Pim van Vliet Wrote:
<<Hi guys,
I use my tone controls and they can be changed in an instance (when the recording I'm playing is a bit bright or lacks a bit of punch) Just as a matter of interest. If you were to change out something to change the brightness of the system, how much brightness would you loose compared to changing the treble down (in dB)?>>
I had hoped someone would chime in with a response for you as its really not my forte but in lieu of any response I'll offer my take on it in the interim. Adding gold in small doses tends to bring an ever so slightly warmer, more tube-like presentation to the fore. However, gauging how much gold and where to use is the rub. There's no guarantees but its ALWAYS smaller, more precise on the offensive glare than a 2-band equalizer while simultaneously more organically innocuous to the immediately surrounding bandwidth! If I find myself needing a touch of warmth in a specific component I'll typically start with a single gold-plated termination at the component-end end of the power cord. If that proves too much I'll reverse cord ends with the gold terminal. If insufficient I'll add a 2nd gold termination at the opposite end. If still insufficient I'll try another gold terminal at the amp and if even more is desired a 2nd at the wall (or power distributor/conditioner). In exceedingly rare instances an interconnect with gold terminals can be implemented but as I say, I've never needed to commit ANYWHERE NEAR that deeply as I prefer a more detailed, true-to-source presentation and s'why I'm so attracted to Rhodium on well over 95% of my cabling terminations and 100% on the Devialet. In fact, you can count the times on your ears I've ever had to use a 2nd gold termination system-wide and that was years ago with early Class D boards. But the option is there for those who prefer a seriously tube-like warmth to a more true-to-source or 'live' presentation. Additionally, once added and balanced to your tastes you'll find yourself reaching for the treble side of the equalizer dramatically less with the added benefit of affecting far fewer highly desirable surrounding musical micro-details as it takes far fewer clicks of adjustment to achieve a similar result to what you're experiencing today when moving away from hard glare/brightness. If I had my way and all recordings were produced/engineered anywhere close to 'right' I would N-E-V-E-R touch the equalizer! If wishes were fishes...
Conversely, using the equalizer is painting with a broad brush. Much of the otherwise desirable treble micro details get lost with the offensive detail you're trying to rid yourself of when the equalizer is taken to task. Like throwing some of the baby out with the bath water. Typically if I want a minor offensive sheen or glare to disappear the equalizer performs genocide on that glare then commits collateral damage on some otherwise VERY desirable micro detail that exists on both sides of the offensive detail... an equal-opportunity, broad-spectrum neutralizer. The equalizer is a shotgun effect offering little-to-no pinpoint accuracy whereas gold seems to be more surgically precise in it's entirely organic exorcism of offensive brightness/glare with far fewer adverse side effects and subsequent visits to the 2-band "graphic nukralizer" for tweaks.
<<Hi guys,
I use my tone controls and they can be changed in an instance (when the recording I'm playing is a bit bright or lacks a bit of punch) Just as a matter of interest. If you were to change out something to change the brightness of the system, how much brightness would you loose compared to changing the treble down (in dB)?>>
I had hoped someone would chime in with a response for you as its really not my forte but in lieu of any response I'll offer my take on it in the interim. Adding gold in small doses tends to bring an ever so slightly warmer, more tube-like presentation to the fore. However, gauging how much gold and where to use is the rub. There's no guarantees but its ALWAYS smaller, more precise on the offensive glare than a 2-band equalizer while simultaneously more organically innocuous to the immediately surrounding bandwidth! If I find myself needing a touch of warmth in a specific component I'll typically start with a single gold-plated termination at the component-end end of the power cord. If that proves too much I'll reverse cord ends with the gold terminal. If insufficient I'll add a 2nd gold termination at the opposite end. If still insufficient I'll try another gold terminal at the amp and if even more is desired a 2nd at the wall (or power distributor/conditioner). In exceedingly rare instances an interconnect with gold terminals can be implemented but as I say, I've never needed to commit ANYWHERE NEAR that deeply as I prefer a more detailed, true-to-source presentation and s'why I'm so attracted to Rhodium on well over 95% of my cabling terminations and 100% on the Devialet. In fact, you can count the times on your ears I've ever had to use a 2nd gold termination system-wide and that was years ago with early Class D boards. But the option is there for those who prefer a seriously tube-like warmth to a more true-to-source or 'live' presentation. Additionally, once added and balanced to your tastes you'll find yourself reaching for the treble side of the equalizer dramatically less with the added benefit of affecting far fewer highly desirable surrounding musical micro-details as it takes far fewer clicks of adjustment to achieve a similar result to what you're experiencing today when moving away from hard glare/brightness. If I had my way and all recordings were produced/engineered anywhere close to 'right' I would N-E-V-E-R touch the equalizer! If wishes were fishes...
Conversely, using the equalizer is painting with a broad brush. Much of the otherwise desirable treble micro details get lost with the offensive detail you're trying to rid yourself of when the equalizer is taken to task. Like throwing some of the baby out with the bath water. Typically if I want a minor offensive sheen or glare to disappear the equalizer performs genocide on that glare then commits collateral damage on some otherwise VERY desirable micro detail that exists on both sides of the offensive detail... an equal-opportunity, broad-spectrum neutralizer. The equalizer is a shotgun effect offering little-to-no pinpoint accuracy whereas gold seems to be more surgically precise in it's entirely organic exorcism of offensive brightness/glare with far fewer adverse side effects and subsequent visits to the 2-band "graphic nukralizer" for tweaks.
Statements in my posts are opinion only, not to be construed as fact. Any projects I engage in are at my own risk! Their outcome cannot be assured and may result in success, small/no change or catastrophic failure. I encourage no one rely on anything I say or do as gospel and to realize your mileage may vary!
