Thom, a replay curve that deviates more from the RIAA standard can sound better on select recordings, but it will almost certainly also sound worse on other recordings, compared to a replay curve that deviates less. My experience is that a flat RIAA curve is likely to allow you to enjoy more of your LP collection, not less. If 0.1dB or better is possible, go for it, as I think that on the whole, you will be ahead. The one categorical exception is when an LP contains sampling noise (sometimes CRT monitor noise). There are albums by Kraftwerk and Lorie Anderson that have this which I find painful. Everything sounds find until the sampler kicks in, and then I look for a wad of cotton, or wish that I'd designed an RIAA playback network that shelved down the top end (grin).
As an aside, the other possible solution for an RIAA playback curve would be to implement an EQ trim control, like with the FM Acoustics designs, or maybe a Cello/Viola Pallette. I've listened to and played with both, and yes, I can see their point.
I also find that a theoretically "better" solution - better power supply, better regulators, better amplification circuitry etc. will nearly always improve the sound of nearly every LP that you own. I don't find that "more accurate" means that you become more picky about the LPs that you can find enjoyable. Yes, you may become more aware of recording, EQ or mastering issues, but the music and performance comes through even more strongly, more than enough to overwhelm trivial concerns about the recording. The better my designs become, the more I appreciate a greater number of musicians.
I do find, however, that when it comes to component selection, you have to use your ears and subjective taste, in addition to your head. I've picked components that on paper should have been the cat's meow, but in listening turned out to be a pig's kiss instead. The designer cannot know each minute particular of every component that he chooses, and as they say, the devil is often in the details. So unlike the case with overall topology or circuitry or layout, with components I find it necessary to have a "range of candidates" on hand and go with whatever sounds the best - in the context of the circuit being tested. Engaging in this is more like cooking or choosing clothes than it is intellectual design, and is the phase where the more artistic types can strut their stuff, and pull level with or even ahead of other designers who may be their intellectual superiors. That's the fun part about audio (designing it as well as using it) - there is a place for the sensibilities as well as the intellect.
regards, jonathan carr
As an aside, the other possible solution for an RIAA playback curve would be to implement an EQ trim control, like with the FM Acoustics designs, or maybe a Cello/Viola Pallette. I've listened to and played with both, and yes, I can see their point.
I also find that a theoretically "better" solution - better power supply, better regulators, better amplification circuitry etc. will nearly always improve the sound of nearly every LP that you own. I don't find that "more accurate" means that you become more picky about the LPs that you can find enjoyable. Yes, you may become more aware of recording, EQ or mastering issues, but the music and performance comes through even more strongly, more than enough to overwhelm trivial concerns about the recording. The better my designs become, the more I appreciate a greater number of musicians.
I do find, however, that when it comes to component selection, you have to use your ears and subjective taste, in addition to your head. I've picked components that on paper should have been the cat's meow, but in listening turned out to be a pig's kiss instead. The designer cannot know each minute particular of every component that he chooses, and as they say, the devil is often in the details. So unlike the case with overall topology or circuitry or layout, with components I find it necessary to have a "range of candidates" on hand and go with whatever sounds the best - in the context of the circuit being tested. Engaging in this is more like cooking or choosing clothes than it is intellectual design, and is the phase where the more artistic types can strut their stuff, and pull level with or even ahead of other designers who may be their intellectual superiors. That's the fun part about audio (designing it as well as using it) - there is a place for the sensibilities as well as the intellect.
regards, jonathan carr
