Audio Reproduction System Flavors

OK, been thinking about the ‘Absolute Sound’ and the true ‘Real’ reproduction of what is on the source material. How a number of people focus on this as the ultimate goal of our little hobby here.

Well, I think they are wrong.

Or rather, that this goal is not the only goal.

This idea is best understood by comparing audio reproduction with visual reproduction. In particular the art of painting.

Until about the turn of the last century, as I understand it, the goal for several 1000s of years was for (most) painters to try to reproduce what they saw in a ‘photo-realistic’ fashion.

I remember there being a little renaisannce when someone discovered how to paint ‘perspective’.

It is a historical oddity that they got pretty good at it, often making a good living at portraiture, at about the same time that photography kind of made the whole point moot.

So then they came up with different kinds of reproduction. Impressionistic. Abstract. Super-realistic [not sure this is the official name, but it is when a painting of, say, fruit, looks better and more delicious and more real in the painting than in real life]. Pointalism. Cubism.

Yes, the more mundane art enthusiast still wants their art to look like photographs.

But many, many people enjoy these non-photo-realistic paintings.

And I say it is about time that we acknowledge that audio reproduction is the same.

It is OK to prefer a Sweet sound. A room pressurizing sound. A hyper-detailed sound. Whatever.

Just like it is OK to like the Impressionism of Manet and the abstract works of Picasso. I imagine that when these guys were starting out, they got the some level of flack from the traditionalists.

I think that as we get closer and closer to being able to do Real, we will also get farther as more ‘interpretive’ sound reproduction forms emerge.

It is the point of this post to suggest that these ‘interpretive’ sound reproduction forms are as valid, as enjoyable, and as worthy of a pursuit as the pursuit of the Real.

That it would be cathartic to recognize that this is happening, to embrace it, and, as a collary, to not all of us go racing off in a particular direction when we chould be racing off in all directions. To not abandon a particular art form, like Tube Analog in favor of Solid-State, LP Analog in favor of digital storage mediums, etc. All of these are valid.

Yes, the art world does the same thing, the ‘hot thing’ being Impressonism, through Cubism and Dada to Modernism and who knows what else I do not have the time. But I personally like them all, and would think the person who feels that only one of them is the One True Art Form is loosing out and a little bit of a Herbert.

So…. what do you think?

Neli came up with this one:

Digital = Cubism

my thoughts were that:

Digital = Pointalism.

I doubt if we can come up with a one to one mapping. And some of the reproduction out there is just poor. For example I think:

Bose is not equal to Velvet paintings, as Velvet paintings are clear, enjoyable and humorous, in a shallow sort of way. But not so Bose.

Guitar Fu

Or ‘Kung Fu for the Guitar’.

Back when I thought I had time (haaaaa ha ha ha) to learn how to play the guitar better, I subscribed to the Guitar Principles newsletter [Be careful with their bright red screen. Early in the morning it can be blinding, perhaps waiting until afternoon to visit might be better… Yeah, I just don’t think they got the Webdesign-Fu thing going yet].

Their approach has always been very deep, paying attention to every detail as well as paying attention to the numerous ‘purposes’ one has playing a guitar. Yes, it is very much like our hobby, but luckily we do not require much hand-eye motor coordination :-)!

[… though, often, the amount we do require can be duanting, plugging left channels into right, output cables into the input sockets, … all sorts of difficulties can arise if we do not FOCUS. Or maybe it is just us….]

For example, here is a (small) exerpt from their last newsletter, which I found myself identifying with both as a listener to musician’s music as well as a audio reproduction system optimizer [but not so much as guitar player – free time disappears as if it were nothing but a poof of smoke from Gandalf’s pipe]:

“….in the course of developing as a guitarist, you will be forced to confront who you really are, not who you think you are.” Musical performance does not allow us to lie, it forces us to speak the truth, whatever our truth might be. If I am afraid, if I am shallow, if I am passionate and profound; the music will say it.

As we play, we must ask “where is my attention? Is it focused on what I want, or am I allowing my psychic energy to be devoted to my fears and doubts, thereby bringing me what I don’t want?” The smallest corners of our minds and hearts, though we may keep them hidden from our awareness in everyday life, will come to life in the midst of our artistic endeavors. And that is why an artist must strive toward purity, which is earned through honest, fearless, and constant self observation.

So, let us observe ourselves fearlessly, especially when we play guitar, and see if we are focusing on the problem, or the solution. Is it our fears to which we give our attention, or are we thinking of and focusing on what we want? What we get [the results we get] will depend on the answer. “

Anyway, inspirational, for me at least. And I try to apply ‘Guitar Principles’ to other parts of my life.

[Boy, some people have bad hair days, I get bad spell days [everyday is a bad hair day, but I’m a guy, so who cares]. I’ve had to look up half of the words on this post…. *sheesh*].

Well, here we are at the end of this little Blog post….

Power Conditioners

This has been the subject of a few emails lately. Some of you may have noticed the Belkin surge protector in some of our pictures (what we call the Office Depot Special 🙂 ).

Here is an example of an email that we received from a nice gentleman,

“I perused with interest your Audiophile’s Guide to the Galaxy. In your Power Conditioners, Isolators and Regenerators section, I noticed your following claim:

Typically power conditioners increase dynamics and lower background noise at the expense of microdynamics, emotion and that toe-tapping pacing, rhythm and timing.

I mean this very respectfully, but as an experienced audio / video technician and avid audio enthusiast, I can’t think of any reason why a power conditioner should have any negative effect on microdynamics, emotion, or pace, rhythm and timing. Perhaps you will be good enough to share with me what experience or impart on me that knowledge which has led you to this conclusion.

I enjoyed your web site and will certainly recommend it to others I know.”

First, we thank you sir for your kind words and question.

There are two answers to his main question.

The first is my preferred answer, which is:

* We have tried a number of power conditioners and by far the common result is that we, and many other people, consistantly hear these negative effects.

So, this is that good ole scientific method of performing repeatable experiments and observing the results, The important thing here is that the observation, the ‘measuring’, is done with the ears and not mechanical or electrical instruments.

If someone has the time and genius to create a phsycial model of why power conditioners do this, build the instruments to verify their model, perform the experiements and determine that yes, their model matches the evidence of what we *hear*, then that would be great.

It is this return to first principles, to common sense, that many people [for example those that will not hear differences in cables] we see post on the net fail to recognize in their pursuit of science as religion [you won’t find a more scientifically geeky couple than Neli and I – but true science knows that it does not know, it only hypothesizes testable, verifyiable and often quite useful models of how many things work – but models often need revising if the experimental data requires it, and there are not detailed models for EVERYthing out there yet – like cables and powercords and power conditioners… 🙂 ], that somehow science, circa 2006, now knows ALL the answers, and if science can’t explain it, then it don’t happen.

So, in actuality, no one knows exactly WHY most power conditoners have this effect.

Eventually someone will figure it out.

But it might not be very satisfying.

For example, the sun warms our skin when we are outside. Why? Because (and I am paraphrasing, and probably not absolutely correct, but follow my point, if you will) the photons from the sun hit our skin, increasing the kinetic energy of the molecules floating around in the epidermous layer by converting the electromagnetic energy of the photon into mechanical energy of the molecule, which our nevrve endings interpret as ‘warmth’.

I beleive that is the model that best describes what happens in today’s scientific gargon, but there are both a lot of holes in the explanation [how is the energy actually transfered from that massless photon when it hits that wonking large molecule? All we can say now, is, that it does. The apples falls when we drop it because of gravity. Gravity is created by the Earth’s mass deforming 4D (or 11 or whatever) space. Why does mass deform space? It just does. ]

.. and it is not as satifying as one might want it to be, as say ‘the sun is sharing its life force with us’, and the real explanation is not often very useful in dealing with the situation: warm sunrays, gravity and power conditioner effect are really dealt with better in the common sense mode: wear sunscreen, don’t jump off tall buildings and don’t use power conditioner indiscriminately.

But, with all that out of the way, and with the reader now knowing full well that I am Making This Model Up – just like everybody else who is not performing real experiments [that can be verified, othrewise we will have them proving gravity does not exist, the sun is not warm, and power conditioners all work wonders].

And it is:

That power needs to be supplied to components as instantaneously as possible, and capacitors, usually found in Power Conditioners, even after being charged up for a few days, absorb charges while simultaneously being unable to release a charge fast enough, and in correct proportion to the request to compete with a straight wire, and also cannot be large enough to release a charge that is FREQUENTLY needed by larger components like amps. Same with coupled transformers.

When the component asks for more current, there is some delay and, primarily, dampening of the magnitude of response in electron flow coming from the wall. The PCs seem more inept at handling small ‘spikes’ in the request stream that major spikes, so that often MACRO dynamics does not suffer as much, or may even be increased.

Hmmmm…. wonder if that was clear. It also helps explain (in my head if nowhere else 🙂 ) why powercords work – they hold a resevoir of electrons ready to supply the component’s needs instantly.

Oh, and just to finish up, most Power Conditioners, being unable to respond instantaneously to demands for current, these small spikes, in order to render the more subtle details in music is what puts those more subtle details, microdynamics, emotion, at PRaT at risk.

Hope this helpssssss………

[The Shunyata Hydra, that we use here when we they are not out on audition – contrary to Robert Harley remark in this month’s TAS, is not a power conditioner – it is a power distributor. There is nothing in the path of the current getting from the wall to the component. BTW, also contrary to his assertion, the Pyython -sorry wordpress dies on the correct spelling – is not 98% of the Anaconda. No one, not us, nor anyone else would pay twice as much for a 2% improvement. We’re nuts but not NUTS]