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Naim = bright?

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sergeauckland said:
I have a great deal of experience in how irrelevant setup is to any SS equipment, not only Naim. There's no technical reason why microphony has any relevance to the performance of a SS amplifier unless you have evidence to the contrary. Saying it's so because I heard it is not evidence, at best it's an observation that can be checked very simply by blind testing.

What proper evidence have you that is is relevant?

S.
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From Kemet, one of the worlds largest suppliers of ceramic capacitors.

Capacitor noise

and I quote from Kemets applications manager.

"The peak response region and the noise attributes dictates that these capacitors should be used very
carefully in audio circuits, as well as high-gain circuits; and, be careful that an audio application may not easily
appear to be an audio circuit (sleep mode conditions of microprocessors). "
 
russel said:
From Kemet, one of the worlds largest suppliers of ceramic capacitors.

Capacitor noise

and I quote from Kemets applications manager.

"The peak response region and the noise attributes dictates that these capacitors should be used very
carefully in audio circuits, as well as high-gain circuits; and, be careful that an audio application may not easily
appear to be an audio circuit (sleep mode conditions of microprocessors). "
Click to expand...

Quite so. One chooses components according to the application. Ceramic capacitors are used mostly for rf decoupling, not much in audio frequency applications.

Edit: Microcontrollers and other digital applications whilst used in audio equipments are not audio applications. I would not want to use ceramic capacitors in any audio application, not because of potential microphony problems, but because of high leakage, which isn;t terribly important in power supply decoupling, or in RF applications where low inductance is more important.


S.
 
sergeauckland said:
Quite so. One chooses components according to the application. Ceramic capacitors are used mostly for rf decoupling, not much in audio frequency applications.

Edit: Microcontrollers and other digital applications whilst used in audio equipments are not audio applications. I would not want to use ceramic capacitors in any audio application, not because of potential microphony problems, but because of high leakage, which isn;t terribly important in power supply decoupling, or in RF applications where low inductance is more important.


S.
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Yep. Only ceramic capacitors are noticeably microphonic and they have no place in quality audio equipment anyway for a multitude of reasons which I can't be bothered to go into here!
 
Someone needs to have a word with my capacitors then as the SS boxes they belong to change sound with a change of support structure.
 
dave said:
I have a very advanced imagination then as I have no problem identifying support surfaces blind here with my rig.
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I had a glass and plastic TV stand that came with our first large plasma TV, which got wall mounted, it's position meant that the tall stack had to go and all that was available was the cheap TV stand. We duly moved them over and it sounded fantastic, the difference was very clear, so much so that we doubted it and moved them back. The result was as it had been previously, so back to the TV stand and brilliant again,trouble was it was FUGLY! After that I really find it hard like you when people don't believe the surface make a difference
 
Diffraction could explain the difference if the TV and its stand were located between the speakers but then removed, however, when your gear is on stands and fifteen feet to one side of the nearest speaker...Houston, we have a problem ;-)
 
Possibly but the speakers were well off the wall in front of the stands at the time and the record deck was on a wall shelf at the time, I'm convinced it was the stand that made the difference (bizarrely for cheap crap)
 
LOL...I do have an expectation bias for "cheap crap" when it comes to stands. They usually sound better because they weren't engineered by someone who didn't understand what the problem was they were trying to solve. In other words, they work by accident.
 
Sorry Jez but I file your tap test in the same drawer as " if God meant man to fly, he would have created him with wings."

I prefer the back woods, common sense method. Move gear to stand A then stand B with no other environmental or setup changes. If stand A and B cause the music to sound different, one or most likely both have affected the ability of the component to reproduce the signal as accurately as it can. Keep the stand that seems to do the least harm and move on.
 
My finger spends most of it's time up my nose, if I wanted to tap my amp I would have to head butt it! I'd certainly hear that :)
 
Dinovector said:
My finger spends most of it's time up my nose, if I wanted to tap my amp I would have to head butt it! I'd certainly hear that :)
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Well, I think you should give that a go in interests of research.
Head butt your power amplifier and record the output so that we can discuss the effects at length.

Kids, don't try this with valves.
 
Robert said:
Well, I think you should give that a go in interests of research.
Head butt your power amplifier and record the output so that we can discuss the effects at length.
Click to expand...
LOL I think it probably would be discussed at length, but, life's too short :)
 
Mr Pig said:
And did he give you a finger that can tap at fifteen-thousand cycles per second?
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He gave me the intelligence to perform such testing (which I've done) and also the ability to discount nonsense when I see it.

Perhaps you'd like to explain how 15Khz manages to get through the equipment supports, or through the air sufficient to become detectable as a microphonic effect?
 
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