The long and the short of it is ...... err, what exactly?

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Originally Posted by The Grand Wazoo

The phaonmneal pweor of the hmuan mind.

Aoccdrnig to rscheearch at Cmabrigde Uinervtisy, it deosn't mttaer in waht oredr the ltteers in a wrod are, the olny iprmoatnt tihng is taht the frist and lsat ltteer be in the rghit pclae.

The rset can be a taotl mses and you can sitll raed it wouthit a porbelm.

Tihs is bcuseae the huamn mnid deos not raed ervey lteter by istlef, it lokos at the wrod as a wlohe and tehn rletaes it to the ohetr wodrs nxet to it.

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Or as the younger of us would say: FCUK YUO.:lolsign:

There be Dragons and myths guarding those cables.

There be bloody Dragons living in my garage. I'm scared of it. :sofa:

Haha!

Some preamp outputs just don't like driving long interconnects - my old Croft preamp for example is fine (if a little "soft toned") with 1m approx interconnect to power amp, but give it 9m runs to my active ATC's (with 20K single ended input impedance?) and all the top energy disappears. My other old preamp (an AVI S2000MP+P [am I allowed to mention them? :)]) which has a miniscule output impedance (and uses chunky metal canned trannies in the line stage which run quite hot I discovered) and seems very transparent to whatever source you use with it, drives the long leads with total disdain, as well as the second set of variable outs driving an old lightly tweaked Crown D60, which amazes me how musical and open it is, bearing in mind its 35 yrs approx. of age and 10% resistors all over (it does use 1% in critical bits and they were expensive back then).

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Originally Posted by DSJR

Haha!

Some preamp outputs just don't like driving long interconnects - my old Croft preamp for example is fine (if a little "soft toned") with 1m approx interconnect to power amp, but give it 9m runs to my active ATC's (with 20K single ended input impedance?) and all the top energy disappears. My other old preamp (an AVI S2000MP+P [am I allowed to mention them? :)]) which has a miniscule output impedance (and uses chunky metal canned trannies in the line stage which run quite hot I discovered) and seems very transparent to whatever source you use with it, drives the long leads with total disdain, as well as the second set of variable outs driving an old lightly tweaked Crown D60, which amazes me how musical and open it is, bearing in mind its 35 yrs approx. of age and 10% resistors all over (it does use 1% in critical bits and they were expensive back then).

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hi dave,
thats exactly what a good pre-amplifier should do, if any source equipment, be it CD, PHONO, PREAMP,etc,has a relitively high output impedence, ie above 10k etc,[marco take note:lol:] it will struggle driving long capacitive/reactive loads,mainly as you quite rightly discovered in the top end frequencies, the low frequencies are also affected in all be it a more less obvious way.
anthony,TD...:)

Hehe... Fortunately I don't use long interconnects!

Dave,

Anthony designs some fabulous grounded grid preamps which give my modifed Charisma-X a hard time. There's something special and fundamentally 'right' about the presentation of a good GG design.

Marco.

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Originally Posted by Marco

Howard,


One thing I've always wanted to try is having the speakers in a different room altogether from the equipment, say in a room next door. One could do it in such a way that the speakers in the room next door are backing on to the wall where the equipment is in the opposite room, to keep the speaker cable as short as possible, and then feed it through the wall to the system. Having speakers in the same room as the equipment, with all the vibrations they chuck into the room and hence also into the equipment, must be one of the most sonically detrimental things most of us do, of course that horrible thing called practicality usually always wins...

Has anyone ever tried this, though, and compared the difference?

Marco.

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Seems to me there are two possible problems here. First is that unless they're load bearing, most internal walls are of lightweight construction and transparent to whatever's going on between sources and speakers. Second is that a lot of the gear we all like to listen to looks good as well as sounds good. I suppose there's a third problem. Putting all the controls not just out of arms reach but in another room opens a whole new bag of worms. Gives the disenchanted the ability as well as the desire to "turn that racket down". They can also turn it up. Back in the 1970's, the offspring of a guy I knew wrecked a pair of ESL57s by cranking the volume. Controls weren't in another room; they were hidden in a pine cabinet. By the time he got to them, the damage was done. I believe the record involved was by Donny Osmond....................:guitar:

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Originally Posted by combwork

Seems to me there are two possible problems here. First is that unless they're load bearing, most internal walls are of lightweight construction and transparent to whatever's going on between sources and speakers. Second is that a lot of the gear we all like to listen to looks good as well as sounds good. I suppose there's a third problem. Putting all the controls not just out of arms reach but in another room opens a whole new bag of worms. Gives the disenchanted the ability as well as the desire to "turn that racket down". They can also turn it up. Back in the 1970's, the offspring of a guy I knew wrecked a pair of ESL57s by cranking the volume. Controls weren't in another room; they were hidden in a pine cabinet. By the time he got to them, the damage was done.

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I believe the record involved was by Donny Osmond....................:guitar:

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ohhhhh the shame of it!!!:lol:

You boleks jsut need to rleax and let yuor mdnis cpmoleate teh pitcrue. Tehn you w'uoldnt haer the dffirence bteeewn one plceaemnt of kit and the ohter.

Tim

Well I waited for ages for someone to say something about my post being a load of old boleks but I didn't think it would take that long