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I also found the Yggy to do something with dynamic range that also kind of blew my mind. I never really understood how this could be done, but my understanding is that I'm hearing an expanded range of volume, revealing much more nuanced information than before. It's revealing nuances in how instruments are being played, how singers are forming their words, and it changes the presentation of the song in a way that captures atmosphere unbelievably well. I've heard tubes that can pull of a more "musical" sounding presentation, which is somewhat of a subjective term, but this is different. It's extra information in the form of an expanded range of volume, or dynamics... that is the way that I can best describe it.
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If this is what I think you're talking about then you should also be able to crank the MoarKnob up, since there would be much less discomfort at higher levels, as well.
From what I've gleaned thus far, when the source signal is 'properly' timed, and passed along to the HP's intact, the resulting acoustical presentation creates more 'powerful' sound pressure, in its proper time with respect to its actual acoustic source.
This added 'power' means that the impacts of percussion instruments, and the ability to hear sub-harmonics is enhanced. It also has other really kewl beneficial results for most other 'voices' (organic, & instrumental), like an increase in the perceived instantaneous dynamic range of each 'voice'.
The smack and punch and impact all have greater power behind them.
IOW as the signal that is converted to acoustic power becomes more cohesive, coherent, and better coupled, the power of the generated acoustical 'wave' is more 'efficient' because less power is 'wasted' or smeared thru time. This smearing means the wave form is slightly out of time and focus, with respect to its original 'parent' source. So this more precise wave front can deliver more power all because the signal can convert the inherent power in the wave form, more effectively/efficiently into acoustic power.
I notice this as being directly related to the Listener Fatigue Factor, and the ability to crank up the MoarKnob even higher, before discomfort kicks in, this is the giveaway, at least for me.
The use of the Listener Fatigue Factor also applies to analog inputs, especially vinyl, as in when the diamond tip isn't reading the groove precisely enough (time smeared), in fact that is where I first stumbled upon this rather helpful diagnostic 'tool'.
This also applies to digital which is why I think we are seeing all these femto second clocks, power supplies with umpteen sections of regulation etc., just to help get the timing as accurate as possible during the analog signal re-creation.
I have been tracking this as my own MoarKnob 'performance' shifts and changes, and there is a strong correlation to improvements and tweaks I make.
Like when I soldered the ground return leads (instead of just wire nutting them) at the j-box just upstream from my gear. This essentially 'tightened' or made more 'rigid' the ground connection to the dac and amp.
Next up are the hot and neutral wires in that same box.
And after getting just a taste of Jggy last weekend, it just reaffirms my take on this.
The ability for each instrument to delineate those ultra fine details and remain in focus to itself, is also related to the Listener-Fatigue-Factor L-F-F (does that satisfy everyone?)&nb
sp;
JJ
ps I too look forward to your thoughts and insights. :thumb
