ( at the end of that first minute. ) that started the track we can listen a very delicated high frequency strokes in a triangle, very delicated and with the Wima exist a very high definition with a precense so vivid ( not organic. ) that you can’t be in other way but impressed for it. """

Rigth now all those were converted in a crystaline and palpable sound.
I don’t know if you remember what I posted about the Gladiator recording in reference to the swords sound hitting in between with great clarity and rigth now you even can detect almost the angle in that those swords are hitting together is not outstanding but incredible.

Through the listening sessions you can be aware that the Wima caps are or permit that the signal pass through it starigth adding or losting " almost " nothing and I said " almost " because I can’t detect detriment in any way: there is nothing in between the MUSIC and you but MUSIC and only the MUSIC and emotions developed for.

That’s what Wima caps are: pure perfect engeneering with a way high quality excecution to the caps design through several years to be the audio industry true standard.

I consider useless to talk or compare Wima against Duelund, Juipiter, Mundorf, V-caps and the like: just no contest, no other caps I experienced represent a real challenge for Wima. Wima is in a diferent league, for now.

I’m lucky to think " out of the box " that permits me find out the " losted link ".

You don’t have to beleive me you only have to change your Duelunds or what ever caps you have for the inexpensive Wima and listen for your self and after that I invite you to share your experiences with us.

I think thaT IT’S NOT THAT THE WIMA WORKS FINE WITH MY SPEAKER AND ELECTRONICS I THINK THAT COULD WORKS FINE IN ANY SYSTEM IF WE HAVE THE RIGTH OPEN ATTITUDE AND FORGET TO WHAT WE ARE ACCUSTOM TOO AND REMEMBER HOW THE NEAR FIELD LIVE MUSIC SOUNDS.

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.

Next move: speaker woofer crossovers and FKP-1 instead the MKP-10 in the tweeter and band pass crossover filters.

The MKP-10 rigth now are performed excellent but I did not know before that the FKP-1 are for Wima the high end caps for this application. That's why I bougth it for the input Levinson's caps and you already read the success.

Btw, I still own several caps: Duelund, Mundorf, Sonicraft, V-caps, Jantzen, etc, etc,  I have no regret or any compliant for all the money that I already spend for. This was the learning price and I'm now really happy to do it because it's the only true way: " to know ". Now and after so many years I'm where I want it but that never before knew how to achieve/arrive there/here.

R.

Dear friends: Please read all this page to know whom is Wima  to have not a misunderstood as I did it for several years:

https://www.wima.de/en/

Here are the two models I'm using. Same, read it individually and look the kind of information that Wima gives us and you can compare it against say Duelund:


https://www.wima.de/en/our-product-range/pulse-capacitors/


Regards and enjoy the MUSIC NOT DISTORTIONS,
R.

Dear firends: I was and am thinking why took me so many years to " arrive " with Wima and this is my take about:

if it's true that we are MUSIC lovers before anything else in audio it's true too that we are audiophiles members of the " high-end " and as we are not " normal " audio gentlemans we always are looking for best audio devices to enhance our room/system and obviously to enhance our enjoy when listen/reproduce MUSIC at our places,

So we are " followers " of news discoveries for some one some where or just through marketing ads and magazines reviews or through audio dealers.
Several of tghose " discoveries " are really snake oils but no matters what we have to try it and test if function or not.

Normally that snake oil in the high-end comes along high prices because if the price is low no one of us turn over the head to look at.

From that kind of audiophile attitude came several audio products/boutique products like: fuses, cables, capacitors, anti-vibrational devices, pens for CDs,  to many to name it but you know what I mean.

So my self as a follower never turn out my head to Wima caps even that each time I opened or seen inside electronics always found out those " poor " Wima caps. My way of thinking in the past ( till two weeks ago. ) was  not only that Wima " can't do it " but I really never think on Wima caps I never think to use it instead the very well regarded ( regarded mainly by audiophiles but for reviewers and distributors. Internet is full of how good and its high differences with no boutique caps and that's why we go for it. I don't say sounds bad, I already said and before my Wima discovery that all those boutique caps are colored ones and from those colorations comes the audiophiles adjectives of its " great " performance quality. )  boutique caps. Wima was just out of my mind till now.

There is no return when we use Wima. I don't know if in the future could comes a true challenge for Wima because according my full experiences over 40+ audio years no other caps can " touch " Wima.

Yes, I'm happy with and listening more hours daily my system, as I said it's addictive.

That's Wima true German engeneering that no one audiophile touted never, at least I did not read it.

Enough, I have to come back following  enjoying MUSIC because this is all about.

R.

Dear friends : I know that it's intimidating not only to test the Wima cap´s in your systems but even to make or give a positive opinion on the Wima qualñity level performance.

Well, I left/stop to listen ( on purpose. ) my system ( anlog/digital/radio. ) for more than 7 days now to " liberate " my brain/ears of the Wima sound and the big surprise that showed and this week end with " fresh ears " started to listen sessions and " see " what happens and what happened was a huge confirmation that the rigth road has a new name WIMA and nothing else. I think that we can like it or not but we can't  cover up the sun with one finger, sooner or later will shines.

Here some of what I listened and some kind of evaluation about, I decided to go with analog because is more tweak than digital ( I listen a little to digital too. ):

Paramita by He Xun Tian ( Wind Music label. ): this is a recording using asian instruments including drums, instruments total unknow for people like me with sounds that we are not accustom too. Percussive instruments ( several ), female voice and chorus and drums:

it's an overwhelming experience of joy, very demanding recording for any system and the Wima makes a wonderful job as no any other caps I tested in the past. Talk with audiophile adjectives could be useless.

The Köhln Concert   Keith Jarrett ( ECM. ): for the first time in my life I listened in a row the 4 concert parts and twice the one part of that concert. It was and is a wonderful  life lesson that wake up in any person feelings of any kind you can imagine or dream.  The mastery and skills of KJ are overwhelming too and we can attest it over all the concert but especially in the last 7-8 minutes of the part one.

M. Davis at the Black Hawk ( CBS. ) : I always like Miles " muted or open "  and in this recording with the great Wynton Kelly in the piano obviously Chambers at the bass and J.Cobs at drums alond Hank Mobley sax.
With his horn open or muted Miles was just sublime but with the Wima  that sublime is " years ahead " anything you can imagine and not only him because in the Hank solos that sax " cry ".


Time Out  D.Brubeck Quartet ( CBS ): ovbiouslly Desmond at sax and Morello on drums EW in the bass.
I know that almost every one  already listened take five or blue rondo a la turk tracks and I know for sure that never listened with that kind of vibrancy and new discovery rythm than now. Desmond was in his " glory " in this LP as Brubeck and Morello.


Dafos  Mikey Hart ( RR. ): a very demanding full recording using a lot of players playing percussive instruments from Brasil, Africa and Indonesia including big big drums.
All the side 2 in the LP is demanding in extreme ( especially at over 95db SPL's ) and I know that in several system we can't hear not only the " melody " but to distinguish with precision each single percussive instruments and very dificult not only for the kigh SPL but because are involved by " dozens " different instruments.
Wima has that capacity because does not adds nothing and let pass trough every nuances, details and the like.


Solti at the Opera ( London: not very good recording but I tested because in the past I listened  an undefinied " sound "  of deep bass babbling as this was an error during the LP recording but it was not an error and is a true " sound " that comes from the subway where the Royal Opera House is seated. With the Wima that babbling takes definition and is at deep bass. It does not happens in continuity through the recording but by pauses like at the begin Side 2 track 1 first 2 minutes of Semiramide Overture ( Rossini. ). Btw, in some RCA reissues by Chesky recordings I had similar experiences.


Montserrat Caballé ( RCA ) : Side 1 Norma by Bellini: Casta Diva  when you hear Montserrat here you want cry of joyness and I mean it. Same happens in the Side 2 Lucrecia Borgia by Donizzeti.

The Montserrat voice is as it's coming from " heaven " was a give to Montserrat a excelse give and a unique give. Her talent is out of this world and a challenge for sopranos as regarded like Sutherland or La Divina M.Callas.
Exist no single instrument so complete, so dramatic, so impressive, so tender, with so huge power, so full of emotions that the Montserrat voice, nothing compares her gives.


The Royal Ballet Gala Performances    Anserment ( RCA. ):  in the Nutcracker Suite the 2 and 4 excerpts ( Dance of the Plum Fairy and Chinise Dance. ) we can note with how much aplomb and delicancy the Celesta and percussive instruments are playing. Not an easy task at the levels that Wima puts it.



@grannyring  no, I don't will try the ODM new caps due that could be useles due that Wima clearly outperformed the V-caps teflon Cu .

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.