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RUPERT NEVE:
Since the Mozart RN option was introduced I
have been delighted to hear from Mozart-RN users that the results have
surpassed their expectations. The MozartRN has been chosen for the sonic
quality of it's sound path, making it especially unseful for work with
demands the highest standard of performance - microphone recording, for
instand and the recording of classic music.
The reason are not hard to find: Mozart RN
modules embody carefully-chosen equalization, virtually identical to that
found in my classic designs, and the same medivulous attantion to signal
path quality. Microphone and line inputs, insertions and outputs make use
of the TLA (Transformer-Like-Amplifier) principle. The TLA input circut
behave like a transformer but without the disadvantages or the cost penatly.
Signal-to-noise and headroom are outstanding at all sensitivity settings;
bandwidth extends well beyond the normaly accepted limit of 20kHz. Noise
and high order distortion (useally attributed to "class B Crossover effects)
have been kept extremely low. WHY ARE THESE
FACTORS SO IMPORTANT?
It has been accepted for many years that are
mysteries beyond the normal range of measurement wicheither affect sound
quality or, in some subtile way, influence the way we hear. In 1977 a famous
recording engineer showed me that he could hear effects of resonance at
54 kHz Since then I have conducted experiments with audiences in several
countries where the majority of those present could hear difference between
a sine and a square wave when the harminics fall well beyond 20 kHz.
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This
human snesity to out-of-band activity explains why high order products
resulting from certain typs of signal processing affect the way we hear
sound within the audio band, often producing distress, fatigue and a general
lack of satisfaction
One way to be certain that out-of-band signals
do not affect audible signals might be to cut them off entirely. However,
experiments along these lines have produced a feeling of dissatisfaction,
of incompleteness. It seems that musically-related harmonics belonging
to the signal must be maintained with integrity even when these are abouve
20kHz. Out-of-band high frequency signals are substantially attenuated,
of course, by microphonees, loudspeakers, tape etc- but their presence,
even at very low levels, definitely enhances the audible sound.
Perfection is certainly elusive and cannot
be fully quantified within the terms of our terms of our normal measurements
and spec. figures. However, the deeep satisfaction felt when a really great
recording is heard in unmisteable. The integrity of the originating signal
makes its presence felt throughout the subsequent chain even though this
may be lesser quality. One thing emerges as a certainty: to-day's technical
quality must be astronishingly good - we must achieve sonic performance
far better than mere figures suggest.
The Mozart-RN performance takes into account
all subtle factors I have touched on and this places it well ahead of other
designs, including those costing significantly more.
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