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#21 | |
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diyAudio Moderator
Join Date: Oct 2002
Location: Austin, TX
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Quote:
In any case, it's pretty easy to get the amp-induced harmonics an order of magnitude lower than the audibility numbers being bandied about. Topology is an important factor, but as PRR has pointed out, it's just one factor. If we're designing for ultra-low distortion figures, well, all of this becomes important. If we're doing something easier, like merely designing a box of gain that cannot be detected by ear, we are free to forget about the mice and concentrate on the elephants marching around in the room.
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"It is not seemly, after wiping your nose, to spread out your handkerchief and peer into it as if pearls and rubies might have fallen out of your head." - Erasmus |
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#22 | ||
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diyAudio Member
Join Date: Jul 2003
Location: Hannover
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Quote:
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can you make this formula a little bit clearer to me? It looks nice, but I don't know where to start. Is second harmonic n=2? And what do you think is the max. amount of k2? In my opinion there are several other important things. The following statements are just an assumption: 1. The higher the output voltage the higher the distortion may be 2. Distortion should be independant from the load 3. Reversed error spectrum (higher output voltage/power) with decresed distortion is bad. This is typical for many class AB-amps. 4. The higher the output voltage the more higher harmonics may be present in the spectrum 5. Distortion should be independant from frequency 6. Distortion spectrum should not vary when two or more signals appear 7. With coupled rf-noise the the input distortion spectrum and levels should not vary It's just my opinon but I think this therory is more complex than only viewin' to one (technical and therefore simplified!) signal |
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#23 |
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diyAudio Member
Join Date: Jul 2003
Location: berkeley ca
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How about A[H(n)]=amplitude of the individual harmonics (n) The [ ! ] is a factorial.
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#24 |
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diyAudio Member
Join Date: Mar 2002
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I think NP makes a good point in one of his papers for the viability of the single ended approach. (He's speaking of output stages, but the same should hold true throughout the chain):
Sound is single ended I.E. we don't live at 0 p.s.i. The natural state of an acoustic wave is to vary around a positive value rather than to be bipolar...........mike |
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#25 |
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diyAudio Member
Join Date: Apr 2002
Location: Prague, Kitakyushu, Fukuoka
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(Factorial)
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#26 | |
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diyAudio Member
Join Date: Apr 2002
Location: Prague, Kitakyushu, Fukuoka
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#27 |
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diyAudio Member
Join Date: Jul 2003
Location: Hannover
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The problem is we cannot build a distortion-free amp (with only one exception...)
In this way we should keep the audible distortion level below the hearing threshold level. Unfortunaltely no one know exactly what this means. So we use static signals in order to map the "audible quality" to measurable signals... |
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#28 |
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diyAudio Member
Join Date: Mar 2002
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>But this has already been received by the microphone, you do not need to add any more non-symmetrical acoustic pressure distortion
But for the electronic device to act in an 'airlike' manner, should it not run the same way. Granted sort of metaphysical but ?????? |
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#29 | |
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diyAudio Member
Join Date: Apr 2002
Location: Prague, Kitakyushu, Fukuoka
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#30 | |
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diyAudio Member
Join Date: Jul 2003
Location: Hannover
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Quote:
Spectral distortions and and intermodulations at nearly every frequency, aly load, any level. It's gettig (too?) scientific. |
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