The Component's Unique "Sonic Signature" Will Become More Audible and Evident (continued)
In electrical engineering, the term used to identify the total behavior and performance of a given circuit or device is called its TRANSFER FUNCTION, and by its very nature it is expressed in the form of mathematical equations. These equations can predict not only the general performance parameters and limitations of the completed device, but also the types and magnitudes of the distortion artifacts that it will generate as well. Nevertheless, there are limits to this capability in that the Transfer Function can only predict distortion products based on a prior process of accurately identifying the electrical parameters and limitations of the general circuit design and the properties of the individual parts used in its construction. The more comprehensive and accurate the list of circuit and part parameters, the more accurately and succinctly the Transfer Function will be able to describe and/or predict the device's behavior and distortion products.
The one great caveat of it all lies on the fact that the predictions made by a device's Transfer Function will always be limited and incomplete in their accuracy and ability to fully describe its behavior due to the extreme complex nature of all associated electrical parameters extending down into the quantum regions of physical reality. Whatever they happen to be, the list thereof asymptotically approaches infinity as one continues to peel back the associated layers. Therefore, in order to come to some practical description of the circuit or device within a reasonable time frame, engineers essentially have no choice but to omit all parameters that they deem to lie below some certain predetermined threshold of relevance. It is that area of audio component operation that we are concerned with here and that D.R.R.T. is intended to address. Conversely, the areas of component operation that the engineer's Transfer Function CAN describe with reasonable accuracy are also the regions of performance that D.R.R.T. is purposefully designed to leave untouched and unaffected.
Continuing with the above concepts in mind, the fact is that except for under those conditions wherein a given audio component is being pushed near to and/or beyond its performance limits (i.e., amplifier "clipping," etc.), a large percentage (but not all) of the total distortion products generated by a given device remain at relatively low-but-constant (static) amplitude (volume) levels. In most cases sufficient identification of the underlying electrical parameters governing the bulk of a given device's operating range have been included during the development of its Transfer Function as deduced by the design engineer, so most of the associated distortion products described in the previous sentence will be predicted with relative accuracy as well. This remains true irrespective of the actual amplitude of the audio signal being reproduced by the device or its spectral content.
That said, the resulting distortion then becomes the primary source of what is often refer to as the component's "SONIC SIGNATURE," as it cannot be altered via any method other than by changing the fundamental design of the device's circuitry and/or the parts used to construct it. As stated, D.R.R.T. treatment DOES NOT involve altering circuit design whatsoever, and neither does it involve the changing of any fundamental parts - i.e., those that would normally be directly described by the device's fundamental Transfer Function.
Often such design-related distortion artifacts are actually deemed to be somewhat "pleasant" sounding due to their relatively low levels with respect to the primary signal being reproduced, In fact, a very high percentage of audio consumers feel that such distortion can actually impart a type of musical "nuance" and/or a more realistic quality to the reproduced sound. Although certainly not limited to this type alone, that is why certain classes of audio components such as designs based on vacuum tube technology are often highly rated and sought after.
In light of these facts, when the noise and distortion artifacts that the D.R.R.T. IS designed to affect have thereby been reduced and/or eliminated, they no longer mask the underlying sonic signature of the product. As a result, the component's sonic signature and whatever distortion artifacts it may be comprised of will seem to come to the forefront and be more easily heard - for good or (possibly) bad. In most cases the effect will be deemed as an overall and very worthwhile improvement in the sound of the product, but one should realize that in some cases it might not be as desirable as originally anticipated. If so, then most likely the sonic signature (distortion artifacts) generated by that component were never really all that pleasant sounding to begin with and/or they have become too clearly audible for one's tastes or preferences.
The above is the one main caveat of the TDSS D.R.R.T. treatment, so you should be forewarned - For good or bad... after D.R.R.T. treatment of your component you WILL hear EXACTLY what it is doing (or not doing) to the music. This is something that TDSS cannot control, so you would be well advised to take your time and evaluate a given component's strengths and weaknesses before selecting it for D.R.R.T. treatment.