Hi !
French drivers being used down there. I agree to the very different bass reproduction you usually get from different amps or more likely; the combination of amps and speakers.
What is good bass for you and what type of music do you listen to?
I have a preference for tight bass that starts and stops immediately (is transient) and is more of the "dry and somewhat analytic kind" and not round, boomy or exaggerated.
But it took me some years to achieve this. Some reviewer said "a bass reproduction that breeds", although I thought this description to be nonsense I now believe in it. Listening to e.g.
reggae is now much more fun since I have detected that the musician's didn´t play the way I thought they did. But the reproduction is now more true (to me) since I have heard the real thing in a three day international reggae festival in our town.
Room acoustic treatment and capable amps are equally important,
and how the amp and the speakers interact may be a bit unpredictable. The damping factor of the power amp seems to me
not being the most important figure as long as it is above a certain value.
As said, everyone may confess to a real or true bass reproduction, but this is in turn a bit subjective I think. We don´t perceive sound in the same way. And when building amps we often implement a certain signature to them.
If I knew of a very good Class D amp for sub bass use I would probably use it myself. But since my Tripath based amp gave up
I found that my linear amps did it better. But there is probably some Class D amps good enough.
French drivers being used down there. I agree to the very different bass reproduction you usually get from different amps or more likely; the combination of amps and speakers.
What is good bass for you and what type of music do you listen to?
I have a preference for tight bass that starts and stops immediately (is transient) and is more of the "dry and somewhat analytic kind" and not round, boomy or exaggerated.
But it took me some years to achieve this. Some reviewer said "a bass reproduction that breeds", although I thought this description to be nonsense I now believe in it. Listening to e.g.
reggae is now much more fun since I have detected that the musician's didn´t play the way I thought they did. But the reproduction is now more true (to me) since I have heard the real thing in a three day international reggae festival in our town.
Room acoustic treatment and capable amps are equally important,
and how the amp and the speakers interact may be a bit unpredictable. The damping factor of the power amp seems to me
not being the most important figure as long as it is above a certain value.
As said, everyone may confess to a real or true bass reproduction, but this is in turn a bit subjective I think. We don´t perceive sound in the same way. And when building amps we often implement a certain signature to them.
If I knew of a very good Class D amp for sub bass use I would probably use it myself. But since my Tripath based amp gave up
I found that my linear amps did it better. But there is probably some Class D amps good enough.
Bass is not the strongest point of Tripath designs, no wonder your linear amp performs better. I have only tried Tripath and UCD as far as class D amps concerns and all I can tell is that the UCD is much better in bass performance, better defenition, fuller, deeper and more lush sounding than the Tripath's. Actually my old NAD 2200PE does it better also in the bass deoartment compared to the Tripath, ucd is clearly better though.
Thanks Sjef!
The problem is that even minor changes to the loudspeaker and the cables running to them affect the perceived bass sound.
Before the Tripath TA-104 gave up I made some tweaks that certainly changed the sound coming from the subs.
But now I realize that I clearly prefer the sound that I have obtained by using the linear amps. Bass lines have more contour and especially the start of bass guitar notes are much more clearly defined. Thus it´s more easy to follow how the bass drum and bass are played together. As I listen to old disco and Reggae
as well as Afrobeat I find it very interesting to be able to follow "exactly" how the rhythm is created. I have discovered that even though the studio musicians are extremely talented they still make minor mistakes and that also leads to a more human touch to the music. I have never thought "this was an A by an open A-string" before....
Now, I cant afford to by another Dynamic Precision A1 amp at about $ 14000 so I will go for something cheaper but hopefully still good enough. The new amp will probably be a Class D one.
Problems are that I don´t know any person who owns e.g. an UCD 400 or UCS 700 amp so I can check if i like it.
I will probably build two mono blocks from two different companies so I can compare them. Maybe an UCD and one from ....?
I have also read much positive about the German company HifiAkademi, but the power amp they sell is a stereo amp.
http://www.hifiakademie.de/ (sorry, in German only)
A blind test of several Class D amp is what I want to read even though such tests have their drawbacks.
Having "perfected" the bass reproduction for some years now I have said that it was as perfect as it could be done by me and that I was quite satisfied with it. But it´s almost scary how far one can go in this pursuit. But periodically I just buy some new records and listen to my not-yet-ready setup.!
A friend of mine says that the bass I now get in my listening room is unnaturally good, that it shouldn´t be possible to obtain the result in this room.
The problem is that even minor changes to the loudspeaker and the cables running to them affect the perceived bass sound.
Before the Tripath TA-104 gave up I made some tweaks that certainly changed the sound coming from the subs.
But now I realize that I clearly prefer the sound that I have obtained by using the linear amps. Bass lines have more contour and especially the start of bass guitar notes are much more clearly defined. Thus it´s more easy to follow how the bass drum and bass are played together. As I listen to old disco and Reggae
as well as Afrobeat I find it very interesting to be able to follow "exactly" how the rhythm is created. I have discovered that even though the studio musicians are extremely talented they still make minor mistakes and that also leads to a more human touch to the music. I have never thought "this was an A by an open A-string" before....
Now, I cant afford to by another Dynamic Precision A1 amp at about $ 14000 so I will go for something cheaper but hopefully still good enough. The new amp will probably be a Class D one.
Problems are that I don´t know any person who owns e.g. an UCD 400 or UCS 700 amp so I can check if i like it.
I will probably build two mono blocks from two different companies so I can compare them. Maybe an UCD and one from ....?
I have also read much positive about the German company HifiAkademi, but the power amp they sell is a stereo amp.
http://www.hifiakademie.de/ (sorry, in German only)
A blind test of several Class D amp is what I want to read even though such tests have their drawbacks.
Having "perfected" the bass reproduction for some years now I have said that it was as perfect as it could be done by me and that I was quite satisfied with it. But it´s almost scary how far one can go in this pursuit. But periodically I just buy some new records and listen to my not-yet-ready setup.!
A friend of mine says that the bass I now get in my listening room is unnaturally good, that it shouldn´t be possible to obtain the result in this room.
The option of money back is great and it´s possible to use the Coldamp modules in bridge mode as well.
If it only was like in the former Sovjet Union; one model for the Nomenclatura (the elite) and one for the ordinary people....
There are too much to choose from... (only kidding)
BTW if the amp I will build is good enough I can use it to drive my
2* Accusound (Thiel&Patner) C79 ceramic driver and a C220 (8")
driver as an alternative use and use the A 1 for the subwoofers. I will be triamping with the 100w Class A amp for the treble (Eton ER4 AMT).
The new UCD 700 HG has the advantage of enough power. I usually play loud for some hours per week as I have tinnitus and in addition don´t want to disturb my neighbours (they don´t complain).
Sometimes I play at a low SPL late and this is enjoyable as well but feels a bit like overkill.
If it only was like in the former Sovjet Union; one model for the Nomenclatura (the elite) and one for the ordinary people....
There are too much to choose from...
(only kidding)BTW if the amp I will build is good enough I can use it to drive my
2* Accusound (Thiel&Patner) C79 ceramic driver and a C220 (8")
driver as an alternative use and use the A 1 for the subwoofers. I will be triamping with the 100w Class A amp for the treble (Eton ER4 AMT).
The new UCD 700 HG has the advantage of enough power. I usually play loud for some hours per week as I have tinnitus and in addition don´t want to disturb my neighbours (they don´t complain).
Sometimes I play at a low SPL late and this is enjoyable as well but feels a bit like overkill.
Yes, they can be bridged... also on 4 ohm!
I got >1200W peak with a SPS80 and 2xBP4078 modules on a big 4 ohm subwoofer, greatly exceeding the modules' official rating (800W/8ohm in bridge) but with no problem or heat at all, and it played for a long time. My 90Kg subwoofer literally moved on the floor.
It seems that they can be squeezed quite a bit more than expected!
I got >1200W peak with a SPS80 and 2xBP4078 modules on a big 4 ohm subwoofer, greatly exceeding the modules' official rating (800W/8ohm in bridge) but with no problem or heat at all, and it played for a long time. My 90Kg subwoofer literally moved on the floor.
It seems that they can be squeezed quite a bit more than expected!
Amazing! The output transistors of the Coldamp modules looks tiny especially compared to the TO-247 cased of the Tripath (but big transistors with relatively long leads are not an advantage in Class D amps I have learned).
Bass reproduction is eventually the foundation for much of the soul of the music and even influence our perception of the whole
sound "picture". To me, bass notes and bass drums are telling a story of archaic dimensions. In contrast to common belief traditional afro drums isn´t improvised but the drummer tells the name of the family. And if drumming and dancing leads to trance the gods play through the drummer. A certain drum is talking with the voice of a certain god. Or the drum is the god....
In contrast Buddhist monks should not repeat the same rhythm pattern on the drum as if repeated it can lead to the illusion that something in life could happen again. All is change which I agree to.
Has this something to do with Class D amps?
Maybe music has more of a spiritual dimension than we use to think of and the amps are just tools for us to come in contact with
our origin? I don´t know for sure.
Bass reproduction is eventually the foundation for much of the soul of the music and even influence our perception of the whole
sound "picture". To me, bass notes and bass drums are telling a story of archaic dimensions. In contrast to common belief traditional afro drums isn´t improvised but the drummer tells the name of the family. And if drumming and dancing leads to trance the gods play through the drummer. A certain drum is talking with the voice of a certain god. Or the drum is the god....
In contrast Buddhist monks should not repeat the same rhythm pattern on the drum as if repeated it can lead to the illusion that something in life could happen again. All is change which I agree to.
Has this something to do with Class D amps?
Maybe music has more of a spiritual dimension than we use to think of and the amps are just tools for us to come in contact with
our origin? I don´t know for sure.
By bridging two modules: then you get double the voltage on the load: If you feed them with, say, +/-55V, you can easily get +50V at the positive side of the speaker and -50V at the negative one, thus the total voltage is 100V. In the opposite phase of the cycle, the voltages reverse, so you can get -100V.
Then the total excursion, seen by the speaker, is +/-100V, what translates to more than 1200W if its impedance is 4 ohm.
Each amplifier, however, sees only half of the load, that is, 2 ohm. There are not too many amps out there that can work at such power level with 2 ohm.
This is only general bridge theory.
Then the total excursion, seen by the speaker, is +/-100V, what translates to more than 1200W if its impedance is 4 ohm.
Each amplifier, however, sees only half of the load, that is, 2 ohm. There are not too many amps out there that can work at such power level with 2 ohm.
This is only general bridge theory.
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