December 4, 2012

• HiFi-Tuning Supreme Fuses, Part 3

  The fuses have been in situ for 45 hours playing time and were initially placed in both QUAD 989 speakers so that the writing on them could be read in a typical left-to-right fashion (this would be with the logo’s arrow pointing to the right – final photo on HiFi-Tuning Supreme Fuse, Part 2).  The interested reader should see my entry on Fuse Directionality for some background information regarding the importance, in my opinion, of properly orienting fuses in order to maximize sound quality.

   

  Settle-/Burn-In:  Right Direction Orientation

  During the course of the first day, there was a decided change in the effect the Supreme fuses had on the sound coming from my speakers.  As playing time increased, so did the clarity:  low level details became slightly more apparent, especially at reduced volume levels.  I believe this was due to an improvement in dynamics which manifested itself as superior resolution.

  Listening to the first disc of American Acoustic, which I’ve copied onto my personal computer and then played wirelessly via the Oppo BDP-95, transients were sharper and note decay was longer compared to the stock fuses.  I could more clearly hear the vibration of guitar strings and during the first few hours of playing time, as the fuses settled-in, this effect became more apparent.

  Vocals and spoken voice were more solid and emotive and will be discussed in further detail later.

  Treble response was superior to the stock glass fuses and such things as clinking glasses and the sound of a piano was more realistic.

  Total playing time over two days at this point was 13 hours.  I then flipped the fuses around so that the arrow on the logo was now pointing to the left and the writing on the fuses was upside-down.

   

  Left Direction Orientation

  Listening to Loreena McKennitt’s The Mask and Mirror, it was immediately apparent that the sound stage was deeper than I’d ever heard before.  Replay of American Acoustic revealed even sharper transients and additional detail that has previously been buried in the mix, even with the Supreme fuse in its right-facing direction in play. 

  Dynamics, which had improved when introducing the Supreme fuses, were more prominent in the left-facing orientation.  Interestingly, this wasn’t a heavy-handed, across the board change in dynamics.  Rather, sounds would change volume and then return to their previous level as the audio mix dictated in a totally natural way.  This “popping” in and out continued to become more prevalent as playing time increased and never seemed forced or artificial.

  Mouth noises were more distinct with the difference being subtle but definite.  Frequency extremes were handled more ably with better extension.

  I noticed that I’d stopped taking notes and was just watching and listening to a movie on cable.  That’s always been a very good indication to me that the system is performing well.

  The fuses were in the left-facing orientation for 21 hours (therefore, 34 hours total time since the introduction of the Supreme fuses).  At this point I flipped them once again to their original right-facing direction to determine whether what I was hearing was due to burn-in and/or orientation.

   

  Right Direction Orientation Redux

  Once the fuses were back in their original position I immediately noticed that the quality of the midrange had changed: it was more prominent.

  During the 10 hours (44 hours total) they remained in this position, the fuses changed character (for the positive) as they settled-in and further burn-in occurred.  Overall, however, the presentation was not as detailed as the left-facing orientation nor was transient response and sound-staging as good.  Dynamics were also diminished and the “popping” phenomenon ceased.  They were still, in my opinion, superior to the stock glass fuses even being in the non-preferred position.

   

  Left Direction Orientation Redux

  Once the fuses were back in what I felt was the preferred position, the first thing I noticed, once again, was a change in the quality of the midrange:  it was less “rich”.  Additionally, the system had more presence, more high frequency energy, overall volume seemed diminished but dynamics were restored as if the signal were less compressed.  Inner detail was better, and the system just sounded better, period.

   

  Conclusion

  So, what did I learn?  First, the HiFi-Tuning fuses continue to be superior to stock fuses in the three applications in which they’ve been tried:  Modwright/Music Hall CD-25 (Supreme), conrad-johnson Premier 140 power amplifier (Gold), and the QUAD 989 speakers (Supreme).  Second, in my opinion, fuse orientation is as important with the HiFi-Tuning fuses as is their introduction itself into my system. 

  Some listeners may actually prefer the “improper” orientation.  In those cases where richness of sound is sought over a more marked increase in detail and dynamics, a user may want to have them in this orientation.  That has not been my preference, but these after-market fuses allow for experimentation and what ultimately appeals more to you remains, as always, a personal choice.  

    

  • 9:32 am
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