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You hear it, but you don't recognize it.

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I have similar experiences when Don Palmer tweaks something. At first, I'm not aware of
what he's focused on and things sound generally the same.

After I've had the chance to digest the underlying physics and make my own experiments,
then I hear the change. Sometimes this is days or months later.

For example, one of my favorite test pieces is _American Dreamer_, the songs of Stephen
Foster sung by Thomas Hampson backed by some bluegrass musicians. Thomas Hampson
has a powerful, classically-trained opera voice and he treats these songs like they were
high-art, German lieder.

In my experiments with R-C terminations of speaker cables, I found that adding the
terminations made an obvious difference in the purity of his voice in certain passages. The
overall improvement was subtle, but once I learned to focus on the kind of events where it is
most obvious, it became much easier to detect the changes. I found that 0.01 mFd, the
reported value used in Walker's HDLs, works just as well as the larger caps I started with.

Adding Don Palmer's Power Wraps to the speaker cables had less effect on those kinds of
vocal passages, but made the timbres of string instruments more juicy and improved the
resolution of quiet events at the back of the orchestra. When Don adds Power Wraps to
power cords, he tunes their position by listening for relaxation in female voice. I do hear
the improvement, but I tend to focus more on instrumental timbres.


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