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In Reply to: RE: PS. Some explanation. The thought behind this is that certain natural materials produce a more natural sound posted by rick_m on August 12, 2011 at 09:14:50
for example they publish their schematics but state that the execution of the design along with the use of very specific materials has as much of an effect on the final sound as the circuit does. The systems that follow what one may call the feng shui of audio system design do seem to produce very natural sounding audio systems. Furthermore, of course brass being an alloy is about as natural a material as stainless steel but I think the intent here is in materials that naturally lend themselves to their use in musical instruments. Such as the brass or woodwind section in an orchestra. Whereas, there is not thankfully, a stainless steel section in an orchestra. You may recall the late Enid Lumley writing for the Absolute Sound back in the 1980s advocated the use of copper, brass, and silver over aluminum, nickel or stainless steel in the use of casework near audio circuits. I believe the Asian audiophile groups have pursued this line of tweaking more than their American counterparts have.
Follow Ups:
All material, natural or not have a resonance frequency, that is the nature of the material world. Drop an aluminum pot cover: compare the sound to a brass plate, or to a stainless steel plate: they all sound different. Different woods themselves sound different as musical instrument makers will well attest.
Rick M has the correct interpretation. Different metals have different electrical properties and that of course affects the circuits adjacent to the casework. Woods have the least effect electrically. In my experimentation, and judging from the the work of the original Klyne preamps, a plexiglass cover is far preferable than a metal cover. The covers effectively create a large ground plane and the resulting capacitance rolls off the extreme highs. replacing the top and bottom covers of my CJ preamps was a revelation: not only more extension in the highs, but better detail and greater microdynamics.
Stu
"replacing the top and bottom covers of my CJ preamps was a revelation..."
But weren't you replacing metal ones with plastic Stu?
Plastic or wood may affect mechanical vibrations but they are both essentially transparent (if dry) to EM signals anywhere near audio frequencies. Using metal boxes for shielding isn't as straight forward as one would hope and avoiding them may well be better if you can get by with it. But that's a pretty big if...
Funny about real systems, they are loaded with ifs.
Regards, Rick
"[Enid] advocated the use of copper, brass, and silver over aluminum, nickel or stainless steel in the use of casework near audio circuits."
Now we're talking! It's not the "naturalness" of the material it's the effective XL/R, the loss tangent, of the material vs F and the intercept angle that determines the magnitude and phase of the reflected signal. If you stir in ferromagnetism from iron or nickel then you really have an 'interesting' situation where the phase can circle through the audio bandwidth.
In musical instruments surely it's the mechanical vibration characteristics that hold sway so I like the idea of stainless steel instruments, bet they sound hot and the band really cooks...
Regards, Rick
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