dbelousov
Well-known member
I use the Pana FR almost exclusively and yes, increasing the size helps with distortion.
I found that it's hard to "kill" line level signals nowadays. I have a monitor controller (LM4562-based, direct coupled, servos on the outputs, good relays) so I can switch from the direct outputs of my DAC to the monitoring through my recording console. That means the signal is routed through the stereo input channel to the master and then to the controller. This path contains lots of the LM4562s and 3 pairs of dramatically oversized Pana FR caps (faders and ouputs). And, with careful level matching, there is almost no difference in the audible sound quality. I need a very decent orchestral record to distinguish the paths, and with any "-6 pop mix" it's just impossible in a blind test.
On the other hand, with low level signals (mics), lytics, in my experience, degrade signal a lot, so I use the polypropylene types only.
So yes, I've experienced the "harshness" of Pana FR myself when I used them as the phantom blocking caps. It was unexpected, but it's true. It's especially pronounced with fast uber op-amps. Sibilant, harsh, piercing sound. I've tried other lytics and they all sucked in this position in different ways. So, I use MKPs only as phantom blockers now. Nothing special, though, just regular TDK/Wima industrial staff. The major problem is the SIZE, obviously. I would be happy not to spend such amount of money and real estate for them, but I've found any other types are inferior in this position. And I can match the polypropylene ones.
I found that it's hard to "kill" line level signals nowadays. I have a monitor controller (LM4562-based, direct coupled, servos on the outputs, good relays) so I can switch from the direct outputs of my DAC to the monitoring through my recording console. That means the signal is routed through the stereo input channel to the master and then to the controller. This path contains lots of the LM4562s and 3 pairs of dramatically oversized Pana FR caps (faders and ouputs). And, with careful level matching, there is almost no difference in the audible sound quality. I need a very decent orchestral record to distinguish the paths, and with any "-6 pop mix" it's just impossible in a blind test.
On the other hand, with low level signals (mics), lytics, in my experience, degrade signal a lot, so I use the polypropylene types only.
So yes, I've experienced the "harshness" of Pana FR myself when I used them as the phantom blocking caps. It was unexpected, but it's true. It's especially pronounced with fast uber op-amps. Sibilant, harsh, piercing sound. I've tried other lytics and they all sucked in this position in different ways. So, I use MKPs only as phantom blockers now. Nothing special, though, just regular TDK/Wima industrial staff. The major problem is the SIZE, obviously. I would be happy not to spend such amount of money and real estate for them, but I've found any other types are inferior in this position. And I can match the polypropylene ones.