will
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I don't know what Reconstructive Feedback does technically, but I can say what I hear in this room. This system/room, once adjusted, has great frequency balance and a live character. It has excellent complex detail throughout, with rich, tight bass that you feel, to very nice ambient information. It reveals pretty much everything and with a good soundstage.
I had not noticed this before since all the tube sets I have used have had very good complete, textural highs, and a nice openness. This is partly from my general preference for OB3s over OA3s, giving less density and more clean space to the sound. Now, with green (about 35 hours) Valve Art 350Bs in, they sounded too rigid and cool at first, so I replaced the quite open Ultron 6BQ7As with warmer RTC/Mullard E188CCs in the power positions of the CSP3 to richen things up. This has given me a very good sound for burning in the new power tubes.
When I checked it today, the effect from reconstructive feedback was there, but more subtle than I had previously heard. This is the first I have noticed the circuit depending this much on tubes. The 350Bs, having become more complex, smoother, and warmer I put the Ultrons back in the CSP. This opened and clarified things enough that the Reconstructive Feedback circuit became what I was accustomed to...a much more notable difference on and off.
Similarly, with the circuit depending on complex detail being there to begin via gear, cables, tubes, room, etc...also recordings with more openness, detail and ambience show it more. Either way it is relatively subtle in some ways, but really kind of big in others in terms of the overall feel of the music. Also, if I recall correctly, it was around 350-400 hours before I started to really like it. For a long time I kept it switched off, preferring the more focused sound. But finally burnin made its previously too diffuse sound tighter, clearer, and quite tasteful in my system. Now it stays on.
The recordings with a good soundstage here are generally similarly saturated both ways, wide and deep, but the sound with reconstructive feedback is different, increasing subtle information. From note hits to fading trails, it feels sort of like it takes bits of information and divides them into more, smaller bits. The increased senses of fine detail and resolution make tones and edges smoother, more liquid and more complex at the same time. It shows best in edges, in air, and in ambience close to the instruments, and beyond, but I think is throughout. The space between and around the instruments is richer in ambient information giving a nice atmospheric quality. It also helps recording ambience seamlessly integrate with my room ambience.
Finally, I have not fully explored this, but I have noticed a number of times that reconstructive feedback can give mixes with less focus on soundstage more soundstage spaciousness and definition in this system.
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