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Thread: Fidelity to what? Or what are we tying to achieve with all our expensive gear?

  1. #61
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,941
    I'm AudioAl'sArbiterForPISHANTO.

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    Quote Originally Posted by Macca View Post
    It's not about getting hi-fidelity to the performance it is about getting high fidelity to the recording of the performance. A subtlety that many seem to miss.
    Quite.

    ....and without the use of tone controls. Lol, Andre, soz, couldn't resist!!



    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.

  2. #62
    synsei Guest

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    In my case the answer to the second question in the thread title is; music reproduction which sounds good, to me. I arrived at this point recently, or at the very least have got incredibly close to it. Each of us has our own preferences however which is why I enjoy reading about other members experiences

  3. #63
    Join Date: Nov 2013

    Location: Yorkshire

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    I'm Andr'e.

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    My beef with the Tone control less malarky is it is one of those things that Audio cracked pots have got in their heads that they must not have them 'Is is against all Audio purist stand for' it is no different from judging a piece of equipment by it's specifications imho. I am one of those that will always go against what is suppose to be De rigueur & ofc again ive had enough tone control less amps to safely say not a single one sounded any good to my lugholes.

  4. #64
    Join Date: Aug 2009

    Location: Staffordshire, England

    Posts: 43,561
    I'm Martin.

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    tone controls or a graphic equaliser it doesn't matter, they are both perfectly valid in terms of reproducing to the highest fidelity because that means getting the frequency response balance right as well as a whole host of other things.

    I've never found the 'purist' concept that they ruin the sound to be true.
    Current Lash Up:

    TEAC VRDS 701T > Sony TAE1000ESD > Krell KSA50S > Troels Gravesen Faital 3WC-15.

  5. #65
    Join Date: Mar 2008

    Location: Galashiels

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    I'm inthescottishmafia.

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    Quote Originally Posted by The Barbarian View Post
    Too many cuckoo's searching for something that aint there. Why not just buy a stereo stop farting about & just use it for what it was intended for. Some of the stereo's that people have, that i have heard i really feel sorry for them because if that is their idea of Audio nirvana they need a doctor immediately.

    “Music has always been a matter of energy to me, a question of fuel. Sentimental people call it inspiration, but what they really mean is fuel. I have always needed fuel. I am a serious consumer. On some nights I still believe that a car with the gas needle on empty can run about fifty more miles if you have the right music very loud on the radio”

    Hunter S Thompson

  6. #66
    Join Date: Apr 2012

    Location: United Kingdom

    Posts: 2,326
    I'm Richard.

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    Quote Originally Posted by Macca View Post
    It's not about getting hi-fidelity to the performance it is about getting high fidelity to the recording of the performance. A subtlety that many seem to miss.
    And that, I think, is the problem. Chasing an impossibility. Not a subtlety! And what is the point of the recording anyway? Capturing the performance, otherwise it's just an exercise in sterility.
    ABD.

  7. #67
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

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    Quote Originally Posted by Macca View Post
    tone controls or a graphic equaliser it doesn't matter, they are both perfectly valid in terms of reproducing to the highest fidelity because that means getting the frequency response balance right as well as a whole host of other things.

    I've never found the 'purist' concept that they ruin the sound to be true.
    Soz, bro - gotta disagree, as my experience is somewhat contrary to that. 'Ruin' the sound, no, but to my lugholes they most certainly add large amounts of audible distortion.

    Quality rant, btw, Andre!

    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.

  8. #68
    Join Date: Jan 2009

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    I'm Deleted.

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    Yeah, I have to say that analogue tone controls don't do it for me either. On those amps that allow the tone controls to be bypassed they have always sounded better to me when they are switched out of circuit. Even on those recordings that may benefit I find them too much of a blunt tool.
    Account Deleted

  9. #69
    Join Date: Dec 2011

    Location: South downs

    Posts: 3,477
    I'm James.

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    Quote Originally Posted by Macca View Post
    I've never found the 'purist' concept that they ruin the sound to be true.
    +1

    I can well imagine it...
    If we market it just right & get everyone to believe they ruin the sound not only will that put punters off far eastern amps giving us more market but ours will be cheaper to produce = win/win
    Who started it anyway ?

  10. #70
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,941
    I'm AudioAl'sArbiterForPISHANTO.

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    What you have to be careful of, when making these sorts of assessments, is that you're comparing like with like.

    Just because one amp (with tone controls) sounds better to you than another without, isn't necessarily because of the effectiveness (or otherwise) of the tone controls, but perhaps that, through design, despite the effect of the tone controls, overall it's simply a better amp!

    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.

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