Hey, it's me again !
Of course all what Paul tells has a high degree of exaggeration.
Just take a few, and there you go.
But what's the difference with my place eh ?
Booz is the same, the amount of it is, and the sound ? really, you won't recognize a single thing of it anymore.
Earlier I said that Paul's description of his sound (change) 100% fits mine, except for me adding the wider stage to it. But let me try to add some more emphasis :
My bass was quite alright I think. Well, think back about it yourselves (those who know my system); Now ? now there's all the layers under it which always were lacking. Just a feeling before, but knowledge today.
There's detail in the sub-higher frequencies (I mean, right under them) which is completely crazy.
Yesterday I played Touch (Yellow) once again, and it won't fail in any track anymore (while earlier I could find one which was listenable -> remember the W7 Vanilla, which improved on it). Even this Touch album is not recognizeable anymore. As if it was replayed and rerecorded.
I can't find anything anymore which sounds bad, but maybe I didn't try Griffin yet.
The high frequency output seems lower, but it makes me realize that before it was too high. This, with the strange combination of far more detail being there.
The placement of this detail also is crazy; before it was there alright, but not profound because of the placement in the picture which is unknown. Today ? today things may sweep from meters outside of the speaker to the other one.
General perception is something like a 45 degree angle from your ears to where the sound comes from. In my situation this means that the sound springs from around 2 meters in front of the speakers but from the sidewall (which is some 1.5 meters more aside). Virtually this gives 3 meters outside of the speakers (but the sound won't go outside of the walls, that's why the 1.5 meters towards you is into play).
There is no way depth can be seen anymore. I talked about this before, but now it seems "complete". So, when completely back in the room (12m distance from the speakers in my case), you will hear that the speakers are at the other side of the room. But at the more normal listening distance which is 7 meters in my case, there's no vision of where the speakers are. Of course this is related to that 1.5 meters in front of the speakers where the sound springs from, and the total witdh implied by it, which would be 14 meters in my case). So, listening distance officially is 7 meters, and the width of the stage is 14 meters. This doesn't put you right in the middle, but fairly close to it.
Btw, this was about my earlier expression of listening through headphones, while no headphones are there.
Get Yer Ya Ya's 0ut -always a test album, and which worked quite alright already lately- is a sheer happening now. Now Mr sad drummer which already wasn't sad anymore, is dancing on the stage. Not only a sheer happening, but suddenly a sheer live event.
And then to think that this is a test album for me because it sounded so dull, flat and far away less than a year ago.
"My tweak" is dangerous, which is why it takes a fair amount of time to get the real merits of it, and to dial/tune it in;
Later you will learn that it is beyond Quantum stuff. Oh yes, there always is more - more beyond our understanding. This is one of them, until I understand. Well, maybe by now I do, but that doesn't mean it is under my control. It needs "whisdom" which can't be learned from books maybe. Think Chinese herbs for curement. Those guys just knew it forever and some still do.
To be clear (again) : it is nothing I found out, and it is only an application (and I didn't even find *that* out). It will be the combination with the NOS1 which makes it so special, just because the crazy detail the NOS1 can show in the first place. Now though, that detail has to know its place, and this is where the tweak comes into play. Ancient whisdom ...
There's another observation which looks contrary to what I and most always observe : I won't play louder than 80dB SPL anymore, while at first this was around 90 fo normal-max.
Explanation : well, I sort of already told it in an earlier post : my horns are no horns anymore (same as the headphone principle of course). The energy comes from virtually everywhere (instead of from the speakers - and beamed like horns tend to do), and this makes, as how I see it, no louder "force" necessary. Btw, indirectly the whisdom concerned tells similarly.
There is no single way that it ever seems possible anymore that things sound sharp, edgy, harsh. Impossible, as if it were vinyl. Possibly this is related to the room being so full of sound. Strangely enough this (to me) seems not to be about "energizing" the room. Still sound is everywhere, and the most profound is those underlayers of "bass" (but think "full sound" to grasp it better). Quite the opposite from an untweaked NOS1, but still never heard before.
The latter is related to the full sound which is accompanied with all that detail, and also still no standing waves occurring anywhere. The bass output is so much higher and so much more everywhere in the room, that yesterday I started exlicitly checking each corner and ever back more difficult places. But no.
This exactly fits the "whisdom".
The sound is totally massive, although I have the hunch that the English language doesn't have a proper word for it (I'd try "massale" for a maybe new English word). And then to think I didn'd dare to try a full orchestra yet.
The dynamics at the low end are crazy as well; sounds spring from an octave lower than before, as are the voices of Yello. This, while the attacks in them are as profound (think Cohen or Knopfler). Yes, quite a contradiction again.
Also what I keep on noticing is the vibrato in low basses; a steady good tone before, but now suddenly the vibrato is there. With synths this gives the additional roar effect. Great.
Peter
