Fair points. And of course tube circuits tend to better lend themselves to point wiring. They're often much simpler and use fewer and often larger parts. With an efficient layout, you could probably lash up a tube amp with some turret boards and tag strips about as fast as you could with a circuit board.
Now, a complex solid state amp? Forget about it.
se
Q
Keeping it simple since 1998
Yes, i fully agree with you Steve
Most of the larger components already tend to have tags on them anyway, or at least it appears they can be purchased with tag mounts. Valve holders, transformers etc, which leaves few components such as capacitors & resistors etc that can simply be wired between the tags
It all makes senseYou'd end up with fewer connections than if using a PCB which can only be a good thing from a sound point of view.
Bests, Mark
"We must believe in free will. We have no choice"Isaac Bashevis Singer
Yes indeedio!It all makes sense You'd end up with fewer connections than if using a PCB which can only be a good thing from a sound point of view.
So, in terms of progress being made (the theme of this thread), some modern design techniques leave much to be desired compared to good old fashioned point wiring.
Next I'll tackle the way most affordable equipment is voiced these days (artifically thin and forward sounding), from CDPs to speakers, compared to the *best* vintage designs
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL, in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. Power Amps: Tube Distinctions Copper Amp, fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.
Location: Glasgow, Scotland, UK
Posts: 33
Exactly, though a component won't always span the entire distance required.
Yes. Though personally I rather like the old brown paper/phenolic boards. Unfortunately I haven't been able to find it here quite a long time. Can get the laminate material itself, but not copper clad.It all makes senseYou'd end up with fewer connections than if using a PCB which can only be a good thing from a sound point of view.
Then I was talking to a friend of mine the other day and the subject came up and he said to just get the laminate and send it to the board house. It seems the board houses are now going over to the additive process for making boards, i.e. plating directly to the laminate rather than using copper clad and etching it off.
So that's got me rather excited, though I'm not sure yet whether their process will work with phenolic-based laminates. I'm hoping it will because I'm really wanting to try some boards made from linen/phenolic laminate.
se
Q
Keeping it simple since 1998
As I was going to say before I got sidetracked replying to posts, I don't think we've progressed as much as the marketing departments would wish to lead us to believe.
Remember the "spec wars" back in the 70's? Where the mass market manufacturers were vying for the best specs? The more zeros to the right of the decimal place the better. It was a numbers game.
And we have much the same thing going on now, only taken to a different level.
Gotta use this wire because it's the highest purity, or has the fewest crystals. Gotta use that dielectric because it has the lowest dielectric constant. Etc., etc.
Most everything is ultimately geared toward improving some objective metric, with the implication that any objective improvement must be good, while neglecting the fact that we are subjective human beings, not pieces of cold, objective test gear.
It's caused a huge segment of the market to become unhealthily obsessed not only with purely objective metrics, but with the smallest of things. Forget about not seeing the forest for the trees. Or even the trees for the leaves. We're talking about missing even the leaves for the cells.
And that's literally the scale at which many are obsessing over.
I think in many cases we've lost track of the big picture.
Looking at it from a more philosophical point of view, we're being driven to seek pure yin, and eliminate all yang. But as the philosophy goes, without yang, yin ceases to exist.
I think we need to come back to a more healthy balance.
That's why I think some of the best vintage gear out there can ultimately be more satisfying than the most modern offerings.
They didn't worry about the cellular structure of the leaves. They got the basics right and they kept things relatively simple.
That approach has worked well for me. I try to get the basics right, keep things simple, and at that point, instead of trying to keep some number cruncher happy, I feed my soul.
And I guess that's what I don't care for in a lot of things out there. They lack soul. They come off to me as cold, cynical and contrived.
Anyway, them's my thoughts on the matter.
se
Q
Keeping it simple since 1998
Awesome, Steve - I think that should be post of the year! I am in entire agreement
There are so many bits I could highlight, but with this you and I are so much on the same wavelength, it's untrue:
Hear, hear!And I guess that's what I don't care for in a lot of things out there. They lack soul. They come off to me as cold, cynical and contrived...
I'll comment more later.
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL, in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. Power Amps: Tube Distinctions Copper Amp, fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.