Rain-X as CD Enhancement Treatment


I have used the Auric Illuminator treatment on my CD collection for several years now. I am a believer in the AI, and repeated A/B tests of identical treated/untreated CDs bore out significant improvements after treatment with AI.

I ran out of the fluid and my marker dried out, so I was searching for mew treatments on the market before buying another AI kit or choosing something new. That's when I ran across this article by Greg Weaver at Soundstage, where he talks about having used Rain-X and a green marker(Staedtler Lumocolor 357, price about $3.00) as a treatment on his CDs to great effect.

http://www.soundstage.com/synergize/synergize200005.htm

Being the complete geek that I am, I had to try it for my self. I found the marker at Office Depot, and picked up a little bottle of Rain-X for $2.99. I treated a couple of CDs that I have ended up with duplicate copies of (Grant Green's Green Street, Frank Sinatra Sextet Live In Paris)and tested the Rain-X/marker treated vs. untreated disks.

Well, low and behold, the treated disks sounded notably improved; the music was clearer and louder, especially the midrange, the soundstage was larger with better definition and separation of instruments and the bass was tighter and deeper.

I can't say that the Rain-X treatment was or was not better sounding than the AI, but at the least very it is close, for a fraction of the price.

Has anyone else ever tried the Rain-X treatment?
craig_hoch
Shadorne, yes, but how to you account for the differences in sound that I described? Please don't say we only think we heard them. The room at the RMAF was full of skeptics who only tolerated John Tucker doing this on his system. All muttered disbelief when they heard the difference and only John said he had to get one of those puppies. Several others, however, asked me in the hall where they might buy one.
I'm curious how far into the digital domain Shadorne extends his viewpoint that bits are bits. I too can think of no explanation for why CD media tweaks-- or for that matter tweaks to the optical section of any transport-- should impact sound. And yet I have heard it, and moreover the industry has produced continuous improvement in the manufacture of transport optics & mechanicals up to the current estimable TEAC VRDS-NEO.

Moreover, I have two transports that demonstrate conclusively that "bit ain't just bits." One is a Sony SCD-1, in which the digital section has been modified with improvements to power and passive components in the digital signal path; the other is a stock 777ES (which in stock form has a digital section identical to a stock SCD-1.) I can listen to just the transport sections of both units through identical PDIF cable and identical external Theta Gen 5a DAC, and hear a night and day difference. Go figure.
I'll add that when I modded that Sony, I started with changes to power into the optics, motor, and servo, and worked my way through the various digital circuits, dealing with replacement of the master clock last. I wanted to be able to distinguish between collective changes made in the digital domain and a clock upgrade. Taken together, changes in the digital section other than the clock, surpassed the replacement clock in significance. Go figure.
Shadorne, yes, but how to you account for the differences in sound that I described? Please don't say we only think we heard them.

If what you heard is similar to what is decribed on DAGOGO by Norm Luttbeg then it sounds like it was reduced jitter. This can be explained if you think about a CD rotating and vibrating or the "burned layer" (usually a dye) being uneven from the burner (vibrating disc as it is burnt). The laser pick up will need to make contiunous adjustments in order to remain in focus - since the adjustments are likely repeated upon each revolution of the disc then you create a sinusoidal adjustment to the laser.

If the CDP has poor isolation between the laser ciruitry and the DAC then you can create jitter. Normally jitter is most audible when it is NOT RANDOM - i.e when it is periodical. You get sidebands not unlike IMD distortion rather than white noise thay you might get from completely random jitter.

The above would be a possible hypothetical "complex" explanation. In both cases (mat or no mat) the CD is bit perfect but the equipment is underperforming due to additional complexities in reading an uneven disc.

However, I would be cautious about jumping to conclusions, testing like this is a minefield. The above is just one of many possible answers. For example, another explantion could simply be the setting of the volume - playing the treated CD a mere 1 db SPL louder would probably be just enough for everyone to hear an improvement without anyone noticing the volume was slightly different.

Anyway, the fact that Exact copy proved that the two discs were identical (if we accept that) then we are led to suspect either the equipment playback capability or test conditions as suspect. If I was sure it was the gear and had completely eliminated everything else then I'd get rid of the CDP and find one more reliable that does not need a band aid "mat" to work properly.
Shadorne...I don't think that Tbg is talking about digital errors, which, as you described, are completely avoided by use of the RS error-correcting code. Anyone who claims that "bits ain't bits" is simply ignorant of digital technology. Tbg says that identical (bit for bit) files sound different when run through the same D/A, amplification, and speakers. In particular it's been said that the sound is louder after the CD is treated. Absurd!

I was not there when this treatment was demo'd so I can't dispute the statement that many people heard a difference. But the reason is not to be found in the digital domain. Many people believe in UFOs.