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My Audio Journey Evolution, The Final Stage. (Read 20528 times)
red pill sanctuary
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Re: My Audio Journey Evolution, The Final Stage.
Reply #200 - 10/16/24 at 19:01:57
 

I'll be very interested in hearing what JB has to say about his experience when he has time to gather his thoughts and elaborate. Very generous of you to offer that opportunity RP.

Yes, and I knew you would be very curious to see how this all went. It is a shame that you don't live close enough to experience your own evaluation of my audio room. It would be nice if you were able to do that.

From my stand point, things went very well and it was a great day. JB is a very knowledgeable person, and most certainly on a very high level of understanding when it comes to audio and room acoustics. He is a great guy to know, and someone that you can trust to give advice. A good friend to say the least.

As for what he might say about this event, time will tell. I don't know that he will say anything, although I have a feeling that he has plenty to say about his experience. So that is up to him. I think he needs a couple of days to get his thoughts together and make sense of it all. I do welcome him to offer his thoughts about his experience, so you shall just have to wait and see.

I will get the return privilege of experiencing his audio room next spring. That should be interesting as well. I will say from my perspective, there was a great deal of thought going on inside of his head. It will be interesting to get his viewpoint.


Keep that dream alive my friend!

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JBzen
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Re: My Audio Journey Evolution, The Final Stage.
Reply #201 - 10/18/24 at 13:12:48
 
Well RPS you pulled it off! I mean like Burger King's impossible burger your space does not warrant what was heard in the 12 hour session spent with you on Tuesday. Like the sweet beef undertones missing in that burger, even with my eyes closed, my senses could not escape the confines of the room. Small room small stage - mere physics that can not be eliminated. However, you recently added a piece of equipment that makes your room complete and defies physics.

I totally enjoyed my visit with you. Another time warp that was very hard and pressed to end. We will continue in time. I feel like your a brother from another mother now. The food was good, conversation rich, and atmosphere becoming. Thank you all.

The speakers you designed are with no doubt the best 2 way implemented set that crossed my ears. Bass is well defined and tactical. Mids play well with the lows and highs - vocals are crisp with emotional attachment. Highs are sublime with delicacy.

Feeding the 2way gems is nothing special like the 12 gauge OFC, Torii 3 with stock tubes, microphone cable ICs with one way shields, basic Brown Burr DAC, and a Tascam transport. The music heard did not show, by any means, any degradation with this setup.

Your admission of how terrible and unsustainable those 2 ways was in the room before any treatment has been cured. The 12 hour session we completed on Tuesday is proof of that. Your listen db level is a bit higher than mine and I thank you for doing a slight adjustment for my pleasure. But I think it was your need to impress that got you to turn up the volume at the onset. The sound was the same but eliminated the chance of fatigue when lowered a bit.

We listened a couple enjoyable hours with your new blast from the past piece bypassed. The only negative was Ozy's CD seemed a bit edgy at times but had great special effects. I think it had to be the mastering causing it because it was only noticeable on that disk. Then you initiated the C-9! Woweee! The hugh sound stage was not meant to be in your space. It grew by leaps and bounds. Vocals became very intimate in presence. There was zero artifacts. The performance became live. The new experience was like headphones without the cans and gave tactical body resonance! Something that tires me quickly when using headphones, that is my ears get some good vibes but the rest of my organs do not.

RPS, the only negative to me when it came to tactical experience was the dual 12" push and pull setup behind the listening chair. The timing was off a bit that distracted from the main speakers at times. This is surely caused by the direct connection with the Torii speaker outputs. A time delay would help this. It kind of reminded me of when I had transducers installed in the home theater couch which gave a sense of vibration without aligned impact.

I could go on and on about the music but will pin it down to one CD that everyone is familiar with, Pink Floyd's "Dark side of the Moon" Played to death but a well done work using "Q". The C-9 is a phasing tool that eliminates crosstalk between our ears. Yup that space between our ears is wide enough that causes our sense of hearing confusion when we hear music in stereo. RPG's C-9 is 45 years old and works like a new item. There is no signs of bypass interference to the signal and what I am about to describe works as intended.

The second act(track) "On the Run" starts with Q(time delay sceme used in many recordings that places sound in space at various locations using the space between your ears and two speakers as leverage) within 3 seconds of track start. I've always heard the mechanical sound created after 3 seconds in that track as an oblong sound circulation. With the C-9 it made its rounds perfectly around the circumference of my head. It was a hat of moving sound. Outstanding!

Then I asked you to bypass the C-9 after 6 or so hours and this was rather revealing of the unit's capabilities. Vocals became somewhat subdued. Loss of vibrancy was evident. Just to recall that I spent a couple onset satisfying hours listening with this unit bypassed is telling in itself. One does not know until it is placed at earshot side by side(A-B).

Smiley

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Re: My Audio Journey Evolution, The Final Stage.
Reply #202 - 10/21/24 at 02:07:34
 
Thanks for taking the time to share your thoughts with us JB. Glad you got the chance to have some fun and venture deep into a unique musical experience as well as share some comradery. Pretty cool that you'll be offering the same courtesy of a listening session to RP. It's nice that you'll both have a perspective into each other's listening environments.

Looks like the session sounded great, albeit initially the smaller space made it difficult to perceive a very wide soundstage. However, I'm sure the extensive room treatments made it sound as good as it possibly could be. My room is on the smaller side as well (actually almost the same as RP's but with a 10' ceiling instead of approx. 8') and I know how challenging it can be.

I thought RP's custom speakers looked phenomenal and glad you confirmed they sound just as amazing as I imagined. The build is second to none. Glad the sound is as well.

You mentioned that once the C-9 was engaged, the room took on a whole new dimension. Besides the room treatments, the C-9 sounds just like what the doctor ordered for a room on the smaller side. From what I've read about the unit I expected nothing less but I'm sure each room can help or hinder the effectiveness of such a component. Glad you found it to be an exciting and worthwhile addition!

Thanks again for the perspective JB, and congratulations RP on a great system and listening environment.
Cheers to you guys and many more great listening sessions.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #203 - 10/21/24 at 12:38:21
 
mrchipster,
It is a wonderful when meeting another individual that goes thru similar struggles and tackles those challenges in a similar fashion. RPS did very well in tackling his small room. Turning it into a true sanctuary - a place to regenerate ones drive. I can see where some refinement will be done. Not in the sound but in workability of daily use like a simple thing of making the light switch easier to access, etc.

What puzzled me was the fact that I listened 2 or so hours before the C-9 was activated. It sat there idle in bypass mode. The sound already very impressive. When it was switched in, the sound stage widened a bit. The result was too wide creating a hole in the middle. I mentioned that to Paul and then he switched it to narrow from wide mode and wala it tighten up and the walls disappeared! Other then the two modes mention of the C-9 there is a theatrical mode that adds some echo. The echo seemed gimmicky and was not desired.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #204 - 10/21/24 at 16:15:18
 

I was not sure what "C-9" referred, and found this:

"A C-9 in audio refers to a specific type of microphone preamplifier.

It's a vintage piece of equipment, known for its warm, rich, and often slightly distorted sound. The "C" likely stands for "console," as it was originally designed for use in large studio consoles. The number "9" is a model designation"

Is that correct?
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Re: My Audio Journey Evolution, The Final Stage.
Reply #205 - 10/21/24 at 16:18:41
 
Tony, in this case I believe the Carver C-9 Sonic Holograph Generator is what was referenced.

https://www.highfidelityreview.com/carver-c9.html
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Re: My Audio Journey Evolution, The Final Stage.
Reply #206 - 10/29/24 at 01:35:45
 


Thanks to all that replied and your input is valuable.

Thank you JB for your honest opinion concerning your listening evaluation.

Although we are a bit apart on what you and I get from this room in a couple of aspects, it has to be expected that for many reasons, none of us ever see or hear things identically, or in the same degree of "absoluteness".

I can tell you this, I bent the law of physics as far as one could ever expect too do while confined to limited room dimensions such as what I am forced to deal with. Like many others, my options are limited, and I have no other choice. We simply have to make the best of what we have and learn to accept that reality. If I were to take all of my acoustic devices down to the much larger fireplace room downstairs, taking advantage of that more ideal space, then naturally, just by getting closer to golden ratio dimensions alone would make a huge improvement. That is not going to happen in my house as long as the wife has anything to say about it. I have thought about this so many times, but always knew it could not happen. If I were single, this would have been the audio room setting from the start.

So yes, It is hard enough to make a room my size even remotely good for music, let alone making it sound like a huge open space. If you want a huge open space, set your equipment up outside and your problem is over. Not sure how long that would last with the neighbors. It would get old very fast having to keep bringing that equipment back into the house after every listening session. But if you expect the best outcome, that is the only true approach to a completely natural and untainted soundfield. No need for acoustic treatment in a natural setting.

If anyone fails to understand why I went to such great lengths with the acoustic treatment in my audio room, the answer is obvious and absolutely necessary to make a room with almost square dimensions transform into something acceptable, let alone high end. I guess I found my "fulcrum" between these two points as a leverage of balance where I can live with it and be content. Without this extreme level of acoustic transformation, this room simply could not be used for music.  It is pointless to design a perfect racing car only to drive it on a washed out dirt road full of ruts and holes. The results are very limited and nowhere near ideal.

If you had heard how terrible this room sounded before treatment, you would understand exactly just how much I improved this room with what I did. Yes, there are limits to boundaries and perception of space, and every room is going to be bound by those limitations. As stated, we are governed by the laws of physics which we simply can't magically influence. The difference is to make the space within your boundaries sound comforting, and in agreement with what you hear WHILE understanding those limitations.

I am more concerned with the element of natural sound that freely expands in all directions "within" these understood dimensions where so many acoustical conflicts come into play. The acoustic war is a tough battle to conquer. There will always be limitations and compromise within any listening room, no matter how well designed it is. Like I said, if you expect perfection, then you better take it outside.

My main concern is the control of room modes within this almost "impossible" room size. As you know, a square or round dimension is the absolutely worst case scenario you could build from.  I corrected my situation by virtually "removing" the walls with acoustic friendly "walls" which actually work in harmony to reduce the effect of standing waves. As I told you in the past, my revised room dimensions fall well within Bolt's range. There are rooms much larger than mine that don't even do that! Volume is not the whole story, it is the actual dimensions that make the difference in controlling a reasonable degree of decent acoustics. A room like mine requires a massive degree of absorbent while at the same time having to make sure the room isn't rendered acoustically dead. This is the absolute worst situation to engineer and do it right.

I want to make a note concerning the latest room change I made prior to the listening evaluation.  I had no time to evaluate this addition prior to the listening session. I really had not the time yet myself to evaluate the change.  My observation is this during the time JB was listening to the new setup. I sat in a location at the farthest rear point in the room (NEVER RECOMMENDED DUE TO BASS BOOM), sitting up on the ternary diffuser platform about three feet above the normal listening position, directly behind the perfect listening "apex" sweet spot where JB was at.

I quickly realized that from the time before I added the final sidewall absorbers and the huge binary diffuser at the front of the room just before this visit, this area used to sound very muddy and quite awful at the rear of the room. This is normal in any room due to the characteristics of standing waves in a room.  **Note: this is why the 38 percent rule is so very important, and so very accurate in practice. I have proven this concept to hold great weight within its theory. The worst areas are always going to be at the front of the room, the rear of the room, and the center of the room. You always want to avoid those areas at all costs.

The negative aspect of this change which I now realize, the sound-stage is restricted as a result of the massive sidewall absorbers I just placed in the room. I lost the needed reverberance that was responsible for the wider sound-stage and sense of "space" that I was accustomed to before.

This is counter productive to the very reason why I placed these there in the first place. The intent was to eliminate first order sidewall reflections which smear the timing in music, and also place a veil upon the perception of that actual space. This should have increased the perceived degree of spatial imaging. What JB has detected, and now with my listening tests conducted since he left here, have brought me to the conclusion that what I heard before, and what I hear now are NOT the same degree of spatial expansion. The sound quality is great, detail and bass response is superb. I am however baffled as to this outcome. The only thing I can conclude is that the addition of these massive wall absorbers actually killed the robust reverb factor with over absorption. This just goes to show how easy it is to go too far with room treatment, or not implementing the correct acoustic treatment for a certain target area.  This really is a double edged sword that can cut either way. My conclusion to this test is that I was better off without the sidewall absorbers.

So, getting to the point with the latest acoustic additions. I expected this area where I sat in the rear of the room to be a "less than acceptable" spot to enjoy the music. That is why my listening chair isn't placed there. But that night, I was amazed to discover that not only did this area sound reasonably good now, but I was clearly hearing the robust presence of spatial detail at every point around the room, including an area that seemed to be at least three feet behind my head. ( and I was sitting behind JB's sitting position in FRONT of me! ).

Why is that anything special you may ask? Because my head is placed directly against the hard surface of the huge diffuser I am sitting against. There is NO space behind my head at all.  So you see, the space DOES actually extend beyond the physical restraints of the room dimensions. This may not become clear to you within a very limited degree of listening experience in this room, or within a very limited degree of musical variations which may, or may not provide the material needed to convey the extensions, or limitations, within the musical soundfield as portrayed in the recording. You can only hear the recording the way it was produced. Many recordings sound flat and restrained, no matter what the room situation is. They were produced to be heard that way. When certain phasing effects are purposely implemented within the musical canvas, then that is when it should also be conveyed within your room in that same degree as long as the acoustics are good.

We also have to consider our hearing limitations and variations of perception between one listener and the next. We simply do not all have the same degree of hearing potential, nor the same degree of perception. I guarantee you that no two people on this planet have the same hearing characteristics.  I would love to have a couple of young people around twenty years old listen to the same thing we were subjected to in this room. I think the results would be quite interesting in regard to my statement concerning auditory fluctuations between all humans. As we age, our hearing suffers tremendously through that progression of time. Even though the critical factors of music are within the 40Hz to 8 kHz range, the range which extends to perceive the delicate nuances of higher frequencies ( specifically the "air" factor ) are well above this frequency range. The critical harmonics that make up so much of what defines a great audio system are also within this higher range. Most men can't hear much above 14 kHz after the age of 50. Many can't hear above 10kHZ. That is just the facts of life. Anyone that thinks they have much better hearing than that needs to take a professional audio-gram in a booth with actual test equipment. I think you will be shocked with the results.

I can assure you that a young person under the age of twenty can hear everything that lies within the music. They are the one's who are truly qualified to know just how good a music evaluation really is.  I know very well that I no longer have this upper range of hearing. The last audio-gram I had from an official testing center was at the age of 32.  I am proud to say that the tester was surprised at how intact my hearing ability actually was at that age, as that is certainly not typical. Even at that age, with well protected and preserved hearing, it is expected for a male to have a range limited to usually no more than 16 kHZ, at best.  Take into consideration, dangerous noise levels resulting in premature, and permanent hearing damage, and this affects many of us even more than just natural age degradation alone.

I had an even balance which clearly ran strong to not only 16 kHz at that time, but with some extension up to 18 kHz which is simply remarkable and rare. I expect that if I were to test again now, I would be restricted to 14 kHz or less "best case" scenario. If you can top that at the age of 63, then you are one very lucky individual to say the least. A professional audio-gram is the only way to prove it. I remember having to actually hold my breath just to make sure I could register the delicate faint signals that were played with the headsets. I would not have heard those upper limit registers if I masked it with my breathing.

My point of this is to support the fact that our hearing potential is what actually governs our perception of quality, space, and time.

I can assure you that the limitations of being denied the upper frequencies are in direct relation to what can be detected in a "spatial" environment.

Just a simple fact of life that can't be denied. I wish I had the hearing potential of a sixteen year old. If I had, I know there are many things going on in this room that I just can't hear. And with age, that factor only declines.  And that is where the laws of physics really apply.  This is why that I understand my limitations, knowing that my limited perception is not entirely reality, only a certain "portion" of the whole. I can only offer my opinion based upon what I can detect, nothing more, nothing less.

And of course, we could get into the shapes of the human ear, and all of the variations which makes everyone unique in that form. Like the fine tuning of a delicate instrument, the shape of our ears and the structure within that complex are in effect, bound to the degree of "tuning" that nature gave us at birth.  There are some of us who are born with perfect pitch. Many others are not. So many variables, so many degrees of separation. I always think about the situation with Beethoven. One of the great masters of music, with his greatest works created within a world of deafness. I see that comparatively as a world class racing champion who just happens to be blind!  Some things in life are just plain defiant within reality, yet so amazing within the outcome which can't be denied.

Please do not take this personally, this is just the card life has dealt us whether we like it or not.

In the end, we all have opinions, and we all have different degrees of perception within our visual acuity, or our auditory acceptance. The result always leads to a debate it would seem. Sometimes we just have to "agree to disagree" and accept that. Just be happy with what you have and everything is just fine.  I know that I for one am very satisfied.


Now, leading on to something much more interesting at this point in time. There really is something special about the Carver C9 Sonic Hologram Generator. As JB now himself has had the newfound experience with what this unit offers at virtually very little cost, is yet another defined moment  in which to suggest that this circuit warrants a new life in which to enhance the quality of our music.  I believe this is the time to reintroduce this circuit to the audio community and do so in a refined upgraded version that makes the cut for audiophile grade.  There is not a more effective means at such a low cost to rectify the horrible restrictions which cross-talk creates from stereo speakers. You only have to experience it to really understand and appreciate the huge improvement offered. If a 45 + year old stock unit still in original form can provide this factor of acceptance, just imagine what an upgraded version with high quality parts could do. This circuit warrants all 1 percent precision components due to the required balance of the circuit to work effectively as intended.  MADE IN THE USA....and there you have it. That was the America I remember. The chips are still available with better quality alternatives from Texas Instruments as an upgrade. Installing a higher grade transformer and audiophile grade caps will certainly make a difference. My conception towards a new upgraded version of the Carver C9 would have the push button controls removed and replaced with a variable means such as stepped attenuation for both the level of "Injection Ratio" and the width of the spatial generator. With a wide range of accurate stepped positions, the degree of tuning is extensive and precise with far greater control, with full accuracy across a much wider degree of precision.


Smiley
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Re: My Audio Journey Evolution, The Final Stage.
Reply #207 - 10/29/24 at 04:56:22
 

I can't believe I accidentally closed the page I was on after writing an extensive amount of information here that I was about to post!

I will just have to rewrite what I can recall and make do with that.


Smiley



Okay, let me start again.

Back a few years ago when I had SET mono blocks and a very high end vinyl system along with my ARCAM Alpha 9 ring DAC CD player, I decided to build some high quality cables using the best materials available and fashioned the way the top cable producers were using geometry in the most expensive esoteric cables offered in the market.  These all were way too expensive for my consideration at retail prices.

I assembled many different types of configurations using both high purity heavy gauge copper and also medical grade high purity silver conductors which cost me hundreds of dollars for a small spool back then. That same spool would cost upwards of thousands $$$ in today's market. Silver is prohibited for use at today's cost unless you are wealthy.

I built a set with only twin conductors running in a parallel twist configuration around a cotton core. These were then wrapped in a wax coated cloth sheath and terminated with the finest WBT connectors. No shields, and minimal insulators which was as close to air as possible. Then I constructed a set of speaker cables that were a hybrid version consisting of high purity oxygen free copper and pure silver conductors running in tandem. I built one set without shielding, the other with metal shielding and a aluminum faced wrap like they use for underground cables. The ground shield was terminated before signal contact to prevent any noise or interference to pass through. So in short, I had variations to compare and see what differences these changes made to the sound signature.

In conclusion of these tests, I found the pure silver cables to be far too bright and revealing. Ultra detail, but at the cost of fatigue. As I recall, I found the minimalist cables without the shielding to sound the best, and I did not have issues with ground noise or EMI/RFI interaction.

What I liked the most was the hybrid version using a combination of copper and silver to balance things out. Wrapping the conductors with bees wax saturated cloth seemed to be the most honest and pleasing version that I tested. Very smooth and appropriately revealing without glare or fatigue. These had ultra clear detail and nothing missing within the presentation. So I know from past experience what can be expected from various cable geometries, and what difference the quality and type of material can make to the overall signature. Like everything else that I owned, all gone and in the past.

So with that said, moving on to the present.

After JB left here from his visit, I got to thinking about the quality of my speaker cables and realized that there could be some major improvement here for very little cost. My experimental mindset came back online and I got busy with an idea. I wanted a set of high end flat ribbon cables that have an almost air like type of insulator in a minimalist form. These have to be at least 16 feet long and they must be heavy gauge with high purity copper as a minimum. I have a stockpile of high quality foil inductors in the shop that are collecting dust. Logically, I knew that these inductors would provide the perfect material for the conductors. I selected a set of Jensen WAX coated high purity copper foil inductors which are 16 GA @ .22 mH. The flat ribbon is .75 inch wide. When unraveled, the total length of each inductor equals just over 17.5 feet when folded in half to make two conductors for one cable. I wrapped these bare ribbons in wax paper and then applied a strip of wide vinyl electrical tape between them for insulation. These were  then slipped through a cloth like heat-shrinkable sheath which is over an inch wide but flat. The ends are terminated with heavy duty pure copper spade lugs. The total length of the cables are crafted to 16 feet in length. The heavy gauge of the ribbon should be fine at that length.


So out with the old stranded copper 12 GA speaker cables and in with the new design.


At first impression, I was not sure if these were going to work out or not. The difference in sound signature was major and way too bright for my taste. I am used to the dark relaxed signature of copper cables.  I immediately thought of back when I had a SACD player and how I always found that format to be bright and edgy in my opinion. That was a prime example of why I preferred high end vinyl over digital in the first place. It took a long time for the digital format in general to become satisfactory within my perception compared to pure analog. Much better these days.

This also reminded me of my cable experimentation using pure silver conductors. Again, very bright and with an extreme degree of upper extension. To me, this is like having a spotlight shine in your face.  Realizing that the brain needs time to focus upon something new, giving it time to adjust, I knew that this needed some time before any hasty decisions were made. This was like a night and day difference in sound signature.

So I reduced the treble levels on the ToriiMK3 amplifier down to about 70 percent to bring things into perspective. Everything sounded much more relaxed and acceptable now. I also noted that I don't have to turn the amp volume control up as high to get the same decibel level and sonic impact compared to the other cables. So you know that something major is going on in improvement. That level of gain confirms that.  What I need to confirm is whether or not I will like the overall sound signature of these new cables. I am still doing listening tests. So far, these are growing on me with some very interesting results. These indeed have a much higher degree of "air" within the top end. There is extra micro-detail coming into clear focus that I never heard before. This being in the higher frequencies. Many subtle and delicate nuances are now being revealed without constraint. Yes, these are brighter due to the higher extension which is now being revealed without reservation. It is like getting your high frequency hearing back after years of being without it. There is a great deal of positive gain within these cables compared to what I was using. I doubt that I would return to the old set. The new ribbon cables are ultra revealing and unforgiving of bad source material...just like any great part of the audio chain. The speaker cables were definitely the weak link here. Not anymore.

The main reason why I chose a flat ribbon design was to test the theory of "skin effect" upon cable conductors. Supposedly the flat area of ribbon cables are to reduce that effect, providing further extension into the higher frequencies with better clarity.

Hmmm, you know what, I may just be on to something here.

You just had a lesson in science class and didn't even realize it.

I don't believe in most of the cable hype that goes on in marketing to justify the high cost of esoteric cables. It is simple logic with respect to material quality, and geometry which makes the difference. No magic fairy dust here. Just great results at a very low cost. That scores high in my book.

I am sure that there will be much more about my impressions with these cables in the future as time progresses and I get more listening time in.
I see some very promising expectations arising from this set of ribbon cables constructed from old foil inductors. Time will tell.


So here are some images of the cables I constructed. Keep in mind that I assembled these quickly for testing and evaluation. Appearance was not my concern at the time. Now that they seem to tow the line, I think some beauty treatment may be in order. First things first.

















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Re: My Audio Journey Evolution, The Final Stage.
Reply #208 - 10/29/24 at 17:26:38
 



My goal is to focus upon the creation of a modern day upgrade to the original Bob Carver C9 Sonic Hologram Generator.

NOTE: Bob Carver was removed from his own company during the late eighties. Imagine that, being fired by the board of directors from the very company he built, and provided careers for those very same A******S that forced him out!  The products that Bob created before he left the company are not the same ones that were cheaply built overseas during the latter years into the early nineties. That crap was nothing but cheap knock-offs that destroyed the Carver name.  Please be careful if you ever consider any products made in the latter years. I don't recall the exact year of his exit, but I am thinking around 1988 or 89.

Bob went on to create the company SUNFIRE, which was a major step forward in direction for him anyway.  I owned the huge mega Joule surround sound amplifier (Sunfire Cinema Grand) that he designed after that company came about. I can tell you that this amp was a major leap forward in design integrity and quality. The power that amp produced was incredible.  I believe it cost me somewhere around $5500 back then, and it only came from authorized audio dealers who strictly carried high end esoteric equipment.

You can't keep a great creator down! He is a brilliant physicist who gave us many great designs in audio back when the likes of the mainstream were dominated by the likes of Pioneer, Kenwood, Marantz, etc. Whether you liked his inventions or not, you can't deny his ability to pioneer great ideas way outside of the envelope.

Do not ever underestimate the quality or integrity of the products he created. He being a genius, which the mainstream failed showing him the credit he deserved.

DOES THIS GUY SOUND FAMILIAR? Seems there might be another audio creator with very similar talent. Perhaps you have met him.

I respect anyone who dares to think outside of the box, and doesn't hold back against the norm to bring us new and innovate ways to improve our lives.

With that said, my Carver C9 that I just acquired is indeed an original version that Bob had control over. This one is authentic. Be careful of what you buy in his name. Mine was manufactured in Lynnwood, WA back in 1986. Still works perfectly today!



So, moving on: I came up with a rendered image showing you an example of what I have in mind for a new revised model showcasing this concept.

 I may start a new thread in the DIY section to get this idea off the ground and into action. This would be a great concept for Steve to consider using the premise of the circuit technique, and upgrading it to audiophile standards which Decware is known for. This unit could be offered with a signal tube upgrade replacing the five opamps in the circuit. For a budget friendly version, a standard model using new Texas Instrument OPAMPS could be offered. The tube version would be an upgrade for an additional fee. The idea of using stepped attenuators to control the levels of the circuit are paramount in my logical opinion. This could be created in a way that makes this unit unique and every bit as good as the original design, only better and not have to worry about copyright infringement. An altered version of a patented design that old should not be a problem.

I think that a poll needs to be started to gain positive interest for this to come about in the future. It should be clear to see that a unit offered like this would have incredible interest with huge sales potential in the audio world. Anyone who understands through experience what this device brings to the table should agree with me on this without reservation. Just ask anyone who has owned this design in the past. The results are very favorable. Just my two cents thrown into the kettle. This however is one vision that should not be overlooked.

Perhaps a poll could be taken to see how much interest there really would be in this unit. It would be interesting to see how much people would be willing to pay for this unit being offered with custom options. I will tell you this, I WILL BE THE FIRST TO ORDER this unit if Decware ever brings a device like this to reality! The cost is irrelevant considering how important this device is to me.  Knowing that Steve has control over it's design, that already becomes the selling point for me to buy it. You have to consider what this device does for any audio system. You also have to consider that to the best of my knowledge, there are NO competitors which have anything like this in existence. This makes for an ideal opportunity to create something new and innovative, which I know would gain popularity very, very quickly among the audio community. I can only suggest it, Steve has to make it happen. If you think this is a good idea, then let Steve know you are interested and make it happen!


I can envision two offerings of this circuit. Perhaps a new Torii amplifier which incorporates this circuit as a whole new concept model. Finally, the only amplifier in existence which has the ability to STOP crosstalk-interference cold in it's tracks, without tainting the purity of the amplified signal.

Combined with a class A SET amp, this would be a perfect marriage and a wonderful concept.

Then of course, a stand alone unit with options that can be used in any audio system. This unit goes between the outputs of the source and the amplifier.

This would expand our audio horizons further beyond the envelope edge with a breath of fresh air.


Here are a couple of images which represent a design I have in mind. These are fictional and are only a concept. Let me know if this interests you.









As for optional stepped attenuators which really should be standard in this device for optimal control, this is a good option.






Something of this caliber would be interesting for a new design standard with this unit. Expensive, but referance quality where cost is not a factor.





Or something such as this for dedicated controls???





Anyway, just some audio food for thought.

Make your vote known. WOULD YOU PURCHASE SOMETHING LIKE THIS CONCEPT?   YES or NO



Smiley
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Re: My Audio Journey Evolution, The Final Stage.
Reply #209 - 10/29/24 at 19:33:40
 
Hey RPS. Your speaker cable exploration caught my attention, and just wanted to say that in my cable experiments, no matter IC, PC, speaker, within the usual ranges, gauge has a notable impact on everything, but generally the so important spectral balance a big one for me. I have talked about this a lot of times here, so won't go much into it now, especially since you like to play around with these things and find out for your self.

From my experiences in this system/room, 16 from 12 gauge speaker cables, especially of the exact same wire, would make substantial differences. Not that 16 gauge is definitely small in all cases, especially where other issues make the system/room too dense, thick, and bassy. But here, with wires I have tried, 16 gauge notably reduces the lower information in the balance, which in turn reveals more mids and highs in the balance.

The speaker cables I have used for a really long time are made of 999 soft-annealed copper, 999 soft-annealed silver (I find 999 soft-annealed resolving, but softer/smoother sounding, closer to UPOCC), and one 16 gauge NOS WE tinned copper. I find multiple wires making the conglomerate gauge is really nice to tune how good metals work together. But even all the same metal, I think multiple wires tend to clean and speed things up compared to one larger wire, especially with crossing the wires exploration (in my speaker cables maybe ending up with a cross a little less than every foot?). Also with blends, I think we hear more of each wire, perhaps in part due to less skin effect and all else the electrons respond to with bigger wires. So not all gauge... Still, with my Toriis, room, and all, if my memory is correct, I ended up with 13 gauge before the balances started off-neutral toward bass weighted.

Though interested, I have not explored ribbons since these sound so good it is not a priority, and I have become pretty addicted to mixing good metals. So I can't say just how gauge would effect them, but if the bass/fullness stays a little shy, and the mids-up, a little clean, could be worth some experiments with 14 or 12. I think doubling up what you have would tell some story, but I am guessing that would change the many things beyond the spectral balance more notably than a single larger ribbon would...improving the sound or not, can't say. When I tried doubling the WE 16 wires, it brought up bass some, but not enough for me, and it hardened the mids. Three got the bass close here, and these wires do have heightened mid "flare," but three sounded way too hard mids up here.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #210 - 10/29/24 at 20:40:11
 
I got a C-9 in transit. Hope it is as clean as yours RPS. I do agree with your sediment of this device. It truly fixes a problem with stereo systems. One problem that is always present no matter the system - if it has 2 speakers. No hype just bare facts.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #211 - 10/29/24 at 20:47:41
 
Would I purchase something like this concept? If I won the lottery and/or perhaps somehow became single again (neither of those situations are likely to ever happen). Otherwise: No. I have my system the way I want it, love the sound, and am through buying components for the near (probably far) future. I am unable to treat my room, have found other work arounds that seem effective to me.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #212 - 10/29/24 at 23:05:27
 
You should talk to Albert at SpaceTech Labs.  I actually own the passive preamp
https://www.thebestamp.com/IR_Remote_Volume_Controls/RV-1003.php

Which is very similar to your rendering except it uses a AC/DC adapter instead of batteries but it would be a very easy to replace it with battery.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #213 - 10/30/24 at 18:16:43
 

Hello Will, thanks for your response.



16 gauge notably reduces the lower information in the balance, which in turn reveals more mids and highs in the balance.


Yes, that makes perfect sense and can't be denied concerning the electrical properties of the conductor. There always seems to be a trade off. Of course, this is where a balancing act comes into play. It boils down to a matter of taste.

I will say that so far (and I have many more hours of evaluation before the results are confirmed), that I have not noticed any major degree of reduction within the lower registers, however, there is definitely a much higher focus in the higher frequencies without a doubt.


I find 999 soft-annealed resolving, but softer/smoother sounding, closer to UPOCC), and one 16 gauge NOS WE tinned copper.


Absolutely! Like I stated, I have always preferred the darker presentation of copper for that very reason. I am very accustomed to that sound signature and therefore use it as a reference during evaluations.  I have come to the conclusion that a mixed degree of the most favorable metal formulations are what indeed create a balancing act which I favor the most. Also, there is evidence to suggest that "air" is the best insulator for a high end cable or interconnect.

Obviously, we can't have bare conductors exposed to the elements with the top reason being safety or shorting the wires.  But we can use coatings which are "air-like" that bring us much closer to that ideal form without the negative factors coming into play. Just think about the choice of materials used in expensive audiophile grade capacitors, or that of inductors, and of course, precision resistors. The thing that sets them apart is not only the choice of materials used in the construction, but in how they are designed to interact within the whole. There is a reason why foil/oil capacitors are desired so much, or the use of wax instead of oil. There is definitely a huge difference between using flat ribbons, and that of twisted cable. The characteristics of solid conductor wire and stranded conductor wire of the same gauge and purity standards have significant differences in their properties. So yes, these things matter, and they are proven to make a difference. That is a tangible set of working parameters which can't be denied. It is easy to understand why one cable is superior to another just by the logical choice of it's composition.

My problem with marketing is that they focus on Pseudoscience nonsense that can't be proven. From a logical standpoint, just "hocus pocus" set within a stage of smoke and mirrors. They prey upon the ignorance of the consumer and dazzle them with false representation that anyone with proper knowledge understands what these products really are. Just because a "magic" cable cost $1200 doesn't mean it is actually worth that, and I fail to believe that any such thing exists. Of course, if one wants to believe that, then more power to them. They just fed the deception machine with empty pockets and false promise. The problem with the audio world has always been marketing deception. "money talks and BS walks"(although the ironic thing is that BS is actually the driving force behind these products). In business, the bottom line is always what matters. They are going to gain max profits any way that they can.

The thing that matters in order for these magazine rags to be successful, is to cater to the manufacturers who spend the most money on advertising in order to fuel the revenue necessary for those "rags" to be profitable. They always base quality upon the degree of cost. If a products costs more than what a competitor has, then it MUST be better, RIGHT?  Pure rubbish and absolutely shameful!  Somehow, their product has to be clearly superior to the competitor. People are not amazed and lured in by the boring factors of metallurgy. The attention is based upon magical characteristics that are somehow going to transform their audio system by exponential degrees of improvement.

Now look, to be reasonable, would I expect cables from Monster Cable to be superior than Radio Shack? Absolutely. And should I expect cables made by Audio Quest to be superior to what Monster Cable sells? Again, absolutely! But there is good reason for that concerning the way these cables are manufactured, and the types of materials used in the construction. When we start focusing upon the higher degrees of cable production, the limitation of "return on investment" becomes absolute, and hard to prove when we talk about one cable being superior to another.

In the end, what needs to be focused upon goes back to one simple thing. You need to ask yourself, does this cable really make a sensible difference in my system for which I can truly justify it's overinflated price? If so, then congratulations, you just bought the cables perfect for your enjoyment and satisfaction. If you can honestly say that the difference is minimal and somewhat questionable, then why the hell did you waste your money on that, when it could have done much more good investing in acoustical upgrades which are guaranteed to make an improvement.

This is something that people who really want to improve their audio systems need to actually consider and understand before throwing money away on false promises.

That is another problem I have dealing with the ignorance of people who have more money than common sense. Some people are so gullible that they will believe anything that they hear, simply because they choose to. I prefer to use common sense and go with a proven winner, not some marketing hype. Look, these people have far greater issues to focus on before they even begin to worry about the quality of cables. If the room they are in flat out SUCKS acoustically, any cable, at any price, no matter how "golden" these are toted to be, are not even a factor with significance  without first correcting the very thing that is effecting the quality of their systems in the first place.

So many people would be amazed to discover just how much better their existing equipment actually sounds just by taking care of that top priority factor in the first place. This is when one can actually evaluate and know the difference between cable quality, and actually stand on the grounds of reasonable perception. Thousands of dollars invested in "supreme" cables are never going to rectify bad acoustics. Nor will the addition of the best electronics in existence.

However, once a room is satisfactory, and the orientation of equipment within the room is set up in an optimal fashion, then, and only then, can the focus upon high end cables really prove the worthiness of their design. I am not talking about the usual  response I have seen so many times that goes along the lines of "well, I think after many hours of listening, I think I heard a small change with a certain note in the music". Or they just give senseless blanket statements which really do not amount to anything tangible.  The fact is, it all comes down to Psychology. This becomes the very factor which drives the power of pseudoscience so successfully within the spectrum of marketing these products.  This goes way back to the tactics of snake oil salesmen preying upon the ignorance of people, fulfilling their hopes of finding that magical cure. We all know what they actually got, far from being any cure!



Just use common sense and practical measures. This will go a long way towards achieving that optimal goal. We all have our own personal tastes. You just have to find what satisfies you the most without being scammed by marketing deception.

And of course, it doesn't hurt to perform a little diy experimentation of your own. Remember, knowledge is power. It is that power which formulates real results. Some of the best products out there are home made. And when you look at the money saved, it just makes perfect sense.



When I tried doubling the WE 16 wires, it brought up bass some, but not enough for me, and it hardened the mids. Three got the bass close here, and these wires do have heightened mid "flare," but three sounded way too hard mids up here.


That is a great idea. I am going to consider trying that later on. It does make sense.


That was great input on your behalf. Thanks again for posting it.

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Re: My Audio Journey Evolution, The Final Stage.
Reply #214 - 10/31/24 at 17:49:42
 
I would consider buying a Decware version of the C-9. Not sure what the price point would be but if it was a stand-alone unit for my purposes that would be the ideal. As long as it would fit appropriately in my chain somewhere I'd be willing to give it a shot. Using tubes in parts of the circuitry would be the Decware way and probably the option I'd prefer. With everything on Decware's (Steve's) plate, it might be a long shot, but we know how Steve likes to come up new products/concepts once in a while and maybe this would scratch an itch for innovation as well as provide a new product to continue unique and future sales. We'll see where this goes.

Also, nice experiment with the speaker cables. Seems like they may be working out nicely and with some tweaks might give you the frequency range you're looking for. There sure are a lot of variations on a theme when it comes to cables of all kinds. I agree that air is a great insulator. I have some speaker and IC cables that implement to some degree what you're discussing here. The speaker cables use stranded OFC copper to make up each individual conductor and each one is then either coated with silver, tin, or left pure copper to deliver the proper frequencies to the speaker. The cables use air pipes within to isolate and insulate the conductors from each other (high pair, mid pair, low pair). It was an intriguing concept, and I just had to try them. I'm very satisfied how they perform in my system and can see them being used for a very long time. Seems to be something to float everybody's boat and that's the fun part about this journey.

Cheers and let the journey continue.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #215 - 10/31/24 at 21:02:35
 

Hey mrchipster,


Yes, I think that you hit that nail square on the head concerning this concept being upgraded the "Decware" way for sure!

We all know that if anyone could make this happen (IN AMERICA), and with quality standards that last a lifetime, then the clear obvious choice is a well thought out design by Steve right here in Decware land. If any other company tried to offer this unit with the same quality and warranty, then the price would be far out of most peoples reach. Only a few audiophiles would benefit from owning one.

I will tell you what is on my wish list.  There is one guarantee that will influence me instantly to place an order for a new amplifier. And right now, this is what it will take for me to even consider a new amp at this time. This is the ideal opportunity to create and promote a whole new amplifier concept based upon a proven winner. Since this circuit has to be inserted directly between the source and the amplifier, this makes for an ideal concept to actually integrate this refined circuit directly within the amplifier base. The controls are minimal, and could be placed near the rear to keep things clean cosmetically. The circuit would be switched to engage or bypass from the rest of the amplifier circuit if desired. This could be a cost saving feature for someone like myself looking for something more to have a reason for another amplifier. I would buy this new amp in a heartbeat!

Look, if you just took the same Torii design that you have now, and simply integrated this circuit, then you can consider my order being taken immediately.   If you could offer this new amp version for under $7000.00, then I am in.  

I remember a time when Decware used to send an amplifier around the country for people to evaluate in-home for a limited time. Then they had to send it to the next person to evaluate. That motivated a great deal of new buyers simply because they knew from experience what they were buying. That very concept would work well for those that are curious, but need actual proof of it's worthiness in their system. There are those of us that can easily predict that outcome based upon experience. It is not for everyone, but I believe far more will want one of these. That of course is dependent upon features and price.  People, it is my belief that if a ZROCK3 sells for over $1600 such as the one I have on order, then a unit of this profound capability should easily be worth as much, or more in my opinion. And we all know how popular the ZROCK unit is.

Yes, you are right, Decware already has it's plate full, and as the waiting list confirms, a very busy schedule to say the least. But you know what, that has never stopped Steve before when a new innovation comes about which holds great merit. And to my knowledge, there has never been a product released designed by Steve that didn't live up to its promise.

If anyone seriously wants Steve to consider this, then you better step up to the plate and let him know you are interested. This might take some convincing, but I have to convince the majority to at least consider a concept like this before that next stage can unfold.

Of course, everyone is not looking for a new amplifier. For those, a simple stand alone unit needs to be offered for a reasonable price point. Either way, I strongly believe with the right promotion, this circuit regardless of how it is implemented, will gain widespread demand and therefore sales. Once word of mouth takes off, this thing will sell itself and become the basis for a new innovative device which I think most people will favor if the design is done properly. Well, we know that if it comes from Decware, you don't have to worry about that.  If nothing else, at the very minimum, I would like to see a circuit board made available with a kit including the necessary components sold as a DIY kit for those inclined to build one themselves.  I know that the CB isn't as good as being wired point to point, but if that is all we can get, fine, I will take it.

It should be obvious by now that there is strong merit behind the technology of this circuit, and still today after all these years since it's conception.  After all, when people that are hardcore Decware buyers who demand this level of quality and performance, begin to take notice of this unit, then actually try it out and stand behind it, then that should raise some interest in the feasibility in which to bring this concept to life. We need it in our stereo systems, most people just don't realize that yet, or even why.  

There are several longtime Decware forum members here who have past experience with the Carver C9 Sonic Hologram Generator. I think that they can back me up on this assertion.  Hey, as an example, I just proved this to JB, and now he has ordered a used unit, soon to have it in his system. This would have never happened had he not experienced mine, and found out for himself how critical this circuit is with the important role it plays in two channel audio. Please take the time to talk with him, and give him a chance to explain how he feels about this. Since he ordered a unit, the answer must be positive.

I myself will never listen to audio again without this unit. If I have to build one myself, then that is the way it will have to be.  One way or another, this new design will come into existence. The unit I have is old and subject to having components fail, although no signs of that yet. I would like a newer version of this unit using a much better transformer, audiophile grade components, and a major upgrade using stepped attenuators instead of basic and limited push buttons to control the circuit. This idea has so much potential. I would hate to see it overlooked.

Not that a budget friendly base model wouldn't do the job effectively and very well with the five op-amps, but we all know how a PROPERLY implemented tube structure can take things into the next dimension of sound quality. I am sure that a tube based version would double the price, but to many, this would be justified. My take on that, have several versions of upgrades with different levels of cost to allow more people to actually experience the so important function of this device. The goal here above everything else is to perform ONE  function, and perform that function WELL.   If all I could afford was a base model, but knew it was doing the job of removing interaural-crosstalk from the speakers, then of course I would be more than happy to own one. No matter which model chosen, any form of this correction is going to be better than no correction at all.




I would consider buying a Decware version of the C-9. Not sure what the price point would be but if it was a stand-alone unit for my purposes that would be the ideal. As long as it would fit appropriately in my chain somewhere I'd be willing to give it a shot. Using tubes in parts of the circuitry would be the Decware way and probably the option I'd prefer.




My sentiments exactly!  Everything that you stated is critical to the outcome of it's potential success.  I would love to have you experience the Carver C9 for yourself.   Just like with JB, I think it would be a game changer with very serious influence. I know that you value the same things that I do in audio. For that reason, I am sure you yourself would be convinced as well.


In closing, I want to provide an example of what interaural-crosstalk does to your stereo image.

Let's use a visual perspective to make it clear as to what this anomaly actually does to distort the stereo image.

First, cut a monitor image in half, and let that represent what you see coming from the monitor source on the left and right sides having each half represented in proper perspective, representing the actual speakers.  *In other words, the left half of the visual image is displayed only on the left monitor. The right half is only seen on the right monitor.

(**If these were to be joined together, you would have a normal "complete" monitor image )


Now, to represent the extra unwanted signals that define what interaural-crosstalk creates, just imagine the following.

Imagine that there are now FOUR monitors placed directly inline. Two "extra" monitors placed within the center of the two already in place.

However, this time, the second "extra" monitor will display the image seen on the far right which is the right half of the image.

Now reverse that with the third monitor. An image of the first far left monitor will be displayed on that third monitor.

You should be able to visualize the confusing, uncoordinated visual image that would take place here. Could you imagine how difficult it would be for your brain to comprehend what your eyes see? This would be total confusion, and something which would be very unnatural for you to perceive what the actual image really is.


Now remove those two "extra" center monitors, and place the outer two monitors closer together.  Everything starts to make sense now. The total picture comes into play without the confusion. You are now submerged within the "natural" perspective. You only see the left half, and the right half in proper perspective and the total picture is clear.

That "clear" picture is what you unravel once the two extra "masking" signals are terminated.

Within the audio realm, you now have a complete three dimensional canvas with total separation of instruments placed where they should be heard in a real live performance. The left ear receives only what it is supposed to hear. The right doing the same.  This mimics exactly what real time in real space does when you hear natural sounds outdoors. The outdoor experience clarifies this outcome without question. The result is drastic, and immediate, with the majority of music played as long as the speakers and room are set up correctly. Failure to do so will limit the results. A room without acoustic control will also be limited as to the outcome. However, the correction will still be notable and worthwhile. This is critical as to how the speakers are placed as well. The listening apex is absolutely critical and of utmost importance in order for this to be completely effective.


There is no "smoke and mirrors of deception" here.  Finally, you will understand what your stereo speakers have been denying you all along.

This cure doesn't have to remain in the lost abyss any longer. It just takes the right individual to breath new life back into it. Resurrection with a real purpose.


Are we still dreaming?




Cool

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Re: My Audio Journey Evolution, The Final Stage.
Reply #216 - 10/31/24 at 21:10:30
 

Oh, BTW:



Hey JB, I almost forgot to congratulate you on taking that step purchasing the Carver C-9. I don't have to reassure you there will be no regret, because you already know that.

Very glad that you have one now.

Happy listening!



Smiley

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Re: My Audio Journey Evolution, The Final Stage.
Reply #217 - 10/31/24 at 21:40:11
 

Now, back to the discussion on speaker cables.

From what Will was saying in the earlier post, he brought up a very good point that got me to thinking.

I am considering that idea of "doubling" the effective surface area for each conductor. What I have in mind is to run two ribbon strips in a twisted formation around a cotton rope core. The leads would be run perhaps in a criss-cross fashion with a controlled degree of space between each turn.

Possibly, it might be a good idea to encapsulate that with wax impregnated cotton material before protecting the cable with a flex shield. Just one of many variables to consider.

This would double the actual gauge factor for which should balance the perspective of the outcome to a more agreeable state of coherence. I would still retain the gain within the top end, but without losing anything in the lower midrange or bass frequencies. This makes enough sense to warrant experimentation. I would love to add a couple of pure silver conductors into the mix, but my budget is going to exclude that idea for now.

I am willing to try something new if it makes enough sense to invest in. The DIY way of course.


Also, nice experiment with the speaker cables. Seems like they may be working out nicely and with some tweaks might give you the frequency range you're looking for. There sure are a lot of variations on a theme when it comes to cables of all kinds. I agree that air is a great insulator. I have some speaker and IC cables that implement to some degree what you're discussing here. The speaker cables use stranded OFC copper to make up each individual conductor and each one is then either coated with silver, tin, or left pure copper to deliver the proper frequencies to the speaker.

Thanks mrchipster.

And more affirmation continues with what is going on within these cables. It seems that many of us are finding out the same degree of difference between these cable geometries. As long as the physics of it make sense, then I feel there is a reason to experiment. Too expensive to experiment with retail models, but in the DIY world, it is easy and forgiving in cost. The materials can also be repurposed into another cable design. Nothing really lost. Eventually, the right combination is found.


This could drive us all crazy!


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Re: My Audio Journey Evolution, The Final Stage.
Reply #218 - 11/01/24 at 12:41:31
 
I am still waiting delivery of the c9. Yours in your space was impressive and leaves a mark that compled me to jump on the old band wagon. Your description prior my session was tantalizing. It seems like it will fill a void in my room that the stereo setup creates. We will see how it plays out!

Here is a link to the c9 Facebook page:

https://www.facebook.com/groups/954028525368313/?ref=share&mibextid=NSMWBT

I really think that the c9 circuit could be placed on a chip these days. If you found an enterprising chip designer to etch a copy and then get it manufactured, I think there would be a better chance to get Steve on board Wink
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Re: My Audio Journey Evolution, The Final Stage.
Reply #219 - 11/15/24 at 16:44:22
 
Finally got time to reset the Charoit accommodating the Carver C-9. Using Carver and RPS recommendations along with self intuitive workings, the result is a huge step up towards the grail.

The C-9 really needs a well treated dedicated room to shine! In my room the wide setting works best. The room and items within need to be symmetrical. The stage becomes life-size. It expands height wise. Back, front, and side walls do not reveal any limitations with the clues of the recording space. Intelligibility excells to new levels.

There is more to be done in rearranging the room but will have to wait because of priorities. My CD player needs a new laser but first a new electronic work room is nearer completion as the days pass.



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Re: My Audio Journey Evolution, The Final Stage.
Reply #220 - 11/17/24 at 05:06:12
 
Finally got time to reset the Charoit accommodating the Carver C-9. Using Carver and RPS recommendations along with self intuitive workings, the result is a huge step up towards the grail.




Hey JB,

It is like looking into the mirror for which I see my own journey expanding with the Carver C9 Sonic Hologram Generator in the loop. Your discovery within your own listening environment very much confirms what I have been saying about this unit all along. As more people seriously evaluate this very critical device within their own systems, the more this unit and it's so important function become the truth which can't be denied. More and more people will begin to take note, and want to discover this "correction" within the music as experience takes hold in a very convincing manner.

I for one will never be satisfied with the regular way of listening to stereo, with its deformed "out of focus" picture which most people have always believed to be the norm. Every since I heard the difference many years ago in my youth, the truth was revealed regarding what I hear without this correction. I have always missed the dramatic change which the correction provides, never really satisfied without it.  Now, you and I both have what it takes to reveal what we all should be hearing with our systems. The musical canvas simply is not what it should be without it, not even close.

People talk about hearing three dimensional imagery within their rooms without ever knowing what actually can be revealed with the proper corrective measures. If they only had the experience which you and I both understand very well using the C9, then, and only then will they discover the natural epiphany within their minds,  the standard of reference for what true imaging really is.

This is not a new concept, as this problem has been known since stereo evolved. Many types of remedies have been considered or tried over the years. Even the master of acoustics himself, Manfred Schroeder, knew of this anomaly, and conceived measures which to correct it. There have been many attempts by different manufacturers throughout the years.  The truly successful device is one that is affordable, simple, and absolutely effective. That of course is the Carver C9. It only has one purpose, that being the elimination of interaural-crosstalk, and it does it very well. And to think, this device has been around since the mid eighties! It has been mostly forgotten and lost in the shadows of the audio world.

It is time that people rediscover what this is all about, and find out what it can do for them.  Many will be very pleased to discover the truth within the music they hear. You have to hear it to understand it, period!

No amplifier or DAC, or any other device will ever come close to what this simple device will do to bring the focus of music inline within a natural perspective as perceived outdoors in real time. With this device, your system will now shine to far greater levels of quality sound imaging and clarity. This truly will be the greatest upgrade you could ever imagine to experience.  This does hinge upon proper speaker type, and arrangement. The result also is dependent upon proper room acoustics to start with.


It is easy to understand what this reveals when we use nature as an example of this audio truth. As you may recall, I painted a very clear picture of what one hears in the middle of nature. That being how easy it is to naturally perceive the exact location and distance of every sound that you hear around you in a full 360 degree setting. Being able to not only decode these coordinates easily, but to pick up on every one of them simultaneously with pinpoint precision, and clarity, in time and space.

You also reinforced the very factor which Bob Carver made clear about the importance of proper speaker arrangement within the room, and how vital acoustic measures are to support this device for the best possible outcome. If not set up properly, the correction factor will be minimized and non-effective.

It is critical for the speakers to be in close proximity, with a very precise apex aligned to your ears. As a minimum, the room MUST have a minimum degree of acoustic treatment along the side walls, and directly behind the speakers to reduce reflections in those critical areas. Absorbers placed just in those areas alone will make a profound difference with this unit activated.

You noted through experience exactly what Carver stated in the manual about setup, and why there are two degrees of injection ratios available(normal & theoretical), as well as two degrees of aperture settings (wide & narrow). You echoed what he said regarding the preferred setting of these choices. He stated that with full room treatment, the normal setting set at the narrow aperture will be ideal. He also stated that with a non-treated room, or a room with minimal treatment, the listener would most likely find the need for the theoretical setting set at wide aperture to be more effective and ideal.

Going back to your listening experience within my room. You stated that the theoretical setting with the wide aperture was "gimmicky" to your ears, finding the normal injection ratio with the narrow aperture as acceptable, and just right in your opinion.  Now remember, my room is completely treated acoustically.

Now, in your environment, we are now considering two completely different listening situations. You have less acoustic treatment, and your room reacts differently than mine acoustically simply from different dimensional aspects. This is why the same piece of audio equipment never sounds the same from one environment to another.

So, what you just disclosed was now a totally different perspective going from my room to yours. Now, everything is reversed within your environment concerning the degree of injection ratio vs aperture setting. Now you don't find the wide setting to be "gimmicky" at all. You simply have found the need for it to be used.

What works for me does not produce the same result in your situation. And this is exactly why there needs to be both settings to balance things out from one type of room to another. Bob knew exactly what he was doing when he designed this unit. It is really too bad the importance of this device never gained the recognition that it deserved.  Just be glad that you were fortunate to have discovered this and make it work for you.

For me, this device was my audio "salvation"!


I am glad to know that I made a difference with at least one other audio enthusiast who truly appreciates what this newfound corrective measure will do to heighten the levels of musical purity and naturalism.

With your affirmation in two different listening sessions using this device, you are now well prepared to understand through experience just exactly what this is all about. This is the very thing that will motivate others to discover what you yourself have recently learned. My assumption is that you will not be the last to place one of these units in the audio system. If what you just clarified through your own experience does not motivate people to investigate this, then I doubt anything ever will. That is a shame. It will be their loss.

I congratulate your efforts to dial in the room setting, and trying ALL settings until the correct balance was found. Many will never do this, and just say that the unit doesn't do much for them, simply because everything is wrong in the setup. As you discovered, everything hinges upon proper set-up.


I don't have to wonder what you are experiencing, nor do I have to wonder if you are satisfied. I already know what the answer is on both counts. But then again, I never expected otherwise.

It is nice to know that I am not alone in this adventure. We can easily relate to the experience we both are achieving within our listening sessions. At least you really do understand without question where I am going with this, and why.


Anyway, I am going to be very busy for some time with the start up of new projects.

I just received delivery of parts from Mouser Electronics. I ordered every part needed to completely build a new hologram generator from scratch. All resistors are Vishay metal film 1% high grade. The electrolytic caps are all Nichicon, and the film caps are Vishay 5% tolerance or tighter. I bought enough gold plated IC sockets to build two units. I bought enough high grade OPAmps to build three units. These are a major upgrade over the original stock chips. I am using the Texas Instruments RC4136N OPAmps for the new build. The switching diodes are being upgraded to high speed versions of higher quality.  The JFETS for positions Q1 and Q2 are also upgrades of higher quality.

I plan to use a toroidal coil transformer for the power supply. A switched IEC will be installed with built in power fuse.  For now, I might simply employ three toggle switches for the controls. I want to upgrade to an advanced use of attenuators versus the two way switches for precise control of the levels. That is going to be a challenge, so not sure how to go about doing that for now.

I am drawing out the schematics now so that I have a clear picture as to how I will solder all of the components point to point. I will not be using a PCB. For the chassis. I am thinking about converting a Tascam cd player chassis for this. I will simply remove the faceplate and custom build a new one from metal for this use.  

I am also looking into a new diy DAC build based upon the Texas Instruments OPA627. That is the chip I am using now (actually two since these are one channel design). I really love the sound quality of this chip and I think it is a wise choice. For some reason, this is by far, one of the most expensive DAC chips available, with the Wolfson chip used in very expensive high end players being close. These chips are outdated, but the opa627 is still available from Texas Instruments. The Wolfson chip is not. I will need two of the opa627's @ around $35.00 each!!! Most DAC chips produced now for this purpose can be purchased for around 2 to 3 dollars. I want the old 627 chips, and will go with that unless something else comes up that I like better.

The plan is to integrate both the DAC board and the hologram board within the same unit. Just have to wait and see where the direction of the DAC build will go for sure.

But I now have everything needed to build a new upgraded version of the C9 except for the transformer and switches for the controls. I have to figure out how these toggle switches will be wired where the old push style buttons were used. Just have to find which pads switch from one section to the other for each switch direction.

I am also underway in the design of my next generation of speakers. These are based upon the original Jensen ULTRAFLEX designs from the 1950's.  In the past, I built a set of the Decware version of these Jensen designs you know as the NFX (ultra-flex). I remember having an intense relationship with the way those speakers sounded to me. They were just about the most natural sounding speakers I ever heard. I found them nearly perfect .  

So thinking back to the experience I had with those, I thought that they would be a wise design to consider again. I am going to duplicate the original 1950's Jensen enclosures instead. I have a good feeling about the outcome with the drivers I intend to use. Ultra high efficiency and superb imaging. The full-range Tang Bands will be perfect for the main enclosures. The bass units will be separate, also built to the design specs of the Jensen ultra-flex 15 inch woofer enclosures. My new Eminence drivers with 99% efficiency @1w will be used in those.  I will not be starting the speaker builds until next year as things are going now. I really want to focus upon building a new C9 clone, and focus upon upgrades to the DAC for optimal performance. That will be long term project as well. You heard how good my current DAC sounds. I am in no rush for upgrades yet. But I do have plans for it in the future.

Again, congrats on that new C9! Thanks for that valuable input which others may find interest in.

Enjoy the music, you have a great deal to discover with this new device.


So if I am absent for a good while, you know that I am up to something. You will hear about it in the future.

And of course, I still have all of the in house remodeling projects that have been put on hold. I have to find time to work on those in between.  I will not be bored this winter.



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Re: My Audio Journey Evolution, The Final Stage.
Reply #221 - 11/17/24 at 10:46:32
 
Quote:
You noted through experience exactly what Carver stated in the manual about setup, and why there are two degrees of injection ratios available(normal & theoretical), as well as two degrees of aperture settings (wide & narrow). You echoed what he said regarding the preferred setting of these choices. He stated that with full room treatment, the normal setting set at the narrow aperture will be ideal. He also stated that with a non-treated room, or a room with minimal treatment, the listener would most likely find the need for the theoretical setting set at wide aperture to be more effective and ideal.

Going back to your listening experience within my room. You stated that the theoretical setting with the wide aperture was "gimmicky" to your ears, finding the normal injection ratio with the narrow aperture as acceptable, and just right in your opinion.  Now remember, my room is completely treated acoustically.

Now, in your environment, we are now considering two completely different listening situations. You have less acoustic treatment, and your room reacts differently than mine acoustically simply from different dimensional aspects. This is why the same piece of audio equipment never sounds the same from one environment to another.


A couple of corrections of my experience with the C-9 to date. In your room from recall when the aperture was set to wide a hole developed in the center of the sound stage like the parting of the red sea in biblical times. When theatrical mode was initiated it sounded like echo(gimmicky) was added. I am not sure if both wide and theatrical were initiated at the same time in the latter observation. You was at the controls but I think that it was one at a time from the preferred settings in your room.
In my room to date, I have not tried the theatrical mode yet. I found the sound stage just got larger when switching from narrow to wide without any "hole". Also found that moving items it the room around helps with the stage projection. That is as far as I got so far with the C-9. Looking forward of diving in more for a better understanding of this C-9 gem.

RPS you are about to embark with a daunting task with point to point reincarnation of the C-9! Light speed and keep us posted. Might be best to start a new thread in the DIY section in this forum so not to distract from your already wonderful accomplishments with room treatments Wink
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Re: My Audio Journey Evolution, The Final Stage.
Reply #222 - 11/22/24 at 18:51:04
 
JB,

Thanks for your impressions of your new Carver C-9. Sounds like with some room refinement you really got it to shine. This really validates RPS's assertions of what it can bring to the table. (not that I didn't believe him, I sure did) but nice to know it's repeatable in other folks listening environments. I looked for one when RPS first mentioned it but really couldn't find one, or at least one that looked reasonable to take a chance on. After all, most are older and just not sure how well taken care of they were. Anyway, glad yours was in good shape and is performing well.

RPS,

Good luck with your new audio projects. That's some high-level stuff right there. Pretty amazing you'll be tackling a new hologram generator (from scratch no less) and DAC, possibly integrating them as one seamless unit. That sounds pretty cool. I bet they would sound great on their own (if you create them that way) but combining them would probably bring it to an entirely different level.
Again, good luck with these amazing builds and your new speaker design.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #223 - 11/23/24 at 19:29:55
 

mrchipster,

I just looked on Ebay. This is the only one available at this time. It is from an estate sale and seems to be in very good condition. The price is good at $175.00!!!

There are many looking at this item now. You better jump on it quick if you want one. These go very fast when they show up. The demand is increasing on these units, so the price is going up and will continue to do so because of demand.

This would be an excellant opportunity for you at low cost to try this out.


Here is the image of the unit for sale.  Go to ebay and search for the following info.



Vintage Carver Model C-9 Sonic Hologram Generator VGC !! Rack Mount !!





Hope you decide to get it, as you won't regret the purchase!



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Re: My Audio Journey Evolution, The Final Stage.
Reply #224 - 11/23/24 at 21:39:29
 
Wow RPS, thanks for looking out for me!

Looks like I'm joining the club with you and JB. That unit should arrive in a week or so!

Looking forward to seeing how it fits in my system. I have very little leeway as far as speaker placement is concerned but should be fun to experiment.
I didn't even ask if there was a manual with it, decided to just fly by the seat of my pants. (based on the pictures I doubt there is a manual but for the price I couldn't go wrong)

Thanks again for pointing me to this.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #225 - 11/23/24 at 22:01:32
 
Pretty amazing you'll be tackling a new hologram generator (from scratch no less) and DAC, possibly integrating them as one seamless unit.


Yes, that is the general idea for this project.

I have much of the component values and connections worked out so far from the schematics. There are a few points within the schematic that are questionable concerning resistor values, but I think I can manage to resolve the actual values. It is as if someone didn't proof read the finished schematics and left something out. I Just have two right now that are in question for the output of IC2 (opamp). Makes me wonder if these were an add on later, or perhaps something changed or deleted with design changes??  Not sure, but I will have to come up with a logical solution. Otherwise, the only way I can verify these values is to find the resistors on the actual PCB and test them to find out the real values. That will be a last resort, but just may be necessary to be absolutely clear.

As JB said, this is indeed a daunting task....but soooo very worth it!  I know that it would be so much easier to build this unit using a PCB, but as we all know, the best sound quality comes from point to point wiring in a short configuration.  I plan to do this hard wired point to point, but it may turn out that I decide to just go with a PCB in the end due to complexity. I will decide on that later. One good thing about using a PCB, the space is very tidy and easier to integrate within a project when other boards or components are being placed within the same chassis.

I have to tell you, the stock unit being 38 years old with low grade parts sounds absolutely incredible with what it does. Upgrading to audiophile grade parts with tight tolerances is only going to make things better. The power supply on this unit could definitely use some upgrades for sure. A toroidal transformer and dedicated switches are an absolute consideration for improvement.  The fact that I am using modern high performance opamps (five of them total) will become a major improvement within itself.  The parts alone for this build without the transformer, switches, @ IEC are already past the $175.00 mark. Of course, these are premium parts.  So if you can get a stock unit for this price or less, you have done well.

So far, there are zero problems with my unit. It works flawlessly and I could not be happier. The best damn bang for the buck I ever made in audio!

Sounds like JB can tell you the same I am sure.


As for integration, I will have a completely new DAC board, power supply, and tube output stage for this complete build. The unit uses twin 6922 tubes for output. The board can be switched for tube output stage or bypassed for direct Opamp stage output for comparison or preference. The DAC chip can be easily swapped for chip rolling if desired. Full upgrades include the use of top quality highly desirable Sanyo OSCON capacitors along with many ELNA caps. I am considering upgrading the tube buffer stage caps with high grade Mundorf Mcap( silver in oil) types as they would make a definite improvement.

Considering that I have a brand new(barely used) Tascam CD-200 player, this has already provided the perfect platform to build from. The plan is to remove the existing DAC board and use only the transport itself with the fiber optic output.  The TEAC transport used in this player is the same unit used in many high end uber expensive CD players costing several thousand dollars. So we are off to a very good start already.There will be plenty of room inside to integrate the new DAC board and power supply, along with my new version of the hologram generator circuit. This would be ideal.

Of course, things are subject to change. But that is the plan for now.


I have to wait until Christmas morning to find these things under the tree...so I shall be patient.  I put the bug in my wife's ear about what I wanted...she has already placed an order for the parts, but I am not supposed to know about it...lol.

As you can see, I am wasting no time getting these projects started in the very near future. I am never bored around here. I always have a backlog of things to do.  

Not that I feel the need for different speakers, but I really want to make use of the expensive full range drivers in my possession now. I love the sound quality that the Jensen ultra flex designs create. Just think, with a speaker system nearing 98dB + sensitivity range, it will hardly take any amplifier power at all to drive these with some very intense dB levels!  I could use a mono-block set of SET mini-watt amps with this system and be totally satisfied.

All of that reserve power in the ToriMK3 will just have to sit idle unless I play something with extreme dynamic range at demanding levels. I only use around one third of this amp's power now, and that is pretty loud and dynamic to say the least. My current speakers are around 93 db efficiency, so it is easy to see why ultra high efficiency is so ideal. I am looking forward to what these 15 inch Eminence drivers rated at 99 dB are going to do in the Jensen ultra flex enclosures.  Get ready for some very serious bass! The impact is going to be completely visceral. The speed of these drivers should be satisfactory to keep up with the mains. I believe this will be a great combination. The Bass drivers are actually more sensitive than the full range drivers!  If these are preferred to my current Qforce models, then those will be transferred downstairs to the fireplace room with my other equipment.

I am in no hurry to start the speaker project any time soon. That will be next year when I get time for it. For now, I am very satisfied with the current models.

Hey, keep watching for entertainment and I just may learn something!


Shocked



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Re: My Audio Journey Evolution, The Final Stage.
Reply #226 - 11/23/24 at 22:26:59
 

Looks like I'm joining the club with you and JB. That unit should arrive in a week or so!


Congratulations!!!


I am very pleased to hear that you jumped on that unit. I saw another one last week for the same price. It didn't last long either. That unit also came from an estate sale.

I am pleased to have helped you find something special without breaking the bank.  I do hope that you find this unit as satisfactory as what I and JB do in our two different settings.

One thing that you will want to change later is the RCA jacks. They are not the best quality and large RCA plugs do not fit as well as they should like the Nuetrik brand I use. You can order a set of Nuetrik chassis plugs from Parts Express and the gaskets for just a few bucks each.  You simply need to un-solder the connections, lift out the existing RCA jacks and reinstall the new ones. It will be worth it.

You can use it the way it is now, but this is something to upgrade later on. If you have the slim type of RCA plugs, then no problem.

I have found in my room that setting the Hologram injection switch to the NORMAL position, and using the aperture ratio at the WIDE setting works best for me. I now have dialed in my speakers to very close proximity which is ideal for cross-talk elimination to work optimally. I took the speakers out of the bass extension pods and set them directly onto the floor with only about 36 inches between driver centers. The toe in is minimal at only 3/8 of an inch offset at the rear. This has made a tremendous improvement over what I had set up when JB was here. It is too bad I did not have this set up this way before he got here.  That is the whole part of experimentation. You never know what's best until you experiment. With the new speaker cables and this refined setup, I am truly amazed at what I am enjoying now....just makes you sit there with a crazy smile and complete satisfaction knowing that you did it right.

The system is warmed up now in the audio room. It is time for me to go up now and spend the night in audio bliss!

I would advise you to try everything possible with the setup. Try all combinations of the hologram settings. You may find that something different than what I am using works best for you. I would be surprised if you did not get immediate affirmation for what this unit does to your music...that being once you set it up correctly.


As for the manual. If you don't get one, I believe you can download a PDF file of it. The service manual download is also available for free.  If you can't find it, then let me know. I will send you the manual.

Okay, the music is waiting on me...gotta go!


Enjoy that new C9.


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Re: My Audio Journey Evolution, The Final Stage.
Reply #227 - 11/24/24 at 15:17:06
 
Congrats on the new acquisition Mrchipster! The C9 is a fun piece for sure and will make you do some positive adjustments to your room. I have not spent much time with it because of other audio projects that are in the works at home. My audio closet is being transformed into an electronic repair/assembly room and the Charoit was a staging area for the project. Heck, my whole home is becoming a project from this undertaking!
I just got some listening time in the last couple of nights. A life size sound stage is the biggest takeaway to date. Lead vocals are presented in a convincing manner as a performer would do in an intimate setting. In the past within my room, a lead singer always seemed on the small side with a slight right skewing. I use to pan it out with the CSP2 but that would create a sort of floating effect with different material. With the C-9, vocals are dead center with the pots at the same click marks. I attribute my low ceiling height created the smallest vocals.
I also found that speaker placement is critical. It should be followed as suggested by Carver in the owners manual for the ultimate experience.
I wonder why the 9 was coined with C for the model number? My over active mind came up with it might have something to do with Christmas lights of the era! C9 was the larger of a C7 light. The globes of the two lights can be a physical recreation of the wide and narrow wave patterns of Carver's hologramic generation. How's that sediment grab ya'all. Wink

Enjoy and keep us in tune of your experience with the C9.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #228 - 11/24/24 at 16:21:04
 





I would venture to say within reason that the "C" designation logically represents the Carver name. I am sure that you knew that, just making a joke. But hey, sometimes the obvious isn't so obvious!

Grin

So now there are three of us that can understand each other when we talk about the holographic stage created with this unit. At least mrchipster will find out soon enough. I am looking forward to his findings and impressions once he experiences this unit.

Don't know if 4krow is still around on these forums, but he has extensive experience with the C9 unit. I am sure that he could add plenty to what this unit provides. There are others around with past knowledge of this device, they just don't chime in.

Anyway, I hope mrchipster gets a unit as nice as what we received. Being this came from an estate sale, sounds like it took passing on for the original owner to part with it.  We are all getting there soon enough.


BTW:  mrchipster, I cleaned all contacts and thoroughly treated with DEOXIT cleaner, plus the gold treatment when I got my unit. The spades on the power cord were tarnished from age. I cleaned those spades with Emory cloth until shiny again. After all of those years collecting filth, it is important to clean everything thoroughly for proper signal contact. If you don't have DEOXIT, just use some isopropyl alcohol to clean the contacts.

I don't like the way they used those inset RCA jacks.  I plan to upgrade my unit with much better versions that my cables can connect to securely and fully.  The Nuetrik PRO-FI plugs do not fit this unit like they should. The connections still make contact, but not what I find satisfactory for a firm positive connection.   I would say that with age, these RCA terminals most likely have less than ideal surface contact anyway. Surface corrosion does take it's toll. If you are not one to use a soldering gun, then don't worry about upgrading. It will work just fine the way it is. A good cleaning is absolutely mandatory though.

So let us know how this works out for you. I think the results will be interesting.


JB, don't worry about the work that is piling up. You will get there eventually. Just have to make priorities and take things one at a time. You always need to make time for music. That fuels your inspiration and motivation for everything else. Trust me, I am in the same boat as you are. Every day brings progress.



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JBzen
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Re: My Audio Journey Evolution, The Final Stage.
Reply #229 - 11/25/24 at 11:48:47
 
I find that Christmas is endearing to an audiophile. It is a time when crisp music is being played/performed in the air. Also a time of anticipated giving and receiving. I remember receiving a portable reel to reel one Christmas morning and a flip stereo record player on another. Both are cherished memories. I'll bet Carver was not much different than us.

The Chariot being used as a staging area just gave me more incentive to put in 12 hour days to clear the clutter so I could sit down to a couple of listening sessions.

These projects have been on my mind for years! It is more a reorganization of necessary items in my possession. Stepping stones that been laid - now being followed and new ones placed. Got to love-it when a plan falls in place 😌
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Re: My Audio Journey Evolution, The Final Stage.
Reply #230 - 11/25/24 at 18:32:39
 
Thanks JB and RPS!

I'm looking forward to receiving the unit and playing around. I had seen one at a reduced price of $75 (from 150) a little while ago but the pictures made me pause (looked too beat up for me). I'm glad you saw this one and let me know about it. The pictures and the seller's feedback gave me confidence to buy (as well as coming from an estate sale) so I had no problem paying a higher price to try and ensure a higher quality unit hopefully. These things are older so it will always be some type of risk I think, but worth it.

JB - glad you were able to have some time to sit and listen for a while. It's always good to take a little time to relax between projects. You seem to keep yourself very busy.
I'll be looking forward to that 'life size' soundstage you describe. Right now, I'm getting the best sound I've ever gotten in this room by way of room treatments, tweaking, and lots and lots of time (10 months) finding the right speaker position for my environment. I get a great phantom center channel, and the sound goes wall to wall (left/right) most of the time. Even though sounds come from the left or right area they don't seem to come directly from the speakers. Just a nice separated and distributed soundstage from left to right, making the speakers disappear for the most part. Two things are lacking though. The depth and height of the soundstage. They are not what I'd like them to be and so I'm looking forward to seeing if the Carver can give me more of it.

Because of how I must set up my room, a credenza between the speakers housing my components across the top, and limited ability to push the speakers closer together, I'm not sure I'll be able to get the full effect of the C9 but if it even makes things a little better than they are now I'll be a happy camper.

I've downloaded the C9 user manual and have read through it. I have ideas and things to try once it gets here so it should be a fun journey.  

Also, glad to hear your plan is falling into place and new steppingstones laid to carry you forward. Enjoy the holiday season.

RPS - Thanks for the tips on initial settings for the unit and insights into cleaning and potential RCA upgrades. I will certainly be going through the unit as thoroughly as I can. The RCA upgrades will definitely be on my radar in the future.

I will certainly keep you updated as I take the C9 through its paces in my space. Should be a fun trip!
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Re: My Audio Journey Evolution, The Final Stage.
Reply #231 - 11/26/24 at 13:24:32
 
Quote:
Because of how I must set up my room, a credenza between the speakers housing my components across the top, and limited ability to push the speakers closer together, I'm not sure I'll be able to get the full effect of the C9 but if it even makes things a little better than they are now I'll be a happy camper


I sorta have the same problem with speaker placement. Getting the speakers with the maximum range of placement at 5 feet cone to cone separation, the result blocks my HT main speakers. The sound is notably muffled coming from the HT speakers. I got around this in a bit clumsy way with placing the oversized audio system foundations in a position that enables movement of the speaker cabinets to give clear sight of the HT main speaker drivers. The foundations are a real PITA to move. The HT system is only used occasionally for ball games so not really a big issue.

One other notable thing to mention about my C9 is the noise introduced with it. It is subtle but present. I believe it masks some attributes to the system before insertion. It could be it's age showing up. Maybe RPS noticed it also and the reson for his endeavor! There is a seller on eBay that sells part kits to refresh capacitors, diodes, and transistors on the C9. Might give it a try in my new tec workshop along with a list of others!

You also have an enjoyable holiday.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #232 - 11/26/24 at 20:20:36
 
Jbzen wrote above:
Quote:
Reply 219
The room and items within need to be symmetrical.

Reply 221
Also found that moving items it the room around helps with the stage projection.


I ended up moving the Victrola Credenza and Wicked One from the right and left side walls flanking my chair to a position right behind the listening chair. This created a well balanced sound stage that just transforms the venue to my space. The music now cradles my being...outstanding!

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Re: My Audio Journey Evolution, The Final Stage.
Reply #233 - 12/10/24 at 02:25:14
 
I received the C9 recently. It was packaged well, and the cosmetic appearance was very good.
This unit actually has a fuse holder in the back. Something I haven't seen with other units for sale. I wonder if this is one from the early years of production. The serial number is C9 0606.

I wonder if you guys have the fuse holder or not? The reason I bring this up is that when I unpacked and inspected the unit, I saw that the fuse was missing from the holder. I opened the case to investigate further and found that the internal fuse holder has been completely bypassed. The AC mains had been detached from the holder and wired/soldered directly to the spare receptacle and on to the circuitry directly. I didn't have a great feeling about it initially, especially since the soldering at the receptacle (with the split going to the circuitry) looked a little inferior. It seemed ok but I was a bit surprised. My assumption was that the elimination of the fuse completely was an attempt to make the sound quality better and they may have used a better in-line fuse (but certainly not sure). On the units where there is no visible fuse holder I wonder if there is an internal fuse.

After really inspecting it, I decided to plug it in and saw the front red light come on with no other apparent issues. I left it on for quite a while and it seems perfectly fine in that regard. My question is: what is the risk of running it like this. It looks like it's been run like this for a while and doesn't seem worse for wear as a result. It seems the voltage and current in this unit may be pretty low so I'm not sure it's much of a risk but wanted to get your expert opinions. I actually connected it between an old preamp and amp just to test it and it seemed perfectly fine. Of course, I didn't get to really hear it perform but everything worked, and I could tell the buttons were changing the sound to some extent. It's been in that system for a while with no hiccups at all so that's good news.

I'm hoping to get it connected in my main Decware system soon unless you think it is unwise to do so.
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Re: My Audio Journey Evolution, The Final Stage.
Reply #234 - Yesterday at 07:27:57
 
Hi Mrchipster,
Sorry to hear of the hack on your C9. You could always undo the bypassed internal fuse with a bit of soldering and installing a 1/8 amp fuse. I think that the e external fuse holder was used in later models to add protection for the accessory outlet. My C9 does not have an external fuse holder. According to the service manual schematic the accessory outlet just parallels from the mains plug without fuse protection.
Without fuse protection a power surge could fry the C9 step-down transformer as well as some failure with the diodes downstream of the tranny. The odds are slim that will happen but possible without quick action of fuse protection.
HTH
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