[Aether Audio]

Friends,

Please investigate the following:

http://www.enjoythemusic.com/magazine/manufacture/0708/index.html

FINALLY… somebody else in the audiophile industry truly understands what I have been “preaching” for years now.  In the early days here on AudioCircle I believe I was somewhat “branded” as a nut or extremist in my views on amplifier power.  The fact is that I have been correct all along regarding the need for high power and now others are clearly heralding that same truth – and they have significantly more credibility than I did back then.  What with all of the “pseudo-science” and misleading information being promoted by self-proclaimed “gurus,” it’s easy to see why there has been so much confusion surrounding the power demands required for reproducing the highest possible levels of performance achievable from today’s modern audio equipment.  Now that Spectron has taken up the torch as well, maybe the audiophile world at large will start to take the issue more seriously.

Now… once you comprehend the hard-core facts of the matter as outlined in the above article, the next thing you might want to ask yourself is whether or not your speakers are able to reproduce the transient peaks that are called for… without the consequence of dynamic compression and distortion.  Even though one has sufficient power (say… from one or more Spectron amps) that by no means guarantees that their speakers can take full advantage of it.  Long before they enter into the realm of hard compression and the obvious distortion that results, most loudspeakers intended for home use begin to compress and generate significant levels of distortion.  By the time one actually “hears” any form of obvious distortion, their speakers have long been producing significant levels of it.

We find the above facts to be pretty much true across the entire audio spectrum, but there is a region where such compression effects and distortions really manifest themselves.  This just so happens to be at the mid and high frequency extremes.  If one performs in engineering terms what is called “Fourier” analysis on the most frequently encountered transient bursts, one finds that they are composed of some fundamentals and very many harmonics, which lie in this part of the frequency spectrum.

It is well known that the most commonly encountered forms of distortion (harmonic & inter-modulation) manifest themselves as being higher in frequency than the fundamental tone that has been distorted in the process of creating them.  As an example, a 1kHz tone that has been distorted by compression (a.k.a. “clipping” in amplifiers) will produce harmonic artifacts (new signals not part of the original program signal) at 2,3,4,5,6 7…etc. kHz.  The magnitude (volume) of these artifacts will be dependant on the conditions giving rise to them (i.e., amplifier clipping, loudspeaker compression, etc.).  In any case, whatever their actual frequency and magnitude content may be, these artifacts will almost always be higher in frequency than that of the original tone being distorted.  Inter-modulation distortion is considerably more complex in nature, but nevertheless produces higher frequency components as well.

OK, now we must consider that most undistorted transient bursts of 500mS or less in duration (as contained in music) will be very complex in their total harmonic content.  If one were to observe them on a traditional oscilloscope as is used in electronic engineering, one would see waveforms of such complexity that the average individual could scarcely imagine or predict.  Typically they are composed of many harmonics of unique and complex ordering, and these give rise to the unique sound of the individual instruments and voice that we are all familiar with.

At this point then we will consider the result of these complex signals having been compressed and distorted by the non-linearities inherent in * most * loudspeakers – even those claimed to be of very high quality.  If the frequencies in a given transient burst are already complex and consist of many high frequencies, the end result of such a compression/distortion process is that even more complex signals containing even more high frequency artifacts will be generated.  As such these artifacts will typically reside in the top 3 or 4 octaves of human hearing and the bulk will reside in the top two.  This means that a very high percentage of total distortion artifacts will arise from about 5kHz on up to beyond 20kHz.  Seeing that virtually no fundamentals in music or human speech reside in this region of hearing, the human brain/hearing mechanism is not well equipped to discern the differences.

You see, hearing acuity in this frequency spectrum is not vital for human survival and therefore not as highly developed.  Although other uses are important for our survival as a species (hence, our extension at frequency extremes), the primary use for hearing is to facilitate communication.  Therefore, our greatest acuity resides over the regions covered by the fundamentals of the human voice.  Even the highest harmonics of the vocal region are not of primary significance for relative efficiency in communication.  As an example, we are all quite familiar with the poor frequency response of the average telephone or common two-way radio.  As poor as these devices are it is not usually difficult to understand the person speaking at the other end or even to discern their individual voices from those of others.

Considering the above, we finally come to our main point.  Seeing that human hearing is not actually all that acute in the frequency region wherein much distortion resides in modern hi-fi equipment, it is not surprising that many audiophiles have unwittingly “accepted” these artifacts as “normal” and a part of the original music being reproduced.  The list of audiophile terms used in describing these artifacts goes on ad infinitum, but are usually associated with the terms ”warmth,” “air,” and “extension.”  In many cases these attributes are reported as being highly desirable, but it seems the quest for greater fidelity continues on regardless.  Why?  Usually the end result of systems exhibiting these effects is often listening fatigue and a desire to find something “better.”

Contrary to the above, a system mostly devoid of these artifacts will often sound less “impressive” at first, provide more detail and resolution upon extended listening, and sound “smoother” and free from the traditional listening fatigue as is commonly encountered.  This appears to be Spectron's position and not coincidentally, it is ours as well - has been all along.  When you know the facts, there seems to be little room for debate in the matter.

It is also our position that if the consumer desires to get off of the “equipment merry-go-round” and achieve a system that they can enjoy for a lifetime, then they should seek out equipment that will deliver compression-free and hence, distortion-free performance.  It seems most of our customers are in agreement as one seldom sees our systems for sale on the used market.

That being said, it appears Spectron amplifiers might be one good option to investigate.  There are others such as McCormack, Musical Fidelity, etc. that offer amplifiers of very high output capability as well.  When it comes to loudspeakers, well… we know of at least one.    Is it any wonder folks are finding that SP Technology loudspeakers make a very nice match with Spectron and McCormack gear?

Have fun!
-Bob

[RodMCV]

I second the motion.

[ted_b]

HEAR HEAR!!

[Goosepond]

Wow! I am now ready to pronounce myself an Audiophile! 

Well, maybe not, or not yet anyway. But I was smart enough to first buy a pair of SP Tech mini's and followed that up with a Spectron MIII SE Mk2. 

And all you guys posting around here how great Bob's speakers are (as well as the Spectron amps) had absolutely nothing to do with my above decisions.

Gene

[Double Ugly]

Seeing that human hearing is not actually all that acute in the frequency region wherein much distortion resides in modern hi-fi equipment, it is not surprising that many audiophiles have unwittingly “accepted” these artifacts as “normal” and a part of the original music being reproduced.  The list of audiophile terms used in describing these artifacts goes on ad infinitum, but are usually associated with the terms ”warmth,” “air,” and “extension.”  In many cases these attributes are reported as being highly desirable, but it seems the quest for greater fidelity continues on regardless.  Why?  Usually the end result of systems exhibiting these effects is often listening fatigue and a desire to find something “better.”

Contrary to the above, a system mostly devoid of these artifacts will often sound less “impressive” at first, provide more detail and resolution upon extended listening, and sound “smoother” and free from the traditional listening fatigue as is commonly encountered.  This appears to be Spectron's position and not coincidentally, it is ours as well - has been all along.  When you know the facts, there seems to be little room for debate in the matter.

Which is precisely why I intend to purchase another Musician III SE Mk2 (yes, mine has been upgraded ) as soon as the move-induced fiscal "events" have subsided.

It'll happen even sooner if the move is delayed much longer.   

Aside:  In light of the above article and post, is anyone else wondering what it'd be like to have 2 Spectrons per side (4 total)?  And yes, I was Tim "The Tool Man" Taylor in a previous life... why do you ask?   

[RodMCV]

U  lucky Guy's to learn from others at a time of optimium design

[Double Ugly]

Well, maybe not, or not yet anyway. But I was smart enough to first buy a pair of SP Tech mini's and followed that up with a Spectron MIII SE Mk2. 

And all you guys posting around here how great Bob's speakers are (as well as the Spectron amps) had absolutely nothing to do with my above decisions.

You were and are brilliant, Gene... it was evident from the beginning. 

[Goosepond]

Aside:   And yes, I was Tim "The Tool Man" Taylor in a previous life... why do you ask?   

The only thing I have to say about that is where's Heidi these days? 

Gene

[Double Ugly]

... where's Heidi these days? 

Selling Binford Tools door-to-door. 

Did you hear a knock? 

[Goosepond]

She was easily the 2 best parts of the show. 

Gene

[Spectron]

Dear Bob,

With your permission I would like to offer comment on the comment...

In my article you kindly quoted I tried first of all to depict the real life speakers power demands  and secondly why distortions tend to increase in ugliness with power output.

However, working with fine instrument like your speakers, we must recognize that with increase in dynamics even regular "acceptable" distortions will increase from barely if at all noticeable to stand out (this is what increased dynamics does - make things to stand out) and then pierce our ears.

To deal with it - we have no choice as to suppress even these kind of formerly "harmless" distortions to oblivion! How it was done is outside of the scope of the article and  frankly, not important to the argument I present now which is advantage of vastly improved dynamic range will backfire if noise and distortion are not DRAMATICALLY diminished and I would guess not less then by 60 - 100 dB

BUT then we have unexpected and unanticipated  but so sweet benefits - as better and better speakers are driven then much more detail in music is shown, there is vast improvement in something that some called "three-dimensionality", other "tonal density", I personally prefer term "palpability" - all together with improved dynamics bring us closer to emotions we experience during live concert. We hear it from audiophiles, we hear it from professional reviewers  - almost the same, word-by-word. What a surprise!  We did not expected it - we just dealt with rather boring engineering problems.

I suspect that this, in turn, puts additional demands on speakers - their ability to reproduce micro dynamics,  improved resolution and at this point I will stop  and would immensely appreciate your comment.

Regards
Simon

[ted_b]

Simon,
As you well know I am saving my pennies and mega-pennies to take my Musician III Mark 2 to monoblock status, thereby blowing the distortion figures out the window.  I'm even more convinced that additional power and headroom, once thought to be outrageous and overkill, make sense in this architecture.

I've owned Bob's current piece de' resistance, the external Ultimate Mundorf crossover'd Revelation MR I Mk III longer than anyone here (except Karsten) and they continue to amaze me with the Spectron amp.  Ever since reading your article about the demands of power amps in microsecond bursts, and the shortcomings of some design theories re: said demands, I've tried to push the Spectron/Revelation combo even harder.  And more and more I am realizing that the pure effortlessness with which this combo handles well-recorded stuff...pays off even more when presented with less than perfect stuff.  It's almost as if some of my previously thought-to-be-mediocre recordings are simply filled with more demanding "peaks and bursts" that put lesser amps into a tizzy...but not the Spectron/Revelation.  Dunno....it's the only logical explanation for why such a highly resolving combo could not expose more warts but instead illuminate them as simple bumps in the road.  It's like a cartridge/arm combo that tracks difficult vinyl passages with ease...turning what was thought to be scratched recordings into the equivalent of master tapes.  Does this analogy make any sense?  Or is my aged hearing just getting more forgiving?   

[2bigears]

  wonder if those 1.2kw big Mac's would do on the Gon.thinking cap 'on',,,,1200 watts should work ??   not sure on the old power bill though 

[Double Ugly]

  wonder if those 1.2kw big Mac's would do on the Gon.thinking cap 'on',,,,1200 watts should work ??   not sure on the old power bill though 

All the more reason to go with Spectron.

Additionally, there's no question of synergy.  The combo literally rocks! 

[Aether Audio]

Dear Simon,

Thanks for joining the discussion here and offering your insights.  I must say that I am honored that you would take the time and trouble to acknowledge us.

I have to say that I totally agree with your assessment regarding the "consequences" of achieving a system that provides true life-like dynamics.  Spectron's efforts in achieving a low noise floor and residual distortion level is another "feather in your cap" after having achieved the high power and circuit stability of your products.  I Know... these are very significant hurdles to overcome.

Also, in the context of the end user's system there is little argument that a system capable of extremely wide dynamic range will also "flesh out" the remaining artifacts that are typically "overlooked" in one's peripheral equipment.  But...this is good as far as we're concerned as it gives the system owner the opportunity to further refine things to the point were the sound emanating from their system begins to really sound like MUSIC.

I hate to come off sounding like some type of "elitist," but the sad fact is that many audiophiles have little idea as to what real, live music really sounds like.  This new "Ipod" generation is in even worse shape...being further removed from the experience of live music.  Many of today's population have seldom - if ever - heard live, un-amplified acoustic music... or if they have they never really paid attention.  (I envision some young adult having been "dragged" by his parents to a symphonic orchestra when he was a teenager).

For SP Technology, it's about the Music - not the technology.  Whatever works the best (within product price-point limitations) is what we want to use.  If folks are better equipped with loudspeakers (and amplifiers) that represent true reference monitoring capabilities, they are then in a postion to evaluate other gear needed to complete their system with relative ease.  I mean, the fact is that it's a lot easier to swap out a preamp, DAC, Transport or IC than it is a power amp or worse yet - a big ol' loudspeaker.  If they can just manage to get those last two pieces "right" and up front when embarking upon the process of building their system, the rest is a "piece of cake" to refine - assuming they can find gear that offers the performance needed/desired.  (It's out there, you just have to look).  We've really tried to do our part in making that possible and it's very encouraging to see others such as Spectron heralding the same "mantra."

What a surprise!  We did not expected it - we just dealt with rather boring engineering problems.

HA!!! Yeah, funny isn't it?  Spectron simply (well... it was far from simple) addressed the scientifically based and quantifiable problems presented by the existing equipment weaknesses/failings and then engineered products that avoided and/or eliminated them.  Voila!!!  The next thing you know you're being heralded as offering some of the finest amplification/sound reproduction ever heard.  What?  No snake oil?  No pixie dust?  No overly expensive/exotic materials with magical qualities?  No endless hours "voicing" your amplifiers to achieve the "perfect blend of musicality, warmth, detail, etc"?  You mean to tell me that you just identified the problems and then set about to fix them... and that was it?  That's too easy!!! Ha! - yeah, right.

Well, I've been preaching the same thing with regards to loudspeakers for years myself.  Follow the science, trust your instruments, train your ears and then learn to trust them too - in that order...and NOT the other way around.

Congrats on what appears as an unprecedented level of achievement.  Oh, and for what it's worth... I worked in developing 40kW switching converters/amplifiers for the Techron division of Crown International in my younger days as well.  So... I  probably have a better appreciation for what you guys have done than most.   Keep up the good work!

-Bob

[Spectron]

Thank you Bob for the kind words - but since we are sharing , publicly, "suprises" - I will share another one - one which you  actually addressed  a bit and so rightfully !!!!  As you know I am not audio engineer and even not hardware engineer (but still engineer) and in retirement my communications and some consulting with Victor Khomenco, Ken Stevens, John Ulrick and others brought me to this 2nd career - first design and then customer support.

When I started to work on Mk1 Signature in my beginng of Spectron career, 100% of my attention was on "magic" - this capacitor vs that capacitor, this wire vs that wire etc etc (for my ears standard Musician III was a bit sterile). When, about three months ago, we finished Mk2 -  I suddenly realized that I don't care very much about these "magic" things - changes in design; first formulating the right question and then answering it bring much, much, much, much... much more changes to sound then "magic capacitor". For me personally it was rather stange discovery. I did not expected it.

I don't want to diminish 'magic" stuff   - its very important for voicing. As a former pianist I try to make piano sound "right" and "magic" can make this small difference between heavenly piano which I can't stand and real piano... 

I believe that we will be showing our combo this October in Denver - will be fun ...

Yours truly,
  Simon

[Aether Audio]

Simon,

Thanks for sharing the additional details of your background.  I find it interesting that even though your attention was once heavily centered on the "magic" properties of components, somewhere along the way you developed a deep appreciation for the science and engineering behind quality audio performance.  I suspect that there are two major factors behind this.  First, your exposure to John Ulrich and the results he obtained by rigorous attention to the engineering details.  Second, being a pianist you are extremely familiar with what a real piano and other instruments sound like in real life (gee...does that really help? ).

As far as your continued appreciation for the "magic" properties goes, I agree that we must continue to investigate them rather than dismiss them out of hand (as many engineering types are known to do).  Although, rather than apply the term "magic," I prefer to use the term "unknown."  This is because in the world of physics I am a firm believer in a "causal" universe.  In that I believe if an effect can be observed, it's root cause can ultimately be identified and understood if sufficient scrutiny and diligence is applied in the study thereof.

You mentioned "magic" capacitors.  Check these guys out: www.claritycap.co.uk.  Specifically, check out the research involved in developing their "MR" line of capacitors and don't miss the video link at the top of the home page.

Clarity capacitors is a division of ICW, which has been making capacitors for the electronics industry for 30 years.  These guys are REAL engineers and they applied the same scientific methods to the study audio capacitors as they would in the development of capacitors for any other industry.  Low and behold... capacitors are found to "resonate" internally in a fashion very similar to the effect that electrostatic loudspeakers do when voltage is applied.  Whaddaya know?  SCIENCE and not mysticism lead to a significant finding and I suspect the results thereof will ripple through the entire audio world before long.

I know... science takes a bit of "fun" out of the entire process,   but true music lovers (as opposed to home "tinkerers") will be the better for it.   See you in October!!! 

Take care,
-Bob

[2bigears]

  hi Bob.you and Simon better take it easy,this is how rumors start.... [thks for the words yesterday] Pat

[JoshK]

Or just use more efficient speakers. 

[Double Ugly]

Or just use more efficient speakers. 

Definitely an option if you like the sound.  I've yet to hear a high-efficiency speaker achieve the things I want from a speaker to the degree SP Tech speakers do, and in fact the vast majority of speakers I *really* like are considered less efficient models. 

One notable exception is the 98dB/8 ohm Daedalus (which I still own), but even the designer/manufacturer will tell you he prefers them driven with high-powered amplification.  Yes, they can be driven "satisfactorily" by SET amps, but in my and the manufacturer's opinion, the more good, clean power they're given, the better they perform.