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Daniel lalonde 22 Oct I had my Solar panels installed in late June Watts Up Solar answered all questions in a timely manner, extremely professional staff and understanding of clients needs.
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Thank you Watts Up Solar. Jim Marsh 21 Oct The team at Watts Up Solar installed our system a month before this review and we are thrilled with the results.
The installation occurred across a busy summer season with a heat wave and a hurricane interceding but the 30 solar panels which had just been installed 3 weeks earlier were unaffected.
Can't say the same about some of our trees. Our home is a 24 year old R all electric property. We started looking 5 years ago to reduce our 25, annual KWh footprint.
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Who does that anymore? Great company, exception installation. Ulrich Schmitt 16 Oct We made a great experience with Wattsup Solar from the beginning of the quote until they have finished the job.
I would say most professional solar company in Nova Scotia. They are the fastest with response and best with advise. Thank you Wattsup Team you did an awesome job.
By the way the system is running really well Calvin McKay 23 Jul When I decided to go solar, I spoke to a neighbor who already had a system up and running and was very happy with the company who had installed it.
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Best experience ever!!! BNJ gnomesofnovascotia 21 Jun We are very happy with the solar panels and the service we got from Michael and his team.
Everyone on the team was professional and very great at their jobs. The system has been up and running for almost two months now and we have generated over 2 MW of power even with all the rainy days.
There are so many pros to adding solar that we do not know why everyone with a south facing roof does not do so. The only room for improvement would be the lack of a clear schedule and even that is understandable given the weather and dependence on approvals.
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Contact me about solar and why you should choose WattsupSolar. Grow your business. Easy, done. Watts Up Own this business? Claim this business for free.
Closed now. Request appointment. Top Retail in your area. Foley Group Inc. Be careful about making judgements at shows for example - you may get very different results listening in your own home alone.
Having a cold can make surprising differences - and migraines a few days earlier can radically change your perception of sound.
Be aware - evaluating sound quality is not easy, and its easy to fall into a trap of tunnel vision of maximizing performance in one area, and ignoring degradations in other areas.
Also, its easy to get confused by distortion - noise floor modulation, can give false impressions of more detail resolution.
A bright sound can easily be confused with more details - distortion can add artificial bloom and weight to the sound. Its easy to think you are hearing better sound as it sounds more "impressive" but a sound that actually degrades the ability to enjoy music.
Remember - your lizard brain - the part that performs the subconscious processing of sound, the parts that enjoy music emotionally - that can't be fooled by an "impressive" sound quality.
Listen to your lizard brain - I will be telling how shortly. Don't be afraid of hearing no reliable difference at all. Indeed, my listening tests are at their best when I can hear no change when adjusting a variable - it means I have hit the bottom of the barrel in terms of perception of a particular distortion or error, and this is actually what I want to accomplish.
Don't listen with gross errors. This is perhaps only appropriate for a design process - but it is pointless doing listening tests when there are measurable problems.
My rule of thumb is if I can measure it, and it is signal dependent error, then its audible. You must get the design functioning correctly and fully tested before doing listening tests.
Although I have emphasised the down side to listening, I find it remarkably easy to hear big changes from very small things - the ear brain is amazingly sensitive system.
I once had an issue with a company accepting that these things made a difference, so I conducted a listening test with two "perfect" noise shapers - one at dB performance, one at dB performance.
An non audiophile engineer was in the listening test, and afterwards he said that what really surprised him was not that he could hear a difference between two "perfect" noise shapers - but how easy it was to hear the differences.
Here you listen for a set piece of music, and listen for 20 to 30 seconds, then go back and forth until you can assess the actual performance.
Instrument separation and focus. With instrument separation you are observing how separate the instruments sound.
When this is poor, you get a loudest instrument phenomena: the loudest instrument constantly attracts your attention away from quieter instruments.
When instrument separation gets better, then you can easily follow very quiet instruments in the presence of a number of much louder instruments.
When instrument separation gets to be first rate then you start to notice individual instruments sounding much more powerful, tangible and real.
Very few recordings and systems actually have a natural sense of instrument power - only very rarely do you get the illusion of a powerful instrument completely separate from the rest of the recording, in the way that un-amplified music can do.
Poor instrument separation is often caused by inter-modulation distortion, particularly low frequency. Detail resolution. Detail resolution is fairly obvious - you hear small details that you have not heard before- such as tiny background sounds or the ambient decay - and this is one measure of transparency.
But its asymmetric - by this I mean you make an improvement, hear details you have not heard before, then go back, and yes you can just about make it out - once heard its easy to spot again with poorer detail resolution.
Additionally, its possible to get the impression of more detail resolution through noise floor modulation - a brighter, etched sound quality can falsely give the appearance of more detail; indeed, it is a question of balance too; details should be naturally there, not suppressed or enhanced.
This illustrates how difficult it is to get right. Small signal non-linearity is normally the culprit for poor detail resolution.
Inner detail. Inner detail is the detail you get that is closely associated with an instrument - its the sound of the bow itself on a violin for example, or the subtle details that go into how a key on a piano is played.
Technically, its caused by small signal non linearity and poor time domain performance - improving the accuracy of transient timing improves inner detail.
Sound-stage depth. A favorite of mine, as I am a depth freak. At 1pm the Choir sing in the basilica, and we were fortunate enough to hear them.
Sitting about feet away, shutting ones eyes, and the impression of depth is amazing - and vastly better than any audio system.
Why is the impression of depth so poor? Indeed, I am of the opinion that any small signal inaccuracy, no matter how small, degrades the impression of depth.
Sound-stage placement focus. Fairly obvious - the more sharply focused the image the better. But - when sound-stage placement gets more accurately focused, the perception of width will shrink, as a blurred image creates an artificial impression of more width.
Small signal non-linearity, transient timing and phase linearity contribute to this. This is where bright instruments simultaneously sound bright together with rich and dark instruments - the rich and smooth tones of a sax should be present with the bright and sharp sound of a trumpet.
Normally, variation in timbre is suppressed, so everything tends to sound the same. Noise floor modulation is a factor - adding hardness, grain or brightness, and the accuracy of timing of transients makes a big difference.
Starting and stopping of notes. This is the ability to hear the starting of a note and its about the accuracy of transient timing. Any uncertainty in timing will soften edges, making it difficult to perceive the initial crack from a woodblock, or all the keys being played on a piano.
Unfortunately, its possible to get confused by this, as a non linear timing error manifests itself as a softness to transients - because the brain can't make sense of the transient so hence does not perceive it - but in hard sounding systems, a softness to transients makes it sound overall more balanced, even though one is preferring a distortion.
Of course, one has to make progress by solving the hardness problem and solve the timing problem so that one ends up with both a smooth sound but with sharp and fast transients - when the music needs it.
Pitch and rhythm. Being able to follow the tune and easily follow the rhythm - in particular, listen to the bass, say a double bass. How easy is it to follow the tune?
On rhythms its about how easy it is to hear it - but again, be careful, as it is possible to "enhance" rhythms - slew rate related noise modulation can do this.
In that case, things sound fast and tight all the time, even when they are supposed to be soft and slow. Clearly this links in with timbre, but here we are talking about overall refinement - things sounding smooth and natural, or hard and bright?
Clearly, frequency response plays a major role with transducers, not so with electronics. Also, the addition of low frequency LF 2nd harmonic will give a false impression of a soft warm bass.
Often I see designers balancing a fundamentally hard sound with the addition of LF second harmonic in an attempt to reduce the impact of the innate hardness - but this is the wrong approach, as then everything always sounds soft, even when its supposed to sound fast and sharp.
In electronics, assuming THD is low, then noise floor modulation is a key driver into making things sound harder - negligible levels of noise floor modulation will brighten up the sound.
Another very important aspect is dynamics and refinement - does the sound change as it gets louder - some very well regarded HP actually harden up as the volume increases - and harden up IMO in a totally unacceptable way.
We are listening with recordings for which we do not know the original performance, the recording acoustic environment, nor do we know the equipment it was recorded with, the mastering chain, nor the source, DAC, amplifier, HP or loudspeaker performance in isolation.
We are listening to a final result through lots of unknown unknowns.
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