Shian7
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Kudakutemo
kudakutemo
ari mizu-no tsuki
Though it be be broken -
broken again - still it's there:
the moon on the water.
- Choshu.
Location: Deleted
Posts: 6,566
I'm Deleted.
Not really.
Eddy currents can certainly be generated in aluminium and this is primarily the rational given by those manufacturers who have gone over to plastic (acrylic) cases for their electronics (such as DNM). Whether eddy currents can be generated by the typical music signal passing along an interconnect is another matter.
Both WBT and Eichmann state the alloy they use (silver or copper alloy), but neither state the specific mix of metals in the alloy and possibly this makes a difference. Also, although Eichmann's solution to attaching the ground to the socket is much simpler than the collet of WBT, it does actually make a tighter connection and over a smaller contact area - perhaps that makes a difference.
Account Deleted
Shian7
--------------------------------------------------------
Kudakutemo
kudakutemo
ari mizu-no tsuki
Though it be be broken -
broken again - still it's there:
the moon on the water.
- Choshu.
Hi Mark,
I definitely think there's something in it. I've heard a similar effect, although to a greater extent (in that case relating to ferrous vs. non-ferrous metals), with otherwise identical (Mana) equipment supports, the only difference being that one was made from magnetic metals (angle iron), and the other non-magnetic stainless steel.Eddy currents can certainly be generated in aluminium and this is primarily the rational given by those manufacturers who have gone over to plastic (acrylic) cases for their electronics (such as DNM). Whether eddy currents can be generated by the typical music signal passing along an interconnect is another matter.
'Night & day' just about described the difference between both, sonically!!
Perhaps that's one of the reasons why the polymer-bodied Eichmanns, to my ears, sound better than the aluminium-bodied WBTs, even those where the internal construction is plastic? The outer shell is still alluminium, and therefore subject to eddy currents. But then, the aluminium-bodied Eichmanns also sound better, to my ears, than ANY of the WBTs....
I think the last bit is likely to be the most influential.Both WBT and Eichmann state the alloy they use (silver or copper alloy), but neither state the specific mix of metals in the alloy and possibly this makes a difference. Also, although Eichmann's solution to attaching the ground to the socket is much simpler than the collet of WBT, it does actually make a tighter connection and over a smaller contact area - perhaps that makes a difference.
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.
SS
CD Teac VRDS25X(Audiotuned) DECK 1210 Mat Crystal Audio Mods MN Base/Bearing/Platter+Ebony armboard Feet Isonoe PSU Paul Hynes SR7EHD-27XL/DCSXL Ag DC lead/3 Stage Regs/Recap PCB+No Pitch/Strobe/Light ARM SME V(Kondo Ag Rewire&Tags) MC Cadenza Black FGS CABLES Arm Yannis SPD-4 IC Yannis 222 Litz+Ag bullets Power WAR PRE ATC SCA2 SPEAKERS ATC 50ASL STANDS Atacama PHONO Sugden Masterclass PA4 SUT Ortofon ST80SE POWER PSAudio P10
VALVE / MONO
PRE Croft Epoch(Modded) AMP Sondex S100 (Modded) SPEAKERS Tannoy 15"MG+RFC Warwick cabs+ Ref XO + Batpure supertweeters DECK Garrard 301 Mat Teunto Bearings 401(Bastin) Plinth Bamboo Arms 3009/3012 PSU Eagle+Tachometer MC Ag Meister II/FGS + Ortofon SPU MONO CABLES Arm Yannis 420.5 Litz+ SpeakerPC Tripple C+WBT-0681 Ag IC Oyaide FTVS-510 AgWBT 0110Ag Phonostages Paradise(4 Box Mega-Modded) / Croft Musicmaker
It's a hard life being a daftee (I know)
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: Huddersfield
Posts: 3,358
I'm David.
Interesting that there has been no mention of the solder anywhere? I think it must play some part towards the sonic signature of any connector?
Some customers must think so as I had a chap who insisted I use Oyaide solder when he ordered some cables last week.
Whilst solder is important for bonding it should not be the main surface to surface contact medium. That's why I prefer surface mount components on a PCB instead of legged components that are separated from the copper on a PCB by a solder joint.
Website: http://www.homehifi.co.uk
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