Piing
Axe-Master
English is not my first language. Can someone explain to me what is the meaning of "staging from sex"?
I came to that phrase during a voyage inside the dark web; the dark web of audiophile madness, sub-section of power cords with magic properties.
This is an excerpt of a review of the Furutech Power Flux NCF 18E cable ($6,000) at 6Moons.com:
"I believe that soundstage width is predominantly due to speaker placement and dispersion. It has precious little to do with the electronics. They wouldn't know staging from sex. General stage depth does want proper breathing room from the front wall to avoid the in-wall speaker presentation. It's in how specific depth cues get that things like phase consistency, minimal energy storage and a very low system noise floor make a difference. It's precisely in the suchness of the depth domain, its layer sorting, its through-the-wall continuity and clarity where the PowerFlux made its biggest contributions. It did this more significantly on the DAC than amp
In my follow-on review for the GTO-D2 with Booster Braces, I'd isolated the NCF effect as higher contrast ratio in general, as more lights on deck for the soundstage back in particular. Replacing the very slinky Dutch power cord on the DAC with the fatter Japanese borrowed from that review's particular half. In photographic terms, depth of field improved. The faraway had more focus equality with the front. That greater focus evenness didn't move background sounds like faint percussion behind soloists forward. Nothing received relocation papers. My attention simply saw them more distinctly and discretely. In that sense, they became more important. The whole of the presentation filled out more. This was like prescription glasses on aged eyes, simple yet effective. In hifi terms, separation imposed itself stronger on the farther layers. When you know your system well, then change one thing and notice how the red carpet rolls out deeper, it's an uncanny thing. From experience, I lay such depth effects at the feet of lower system noise even though this isn't about primitive ear-on-tweeter hiss. There shouldn't be any to begin with. This is about far out-of-band noise whose presence has 'step-down' effects that become audible as resolution losses. Digital in particular seems very sensitive to this. A key factor of extremist audiophile streamers/servers is how they avoid such UHF noise in the first place; and how successfully they attenuate any remnants. The PowerFlux cord effect had many similarities to how a premium reclocker can improve an already very good D/A converter."
What is the meaning of "They wouldn't know staging from sex" in that context? I am curious to know
And just for fun , here is another epic review:
"To state the obvious, a power cord feeding a system of five electronics multiplies the cable's sonic influence by five. What might be more-far more?-subtle when isolated as a power cord on a single component will become far more obvious with the cord carrying current to the whole system. That's if said cord operates in a higher league than what it replaces. That's common sense. Cheapskates always hope for giant killers. Occasionally one such does rise to the occasion. Usually though, more money will buy superior parts/materials and more advanced engineering so better performance. In my first A/B, the Furutech was costlier and one look at its connectors and greater girth certainly showed differences. But as love is supposed to be blind, so are our ears. If one didn't know which cord was which, could one still identify the Furutech as being a next-level product? If so, what gave it away?
Resolution. Audible space. Dynamics. Those were the three-leafed clover aspects in the Furutech's lapel. Unexpectedly, much of these cord swaps played out on the archetypal copper/silver axis. The Irish cable was warmer, softer, its texturization matte, its space less lit up so typical copper signatures. The Japanese cord was more energetic, focused and glossy; like typical silver even though it was pure copper. I'm only using metalurgy to make a point. With the DPS-4.1, image halos which on good recordings light up space around a voice or instrument were far more apparent. With my volume displayed in super-large digits to assure perfect repeatability from the seat, it was clear also that with the Furutech fronting the system, dynamic range expanded. Peaks rose higher. Even more relevant, the little flutters of emphatic accents that fill out a melodic arc traversed more distance for greater dynamic expression. That together with clearer space coordinates-think higher focus inside the space plus a keener venue sense due to more obvious reflections aka reverb-added up to higher resolution and more musical energy.
Where the copper/silver connection fell apart as it should have since the Furutech wasn't actually silver was weight. Perceived mass nearly always favors copper. For all its more 'silvery' attributes, on weight the Furutech played it copper all the way, even eclipsed the Irish mono-crystal version. In short, even a blind listener like Stevie Wonder would have readily latched onto these differences and without fail identified the dearer cord. Once our LessLoss cord replaced the Titan, that clear and neatly tiered offset was gone. On resolution from lowest-most noise floor to fully reveal trailing edges and spatial decays, these were equals. But differences remained. Furutech's textures were glossier. They seemed to contain just a bit more upper harmonics to get us back at the silver effect. That same difference meant that furious hammer falls in a piano's upper registers acquired more of a Fazioli sharpness than Bösendorfer sonority. The strong vertical spiccato of forcefully bowed strings was wirier. To overwrite, the LessLoss focused on more wood, the Furutech more on metal. This was a slightly different voicing"
No wonder how even the most intelligent people (writing these reviews and earning the money to buy these expensive cables may require some skills) can be trapped into the most weird religions, cults and conspiracy theories
I came to that phrase during a voyage inside the dark web; the dark web of audiophile madness, sub-section of power cords with magic properties.
This is an excerpt of a review of the Furutech Power Flux NCF 18E cable ($6,000) at 6Moons.com:
"I believe that soundstage width is predominantly due to speaker placement and dispersion. It has precious little to do with the electronics. They wouldn't know staging from sex. General stage depth does want proper breathing room from the front wall to avoid the in-wall speaker presentation. It's in how specific depth cues get that things like phase consistency, minimal energy storage and a very low system noise floor make a difference. It's precisely in the suchness of the depth domain, its layer sorting, its through-the-wall continuity and clarity where the PowerFlux made its biggest contributions. It did this more significantly on the DAC than amp
In my follow-on review for the GTO-D2 with Booster Braces, I'd isolated the NCF effect as higher contrast ratio in general, as more lights on deck for the soundstage back in particular. Replacing the very slinky Dutch power cord on the DAC with the fatter Japanese borrowed from that review's particular half. In photographic terms, depth of field improved. The faraway had more focus equality with the front. That greater focus evenness didn't move background sounds like faint percussion behind soloists forward. Nothing received relocation papers. My attention simply saw them more distinctly and discretely. In that sense, they became more important. The whole of the presentation filled out more. This was like prescription glasses on aged eyes, simple yet effective. In hifi terms, separation imposed itself stronger on the farther layers. When you know your system well, then change one thing and notice how the red carpet rolls out deeper, it's an uncanny thing. From experience, I lay such depth effects at the feet of lower system noise even though this isn't about primitive ear-on-tweeter hiss. There shouldn't be any to begin with. This is about far out-of-band noise whose presence has 'step-down' effects that become audible as resolution losses. Digital in particular seems very sensitive to this. A key factor of extremist audiophile streamers/servers is how they avoid such UHF noise in the first place; and how successfully they attenuate any remnants. The PowerFlux cord effect had many similarities to how a premium reclocker can improve an already very good D/A converter."
What is the meaning of "They wouldn't know staging from sex" in that context? I am curious to know
And just for fun , here is another epic review:
"To state the obvious, a power cord feeding a system of five electronics multiplies the cable's sonic influence by five. What might be more-far more?-subtle when isolated as a power cord on a single component will become far more obvious with the cord carrying current to the whole system. That's if said cord operates in a higher league than what it replaces. That's common sense. Cheapskates always hope for giant killers. Occasionally one such does rise to the occasion. Usually though, more money will buy superior parts/materials and more advanced engineering so better performance. In my first A/B, the Furutech was costlier and one look at its connectors and greater girth certainly showed differences. But as love is supposed to be blind, so are our ears. If one didn't know which cord was which, could one still identify the Furutech as being a next-level product? If so, what gave it away?
Resolution. Audible space. Dynamics. Those were the three-leafed clover aspects in the Furutech's lapel. Unexpectedly, much of these cord swaps played out on the archetypal copper/silver axis. The Irish cable was warmer, softer, its texturization matte, its space less lit up so typical copper signatures. The Japanese cord was more energetic, focused and glossy; like typical silver even though it was pure copper. I'm only using metalurgy to make a point. With the DPS-4.1, image halos which on good recordings light up space around a voice or instrument were far more apparent. With my volume displayed in super-large digits to assure perfect repeatability from the seat, it was clear also that with the Furutech fronting the system, dynamic range expanded. Peaks rose higher. Even more relevant, the little flutters of emphatic accents that fill out a melodic arc traversed more distance for greater dynamic expression. That together with clearer space coordinates-think higher focus inside the space plus a keener venue sense due to more obvious reflections aka reverb-added up to higher resolution and more musical energy.
Where the copper/silver connection fell apart as it should have since the Furutech wasn't actually silver was weight. Perceived mass nearly always favors copper. For all its more 'silvery' attributes, on weight the Furutech played it copper all the way, even eclipsed the Irish mono-crystal version. In short, even a blind listener like Stevie Wonder would have readily latched onto these differences and without fail identified the dearer cord. Once our LessLoss cord replaced the Titan, that clear and neatly tiered offset was gone. On resolution from lowest-most noise floor to fully reveal trailing edges and spatial decays, these were equals. But differences remained. Furutech's textures were glossier. They seemed to contain just a bit more upper harmonics to get us back at the silver effect. That same difference meant that furious hammer falls in a piano's upper registers acquired more of a Fazioli sharpness than Bösendorfer sonority. The strong vertical spiccato of forcefully bowed strings was wirier. To overwrite, the LessLoss focused on more wood, the Furutech more on metal. This was a slightly different voicing"
No wonder how even the most intelligent people (writing these reviews and earning the money to buy these expensive cables may require some skills) can be trapped into the most weird religions, cults and conspiracy theories
