2. tech-talk
  3. 126864-1129

Class "A" sound, as related to Stereophile.


It's all about the sound.

It's all about sound, not how much it cost; when I got into "high end", I knew right off the bat I couldn't afford it, but I had to find one thing for sure; how do the various components sound in regard to Stereophile's classes, or ratings? In order to know this; I had to acquire the ability to identify "Stereophile's" class "A" class "B" and class "C" sounds, and the only way to do that was: first, subscribe to Stereophile, and next was to go to every high end audio salon within driving distance; there were 5 well stocked "high end" salons within driving distance. (Since I didn't take my wife, that created some problems)

After a few years of subscribing to Stereophile, plus auditioning equipment that Stereophile recommended, I knew the sound of those recommendations, and I absolutely concurred with them; "If you want to hear the music, you got to pay the piper". While that's true, it's possible to get class "A" sound with class "B" bucks or less.

At this moment, I am looking at 8 capacitors that cost $25 dollars each, plus 2 mono blocks with an instant resale value of 6K. Once I take the covers off and go in with my soldering iron, these mono blocks are worth a resell of O; my mission must be a success. After a successful mission, the resell is still 0; but those mono blocks will deliver class "A" or "A"+ sound, and that's some sweet music.

I have to visualize and hear music in my head before I can modify a component to deliver class "A" sound; but that's the only way for me to get what has become a necessity.

The pressure someone is under when they modify, is great, but the rewards are glorious. On these mono blocks, they are too small for the huge capacitors, therefore I have to figure a way to make the case larger. My reward is "sound" with absolutely no relation to money. I often wander if someone with a fat bankroll can identify the sound, or only how much they paid for each piece.


Happy listening.

orpheus10
orpheus10 OP
8,668 posts
 

Dave, I had just gotten into the high end and I had to buy some of the components I auditioned, plus all the other stuff one considers a necessity after getting into the high end; I wasn't wasting any one's time. But what I did then is impossible now, because there aren't enough high end salons.

I have no idea how someone starting out can know, or hear in their heads the differences in the classifications of sound. Yes it matters because Class "A" sound yields so much more satisfaction; it's not a status thing if you're a very serious music lover.

Without a doubt, most of it is far too expensive for the average person to afford, but as you pointed out, class "B" is a lot cheaper and can come so close to "A" that it's hard to tell the difference.

Tech-talk is the forum for someone with a beer pocket book and champagne taste, because there are ways to accomplish this, and one does not have to be a technician, but you have to learn how to solder, and if you're a fumble fingers, know your limitations.

Presently I'm in that phase you're in, dealing with "room acoustics". Before I attempted to build my speaker, I went to the library and read everything I could find on crossovers.

When I went to the engineer, I impressed him with my knowledge and was able to communicate what I wanted. Believe me, those people don't like to waste time if you don't know what you want. I mentioned that to let anyone who is serious about getting the best audio possible without the champagne pocket book, know that it requires work.

The library is no longer necessary, I have "google". The first step is to find what "google" knows about room acoustics; combine that with your experiences and go from there. Room acoustics is very scientific, no smoke and mirrors, that's why those rug cores, which were very tall cylinders that allowed the bass frequencies to enter but not leave, worked.

I enjoy communicating with someone who is as precise as you Dave.


Enjoy the music.


ps
744 posts
 
Dave:
Thank you for your response to my questions. I’ve been at this hobby for many years. One of the greatest joys (besides the music of course) is that I keep learning. One of the biggest variables that I’ve neglected to some extent, is the room itself. For example, and in retrospect, all the fiddling with cables I've done was not the most effective way to spend my time and money. :)

This is a very enjoyable/educational thread- thanks to all who have contributed.
Paul
dlcockrum's avatar
dlcockrum
2,190 posts
 
Hi Paul,

Glad to help. I love cables too, but I found it hard to choose cabling with my room acoustics out of whack.

I did a lot of research on room acoustical treatments and consulted with several vendors.  It was going to cost a lot of money. Then, I became so frustrated with that idiot Ethan Winer crashing my threads trying to convince me to buy enough of his treatments to cover every square inch of my walls that I simply built my own based on Jon Risch's recommendations.

More is definitely not better here. I even have several DIY panels left over because they overdamped the sound in my room. I have two bass traps (one in each corner behind the speakers) and two side panels, each at the first reflection point on either side wall and that's it.  YMMV.

I do recommend ASC if you are not a do-it-yourselfer and have the cash.

Best to you Paul,
Dave
orpheus10 OP
8,668 posts
 

Dave, I don't mean to be contrary, but no matter how enjoyable, a trip to the concert hall, or hearing sparkling voices singing in a large beautiful church is, you are dealing in the realm of impossibility (or close to it) in regard to creating this in your listening room.

In regard to DIY and room acoustics, the first thing is "define" what the room treatment has accomplished that makes your listening experience so much more pleasurable. Although our "bass traps" look as different as night and day, they both trap standing waves.


          http://www.acousticsciences.com/products/tube-trap


Notice how those tubes resemble "rug cores". That is just one example of DYI in regard to room acoustics. The improvements delivered by correcting room acoustics are astounding; they are like night and day when compared with, and without.

No Dave, you haven't "hijacked" my original thread, which is basically about achieving "Class "A" sound as cheap as possible. More correctly you have re-directed it to room acoustics, which might yield more improvement in audio than some other things.

Those room treatments in the link above are stunning, and they work. There may be ways to duplicate them if funds are not in hand to purchase them.


Enjoy the music.
dlcockrum's avatar
dlcockrum
2,190 posts
 
Hi o,

Do the best audio equipment designers use other manufacturers’ equipment as a benchmark for the sound of their own designs or it is live music?

I don’t think that the best audio reproduction is that far away from the real thing. More likely that the process of (and techniques employed when) using microphones for recording and multi-step mixing and mastering make this goal seem unobtainable. The best recordings/masterings played on good equipment in the an acoustically-improved room sound eerily lifelike. However, I have never heard a two channel system that will properly recreate realistic spatial reproduction of a crowd clapping during a live performance (microphones are omni-directional).

Many ways to skin a cat. I am honestly happy that you are pleased with your bass traps. Really.

I agree that Acoustic Sciences Corporation (ASC) is among the best out there:

"I do recommend ASC if you are not a do-it-yourselfer and have the cash."

No doubt that the ASC products designed for your or my room and installed/tuned by their experts would put mine to shame. I just didn’t/don’t have $3-$10k to spend.

Best to you o,
Dave

More to discover