"Robert Morein" wrote in message
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"Robert Morein" wrote in message
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"Arny Krueger" wrote in message
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"Robert Morein" wrote in message


I do not give much concern to the incorporation of these
devices into hifi equipment.

Good idea because reed relays are common signal-handling
components in quality equipment for audio production for
decades. As I said before, the ruthenium plated reed relays
we used had been recently used by a widely-respected
manufacturer of studio mixing boards.

Morein's vendetta against reed relays is yet another example
of his lack of familiarity with audio production equipment,
and audio in general.

But Arny Krueger is pushing
his device like the NBS platinum meter.

This is nuts. I'm not pushing the ABC RM-2 relay module at
all. RM-2 has been out of production for what, 20 years?

However, no matter what Morein says - Stereophile never
published a review of the ABX RM-2 relay module.

Arny, permit me to clarify. I would love to have an ABX device.

Here's where you can get the schematic to build one of your own, use
parts
of whatever quality you chose.
http://sound.westhost.com/abx-tester.htm



Even if it
were one of yours, I would treat it as a treasured resource, unless it
obviously contradicted certain observations about amplifiers that have
the
same certainty of audibility as you have with speakers.

You reached conclusions about amplifiers that arouse in a number of us,
deep
suspicion. Even if someone was incapable of distinguishing the
difference
between a Pass single ended design and a Yamaha, it has little meaning
for
us. Speaking for myself, I acknowledge that there may be audible
equivalence
classes that transcend price and construction. Still, this is not the
same
as declaring an axiom. Speaking again for myself, it appears that
reliance
on current methods of measuring amplifier specifications produces the
appearance of technical equivalance, or "proper operation", while the
latter
is not a properly defined term. I know that you are convinced of this
through your studies of the audibility of harmonic and IM distortion,
but,
unfortunately, this contradicts the common experience of a great many
people. It does so even when one admits imagined differences. My small
club
of audio buddies only acknowledge differences in amplification when it
hits
us on our heads, just like speakers can and do.

You are, to me, a tantalizing paradox, because you are a very
intelligent
person who has succumbed to a personal need for definitive results.
Science
always benefits when the investigator is detached from the result. It
always
suffers from personal involvement. A good scientist serves the
principal,
not the end. Or, as Jobs says, "The journey is the reward."

I make a lot of noise about this, because the finer points of hifi are
on
the verge of extinction. The endeavor is not immune to your influence.
By
promoting the idea that quality of reproduction is no longer a concern
with
commercial offerings, you do a disservice to the consumer, who is
reliant
on
this very troubled industry.

A possibility to consider is that your ABX design is adequate to the
job,
yet, in your investigations, you made other errors. I have written in a
colorful style, to bring attention to the issue. Because you promote
your
device, or others like it as a standard,

It's not him doing the promoting, DBT IS the standard.

it requires scrutiny far above the
norm.

Which has been done by many of his peers and people more involved in
audio
research than Arny ever was. That is how it became one of the accepted
protocols.

But not for hifi, Mikey.

Yes Robert, even for hi-fi. Unless you don't consider Revel or a host of
others to be hi fi companies.