Wasn't gonna post this...

[Jimbo]

I will start a new thread at some point.

Think we have strayed off post a bit in this one.

[Marco]

I will start a new thread at some point.

Lol - ok, but when you do, bear in mind that sometimes what seems crystal-clear to you, isn't to others, which perhaps is why your point is missed

Be *very specific* about the point you're making, and then it's less likely to be misconstrued.

Marco.

[Macca]

That isn't so easy to do if the point is quite complex.

Anyway back to fuses.

[anthonyTD]

Thats fine Gaz,
I am just trying to get my head around why there is such a marked diffrence [and I am not doubting your findings or anyone elses here] I still feel it is something that will indeed affect the breaking characteristics when compared to the standard fuse it replaces. I will do some more research on the matter elsewhere, and if something turns up at a later date, that I feel is relevent to this thread, I will post it here.

Without wanting to open up my kit and spoil the current enjoyment of my Moozic...
I refer the honourable Gentleman (and Anthony ) to my original post.

[RothwellAudio]

Secondly, the most important factor, in terms of how the final sound of anything is achieved, is when the designer 'voices' it by ear. *That bit* is most influential in either you liking what you hear or not - and how would you measure that, let alone apply it to a spec??

I've heard this referred to before, how a designer will "voice" a piece of electronics. Sounds like bullshit to me. Yes, when someone makes a musical instrument they will create a voice for it by thinning the top, choosing heavy bracing or whatever, and when someone designs a guitar amp they will do whatever is required to give it a certain voice - but how do you "voice" a power amp? And why would you even want to give it a voice? I think some people like to create more mystique around what they do than is justified.

[struth]

Some bulls shit smellier than others

[Jimbo]

I've heard this referred to before, how a designer will "voice" a piece of electronics. Sounds like bullshit to me. Yes, when someone makes a musical instrument they will create a voice for it by thinning the top, choosing heavy bracing or whatever, and when someone designs a guitar amp they will do whatever is required to give it a certain voice - but how do you "voice" a power amp? And why would you even want to give it a voice? I think some people like to create more mystique around what they do than is justified.

I think what Marco is suggesting is that amplifier designers can choose a variety of components, valves, mosfets, fets, capacitors etc which will all influence the final sound 'voice' of the amplifier. Apart from the electrical specification a component has consideration of its sonic signature is surely a prerequisite in designing an audio component?

[Firebottle]

I'm with Andrew on this.

I think this is a bit of an urban myth, helped along by valve rolling and 'fancy' capacitor dielectrics being swapped in various kit.
In my experience differences in sound, or 'presentation' if you like, occur due to changes or deficiencies in the impedance/matching in the specific position in circuit where parts are swapped.

I use the word deficiencies as I consider it to be less than optimal circuit design if changes are encountered. My circuit design strives to achieve the best clarity possible and to reduce as much as possible the effects of different components.

[RothwellAudio]

...consideration of its sonic signature is surely a prerequisite in designing an audio component?

No, I don't think so - audio components don't have a sonic signature. For example, what is the sound of a transistor? As far as my approach goes, it doesn't have a sound because it cannot even function in isolation. Unless it's in a circuit it won't even work at all, let alone display any sonic signature.
Things like carbon comp resistors could be said to have a sonic signature but in reality it's just poor performance rather than a useful characteristic.

[Jimbo]

I'm with Andrew on this.

I think this is a bit of an urban myth, helped along by valve rolling and 'fancy' capacitor dielectrics being swapped in various kit.
In my experience differences in sound, or 'presentation' if you like, occur due to changes or deficiencies in the impedance/matching in the specific position in circuit where parts are swapped.

I use the word deficiencies as I consider it to be less than optimal circuit design if changes are encountered. My circuit design strives to achieve the best clarity possible and to reduce as much as possible the effects of different components.

But Alan you have said to me many times that your amps sound the way they do due to your linear circuit design and you would not use any old bits and bobs to throw your amps together, surely? You design your amps carefully selecting components and circuit design in order to make them sound the way they do?