Continued from previous post:



Alright, moving on:

For those that dwell upon the refusal to accept the true benefits of acoustic control, and what it means to your perception of music, I want to make clear that one can't get around the acoustical factor by somehow magically fixing, or overcoming bad room acoustics by way of expensive tubes, capacitors, a more expensive amplifier, mystical speaker cables powered by plutonium, or even that special little cute box containing the holy grail captured in the dark corners of the Amazon. You simply are playing the part of your own foolish nonsense with full acceptance to its questionable validity if you ignore the basis of that truth. Yes, to an extent, these modifications can, and do provide huge beneficial gain within a system, but limited in comparison to how this interacts with proper acoustical measures in which to reinforce the magnitude of the overall gain. Are you really benefiting from your investment with maximum value?

For instance, (and there are those of you who know what I am referring to) all of the graphene in the world is never going to rectify standing waves, but I suppose the right selection of graphene "might" do the trick to a limited degree for something in the power supply perceived as an improvement. ( I shall remain neutral on that one until I hear this for myself)  I live in an area where power is clean, and unaffected by the noisy interference which living in large cities create. I am fortunate enough to not be hampered by dirty power or inflicted by hum which is a very common issue for many.  I will give it the benefit of doubt since I myself have never experimented with it. I just find it to be a bit questionable as something I will require proof before I put much faith into it. I will reserve my take on the actual benefit until after I have actually tried it myself. I am not holding my breath in anticipation.

I doubt that much will motivate me to embrace this graphene concept as something that will actually make a worthwhile difference in my system. Perhaps it might, but not going to experiment with something doubtful that costs way more than it should, especially when I can benefit so much more with other practical means.


Graphene is formed by way of a honeycomb lattice, using singularly layered carbon atoms within a two dimensional matrix. The use for graphene has high potential for electronics and energy storage.



I am not knocking its value, just trying to reinforce that there are so many more beneficial ways at less expense by way of acoustic control, even in basic form if done correctly. I am sort of joking here at the expense of this concept, but I use it as an example to where I am leading with this. Hey, just think how great that graphene material will sound once reinforced with a great room for which to bring out the best. Your jaw just may hit the floor as you try to assimilate the impending comprehension of the unknown as a new reality awakens your senses. Try it, don't deny it. I do hold a sense of curiosity for which I am willing to experiment. As extreme as it presents itself by way of actual validity, I do put weight into the opinions of those who I trust, and have themselves laid claim to the positive aspects of this material. If not for that, I would pass it off as pure nonsense. On that note, this remains a possibility for which I will be the Judge for my own needs.

Hey, I heard that there are cute little "magic" blocks made out of mystical rare material which was discovered in a small part of the Amazon. Just pay the mere price of $1200 for these little miracle cures and hey, they won't even take up much space. Just like magic, your acoustical problems will vanish!  Just make sure that you place them around the room using proper Feng Shui tactics.

The effect of this illogical nonsense based upon what is really worthless, yet accepted by that of sheer expense and false promise is once again, a false delusion identified by a psychological term which describes the tendency to justify an expensive purchase by believing it is effective. This delusional belief for which something fails to deliver its intended purpose, although accepted as what it is claimed to be, is called the "sunk cost fallacy".


Sunk cost fallacy derives from a cognitive bias. The accepted delusion becomes evermore comfortable within this type of mindset, regardless of the fact that there is absolutely zero relevance within the actual gain, at least not in regards to solving the actual core problem. The factors of investment create a web of reinforcement within that mindset of "reality" which as chosen to believe, have proven to be the right choice, at least to the conflicted perception of that mind. Throwing cash into a fire in order to smother the flames will only intensify the sting of the burn. Just imagine how a fire extinguisher may have been handy in that situation.  100 percent effective with reasonable cost versus actual gain.

This is really based upon  when the consumer denies the sensibility of proper judgement, substituting acceptance of wasted resource as legitimate, due to the embarrassment of illogical expenditure. This evolves into believing actual gain, although there is a complete lack of evidence to support the actual worth of the investment. This factor is referred to as "loss aversion", which is the result of denial towards loss, rather than accepting the reality of the truth.

This leads to "conformation bias" for which one leads the focus of existing belief in direct disregard of evidence for which is completely rejected. To support that personal belief, any irrational shred of what is perceived to be positive, regardless of the truth, simply becomes the willingness to ignore, and downplay undeniable negative aspects which couldn't possibly be any more revealing within a stable thought process of assimilation, better known as logical approach. This leads to the need for others to support this belief who also are inflicted with this form of deception. Surely, if there are others who will jump off the cliff of reason with you, then there must be some justification for all of this after all. Everyone sleeps better at night. Be careful, the wolf passes by your door like a ninja in the night, just waiting.


Hey, I have some great property in the Everglades which you will love. The property is selling fast, so get it now while you can. This will be the best investment you ever made, I promise. Good luck building those expensive condo's on your new property.


Just to be clear about what I stated above, make sure that you fully understand the depth of what I am stressing here as regarding the importance and validity of proper room acoustics.

When, and ONLY when a room has established a reasonable degree of acoustical treatment, then that is the point where the upgrades should lead to the amplification, source, and speaker factors, for which now you can actually extract, and expose the actual rewards of these upgrades with absolute clarity and confirmation. You will find that your need to upgrade your equipment takes on a different perspective, rather than trying to make a system sound good in a room with poor acoustics by way of wishful thinking. There is as much chance of that as a biological male becoming pregnant.

 If one continues to focus on the engine of a sports car, ignoring faulty suspension components, will sheer horsepower ever effectively overcome this problem? Of course not. This simple analogy is in complete relation to what can be expected from an audio room associated upon a high degree of variables, regardless of how silly it sounds. Failing to understand this is a doorway to ignorance which just continues to fuel confirmation bias. I don't care what the excuse is, the outcome is always governed by physics leading to how your room parameters affect your music.


When I make changes to my audio system now, I know without a shadow of doubt that what I hear, or expect to hear would likely have been reduced, if not completely unnoticed if this room was the same room it was before I remodeled it for accurate acoustics. Trying to hear music with any regard to quality and accuracy in this same room before I modified it was like throwing a boombox into a empty metal trash can with nerve wracking noise being the result, which could actually serve as punishment.

Trying to find any degree of acceptable listening quality from this situation was at best, futile. It took a massive amount of acoustic measures to make this room what it is today, something which is as enjoyable to the senses as that of a live concert hall designed for the ultimate listening experience. It is not difficult to find perfection within my total system with this environment as the supporting factor.

What I accomplished within these limited room parameters borders upon near impossibility, presenting the most difficult in design challenge. Because every step of the way during this build process was accomplished through knowledge, experience, hard work, determination, and the premise of proven acoustical measures, I had the confidence of making my goal which surpassed even the most doubtful of expectations. I love a good challenge. Nothing is more satisfying than to conquer surmounting odds stacked up against your probability of success. I took that challenge and defeated it's evil influence. I rule the outcome of this audio room, rather than accepting its limitations for which I surrender my hopes of quality music, into a weak state of compromise.


What is the difference between a so-called acoustics professional and myself? The acoustics "professional" will simply tell me that my goal in this room can't be met. I on the other hand, defied his egotistical shortcomings, and made my goal happen! These quacks are not all they profess to be. And on another note, don't waste your money overpaying these people. Even though they try to tell you that their products are the gateway to the stars, for a premium price they might actually take you to the backdoor leading into the dark alley. Let's just hope that you don't get mugged in the shadows of the night. You can do just as good as they claim to be, perhaps even better if you have the skills and knowledge to make it happen. The best part, if you are not afraid to get your hands dirty and endure some long hours of hard work, then you shall reap the rewards at a fraction of the price. How do you think that these contractors started out? They were just like you and me who took their diy experience into business practice, making a fortune selling it to others with deep pockets, those who are absolutely clueless concerning the working parameters of acoustical devices and architecture. I have a strong distaste for immoral contractors. The world is full of them.


Every time that I listen to quality music within this acoustic environment under my direction, I get this fulfilling satisfaction which calms my senses with a feeling of real accomplishment, one that defies the odds. The long path of obstacles which brought me here reflect upon my thoughts when I listen to music in this room. I never forget how terrible the situation was before I ever considered transforming this room into something much better.  I can only say that it was all worth it ten times over. I would have never been this pleased within my audio indulgence if not for the outcome of my current acoustical setting. As a matter of fact, the audio room would have never worked out for me, as it was far from being good enough to earn the honor of being audio worthy. The impossibility factor only lies within the acceptance of defeat.

I have allowed the acoustic train to run off course for some time now on this thread. I need to reestablish the importance, and the direction for which this thread is based upon. Although this entire project encompasses everything involved within the process of my audio setting, and most importantly, the quality of music channeled through its intended transparency, the main focus is to always maintain the fact that proper room acoustics are the hub which everything rotates in perfect harmony. Do you want to hear music in the highest form of natural clarity and realism? Then do what it takes to make it happen.

I simply spotlighted this article to maintain a refreshed view of why I started this thread in the first place. The evolving level of equipment upgrades is an equally important factor which will continue to be discussed here as well. I can't pull the cart around without a healthy horse.

As I get very near to finishing the new upgrades in my system which are currently underway, I am also considering additional methods that I may employ within the room which will further enhance, if not fine tune my current acoustical level. When I listen to music, this becomes a nurturing embrace for which I create in-depth thought concerning advancement into the next stage. I have developed a strong visual of what this next level of improvement resembles as I imagine it in place within the room.

I want to focus heavily upon the front portion of the room where the speakers reside. I also want to expand the use of Ternary diffusion concepts as faceplates which are to be mounted across the front of my large free rolling bass absorption units. These flank the direct first order room reflections which instead of just being absorbed, I intend to preserve and transform this into a useful pattern of diffusion, creating a proper balance between absorption and diffusion, rather than simply eliminating the reflection itself. I want the entire front wall surface to be diffusive in form, from floor to ceiling.

Due to room length restrictions and the necessity of a much larger room space to effectively use quadratic diffusers, that leaves me with the only option of using Ternary principles to obtain any chance of proper diffusion within a short return space to my listening position. Ten feet is the minimum, dependent upon the design parameters of the QRD involving the length and depth of the prime number sequence. That won't work for my situation. *QRD stands for Quadratic-Residue-Diffuser.

Continued next post:

In the beginning:


If you want to see any of this in full detail which will answer any questions you may have about this room, please go back to the beginning of this thread and start from there. It will all make sense to you by doing so. You may even learn something!

































The next images displayed advance into the actual wall build up of complex layers in a airtight sealed fashion of solid integrity.

continued in next post.

Now for the construction of the audio room acoustically enhanced walls.



















The following images lead into the construction of the double leaf wall built to be soundproof from the adjacent room on the other side of this wall. You will note the HVAC hush box build within this wall structure. This provided complete isolation and noise transmission from the air exiting the room back on its way to the air handler downstairs.

The work continues with so much more to do before the actual acoustic control devices can begin construction.

The details that you don't see here are important things such as soundproof light switch housings, and electrical outlets before the walls can go up. All of these details are clearly shown in the back pages of this room build.









































Finally, it is time to focus upon the acoustic devices which will fill this room around the entire perimeter, including the ceiling.

The room is now ready for treatment.

And now, the finishing touch!






















In the next image, I "blanked" out the lower high frequency drivers to show how these speakers would actually look if I had used the full range Tang Band W8-1808 drivers initially. The previous drivers required a high frequency driver which now is just static.


So, no magic, no trickery, just a bit of artistic variance to make things clear.





































































































That about wraps things up for now. This brings the audio room up to date with the latest upgrades and improvements. There is still much more to come.


Now that wasn't so hard, now was it?



1-800-ACME

Hey Will,

No problem with the wait. I want to thank you for posting this very valuable and informative information concerning the amp upgrades. As usual, you went all out with the very best! I wish I had your budget for audio mods. By looking at these images, and knowing what these mod components are valued at, It seems that your amp here has easily tripled in value with these current mods.

After I get my amp upgraded the way I want it, I would love to hear your amp alongside of mine in my audio room for some long critical listening evaluations. (wishful thinking)  I am really curious as to what your current amp configuration actually sounds like, but I have a very good idea of the improvement gained. (most likely far superior to any other Torii built, or at least on the same level with the very best ever upgraded) I would love to hear that amp in my current room setting. I think it would perhaps enlighten you as well.

Is the amp pictured here a ToriiMK4 model?  I know it is not a Mk3 like mine. Not unless you completely changed the layout.

As for my upcoming upgrades to the ToriiMK3, I just ordered all of the upgrade capacitors to do a complete overhaul with premium grade components. There will be zero electrolytic capacitors remaining in this amp. Everything gets upgraded to high end parts of tighter tolerances. With the exception of the transformers, all other internal wiring will be replaced with 7N high purity 16 gauge silver/Teflon wiring. I am ordering a set of machined solid copper speaker posts and RCA female plugs today to replace the stock ones. I will need to begin construction of a deeper amp base soon before I start the process. Just like yours, the new mods will require much more room.

I have a proposed design for a custom wood two part base for this amp which will be finished in high quality exotic wood veneer. I have about $1200 worth of expensive wood veneer just collecting dust. This and my new sub enclosures will make good use of that.  I think I have enough left over of the species that went into my custom speakers. That would make a matched set. If not, I have an unused roll of a species with a very light color. I really need to find a use for this veneer.

I hate the uncovered look of the ToriiMk3 with those ugly transformers showing. I have to remove them just to straighten out the base legs which whoever assembled the amp, did a poor job by installing two of them crooked with the legs bent, making the bells lean to the side. This has irked me for a very long time. When I received this amp, it left a bad impression in my mind. This will be corrected when I reassemble the amp during the upgrades. ( the initials of the assembler are inside the amp dated back to May of 2012) This should have NEVER been allowed to pass quality control.  I mean REALLY?  Between that and that noise issue I had for the longest time resulting from a contaminated volume pot, this amp was something that I absolutely regretted buying until I fixed the noise issue. I was not exactly impressed. Oh, and did I mention those cheap Chinese rectifiers which lit up like a Tesla coil when turned on?  I sure hope that things have improved since my amp was built. For the price these demand, I would surely hope so.

I am designing a hinged top with gas struts rated for the weight of it to cover the top anyway. The front will have a honeycomb steel screen to allow air cooling, with a direct view from the forward top half, covering the sight of these bells. I only want to see the tubes and controls. The lid will simply hinge backward for easy access, preventing pets and kids from playing inside, or getting burned if that were ever a situation. This protects valuable tubes from being touched or broken. Everything will be constructed using premium hardwood, then finished in exotic veneer. Going to be large and heavy, but I don't care. I am going after beauty and durability when finished. That is what matters the most. I have designed a custom logo to make it unique for the finished touch.

I will reveal the entire parts used to upgrade this amp very soon. I still have some parts being shipped, so I will wait until I get everything prepared for this operation. I hope to have the amp finished within the next thirty days.


I went with something far superior to those overrated, equally overpriced Mundorf TubeCaps.  The new ones that I ordered for the power supply are rated at 700v @ 5% tolerance. Polypropylene film and foil types for optimal sound quality and integrity. These will be bypassed with 0.1uf 1000v Russian military K75-24 foil in oil caps, along with WIMA FKP1_1250v 0.01 film and foil caps. I have something very special with tight tolerances for the coupling caps to make a huge improvement there.


How long will you be gone on your trip? We shall discus this more when you return.

Hope the music worked out in some manner for you. I'm sure you found something useful from that collection.

Be careful and enjoy your trip.

Again, thanks for the upgrade input. You are welcome to add more when you get home.

Later.

Hey RPS.

Having internet right now, I read over my #410 reply touching on my Torii modifications, and found a pretty bad mistake. I am sorry I was not able to correct it before the modify button went down. In the third paragraph above the last Torii picture, I said "As usual though, everything matters. In the CSP3 I tried replacing the 40uf Jenson electrolytic caps I had moved there, two per channel, with some 45 or 47 Black Solens (can't find them to check), it got too heavy, full and slow... more so than when I had 47uf stock electrolytics there. So electrolytic to film is not always "better," different caps, and values within a given cap making notable differences.l"

I can't quite work out how I wrote it, knowing the CSP3 insides intimately... or why I did not notice it before posting, but, stock, and now, there are two main electrolytic PS caps total in my CSP3, not two per channel.

Yes this amp is a MKIV I got pretty early on as they came out. Relative to your thoughts on value, it is hard for me to figure in numbers, like people  saying something is some percentage "better." My mind does not seem to work this way, I think because the values of what I need sound-wise can be read so many different ways. This amp being tuned so regularly, over so many years, improvements and decisions were incremental and progressive, and I am not sure how I would approach it now... but it does make it additionally challenging to gauge improvements. And for me the last five or ten percent are probably worth as much or more than the first 90-95, the more subtle and fine resolution and speeds being so important for making the rest sound complete and real.

Relative to cost "value," most things bought on sale, or decent prices from ebay sellers, the actual cost of modifications would be interesting to figure out, but when I was half-heartedly tracking it, it was nowhere near the cost of the amp originally. People have asked, and I have hoped to do a modification thread talking about the projects I have worked on, and if I ever get time to do that, it would be cool to estimate rough costs.

Thinking about your Torii MKIII coming with bent transformer legs (if I understood your post correctly), it seems highly unlikely that it left Decware like that to me. That would be obvious to Steve and crew in QC. I wonder if your amp experienced a high G drop in shipping, enough for the weight of the transformers to bend the feet?

Sounds like you are going for a lot of changes, and I hope it sounds great!

Good luck,  

Will

Hey Marc,

Yes, I intend to provide continual information concerning my upgrades and the results as I perceive them.

I have a great deal of things going on right now and time seems to be limited. I have several audio projects in the works as I try to make time to get them all finished. Slowly, but surely, these will get done and I will present them here.

I am confident that with the implementation of the new QRD's in place, this should add just the right touch to my acoustic platform that I feel is missing. We shall see.

Hope you have found something special in those audio recordings.

I found that the initial transfer in lossless .wav format is definitely superior to that of lossless .flac format.

The music has a distinct difference to it for sure. Wish I had created your discs from the .wav format to be even better quality.

If you have the means to use a USB drive, perhaps this would be a better way, and far cheaper to pay postage, to transfer any future recordings onto.

Perhaps this method works for your DAC player system?

I shall try to enlighten you with my future findings.

Later.

A few basics concerning bypass capacitors and what they can do for your project.



I want to cover some reasons and known aspects for certain types of capacitors, and how their properties and actual value convey solid changes to the music in positive ways depending upon the capacitor used, where it is used, and the expected outcome for use in a specific manner.

What I am going to discuss primarily here is why that "bypass" caps are a proven method to effectively provide elimination of unwanted high frequency noise within the signal, while very clearly sculpting a nice custom tone from the amplifier ( or source). This becomes a powerful tool in which to fine tune the overall sound to what you as the listener find ideal by your expectation. What is not important is what someone else finds "just right" about a particular sound signature in their situation. Rather, it is what YOU yourself find to be the most satisfying to your ears. You are doing this as a custom approach to achieve a desired sound quality, just the way you like it. That is what really matters.

Let's take a look at a few examples that serve well as high quality bypass capacitors, and specifically what can be expected by their implementation.


First of all, it is almost always an instantaneous improvement in sound quality by upgrading electrolytic type capacitors to that of something much superior, such as polypropylene film and foil capacitors.

Electrolytic capacitors are widely used in circuits due to their small size and low cost for which incredibly large capacitance values can be stored within them.

It becomes a challenge to use film and foil capacitors with any range over 100µF due to size and cost factors which really are not practical in consumer grade products, or if the overall space requirements within the chassis will simply not provide the space for mounting these.

Metalized MKP film capacitors are still reasonably within workable physical size ranges, and certainly far greater for audio quality than electrolytics. But if maximum sound quality without compromise is your goal, then things are going to require a new approach if the much larger capacitors are to be considered. Expense and space within the chassis are going to be the major factors when looking to use exotic capacitors such as Miflex, Clarity Caps, or Russian military metal cased PIO capacitors which represent the absolute best choice when quality and overall cost are important factors for you to consider.

There is a huge "WOW" factor here using these high quality Russian Federation capacitors which are a fraction of the cost, as opposed to modern esoteric "boutique" offerings, which in my opinion are going to give your sound everything you always wanted out of your music, and even more than you could have imagined.

If these Russian capacitors were manufactured today by the same standard, and marketed by high end capacitor retailers, the cost of these would be the same or more than what Miflex, or V-cap premium caps bring today. The manufacturing cost of something built to the Russian military quality standard, and with the use of aluminum foil conductors between oil saturated paper, or that of Teflon capacitors using silver lead-outs would be priced so high, that the current price of premium copper in oil Miflex caps would look like a good economical alternative by comparison.

Many audiophile purists realize this, placing these caps in high demand as a highly desirable choice for use in high end equipment. The once massive overstock of these high grade Russian capacitors is dwindling down to where the most desired caps are starting to bring premium prices due to low stock and popularity. Just like it is with old stock tubes, when they are gone, they are gone, period! There will never be any more manufactured to meet the high quality military standard which these were built.


You will be surprised to find that with currently produced capacitors from China, when you need a quality MKP (metalized film) type, or you want the very best copper foil in oil  capacitors, then look no farther than those offered under the Pan Ocean name which is sold direct from Ali-Express.

If you are familiar with the WEET brand of high end capacitors which are gaining huge popularity, then you would notice if you do your research, that these same capacitors are manufactured for other companies with various name brands stamped on them. The difference is in the marketing only, and the price fluctuates greatly depending upon what logo is stamped on the body of the capacitor. Internally, these capacitors are identical, only the price changes. The same copper foil in oil Pan Ocean capacitor identical to the WEET offering is offered at about half the cost of the WEET branded offering,  with all things technical being the same. But you know what, some audio nerd out there is going to choose the more expensive offering simply based on the higher cost because he believes the higher cost automatically dictates a superior offering. In his mind, he is right, and nothing will ever change that.

It is of my opinion that these supreme copper foil in oil capacitors from Pan Ocean are the absolutely best deal you will find in modern esoteric capacitors, with top notch superior sound quality at a very affordable cost point compared to the competition. I am extremely confident that these can't be surpassed when you desire a purist design capacitor, regardless of the price, as if that really has anything to do with it when reality becomes the looking glass for confirmation.

Of course, with recent price changes due to import fees, the cost of these have doubled. However, even at the new higher cost, these are still a real bargain which must not be overlooked.

As for the lower cost MKP metalized film caps also offered by Pan Ocean, this grade is still a very good choice, but at a much lower price than the premium copper foil in oil types. These make for a great  metalized polypropylene film and foil cap which still is compatible for compliance within reasonable space requirements of a circuit, as well as being very affordable without sacrificing quality. These will not sound as great as the copper foil in oil elite caps, but you get what you pay for in terms of reasonable upgrades.

"Metalized" is simply a technique where metal deposits are applied to thin layers of the insulating material, whereas a high end supreme capacitor uses actual metal foil between the insulating layers, usually enhanced within a oil based enclosure. The metalized version is simply a more cost effective alternative with great sound quality potential, but not as good as an actual metal foil design. Copper foil in oil being the supreme choice when the best is warranted. With actual silver plated lead-outs, it doesn't get any better than this.

I guess it could be argued that silver foil with silver lead-outs would actually be the "absolute best", but you would pay a huge price for something that may only provide marginal returns over the copper foil versions. As with anything else, sound signature is subjective to those who may find the copper a bit darker than the silver, in a system that has the ability to allow one to hear the difference. ( That is the key focus here. The fact is that your equipment MUST be at a high enough grade level to reveal the worth of these premium capacitors). With anything else which doesn't make the grade, you are simply wasting your time and money. You simply can't make a mediocre signal chain sound good just by adding some expensive capacitors. You might think so. Think again!

I am completely satisfied with what silver plated copper does for the sound of my system. For me, it is the most favored, and perfect for my desired outcome. It is rare for me to not hear immediate change in the music when I swap out different capacitors, tubes, and wiring. It can range from subtle, to that of being a game changer. But almost always, I detect the difference.

For those who continue to downplay capacitors as feasible tone regulators, or major influencers within the music in general, then perhaps you need to have actual experience with real equipment which actually allows for the difference to be heard. I think that most people who say that capacitors don't make a difference, are those that bought mediocre equipment  which is simply questionable at best, or they simply are tone deaf. There is no other reason for such denial which goes against the grain of what so many people with professional grade equipment understand quite well. Perhaps it is time to purchase some real equipment. And while you are at it, do something about those poor acoustics which are cancelling out anything that might actually be good within your system. Do not forget that the quality of your music recordings are the cornerstone of it all. No matter what, a bad recording will not be improved much by anything that you do. But when you have a top notch audio recording and source, you will discover things within the music which will simply baffle you, that which never before revealed to your ears.


At any rate, the choice of affordable MKP caps are for the most part, always going to be a major improvement over electrolytic types. For the much smaller values used for bypassing, the supreme metal foil types are going to give the best improvement for sound quality when we are limited to film and foil type capacitors. A good compromise to give decent results at a budget cost factor would be to use premium audio grade electrolytics ( such as ELNA Silmic II, or Nichicon Super-Through) for the large base cap, bypassed with high quality film and foil caps for a really good alternative when cost is the major factor. Choosing high quality electrolytics with a low ESR rating is critical and must be adhered to.

(ESR stands for Equivalent Series Resistance.)  The ESR rating is the actual total internal resistance of the capacitor, where energy is lost in the form of heat from current flow.

How does this affect the circuit where the capacitor is placed?  First, there can be a detrimental power loss due to heat which results in reduced efficiency. A very critical factor relates to ripple voltage. This effect in a power supply filter stage due to higher ESR contributes to higher output voltage ripple, thus resulting in substandard filtering, which is counter intuitive to the purpose. Another problem arises concerning frequency response. Impedance becomes an issue with higher ESR. Especially at high frequencies where the capacitor becomes increasingly governed by it's internal resistance and inductance factors, for which the capacitance value itself becomes negatively influenced .

In general, film and foil capacitors inherently provide a very low ESR rating, which makes them a much better choice in high quality sound systems. The lifespan of a film and foil capacitor is much greater than that of the electrolytic counterpart.


Another factor concerning capacitor construction concerns the dielectric material itself.

The dielectric material is what the electrical insulator is constructed of used between a capacitor's conductive plates where an electrical charge is stored. The choice of this material does indeed play a major factor in how a capacitor will affect the sound signature of a circuit. There are major differences between the use of ceramics, paper, polyester, polystyrene,  polypropylene, or Teflon.

Polystyrene capacitors are very reputable for how pleasing they can sound depending on where they are placed. The problem with polystyrene material is that it is extremely sensitive to heat which will affect them in a very detrimental way. These are a great choice when used in a low voltage environment where heat is not a factor. These are subject to heat damage when placed withing something like a tube amplifier, and not recommended for such.  In a DAC, they are a great choice and safe to use.

Ceramics do not have a favorable reputation when it comes to sound quality. There are better choices.

Paper provides a nice laid back, smooth, almost neutral sound quality which is generally quite pleasing and usually a good choice as in PIO caps. Polyester is a more suitable material than polystyrene for use in heat sensitive areas due to its durability for use in that manner. Many people have stated that polyester caps can sound a bit subdued and less detailed than what a better capacitor is capable of.

Again, this choice is subjective, and still a good choice depending on the outcome you are expecting.

The most favored choice overall is that of polypropylene, or that of Teflon for use in high end audio capacitors. A good polypropylene film and foil capacitor is going to be a favored choice for a great sounding design with excellent durability and performance factors. The use of high grade Teflon capacitors are subjective to taste as a specialized tool for sound shaping. This reaches into that territory where one compares the tonal qualities of silver over copper foil. It is your call.

Polypropylene based film and foil capacitors provide very low signal distortion with outstanding stability for accurate frequency response.  This along with minimal energy loss creates a highly defined, ultra detailed clarity within the music which makes their choice an obvious one for the sound quality that they convey. Polypropylene has a low dissipation factor with high insulation resistance which plays a major role in how accurate and clear the audio signal will be interpreted to ones perception of sound. Optimal high frequency characteristics with a low impedance factor contributes to a highly defined soundstage with excellent separation of audio content.

Polypropylene is the preferred choice for all things considered in a quality MKP (metallized) audio capacitor, or a step up using an actual foil and film design. These are always a great choice, but again, subjective to the desired sound a designer is looking for.


continued next post

To identify this, there is no way of positively finding the outer foil lead-out visually. The direction of the stamp means nothing as these caps roll down the production line, stamped at whatever direction they may be at that time of the process. It is a fifty-fifty chance of being either direction with the stamp. You can't rely on this as an indicator.



The outer foil, closest proximity to sensitive components, acts as a "shield" against external electrical noise when connected to the ground or the circuit's input.


1. Using a Digital Multimeter with AC mV range (NOT THE BEST METHOD WITH QUESTIONABLE RESULTS)

   Principle: This method leverages the fact that the outer foil acts as a shield, picking up less induced hum (60Hz AC noise) from your body.

   Procedure:

       Set your Digital Multimeter (DMM) to the AC millivolt (mV) range.
       Connect the capacitor to the DMM probes.
       Hold the capacitor between your fingers, without touching the leads.
       Observe the AC mV reading. The lead connected to the outer foil will show a lower reading when the capacitor is held in this position.
       Flip the capacitor and repeat the measurement. The side that gives the quietest reading (lowest AC mV) is the outer foil lead.


2. Using an Oscilloscope (more accurate) (THIS PROVIDES THE BEST PROCEDURE)

  Principle: Oscilloscopes provide a visual representation of the induced hum, making it easier to pinpoint the outer foil.

   Procedure:

       Connect the capacitor to an oscilloscope, using a low voltage setting (around 2mV or 5mV per division) and a fast time base.
       Hold the capacitor between your fingers.
       Observe the waveform displayed on the oscilloscope. Note the amplitude.
       Reverse the capacitor's position and note the amplitude again.
       The lead connected to the oscilloscope's ground when the waveform amplitude is lowest is the outer foil lead.


One more option if you have the Dayton DATS V3 tester and software:



1. DATS V3 oscilloscope setup

   Connect the DATS V3 test leads to the capacitor's leads.
   Select the DATS V3 oscilloscope mode.
   Set a low voltage (e.g., 2 Volts AC) and a fast time base (e.g., 50 milliseconds) on the oscilloscope.

2. Induced noise test

   Hold the capacitor between your fingers, avoiding contact with the leads.
   Observe the waveform displayed on the DATS V3 oscilloscope.
   You can also induce additional noise by bringing a source of electrical interference (like a power strip or phone charger) near the capacitor.

3. Identify the foil end

   Flip the capacitor's orientation and repeat the observation.
   The capacitor lead that results in the smallest waveform amplitude on the oscilloscope indicates the outer foil side when the probe is connected to that lead.
   Mark the outer foil side for future reference.



Hopefully, you will find success by using one of these methods. The benefits will be substantial by doing so.


Make sure that you are not grounded by means of bare feet on the floor, as the effect will not be as noticeable, or perhaps not noticeable at all. Once you have identified the foil (shielded) lead-out side, mark it and use that as a guide for proper orientation to eliminate noise within the circuit.

I have a problem making this work for me. I have a generic average grade oscilloscope which should work for this purpose. I set the scope  around 2mv per division along with a fast time base  as recommended by others who successfully use it that way.  Unfortunately, I have had zero success making this test work for me. I tried several types of capacitors using the suggested settings. For some reason, I am not getting it to work and I am baffled as to why.  If you watch a few of the YouTube videos clearly showing the success of this test, you will see why it makes sense to do this.

There is another way to check a cap for the outer shield. This can be done with an amplifier sending a signal to the capacitor as you hold the cap between your fingers. As you place a source of interference such as an electrical cord next to the capacitor, the noise is picked up by the capacitor and amplified loud enough to hear the difference. You must do this with the cap in both directions. The direction with the least amount of amplified noise is the side you want to mark.



I have seen many videos showing this test procedure with accurate confirmation. I have also noted that many tests on certain modern capacitors do not show any sign of change using this test procedure, at least not enough to make a positive ID.  However, I believe this is a worthy enough test to insure the quietest signal path possible. Perhaps you have made recent upgrades with capacitors. Have you noticed increased noise or hum since doing so? Perhaps there is a remedy for that. If you reverse the noisy capacitors and the noise goes away, then there is indeed merit to this test and it's importance.

You be the judge.

As for quality Russian Federation military surplus stock capacitors which are well regarded for high end audio use as top of the line quality for the ultimate sound, I shall name a few here, and provide some detail as to their characteristics, along with listening reviews from those that use them. I will be using these as a major part of my bypass duties as well as a portion of the general audio circuit within the amplifier, as well as my next DAC project which will be a major undertaking to meet the highest standard. I am mainly concerned with the Torii amp for now. The Russian capacitors play a major part of the newly upgraded sound signature for this amp.

K75-24: The K75-24 is a highly praised audio capacitor which is in the upper range of quality where a seductive live vibrant sound signature is sought after. Highly recommended for audio coupling circuits, and for bypassing larger capacitors in the power supply. These are great for low frequency performance with full body impact, and rich, well controlled bass. These contribute to a seductive midrange known to be silky smooth, well pronounced, highly detailed, along with fine texture and character, which denotes its own special music signature. Some have described this sound as fun and exciting, some referring to it as "juicy" in the midrange. These have that vintage laid back smoothness to them which is much more pleasing than modern esoteric $$$ counterparts which have a noticeable sheen to them by comparison. The K75-24 is known for it's natural sound which is very pleasing to the ears.

K75-24 construction:

Dielectric: A hybrid combination of oil-saturated paper and polyethylene-terephthalate (PETP) film.

Conductors: Aluminum foil.

Encapsulation: The entire assembly is sealed in a glass-lined aluminum body.

Type: Classified as a PLIO (Paper-Lavsan in Oil) capacitor, where "Lavsan" refers to the PETP film.

Designed for operation in DC, AC, pulsating current circuits and in pulse modes.


As you see, this is a high end hybrid design being an actual aluminum foil- in- oil based sealed capacitor, which is built to take the torture of a battlefield with very satisfying audio potential. I am using these extensively within the amplifier upgrades, primarily as bypass caps in the power supply, supplemental to the large filter caps.



Russian Federation K75-10:  "hybrid PIO" (Paper-In-Oil) capacitor.

Very similar to the K75-24.


Russian K75-10 capacitors are constructed with a hybrid dielectric of paper and polyethylene terephthalate (Mylar), which is saturated in oil, and then glass-sealed in a metal body.

The hybrid dielectric is saturated in oil, which helps to improve performance and longevity.  The K75-10 uses metallic conductive layers (foil) for the electrodes between the dielectric material.  The entire assembly is encased within a metal body, sealed with glass for protection, reliability, and interference suppression. Designed to operate in DC, AC, and ripple current in pulse mode.


The main technical parameters of capacitors K75-10:

- Range of nominal capacities ....... 0,1... 10,0 ICF;
- Rated voltage ....... 250; 500; 750; 1000 In;
- Permissible capacity deviations ....... ±5; ±10; ±20 %;
- Tangent of the loss angle, not more than ....... 0.008;
- Insulation resistance of the output-output, not less than ....... 24000 mOhm;
- Insulation resistance of the terminal housing, not less than ....... 10000 mOhm;
- Time constant in normal climatic conditions, not less than ....... 8000 mOhm x UF;
- Relative humidity at +35 °C ....... 98 %;
- Temperature range ....... -60... +100 ° With;
- Minimum operating time ....... 10000 hours;


Reviews of Russian K75-10 capacitors commonly agree that these convey a unique sound quality characterized by a nicely detailed, textured midrange. These are known for producing controlled lows with authority, along with delicate highs which again, like the K75-24 offering, produces a very seductive tonal quality to the midrange which comes across in a natural manner without sounding synthetic. You can expect a full bodied presentation with excellent dynamics, which makes the music come alive.  Besides outstanding texture, reviews show a strong character of timbral definition.

 
K75-10 capacitors are considered a hybrid design of modern film capacitors and true PIO capacitors, creating a complex quality blending film, and PIO characteristics.

Their unique sound is distinct from other true PIOs like Vitamin Q or Jensen, offering a different flavor to the audio system. Use them as bypass caps with electrolytic caps such as "Nichicon Super Through" in the power supply for excellent sonic characteristics.

I can report from personal use in my current DAC build that the K75-10 does indeed add a very special flavor to the output stage of the tube section. Once installed and burned in for a short time, I instantly knew that these were the right choice for this purpose as bypass caps. I have a box of these rated at 0.1µF 250V 10% encased within a metal body, which makes them ideal for use in a DAC. The lower voltage limits my use for them otherwise. These can be purchased with higher voltage ratings upwards of 1000v if needed.



K40Y-9: This capacitor is recommended for high-end audio applications where demand is placed upon high sonic characteristics, while offering that pleasant vintage sound.

These excel in the critical midrange, adding texture and bloom to voices and instruments in a completely natural manner which sounds realistic. The signature is rich, warm, and full bodied, with a transparent extended upper range, and a highly detailed midrange which leaves nothing to be desired. If the quality of tone is important to your music, then these are for you.

The K40Y-9 is a Russian Federation military grade PIO (paper in oil) capacitor constructed with high tolerances and exceptional durability.

I am using many of these as bypass capacitors within my builds, including the Torii.



KBG-MN: КБГ-МН

The KBG type, are the best vintage PIO capacitors. These capacitors provide excellent sonic characteristics. High tolerance is kept within a wide temperature range, with superior characteristics over such PIO capacitors as the highly regarded K40Y-9.

These are high grade ultra high end capacitors constructed with two strips of pure aluminum foil, (not a metalized film), but actual pure foil. This foil is separated by strips of oil saturated paper. Another feature which sets these above the rest is that they contain actual silver for an extremely low impedance factor. This is all encased within a ceramic body of heavy duty construction. These are the "killer" capacitors that will take the sound of your amplifier or DAC straight into the stratosphere! These hold a superior ranking within the best of the best in audio PIO capacitors. If you think those overpriced Miflex capacitors are special, compare them to these. I think you just may be shocked at the outcome. This is very stiff competition to say the least.

The KBG design is an exact copy of the Siemens film capacitors released during the 1940 era years.


I am using these extensively throughout the Torii, primarily within the power supply where the filter stage is critical. These also play a major role within my next DAC project.


Russian Federation SILVER-MICA,  SGM-1 СГМ-1:


SGM (СГМ) are silver electrode deposited on mica, enclosed in a sealed ceramic package.

These silver mica capacitors have high insulation quality with very low loss factors at higher frequencies. The leakage resistance for this mica capacitor excells at a value of around 1010 Ohms. This resistance is on a magnitude much greater than that of paper capacitors.

I will be using a set of these rated at 220 pF, 250 V, 5 % for placment within my new DAC circuit for which these will be ideal for what they are intended for when dealing with digital hash in a circuit.


Russian Federation FT-3 Teflon Capacitors: This is the icing on the cake where the finest of detail conveying immaculate perception is extracted from the music for ultra clear focus.

This is very special territory here as we take a look at the "royalty" line of high end audio capacitors which simply have no match. If you want the best, you better have a set of these inside of your amplifier or pre-amplifier. That is if natural life-like sound is important to you. They are large and bulky, but have the grace of a ballet dancer.

The FT-3 Teflon capacitors provide excellent sonic characteristics within a wide operating temperature range, having high insulation resistance, and a low dissipation factor.

They look intimidating as if some type of weapon used in battle. The only battle you will have is finding a way to mount them inside of your chassis. I have provided special provisions to make a welcome home for these ultra fine additions to my upgrade plan. These are an absolute must to complete the sonic signature that I want from this amplifier.

These being 0.22µF capacitance, are best served as coupling bypass capacitors along with a larger quality polypropylene base cap, or also in the final section of the power filtering stage just before power is fed to the input stage, where highly refined purity must be at it's best if the amp is going to achieve zenith status.

A 0.22µF capacitor is ideal here because it is large enough to handle a significant range of mid-to-high audio frequencies, while retaining excellent high-frequency characteristics.

The interstage coupling capacitor is at a crucial point where the refinement of the audio signal passes from a low level gain stage, directly to the grid of the power tube. The stage is set, the lights come on, and the action begins. Now it is time for the players to impress the audience.

The coupling capacitors are placed directly within the amplifiers signal path. This is far more sensitive to sound quality as opposed to the power supply stage where filtered DC is shunted to ground.

This critical passage extends throughout the entire audio signal path at this point. The sonic canvas is transferred from one vacuum tube stage to the next, carrying all of the generated nuance and tonal character along the way. You will most definitely hear this as the final sound signature.


So you see why this FT-3 Teflon capacitor is the crowning jewel, having the final say in how this amplifier is going to sound.  Always save the best for last.


In the final moment, I may just have to rename this amplifier in Russian, in my gratitude for such high quality components they have provided, simply marked in class as: идеальный усилитель!



And we all have our moment of clarity when time opens that door for us.




The ironic nature of this whole situation is that initially, these parts were created as Soviet military devices in which to defeat us as the enemy of the USSR as perceived at that time. Today, these same military surplus parts are used to improve our lives as part of something we share together in a peaceful meaningful manner.  Looking back, who would have thought this would be possible. Perhaps this was a miracle and we just didn't see it as it unfolded. I for one am very pleased to have these war designed Russian capacitors and vacuum tubes as something that makes a nice difference in what I enjoy in life. They won't be using these in any missile guidance systems, or fighter jet avionics circuits used for sinister purposes against us. These components only serve to provide pure high quality sound for our enjoyment. And that is what riding off into the sunset is all about. We all win!


I was a player in that theater as an opponent during the intense moments building up during that cold war period. People have no idea how close to nuclear devastation that we actually came upon. They would be terrified once aware of the actual truth behind the curtain. It is a shear miracle that we even exist today, enjoying the life that we live here in America or the world in general. I really do not ever want to see anything like this culminate again. The next time just may be the last.

The end justifies the real nature of man on this planet, and to our actual worth as we trespass upon it. I have little expectation of man ever evolving beyond who we are today. We just seem to keep repeating the same situations, never learning what it takes for the evolution of real advancement within humanity. I believe that borders upon the classification of insanity.

Once AI takes complete control over technology, it won't really matter. We have already lost our perspective at this point within this increasingly shrinking world of  congested hatred and deception. It has become a situation of "us against them".

In the final passage of time, we must walk through that door and never look back.


                                                    пора радоваться и двигаться дальше
                                                        pora radovat'sya i dvigat'sya dal'she






Have a good evening!