Tweaks? Whatever @mahgister is smoking 😂. I want to have it. But he never disclosed it, no matter how hard I tried (in another thread) 🤦♂️🤷♂️
@mahgister : don’t be offended please. It’s a joke
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Pace Rhythm and Timing tends to be one of the more difficult parameters of a system to sense, but perhaps the most important when it comes to musicality and how engaging a system is. It is system enabled, and primarily a function of all the electronic components. In general, tubes get this right much more easily than solid state… and the solid state ones that really get it are expensive. I have to say the systems I have heard that immediately drew me in with outstanding rhythm and pace have been tubed. But some companies like Pass have made great advances. My system is incredibly satisfying from this perspective (under ID). I always think that if you focus on detail and slam, then imaging, it is really easy to loose it. Then you have a sterile system that technically sounds great but leads to boredom after short listening sessions. Once you finish being amazed that you can hear the conductor zip up his fly, you start reading the newspaper or go cut the lawn.
After fifty years of pursuing the high end. If I were to have a system that really excelled at only thing it would be PRAT. Also, for thirty-five or so of those years I could not sense and identify it. I mean, some systems would simply emotionally connect with me… and many across the spectrum would to different degrees… but being unable to put my finger on this parameter left me chasing details, micro details, imaging and slam, which can be heartless without PRAT.
I am currently listening to some digital music by Debbie Tebbs… I am finding it hard to sit still and not sway and bounce with the music… This is why I have my system… it gets the joy or sometimes sorrow across. |
Timbre experience and perception is the first parameter... You can have some PRaT without natural timbre experience... But you cannot have timbre right and no good PRaT... Why ? because the instrument Timbre is made by a spectral envelope but also by a time envelope , and the onset and sustain and decay of timbre cannot be right without some good PRaT in the system... And when you tune a room with your ears you dont use PRaT perception as the first meter or the first rule for the tuning and for the incremental very long refined tuning but the timbre perception...Classical non amplified instrruments are the best : piano, human voice acoustic guitar, organ , then orchestra and chamber instruments...
For the tubes amplification and the S.S. amplification you have more experience than me...😊 I picked two Sansui S.S. amplifiers precisely because for the AU 7700 Sansui replicated their tube amplifier sound in this S.S. AU series ... They did it on a long period 20 yesrs i dont remember ) and tested it publicly with an official listening between an Au model and their top tube model... The sound was identical... The only tube amplifier i bought was around 400 dollars and i did not like so much "his S.S. sound" nevermind the 40 tubes i tried... I sold it...I guess a top tube amplifiers cost more than 400 bucks... My actual Sansui alpha sound not as the tube-like Au 7700 but very good with no harshness at all and it is very low noise floor... i needed a very low noise floor with the AKG k340 because they pick everything in my audio system and electrical grid...
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I am too serious...😁 But i am not offended by jokes...But i apologize if it happen by accident, because my english understanding is not very litterate... i read only philosophy or science then i dont have a great subtle vocabulary... it is difficult to describe my tweaks.. they are homemade and i tune them after many experiments.. An example of a simple experiment : (But never communicate this to Amir he will disparage and mock me till the end of the world...) Take a big chunk of Quartz , and take a shungite block , the two around 200 hundred grams or a little more for this experiment ; put them each one on top of your amplifier and listen ... lIsten one and the other and listen with the two together... you will observe a little degradation or a little improvement of the sound...or something between the two but a change in sound... Now imagine you use many different minerals till you achieve some balance and a more beautiful sound...😊 ( i use even fluorite for example but it can be a degradation of the sound with fluorite most of the times you must learn by LISTENINGS how to create a balance between minerals ... It was very fun now i know the way to do it and i am done with experimenting.. ) if the amplifier is more in the high side or more in the bassier side in his tone you will correct it ... I used this and ionization and Schumann generators to TUNE the amplifier as i tuned the room.. For sure vibration isolation or mechanical embeddings , and electrical low noise floor in the house are mandatory... Tuning the system mechanically, electrically and acoustically are for me the only golden key to audio experience...And the tuning tweaks are the cherry on the cake (not the cake ) MY bass experience in my very sensitive headphone ( i lost my acoustic room ) is seismic and like lava flows in the upper bass and in the highs it is cold ice with the upper highs as warm honey... The mids and vocals are so natural and realistic i cannot ask for better... All this resulted from a good paring with the right components but especially for the minerals rightful tweaks tuning too ...
My audio experience formula : ---Subtle tweaks minerals tuning of the components...( with Schumann generators and ionization ) ---Mechanical embeddings ( vibrations control) ---Electrical embeddings of the system in the house grid ---Acoustical embeddings with the room treatment and his mechanical tuning with a grid of resonators... As you know already , electrical measures of the gear are useful in the design process but useless to PREDICT sound qualities experience as Amir claimed ... I use electrical measures to pair my components well...Thats all.. My best to you By the way i dont smoke ... A glass of wine perhaps...
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