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Analog Sources
Cartridge should be moving coil only. A tonearm should be long and at least
twice of the required calculated affective mass relative to a given needle
compliance. Whatever turntable used it should not produce “ported” bass –
more them 90% of them do. Whatever type or topology phonocorrector used it
should give out more gain then intended to be use. No records treatment of any kind
beside vacuum washing. No cable after step-up transformer, if a transformer used.
Digital Sources
SACD, DVD-A, XRCD and many other “hi-resolution” formats should
not be used. Properly implemented PCM way more musical then anything else
so far commercially
supported. Unquestionably 20-24bit and higher sampling rate is beneficial
but it is not avalable yet DONE PROPORLY amond commercial CDs.
Amplification Electronics
An amplifier that has more then two stages is a tribute to a
deprived driver stage
of needles desier to have more.. An amplifier should be DSET - Dedicated Single-Ended
Triode™ operating is “A1”. The concept DSET implies a parallel operation
of the IDENTICAL SET channels with output transformers optimizied
for a given channel bandwidth.
Cables
Cable should not be compared between themselves. Cables should not have
terminators that exceed gauge of the cables, therefore the “high-end: RCA’s and
spades and other terminators with oversized “minus” should be unregrettably
trashed. Electricity-sound does not propagate through the cable but it travels
as the longitude waves within the space along the cables. Silver for the sake
of “being silver” should not be used, silver permeated only in very special
applications but if the word “silver” itself ever used out loud then it
was time immediately to walk out of the listening room.
Loudspeakers
Loudspeakers should not be bass reflex. No dipolar operation in any forms.
No synthetic driver’s cones. The wider dynamic range is better but after
110dB/W the Transient/Tone balance rapidly goes down. No impedance equalization,
no resonators of any kind. No crossovers more then 6db/octave if possible; in very specific
cases higher order might be used but very reservingly, very “creatively” and with
the very well-determined purpose. Loudspeakers should have more then 3 channels and
the channel should be painstakingly and meticulously time-aligned not only geometrically
but also acoustically. Any minute phase discrepancy between the channels religiously tabooed.
Loudspeakers should be viewed only in context of their listing
environment and should be positioned according the DPoLS concept (search my site for
further explanations). The “quality” of the loudspeakers should bear ONLY on the quality
of drivers and the loudspeaker design should recognize and to embrace (not combat!) the
idiosyncrasies and the craving of the drivers, and consequentially the design should
furnish the best possible environment for the drivers to let them operate at thier full
blossom. Horn loaded loudspeakers are the most advance topology of any loudspeaker. The
properly implemented horn-loaded loudspeaker is more superior topology then juts “horn-loaded
loudspeakers”. The properly implemented and advancely performing home-based horn-loaded
loudspeakers are practically unknown to wide audio public.
They were my very basic principles according which I shaped my playback.
If you do not like them…
then I have others....
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