I wrote:
To which you replied:
Then I asked:
You see, my question came from you asking me to observe harmonics and listen to them as a way to learn how amp's micro-dynamics is being revealed by measurements.
If amp's micro-dynamics isn't being revealed by it's harmonic distortion, by what measurements does it being revealed?
By observing what happens in dynamic, how sound correlates with waveform and spectrum. You want to understand dynamic things, but again and again return to static measurements. Take short duration of sound in sustain phase of trumpet, guitar, piano, violin, and tell me which one belongs to which instrument. Is it easy? Now, measure total harmonic difference of that sounds from a plain sine wave and tell, which one is which, by THD only. Can you?
Back to a hospital and temperature example. In order to decrease total average temperature you may cure all patients. But you may make some of them to have a room temperature. The measured result will be the same. Now, in order to decrease THD you may kill less audible distortions, but the method of killing them increases more audible ones. Is it better, or not?
Do you hear me now?
Back to a hospital and temperature example. In order to decrease total average temperature you may cure all patients. But you may make some of them to have a room temperature. The measured result will be the same. Now, in order to decrease THD you may kill less audible distortions, but the method of killing them increases more audible ones. Is it better, or not?
Do you hear me now?
For one, I don't have enough amplifiers on which to make this study.
The few amps I have sound too similar.
Standard MO. Make an unsubstantiable statement, then parry by stating that the information has been previously posted and you can’t be bothered making a coherent response.
Veeeeeeeeeeeeery tedious.
😴
You can't make this study switching between amps. You should tweak only one observing in dynamics how sound change, how waveform change, how spectrum change. It is the only way to understand what and how to measure, and why published measurements show irrelevant to sound information. You can't learn to drive a bike just reading books written by famous bicyclists and memorizing some rules to follow. You can get a Doctor of Science degree such a way, but only for knowing books and memorizing Rules, but never for knowing how to drive the bike in reality.
I agree with you about learning to ride bikes.
I don't know what changes I can make to any amp that will affect its' micro-dynamics.
As I said many posts ago: currents and voltages. In order to change them you should change resistances, inductances, transformer ratios, and capacitances.
For the beginning take a single tube stage and play with it to get feeling of the balance, like when driving your bicycle. However, you will get well pronounced distortions, and after learning how they sound it will be very easy to spot them in the sound that others think is clean.
Metal film resistors. These are a good deal quieter than C-comps, and are very useful in sensitive, low-level parts of the circuit.
The A Number One problem with metal films is that the durn things keep getting smaller and smaller. That's just fine for solid state circuits, but invites a flash-over at the higher voltages hollow state uses. You have to be careful about that, either putting these smaller resistors in series to reduce the voltage across them, or look for the older, larger versions.
Carbon film types come in a close second. If you have C-comps, save 'em for your RF projects, or RF sensitive uses, such as grid stoppers.
Precisely.
Building a line stage that is audibly transparent is trivial, unless you have preconceptions and allow peeking.
Why are you designing with tubes then ? An NE5534 in a circuit with a gain of 5, provided that care is taken of common mode distortion is undistinguishable from a straight wire bypath in a double blind ABX test provided the gain of the OPamp stage is reduced to x1 with a resistive divider.
For a line stage with a well-defined input (e.g., digital source), an opamp can work extremely well. Not just on an ABX test, but any presentation that doesn't allow peeking. And one can likewise design a tube line stage that's audibly transparent, though many prefer to build effects boxes.
Phono stages and power amps have their own peculiar requirements, as I've written about quite a few times in the past.
Phono stages and power amps have their own peculiar requirements, as I've written about quite a few times in the past.
of which one of yours is that the audibility (or otherwise) of a linestage can be determined by carrying out a relatively simple measurement suite (the makeup of which you refuse to divulge).
You have not offered one skerrick of scientifically valid evidence to support this contention, and in my view never will. After all it's so trivial, isn't it ?
Dodge and weave away ...... I know there ain't goin' to be a straight answer.
Try 50 of 5534, one by one, in the single chain, and conduct a double blind ABX test... Now, decrease number of them and say good-buy to those who participated in the test, but don't hear anymore... Then, when some of participants remain who hear the single 5534, name them Experts, and ask each time for their opinion, instead of gathering crowds of people who can't hear the difference.
Well, one condition: the material must be live recorded vocals acompanied by acoustic instruments, on a fine equipment that don't contain lots of 5532 inside, and no compressors/gates/EQs/artificial reverberators are allowed.
I sugest a straight wire bypass if transparency is your goal. A stage build that way may not give the most subjective satisfaction because source material and loudspeaker-room
interface is flawed. If we can agree that the actual result is more important than theory i could imagine a linestage that improves the chain subjectively although it is flawed in terms of absolute transpency. I whould not call that an effect box but a kind of equalizer.
interface is flawed. If we can agree that the actual result is more important than theory i could imagine a linestage that improves the chain subjectively although it is flawed in terms of absolute transpency. I whould not call that an effect box but a kind of equalizer.
Joachim, to an extent, that's what my Heretical line stage did- the transformer cleaned up some noise and did some useful band-limiting. The output measured better than the input.
A chain of 10 NE5534 with a gain of 5 in total whould even perform better then a single
NE5534 with a gain of 5 provided we do not run into audible noise.
NE5534 with a gain of 5 provided we do not run into audible noise.
Floyd Mayweather Jr ain't got nothin' on you SY.- Status
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