Interesting that a notion of an Absolutely Transparent Stage is kind of bizarre. Let presume that we do have an Absolutely Transparent, musically and sonically, stage. The stage might be transparent only with own enclosed scope. If a stage modifies transparency in regards to any other reasonable external conditions then we would probably call it “Transparent”. Right? Still, we have lot highly non-transparent stages in allegedly “Transparent” playback. For instance the driving stage in Melquiades is very non-transparent by itself. If you remember when in past I made an attempt to use juts Melquiades’ driving stage in a stand-alone application (ether with transformer or capacitor coupling) then that idea failed die to it was quite a pour sounding and very non-transparent sounding preamp. However, in context of whole amps, the driving stage combines with Melquiades output stage for whatever reasons demonstrates more transparency then juts just any of the amp’s single stages. Interesting! We nave a two-stage, no global feedback amplifier where each stage is not necessarily “transparent” but the entire amplifiers is relatively transparent… isn’t it strange?
In my assessment of Transparency I more frequently use term Eventlessness instead of Transparency. The buffer’ input is Realty and the buffer’ output is Realty. The buffer itself is a Realty Exchange Mechanism that does whatever it does but while doing it injects into the Output Realty own events. There are different events. There are transparent events. A division or multiplication by “1” is a transparent event in mathematics. If the values of numbers could be determined ONLY but the fact that they even numbers then a multiplication by 2 is also an absolutely transparent event. In many instance in audio, but not always(!), a pace of wire could be considered as absolutely transparent mechanism that do not impose any “event”…
Interesting that although most of the “Audio Events” are negative but sometime the Audio Events, although they have own methodologically negative value but they still are not affect musically and sonically quality of the Output Realty. In fact sometimes the pure Audio Events not only do not violate Output Realty but embrace and stimulate it… Here is where the “Beach Effect” perhaps kicks in….
Romy the Cat
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche