Nuts, no Status Quo.
Hmmm, I've got some Buddy Rich, he's a drummer.
Do you have any? Buddy, I've got a few let me find
what I have.
My baby girl is really asking for it.
She's lounging on the bed with the
TV controller.
I hope I don't have to take this as a hint,
but she's go the TV tuned to:
Heavenly soft sleepwear and loungewear from notorious lingerie
designer, Carole Hochman, is on QVC.
Hmmm, I've got some Buddy Rich, he's a drummer.
Do you have any? Buddy, I've got a few let me find
what I have.
My baby girl is really asking for it.
She's lounging on the bed with the
TV controller.
I hope I don't have to take this as a hint,
but she's go the TV tuned to:
Heavenly soft sleepwear and loungewear from notorious lingerie
designer, Carole Hochman, is on QVC.
Not to dispute the perceptions---although the notion of a cymbal sound being an issue of the power supply is somewhat far-fetched---but realize the huge effect that level has on timbre, and (probably) perception of attack and decay transients. This occurs of course in live music, but to begin with we have a much greater tolerance of aberrations there than we might do with reproduction.
This is one of first really obvious sound issues I became aware of 30 years ago, which is why I place such emphasis on it. I had a power amp, a Perreaux, which had the defect in the power supply very clearly - I could bring the volume slowly up to a very precise point, every time: clean, clean, clean, then first sign of flatness, which just got worse trying to push past that point. The subjective change of volume during this transition was absolutely minimal, but the change of timbre, in that specific area, was very marked.
As a result of this I started a major process of improving the supplies of that Perreaux, which then allowed me to go well past that earlier point. A Bryston I heard recently was the most competent I have ever heard in this respect, it could go way past any reasonable volume while still maintaining complete control of the treble area.
The simple explanation is that the type of circuit topology used in those amps requires negative feedback to work well for treble clarity, and that feedback starts to struggle when the power supply is modulating badly - stiffen the supply, feedback then works much better, and cleaner treble emerges.
Actually, most R&R is pretty good, provided the drummer uses the cymbals a fair bit. You need something with compressed guitar sound going at a good level, which puts the "load" on the system overall, and then have the cymbals cutting through that sound. When a system gets that right it's remarkable to hear ... and then you realise that's what you hear if you happen to be in a room with a band practising ...
I have an excellent live Jimi Hendrix track, where the drum kit is brilliantly clear, fully resolved - while at the same time Jimi hammers the Marshall.
That's a pretty good explanation of the sound.
I'll have to find that Status Quo at the 1/2
price CD store and look for that song on it.
May take me a bit....and worth a listen.
If the drummer has it dialed in and the
production is good it will be worth it,
and now I am aware of your listening
and observations.
I'll have to find that Status Quo at the 1/2
price CD store and look for that song on it.
May take me a bit....and worth a listen.
If the drummer has it dialed in and the
production is good it will be worth it,
and now I am aware of your listening
and observations.
Wondering what else would work FAS42.
ZZTop - Fool For Your Stockings?
Van Morrison - Moondance?
Chris Rea - Texas?
forgot - Hippies on the Street Corner?
Days of the New - yellow disc? funny a buddy of mine told me
my system sounding like do do and all full of distortion...I tried
to explain to him that is was the "music".
ZZTop - Fool For Your Stockings?
Van Morrison - Moondance?
Chris Rea - Texas?
forgot - Hippies on the Street Corner?
Days of the New - yellow disc? funny a buddy of mine told me
my system sounding like do do and all full of distortion...I tried
to explain to him that is was the "music".
My point was there is two "halls" of engineering around here.
In the blowtorch , they "echo" a lot !
... in other halls ,new things are observed.
Why a MOSFET VAS takes out the drivers on a BJT EF3 ? Same input stage
works on a MOSFET output stage.
Even as it was not my creation , a curious child needs to know.
The last few "blowtorch pages" were triggers to find out some new
material - keep it up (constructive disscussion).
OS
I'm with John on this, I hate to admit
You can get no nonlinearity from linear models, but the model is only used to look at linear effects, like charging/discharging.
If you want to know whether DA can lead to non-linearities, you need a model that includes more accurately any nonlinear soakage-release effects - if these are there; I don't know that.
But saying that DA cannot lead to nonlinearities because the model has only linear elements is a prime example of circular reasonoing.
Jan
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bx .... linear component (straight line)
c ..... DC offset component, may be zeroed
ax2 .... square component, second harmonic distortion
There's plenty out there to use, each can pinpoint a different aberrant behaviour. ZZ Top is good (!), Afterburner is the one for testing driving, heavily processed sound - very dense mix, very studio, excellent for checking how the layers separate, and whether the vocals come through naturally. Also, should have a very high impact, deeeep, bass foundation to the sound. Some may say this is a distorted recording, but it's not! Very full, tight, but smooth sound - can tell one a lot ...
Trying ... - with regard to ZZ Top this video, https://www.youtube.com/watch?v=2-dSTR1-Hiw, gives one an idea what I'm looking for ... the track starts with 100% drums, then driving guitars enter the mix. The drum sound should not alter one iota, should maintain its presentation perfectly in that transition - this is key!
- with regard to ZZ Top this video, https://www.youtube.com/watch?v=2-dSTR1-Hiw, gives one an idea what I'm looking for ... the track starts with 100% drums, then driving guitars enter the mix. The drum sound should not alter one iota, should maintain its presentation perfectly in that transition - this is key!
Sorry, I don't quite get what you are saying here.RNMarsh said:
You must have read a different version of the paper. The version I just read says that film caps are stable when compared to high-k ceramics - but surely we all knew that?
I think you have it back to front. DA is not defined to be linear because it arises from a linear model. DA has been found to be linear and hence can be modelled by linear elements. No circularity involved at all.jan.didden said:
I am still puzzled by your attempt to distinguish between "charge/discharge" and audio use of capacitors. I can't think of anything in audio which uses the cap in some other way than charge and discharge. Is there something else you can do with a cap apart from changing the voltage across it by passing a current through it?
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