As demonstrated in several recent threads, historically high-end audio has perceived the “jump factor” as a much coveted characteristic and one to pursue and I’d like to offer an alternate view and potential correction. Which is to say that the jump factor, as exciting as it may be seemingly add life to the presentation, really is nothing more than the effects of amplified electronics-induced distortions caused elsewhere the system.
I think it also worth noting that when a given playback system exhibits a jump factor, it pretty much goes without saying that the system will also exhibit over-emphasized (exaggerated) dynamics because it seems the two are inseparable. IOW, both are the effects of amplified electronics-induced distortions.
Like a blurred photograph, distortions raise a playback system’s noise floor so that its presentation becomes less well-defined more blurred. A raised noise floor always seems to include a combination of both audible and inaudible distortions and in the process will render some of the processed music info inaudible (below the much raised noise floor) while other parts remain audible (above the much raised noise floor) but still distorted. Obviously, the higher the noise floor the less musical the presentation.
Besides other effects, these distortions fuzzy a musical note’s borders as well as all the details within the borders making instruments seem larger than life (sometimes much larger), closer than they should be (in extreme cases smack dab in your face) and in the process severely compromise a note’s pristine and/or delicate characteristics. Amplified electronics-induced distortions even more so. Over-amplified electronics-induced distortions still even more so.
Hopefully there’s little disagreement with the following statements:
But just as overwhelming and musical was the rather simple remedy that among other things, not only eliminated the unnatural over-exaggerated dynamics and extreme jump factor entirely, but also did an about-face moving the presentation much closer toward that of a live performance. I was able to keep the 3 x’s WPC amp even though I had to replace that first model for another model I knew was incapable of inducing distortions caused by the first amp’s design flaws/shortcomings. Only now all the music including the dynamics occurred back on the soundstage at a good distance from my ears which were now planted firmly in the audience for every musical note. Dare I say very lifelike. Moreover, dynamics minus the over-exaggeration were better than ever and were now much more natural and believable. IOW, for the first time ever all the music including dynamics (minus any signs of a jump factor) was now up on the soundstage where it belonged. Luck of the draw for sure as I never set out to endeavor into any of this.
In one of these threads praising the jump factor, somebody said they thought that the higher output of high output cartridges yields more in dynamics and jump factor than they sacrifice in delicacy or nuance.
Though I’ve nothing to do with vinyl, at least fundamentally the thought about a higher output cartridge yielding more dynamics and jump factor seems to coincide well with my own findings regarding amplified electronics-induced distortions and what I’ve tried to share here. But I now see these characteristics as negatives or at the very least as not natural and certainly not closer to the live performance.
I think it also worth noting that when a given playback system exhibits a jump factor, it pretty much goes without saying that the system will also exhibit over-emphasized (exaggerated) dynamics because it seems the two are inseparable. IOW, both are the effects of amplified electronics-induced distortions.
Like a blurred photograph, distortions raise a playback system’s noise floor so that its presentation becomes less well-defined more blurred. A raised noise floor always seems to include a combination of both audible and inaudible distortions and in the process will render some of the processed music info inaudible (below the much raised noise floor) while other parts remain audible (above the much raised noise floor) but still distorted. Obviously, the higher the noise floor the less musical the presentation.
Besides other effects, these distortions fuzzy a musical note’s borders as well as all the details within the borders making instruments seem larger than life (sometimes much larger), closer than they should be (in extreme cases smack dab in your face) and in the process severely compromise a note’s pristine and/or delicate characteristics. Amplified electronics-induced distortions even more so. Over-amplified electronics-induced distortions still even more so.
Hopefully there’s little disagreement with the following statements:
- There exists various distortions induced to one degree or another against every last playback system.
- Distortions (including colorations), whether small or great, will never bring us closer to the live performance.
- A more revealing speaker / component is indiscriminate about what it reveals, whether it’s more music info, more distortions, or some combination of the two.
- Some speaker / component designs will induce more distortions than others.
- To those who frequent live performances where there is a reasonable distance between the audience and the soundstage, when was the last time anybody experienced the jump factor at a concert, even if it was a 125+db Ted Nugent concert?
- A .45 caliber pistol shot outdoors 5ft or even 10ft from your ear will induce a rather significant jump factor. Yet, at 40 or 75 ft away the same .45 caliber shot should induce little or even no jump factor. And hopefully most/all would agree there are few if any musical instruments that can match the explosive dynamics of a .45 caliber weapon.
But just as overwhelming and musical was the rather simple remedy that among other things, not only eliminated the unnatural over-exaggerated dynamics and extreme jump factor entirely, but also did an about-face moving the presentation much closer toward that of a live performance. I was able to keep the 3 x’s WPC amp even though I had to replace that first model for another model I knew was incapable of inducing distortions caused by the first amp’s design flaws/shortcomings. Only now all the music including the dynamics occurred back on the soundstage at a good distance from my ears which were now planted firmly in the audience for every musical note. Dare I say very lifelike. Moreover, dynamics minus the over-exaggeration were better than ever and were now much more natural and believable. IOW, for the first time ever all the music including dynamics (minus any signs of a jump factor) was now up on the soundstage where it belonged. Luck of the draw for sure as I never set out to endeavor into any of this.
In one of these threads praising the jump factor, somebody said they thought that the higher output of high output cartridges yields more in dynamics and jump factor than they sacrifice in delicacy or nuance.
Though I’ve nothing to do with vinyl, at least fundamentally the thought about a higher output cartridge yielding more dynamics and jump factor seems to coincide well with my own findings regarding amplified electronics-induced distortions and what I’ve tried to share here. But I now see these characteristics as negatives or at the very least as not natural and certainly not closer to the live performance.