I am working on it. They are about 1 inch wider than I have space for and I have to do some furniture cutting to fit it in where the old speakers used to. Funny thing is, my Lisa, suggested the cut/trim. I thought of it also but didnt dare suggest it. So, its her fault if it looks like 'sh*t.
Major surgery. But should be done in a few more days. I had forgot that I have stuffed away a multi-channel PRO version of Audysee automatic room/speaker equalizer. It is a product not sold to consumers but to system installers.
After the X-over is made (miniDSP?), I can put that on it and let it do the fine tuning. Then I will be ready to listen.
But I wont have the super amps finished until Nov. But will press other ones into service. It will take awhile but should be Great!
THx-Richard
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Engineering is a bad area for beliefs. They get shot until the truth comes out. And the truth is that virtual all boutique components measure worse than their down to earth counterparts which are designed using just engineering skills.
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If an amp has no measurable distortion, the wave shape of what comes out is identical to what came in, times something. No amplifier has ever managed to do so, nor has any measuring equipment ever been developed that would able to measure such an amp. But fortunately, we have strong evidence that under a certain distortion limit, which can be easily measured with equipment developed in the last century, human ears can no longer discern distortion.
Only if some musical quality is transmitted through some hitherto unknown, non-electrical dimension, you might be right.
Regarding boutique equipment, it could be that an otherwise very good system, but with very tiny amounts of 2nd and/or 3rd harmonic distortion sounds subjectively "better" to some people for some music than if those artifacts were absent. Yes, that would amount to adding your own effects, but if you like it better that way then so what? What makes you think the mix and mastering engineers got it perfect, or made the best sounding record possible? And for those claiming to want be most accurate realism possible, what makes you think the recording equipment was all that accurate?
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The nutty professor doesn't count. After all, it's not a legally protected title.
(such as 'engineer')
What are the protected titles in your country?
As far as I know, in the UK
Doctor, Architect, Chartered Accountant, Chartered Surveyor are all legally protected
engineer is not legally protected. It gets used by any and everyone.
The Engineering Council would take action to prevent one misusing Chartered Engineer.
As far as I know, in the UK
Doctor, Architect, Chartered Accountant, Chartered Surveyor are all legally protected
engineer is not legally protected. It gets used by any and everyone.
The Engineering Council would take action to prevent one misusing Chartered Engineer.
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Well, nobody walked away with the 10K and the maximum distortion specified was 2%.
Richard Clark Amplifier Challenge FAQ
Now, I am sure that 2% of 7th harmonic is quite likely to be audible. In other words, it is also the composition of the distortion spectrum which plays a role here. But you get the point. Chasing down distortion of an amplifier from 0.1 % to 0.01% is not going to make any audible difference, provided the spectrum is low order.
We have PE for which there are tests related to discipline. It is required to sign off on many types of plans.
NCEES PE exam
Should be? How much death and destruction have been directly caused by engineers over the course of history? The only reason we license engineers at all is out of fear that bridges and buildings will fall down if we don't. And the decision to license itself is a political one. Why not just as much need to make such political decisions rationally, as there is need to make rational engineering decisions?
Sure, there are already natural low order harmonics present in most musical sounds, except maybe things like sine wave synths. Reliably knowing when there is a little more is hard.
But some distortion is much more objectionable and non-musical. I don't know what the exact limit is either, and it may depend on a number or variables. Most people can't hear 20kHz, for example, but at least we know something about the probability distribution of who may be more or less likely to be able to hear it. We don't know as much about ability to hear distortion, at least that I am aware of.
distortion audibility
Geddes (and his predecessors) has done some fairly careful work.
The bigger problem with nonlinearities that generate low-order harmonics is the IM distortion attendant on multitone material. Although Atkinson seems to go on in equipment measurement sidebars about the "subjectively benign" second and third order, I align with Putzeys here: none of it is good.
One of the issues in particular arises owing to the near-ubiquity of equal temperament in Western music, where only octaves are "pure". Notes in the midrange are at frequencies not precisely coincident with the overtone series (I qualify with midrange because there is more divergence between perceived pitch and frequency at low and high frequencies). So although the numerology of IM sum and difference and more complicatedly-derived frequencies could reinforce or subtract from given musical instruments' overtones, they can't if the instruments are emitting frequencies based on powers of the twelfth root of 2.
Not that hardly anyone seems to care.
Geddes (and his predecessors) has done some fairly careful work.
The bigger problem with nonlinearities that generate low-order harmonics is the IM distortion attendant on multitone material. Although Atkinson seems to go on in equipment measurement sidebars about the "subjectively benign" second and third order, I align with Putzeys here: none of it is good.
One of the issues in particular arises owing to the near-ubiquity of equal temperament in Western music, where only octaves are "pure". Notes in the midrange are at frequencies not precisely coincident with the overtone series (I qualify with midrange because there is more divergence between perceived pitch and frequency at low and high frequencies). So although the numerology of IM sum and difference and more complicatedly-derived frequencies could reinforce or subtract from given musical instruments' overtones, they can't if the instruments are emitting frequencies based on powers of the twelfth root of 2.
Not that hardly anyone seems to care.
Not anywhere near as much as politicians, religious fanatics, philosophers . . .
Well, we technogeeks do seem to have been responsible for coming up with most of the weapons and technologies those other guys use to up the scale of the damage they can create
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