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About EMRR

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  1. Most broadcast gear used those plug-in caps, they were the #1 failure point and stations needed to be able to swap a new one in quickly. Lots of that out there.
  2. I really only think of reforming with electrolytics, not film types. My observation has been that older caps with a lot of mileage may show and/or reform to correct capacitance, but series resistance tends to rise far above that of a new cap, and that is a measurable symptom related to poorer sound. You might not notice it in a hi-Z position, but in a low-Z position it tends to be obvious.
  3. yeah.....the part where that blocks the windows isn't gonna fly with the wife. The La Scala barely do already!
  4. Man, I'm in W-S too, wish I had the space for these.
  5. There is a difference in dielectric absorption, which contributes memory effects like a battery storing voltage, but whether you hear it or not, or care, is a different question.
  6. I have the suspicion that as electrolytics degrade with age, a paralleled film cap comes further into play for maintaining linear response in the upper frequency range. Much less noticeable, if at all, when both are new. Try it with a 20-50 year old electrolytic that otherwise measures and functions fine.
  7. You aren't forcing the amp to put out double power, that is nonsense. Why, let's see, if it did, shouldn't that pop the fuse? Immediately?
  8. OK, they are covering them, but as a tech who mainly works on tube gear, I call complete BS on their claim here. You can be 100% off in impedance match with pretty much any tube amp with not much consequence other than diminished power transfer. An amp like this with higher negative feedback and damping is less susceptible than the average Fender guitar amp mismatch which may do 300 road gigs with no problem. To me this reads like the transformer was faulty from the get-go and causing excessive current draw in the tubes, which would wear them prematurely. You certainly wouldn't have the tube faults described from an impedance mismatch. ....but I don't really know, at a distance with second hand information......
  9. My high school music teacher friend tells me the kids NEVER listen to an entire song when it's music appreciation day, and if it's not their thing, they immediately have their earbuds in masking the 'offending' track with something that is 'their thing'. Heavy channel surfing, and a disinterest in anything outside their normal box. As players of instruments, it's not about playing them in front of people either, it's about posting videos. Many also have no idea why anyone would leave home to hear live music, when it's available online so freely. It's a new universe.....
  10. Yes, but! It's also rare with most instruments for that fundamental frequency to be very strong, frequently the 2nd harmonic 82Hz is predominate. If you really want to freak out, put an analyzer on single low piano notes coming from an upright, it's more like 3rd harmonic that's predominate, yet you still get the sense of the proper note.
  11. Yeah, again, it's the physics of a horn loaded system at play. I'm not sure how much I agree with comments about equalization, so long as you aren't listening at very high volumes. I can get earsplitting levels with a 10W tube amp, which means I have quite a bit of headroom for equalization. My house is 1930, so small square rooms, not the best for this type speaker, but they're still far better than my small boxes. I get a lot of 200-300 Hz buildup that needs to be reduced, and can add 60Hz or lower to good effect, feel the impact of those woofers through the floor and walls. When I'm doing critical listening in front of them, they don't run all that loud. In fact, I'd say bass heavy modern music has an opposite effect; it needs LESS EQ and sounds more even.
  12. I probably already said it....I turn on dozens of tubes every day at my recording studio, most of them are tubes I put in equipment as I got it restored and online, most of it online 15+ years at this point. Tubes that have died or been replaced for any reason? Less the 6 probably. The Fender Bassman I rebuilt in 1997 has EL34's in it....used Mullards that came out of a retired Altec PA amp. That Fender was used for many years of rehearsals and gigs, still gets used in the studio regularly, same tubes. Must have 40+ years on them. But a 90 day warranty on tubes is another thing, it speaks to the reliability of modern tubes.
  13. Only one I have is II. Feels the closest to listening to an original master tape than to any other I've heard, and I have 1st gen American vinyl in the mix. Yeah, you hear the distortions in the master better than ever, because it's clearer than ever. That's the sound of the mix console going crunchy, it's always been there. It's not slammed, in fact I don't think it ever touches 0dBFS, it's a bit down overall. Seems clearer/wider/fatter/more dimensional overall. I need to check out the others.
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