Why do other caps have problems?


       All capacitors work by transferring energy from the input plate to the dielectric, and then from this dielectric to the output plate. In other capacitors, the design and materials of their conductors and their dielectrics are imperfect at transferring all this energy correctly. The result? Other capacitors degrade dynamics, transparency, and musical naturalness. They rob energy from instantaneous transient peaks, which of course squashes and reduces true dynamics. And then they have a further problem: this energy they rob from peaks has to go somewhere else. Where does this robbed energy go in other caps?
       First, some of this robbed energy winds up as a background modulation noise. This background noise ruins what should be a black, quiet background for music. This background noise degrades intertransient silence; further degrades your dynamic range by raising the background noise; degrades the impact and purity that music has when it stands out in contrast against a black background; and also degrades transparency and stereo or surround imaging, since the worse noise veils and obscures some of the music and imaging cues. You can hear how DynamiCap has a much blacker, quieter background than any other cap - and how DynamiCap thus also has much better intertransient silence, greater dynamic impact, higher purity, better transparency, and better imaging.
        Second, some of this energy robbed from transient peaks by other caps also winds up as an overhanging ringing after the transient. Overhanging ringing in upper frequencies makes each transient sound artificially hard and glaring. That's why virtually all other caps (e.g. Hovland, AuriCap, Teflon caps, etc.) have an artificial hard honk or glare in the upper midrange or lower treble, which they impose on all music and sound. Once you learn to identify this artificial glare added by other caps, you'll hear it on all music, and it quickly becomes intolerably obnoxious, especially with digital source material (which already has some inherent upper frequency glare). Incidentally, this hard upper frequency glare might be misinterpreted by some na├»ve listeners as added clarity or transient snap, but a sophisticated listener knows that live acoustic music does not sound like this (and these other caps impose this artificial coloration on all music, so it's clearly the fault of the cap doing something wrong). In contrast, you can hear how DynamiCap reveals the true natural timbres of live music, without added phony glare.
        Third, some of this robbed energy gets randomly splattered over time, especially in the trebles. That's why other caps cannot reproduce music's trebles correctly, with proper coherence, focus, and individuation of subtle transient details. These other caps either smear trebles into a fractured splatter (e.g. Auricap), or they defocus it into a soft, fuzzy blur (e.g. MultiCap) (and a few other caps [e.g. Hovland] simply roll off and go dull in the trebles). In contrast, you can hear how DynamiCap has superb coherence, focus, individuation, and articulation - for all volume levels, from explosive transients to delicate nuances, and for all regions of the spectrum, including the difficult trebles where other caps fail the worst.
        Note that these three problems in other caps also degrade their sonic transparency. A recording's subtle inner detail, that's crucial to making music sound real and live, actually gets obscured and blocked by these three problems in other caps. For example, the artificial glare from overhanging ringing after a transient is not only obnoxious and fatiguing in its own right, but this glare also obscures, clogs, and blocks the manifold subtle timbral and textural details that naturally follow a transient (e.g. the shimmer of a cymbal after a strike, the rich thrumming of a string after a sharp pluck, etc.). This sonic glare is analogous to visual glare, reflected off hard glass, which literally blocks your ability to see the true colors and subtle details of a scene. In the case of visual glare, a polarizer can eliminate the reflected glare, which allows you to see literally more information about the same scene, including its true colors and subtle details. DynamiCap eliminates the sonic glare that other caps have, and, just like a polarizer, DynamiCap allows you to hear the music's true timbral colors and subtle inner details. Likewise, the background modulation noise of other caps veils some musical and imaging information, information which DynamiCap reveals much more transparently thanks to its incredibly black, silent background. And the treble problems of other caps, including fractured splattering or defocus, obviously veil and obscure true treble information, thereby degrading their transparency.
       
DynamiCap is far better! You'll instantly hear the difference! Your systems' sound will have more dynamic power, impact, body - and a more realistic, natural, transparent, open, airy quality that is stunningly beautiful with all music. DynamiCap makes music and soundtracks come ALIVE! OEM users are going wild about DynamiCap, saying "Amazing!" "Customer response is fantastic!" Everyone's asking for the new red cap, the new red-hot DynamiCap!



DynamiCap's Unique Technology


The U. S. Government has officially recognized DynamiCap as so unique and advanced that they have already awarded it 8 distinct patents on different design aspects, and more patents are pending. Here are some key technological features that set DynamiCap's performance far above other caps:

Unique damping blanket. DynamiCap's specially engineered damping blanket around the capacitor body is far superior to other capacitor damping methods. Indeed, this blanket is so precisely optimized that we created two different versions of DynamiCap (one for use in loudspeaker crossovers and the other for use in electronics) - and we employ different damping blanket materials optimal for these two different applications.

(Continued on page 7)