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Welcome to our Shinjitsu Audio hosted audio exploration. It is a captivating journey through the realm of capacitors. Today, we embark on a challenge that delves into the intricacies of sound, pushing the boundaries of discernment to reveal the nuances that lie within. We present to you the Auricap XO and the Mundorf EVO Oil—two remarkable contenders—engaged in an auditory duel that promises to captivate your senses.

In the heart of this captivating experience, we've set the stage with precise equality. The same recording source, microphones, and software bring consistency to the table. Levels are meticulously balanced, and no additional processing finds its way into the mix. What distinguishes this challenge is the pursuit of revealing the subtle, almost mystical, differences between these exceptional capacitors.

At center stage, the Auricap XO and the Mundorf EVO Oil step into the spotlight. Both measured 4.7 MFD and crossed over at first order at 2 kHz to synchronize harmoniously with our Mark Audio CHR 120 main driver. You our assembly of audio aficionados and experts equipped with finely attuned ears and an unyielding passion for precision—take the reins.

With an air of anticipation, we invite you to partake in this auditory odyssey by watching the video:

Join the conversation, a dialogue that transcends the confines of the screen. Your observations and impressions can be shared in the comments below the video, and are treasured gems that fuel this collective exploration.

Elevate your senses and immerse yourself in a world where capacitors wield the power to shape sonic narratives.

Each capacitor is well thought of and widely discussed with one being favored amongst capacitor testing sites. There is also a significant price difference with ironically the well-favored one being significantly more expensive. Let your ears decide. Are there differences, are they worth the extra cost?

Testing conditions: Source is Vinyl rendered on a Technics SP 25 turntable with w AT 150MLS cart, Audio Research PH& Phono stage, recorded into a Tascam UH7000 ADC, with Rode NT1A stereo pair of mics. levels matched, no other manipulations. Horn modules are our Horn 2 placed atop our Hiro 6.5 cabinets which are rolled off at 2K third order to the horns.

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Over the years, there has been a notion that paper audio drivers are superior to those made of other materials, particularly metal cones. While paper drivers have their merits, it is essential to recognize that no single material reigns supreme in all aspects of audio reproduction. Let's explore the various considerations and debunk the perceived superiority of paper drivers:

Frequency Response: Both paper and metal cone drivers can be designed to achieve a wide frequency response. Advances in materials technology have allowed metal cones to match and sometimes exceed the frequency response capabilities of paper drivers. The key lies in the design and engineering of the drivers rather than the material itself.

Distortion: Metal cones have the potential to exhibit lower distortion due to their inherent stiffness compared to paper cones. However, modern paper driver designs have also made significant progress in minimizing distortion, narrowing the gap between the two materials.

Resonance and Damping: Paper cones have natural damping properties that can aid in reducing resonance issues. However, metal cones can be engineered with various methods to control resonance and achieve similar damping characteristics.

Durability: Historically, concerns about the durability of paper cones in high-powered systems have led to a preference for metal cones. However, with advancements in materials and manufacturing techniques, both paper and metal cones can be designed to withstand rigorous use and maintain longevity.

Weight: Metal cones are generally lighter than paper cones, offering the potential for faster transient response and improved high-frequency performance.

Tonal Characteristics: The tonal characteristics of drivers depend on their design, not solely on the material used. Different types of music and personal preferences may lead to different perceived tonal qualities, making the preference for one material over another subjective.

Application Specificity: Each material has strengths that make it suitable for specific applications. For example, paper cones might be preferred for certain acoustic instruments due to their natural resonance qualities, while metal cones could excel in high-power professional audio systems.

In summary, the debate over the superiority of paper audio drivers versus metal cones should be put in perspective. Both materials have their advantages and disadvantages, and advancements in materials science and driver design have significantly narrowed the performance gap between them. The key to achieving exceptional audio reproduction lies in the skillful engineering and thoughtful design of the entire speaker system, including the drivers, enclosure, crossover network, and amplification. The pursuit of the best audio experience should consider the specific requirements of the application and the subjective preferences of the listener.

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The choice between air core and laminated iron core inductors has been a long-running debate. Usually, it is recommended that iron core inductors be used ONLY in low-frequency drivers due to distortion and core saturation.

The debate here is that this is a long-running fallacy and leads to higher component costs due to the use of large air-core inductors when not needed.

The choice between air core and laminated iron core inductors has sparked a long-running debate in the audio community. Traditionally, it was believed that iron core inductors were suitable only for low-frequency drivers due to concerns about distortion and core saturation. However, let's dispel these misconceptions and explore the actual considerations when choosing between the two.

EMI: Electromagnetic interference (EMI) is rarely an issue for audio frequencies, making it a non-concern for both air core and iron core inductors.

Distortion: When properly rated and designed for audio applications, both types of inductors exhibit negligible distortion in the 20 Hz to 20 kHz audio range. Within this frequency range, they perform well without significant degradation.

Phase Shift: While inductors can introduce phase shifts, those in the audio range (20 Hz to 20 kHz) are generally minor and considered negligible for typical speaker crossovers and audio systems.

Magnetic Storage: The notion of a "stored magnetic charge" causing signal smearing is not substantiated. Inductors do store energy as a magnetic field, but it does not directly cause smearing of the audio signal.

In summary, the impact of inductors in audio systems primarily revolves around their inductance value and impedance characteristics. While minor differences can arise between air core and iron core inductors, for most audio applications within the 20 Hz to 20 kHz range, their effects are minimal and won't significantly impact sound quality or system performance. Other factors, like inductance value, current handling, size, and cost, are often more crucial when choosing the appropriate inductor for your audio setup.

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