John Curl's Blowtorch preamplifier part II

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As far as phase polarity. Think about a grand piano for example: The hammer always strikes the string from the bottom in an upward motion. Filp the phase and you have this,

Emerson%20Lake%20and%20Palmer%20Keith%20Emerson%20performing%20upside%20down%20playing%20piano%20LONDON,%201973.jpg

Great for a gimmick show but....
 
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You probably didn't exhaust the known instrumentation. I have a friend who is an optics expert and has worked on many DARPA grant projects. He routinely talks about measurements orders of magnitude below nanometers.

None of this explains the SET crowd with their amplifiers that have easily measurable amounts of any signal aberration you want, unless there are purely subjective preferences. I've been there listening to music where the harmonic content is very evident (gamelan) the crowd swooned over obviously audible LARGE amounts of harmonic distortion. There is no arguing after some point, this was truer to the music and the relatively distortionless SS amplification was sterile and boring.


WHO does he now at NAVAIR? I still cant get you to cool an opamp!
 
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Absolute polarity matters most when playing large transient (eg drum).

It is the phase interrelation of the various ‘harmonics’ contained that is important to be preserved during recording/playback.

The ear is more sensitive to rarefaction than compression.

Please provide some reference on this.
Unless you are talking about perceptual hysteresis which has a different explanation.
A quick overview
https://courses.physics.illinois.ed...Notes/P406POM_Lecture_Notes/P406POM_Lect5.pdf


As far as phase polarity. Think about a grand piano for example: The hammer always strikes the string from the bottom in an upward motion. Flip the phase and you have this,
Great for a gimmick show but....

The gimmick is great but hammering the string from the bottom or from the top will make no difference. It will make a difference if you hammer it sideways. (difference in the rate of energy transfer from the string to the bridge, to the soundboard. This affects the pitch and the decay profile of the sound in a complex way)
http://www.jjburred.com/research/pdf/burred_acoustics_piano.pdf


George
PS: A good book (easy reading)
This Is Your Brain on Music: The Science of a Human Obsession: Daniel J. Levitin: 9780452288522: Amazon.com: Books
 
It is the phase interrelation of the various ‘harmonics’ contained that is important to be preserved during recording/playback.
Strongly asymmetric sounds like speech (singing also) and pulse pressure wave generators like kick drums require signal initial peak playback in correct acoustic absolute polarity.
Relative time shifting and level alteration of harmonics can reverse the peak values of the initial and first return halfwaves, and this can fool the senses.
Tone generator instruments are by definition much less assymetric and therefore less polarity important....except for the initial string pluck which is directional.

Dan.
 
It can't be audible, because the polarity of signals in the spectrum at the listening position varies continuously depending on wavelength/frequency. What gets to your ears is a continuously varying soup of polarities defying any plausible expectation that the initial starting position when the music was started can be still detected while it is playing.
Ah ?
Did-you mean the speed of sound in air is frequency dependant ?
 
I also appreciate the TI paper, but it does not give me what I really need to know about why IC op amps can sound different. I can hear the differences (open listening) but I can't really explain them.

On another topic, absolute polarity is a tough one apparently, with double blind testing. I know that Dr. Lipshitz could hear it with open listening, but had trouble with double blind testing, although I think that he eventually succeeded at some point. This was decades ago when we addressed this issue in depth. I am surprised how many here don't know about the earlier research. We seem to have to re-invent each topic, as the years go by.
 
Of course not. Not as a first approximation, at least.
So a positive transient signal whatever his form will arive as a positive variation of pressure of the same form as far as the treebles are not too much attenuated by the distance) right ? And a negaticve as negative.
Reason why i don't understud your "...because the polarity of signals in the spectrum at the listening position varies continuously depending on wavelength/frequency.".

Tryphon.
 
Strongly asymmetric sounds like speech (singing also) and pulse pressure wave generators like kick drums require signal initial peak playback in correct acoustic absolute polarity.
Dan.

So a marching band goes down the street, and they have a guy playing a bass drum, and he is striking both heads of the drum. Which side of the street is the "wrong" side to stand on? What if he is just striking one drum head?

https://docarts-cms.s3.amazonaws.com/asset/image/image-000334-1371606278_1_multiple.jpg
 
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Wow, cool! Thanks for the link, this is right up my alley.

Yup. IMO, very well written (chapter IV in particular)

Ah ?
Did-you mean the speed of sound in air is frequency dependant ?

Hi Tryphon
For the temperature and pressure ranges into which we are able to survive, air is not a frequency dispercive medium.

Jan is referring to two practical issues:
1. Head movement. Wavelength on air is 1m for 340Hz, 0.1m for 3.4kHz, 0.05 for 6.8kHz, 0.025m for 13.6kHz. A head movement half this distance will bring the ears at the position of opposite phase (“head on the vice”).
2. Multiple sound sources due to reflecting surfaces

George
 
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Please provide some reference on this.
Unless you are talking about perceptual hysteresis which has a different explanation.
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This is not new information about hearing. It is a characteristic of our hearing mechanism.
Nothing to do with phases and harmonics etc. just sensitivity to polarity re. pos vs neg pressure sensitivity of the ear.

THx-RNMarsh
 
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