>Full complementary balance is a must,
>for me, and has been since 1967.
I found it attractive for awhile, but found that
(for whatever reason?) I (most times) seem to get
a cleaner trace on my scope with single ended.
Almost like complmentary voltage gain gives some
sort of low level oscillation or high speed jitter.
Also I get faster clipping recovery with single
ended.
I certainly don't mean this as the truth in general,
but what my experience and circuitry have produced.
>for me, and has been since 1967.
I found it attractive for awhile, but found that
(for whatever reason?) I (most times) seem to get
a cleaner trace on my scope with single ended.
Almost like complmentary voltage gain gives some
sort of low level oscillation or high speed jitter.
Also I get faster clipping recovery with single
ended.
I certainly don't mean this as the truth in general,
but what my experience and circuitry have produced.
For everyone, there is nothing wrong with single ended, ESPECIALLY with tube designs, where we don't have to work so hard to reduce the open loop distortion. However, Nelson Pass (and others) have covered this approach as good and probably even better than I can ever do, and I would appreciate it if we can keep with complementary design on THIS thread.
How do you keep a thing like this (I mean all mosfets) DC stable. Mosfet specs are notoriously 'loose' and all of them (I'll include JFET's in this last statement as well) drfit like hell with temperature.
Mosfets are not quiet either.
JFET on the front end are great but I have reservations about the use of mosfets - they are not quiet either.
Mosfets are not quiet either.
JFET on the front end are great but I have reservations about the use of mosfets - they are not quiet either.
The problem with an audio signal, is that it is the most complex signal that is its possible to transmit. Harmonics, and complex loading all over the place, never the same, for even one millisecond. Therefore, logically, one is always in an unwanted area with respect to any aspect of loading or flow, at any given moment. No ideals. Recognizing that is important. It helps to organize the mind with respects to searching for constructive solutions to these unrecognized issues.
The next logical step, is then understanding that if one is anchored in permanent distortion and instability..and that such a thing is it's own form of extremism..and/or 'infinity'..then..logically..pursuing 'infinity' within the extremism of solutions applied to attempt to 'repair' the situation can, will, and does pay off.
The next logical step, is then understanding that if one is anchored in permanent distortion and instability..and that such a thing is it's own form of extremism..and/or 'infinity'..then..logically..pursuing 'infinity' within the extremism of solutions applied to attempt to 'repair' the situation can, will, and does pay off.
Hitsware, you are incorrect. Class D has plenty of xover distortion. I have measured it myself! It is because there is a usual 'dead zone' between turn off and turn on between output devices in order to avoid 'shoot-through'.
By the way, your understanding of what I said about NP was incorrect, on your own website. He didn't do anything wrong, I did.
By the way, your understanding of what I said about NP was incorrect, on your own website. He didn't do anything wrong, I did.
The next logical step, is then understanding that if one is anchored in permanent distortion and instability..and that such a thing is it's own form of extremism..and/or 'infinity'..then..logically..pursuing 'infinity' within the extremism of solutions applied to attempt to 'repair' the situation can, will, and does pay off.
?
?
There is a classD design by Bruno Putzeys called UCD, where the ammount of dead time could be adjusted like we adjust bias pot in classAB amps until reaching crossconduction state (heat like heavy biased classAB in analog amps) between mosfets.
The effect is the same as in analog amps. More heat gives better sound.
- Status
- Not open for further replies.