John Curl's Blowtorch preamplifier part II

[bcarso]

Originally Posted by Esperado

National Defense Foreign Language ?
Natalie Dufty Family Law (New Zealand) ?
North Dakota Film Library (Fargo, ND) ?
Nuclear Development Field Laboratory ?

CAE (Committee for Acronym's Eradication)

Nested Differentiating Feedback Loops

AES E-Library Nested Differentiating Feedback Loops in Simple Audio Amplifiers

[bcarso]

An anecdote about Ed Cherry: Floyd Toole intended to do graduate electrical engineering study with him and came to the institution where he thought he was at that time.

But it turned out that Professor Cherry was Prof. Edward Colin Cherry: Colin Cherry - Wikipedia, the free encyclopedia

And things changed a lot

[fas42]

Originally Posted by ticknpop

They can be impressive dynamically, but they are harsh and undetailed compared to Pass and Parasounds I have heard on 2 of these speakers even using a Bryston preamp and Bryston DaC / CD player.

This is the "apparent" dilemma of audio: a system must be able to reproduce the dynamics cleanly, but if it succeeds in doing this then all the deficiencies elsewhere in the chain are ruthlessly exposed. So, you either pull back on the dynamic capabilities, "politise" (what a word!) the sound; or you clean up the whole system. Very different approaches, usually very little overlap

My approach is to get the dynamics happening first, the guts must be there in the reproduction. It will be aggressive, in your face, just another PA sound at first glance. Then, you start refining, you find all the weaknesses, one by one, and eliminate them; when enough of the elements causing the harshness are dealt with, almost as if by magic the sound will gell: the hifi, PA qualitities will fall away and completely natural, full impact, realistic reproduction will take its place.

Frank

[Esperado]

Originally Posted by bcarso

Nested Differentiating Feedback Loops

Thanks a lot.
We, speaking other languages, with enough efforts to translate and different acronyms for the same things, can understand-it much better that way.

Frank, i vote for you.

[bcarso]

Originally Posted by kgrlee

Actually their latest 'specs' are much less outrageous than their original claims. Now about the level of a better than average electret omni.

Maybe they ran out of Unobtainium & virgins

This just seen: Stanford Researchers Use Synthetic Magnetism to Control Light | News | Product Design & Development

[Esperado]

Originally Posted by fas42

This is the "apparent" dilemma of audio

So true.
And there is two listening fatigues.
The first one is physical, when a system is very sharp high level and dynamic, with every attack well defined, you cannot listen too long at it. It is some kind of violent pleasure, the one i'm looking for. And the best for 20Th century music, i believe.
When a system is soft and smart, there is a different fatigue. You get tired with your brain's efforts to separate the instruments. The best for classical music, i believe. You can listen longer, but you listen with less attention.
Ferrari or Rolls.

Designing a system, as Frank said, the first situation put you in front of lot of defects to correct, from sources etc. "right in your face".
But, yes, it is more easy to go from this to a more fluent system, than the contrary, and, at the end, more natural and easy.

[fas42]

Originally Posted by Esperado

So true.
And there is two listening fatigues.
The first one is physical, when a system is very sharp high level and dynamic, with every attack well defined, you cannot listen too long at it. It is some kind of violent pleasure, the one i'm looking for. And the best for 20Th century music, i believe.
When a system is soft and smart, there is a different fatigue. You get tired with your brain's efforts to separate the instruments. The best for classical music, i believe. You can listen longer, but you listen with less attention.
Ferrari or Rolls.

But, where I may go in fact a slight step further is that I believe you can get the Ferrari and Rolls at the same time; so what I look for, for example, is replay of classical music with tremendous intensity and bite, the violins should have that a true, luxuriously sizzling edge to them, with no harshness, and a trumpet call should knock you sideways. This is indeed difficult to do, far from being a trivial list of steps to follow to get there, but once experienced anything else is too much of a compromise ...

Frank

[RNMarsh]

Originally Posted by bcarso

This just seen: Stanford Researchers Use Synthetic Magnetism to Control Light | News | Product Design & Development

This is really great news. Thx-RNM

[Joshua_G]

Originally Posted by fas42

This is the "apparent" dilemma of audio: a system must be able to reproduce the dynamics cleanly, but if it succeeds in doing this then all the deficiencies elsewhere in the chain are ruthlessly exposed. So, you either pull back on the dynamic capabilities, "politise" (what a word!) the sound; or you clean up the whole system. Very different approaches, usually very little overlap

My approach is to get the dynamics happening first, the guts must be there in the reproduction. It will be aggressive, in your face, just another PA sound at first glance. Then, you start refining, you find all the weaknesses, one by one, and eliminate them; when enough of the elements causing the harshness are dealt with, almost as if by magic the sound will gell: the hifi, PA qualitities will fall away and completely natural, full impact, realistic reproduction will take its place.

Frank

It depends on whether there is a dynamic amp which reveals deficiencies elsewhere in the system, or whether an amp may be both dynamic and having a harsh sound to it.

[Mr. dB]

Originally Posted by kgrlee

I'm certain the grey paint was after IAG (??) bought QUAD. They are the same mob that bought Wharfedale and turned it into a box stuffer.

The gray paint was on the "57s".