Eric: Only looks this way. It's 18awg solid core and way more robust than needed for the operative amperage.
This link here shows that 18AWG chassis wiring can handle 16A of current, which is comfortably more than the 2-2.2A bias currents involved in the Aleph 30 build. Moreover, it is difficult to accurately judge the actual gauge by a picture since insulation thicknesses vary. Those 8AWG wires for the speaker outputs look quite beefy though!
Best,
Anand.
Arnand: Am using the 8awg speaker connection wire for the first time in an amp build with the philosophy that this connection, eventually, to the speakers is only as good as the worst choke point will pass. So, if you used an 18awg stranded cable in the amp from board to speaker terminal, then used 8awg stranded outside for the rest of the line, you are defeating your purpose. THIS WORKS great so far. Am getting a very high-quality speaker/frequency feed from these amps so far.
The link you sent is the one I use as well for it supplies the "Maximum frequency for 100% skin depth for solid conductor copper" spec. For 18awg this is 17khz -- fine for power use but not for, say, a RCA connection. Here you want 22awg that allows up to 42khz and makes sure all frequency content is passed easily. Good to have this list on your table for frequent referral.
The link you sent is the one I use as well for it supplies the "Maximum frequency for 100% skin depth for solid conductor copper" spec. For 18awg this is 17khz -- fine for power use but not for, say, a RCA connection. Here you want 22awg that allows up to 42khz and makes sure all frequency content is passed easily. Good to have this list on your table for frequent referral.
Interesting thoughts. So for the 8AWG speaker cable, is the max frequency of 1650Hz relevant? Is this an impasse to audio frequencies given your 22AWG comparison above?
Hmmm…Perhaps I’m confused…
Best,
Anand.
Hmmm…Perhaps I’m confused…
Best,
Anand.
I think that chart only works for solid wire. I am sure someone will correct me if I am wrong.
-Geoff
Correct. The 8awg speaker wire I am using is finely stranded -- thus each stand is more than capable of passing high frequencies. Here is the stuff I have found very good:
https://www.amazon.com/gp/product/B079SBBJD7/ref=ppx_yo_dt_b_asin_title_o02_s03?ie=UTF8&th=1Now for some fun. Spent a good amount of time finding the ideal speaker cable with the help of some EEs from another site. We started with 4AWG cable for short runs because of its damping characteristics. Worked significantly better than higher gauges. Then, after becoming friendly with the local welding shop, tried 2WG cable. The cable literally disappeared -- only the music was left. If you examine the calculator for determining ideal cable size for damping needs you will see why this is so. Has nothing to do with frequency. Has a bunch to do with the overall soundstage and instrument/voice placement.
Used this for two years until I started using multiple amps then had to build switch boxes that cannot handle 2AWG. 8AWG was the largest I could manipulate and it works fine -- but it's no 2AWG. Laugh now but try it and see. About $1 per foot (per cable) at your local welding shop and those people are great to talk with.
https://www.amazon.com/gp/product/B079SBBJD7/ref=ppx_yo_dt_b_asin_title_o02_s03?ie=UTF8&th=1Now for some fun. Spent a good amount of time finding the ideal speaker cable with the help of some EEs from another site. We started with 4AWG cable for short runs because of its damping characteristics. Worked significantly better than higher gauges. Then, after becoming friendly with the local welding shop, tried 2WG cable. The cable literally disappeared -- only the music was left. If you examine the calculator for determining ideal cable size for damping needs you will see why this is so. Has nothing to do with frequency. Has a bunch to do with the overall soundstage and instrument/voice placement.
Used this for two years until I started using multiple amps then had to build switch boxes that cannot handle 2AWG. 8AWG was the largest I could manipulate and it works fine -- but it's no 2AWG. Laugh now but try it and see. About $1 per foot (per cable) at your local welding shop and those people are great to talk with.
Some of you have expressed interest in listening information so I have prepared a good bit. It is organized into this introductory post followed by four additional ones for 1) soundstage, 2) dynamics, 3) timbral accuracy and 4) bass response. These are musical judgments, not engineering ones. Some of you will be able to relate these musical qualities to circuit design. I am a lifelong musician and that is where I can speak with comfort.
In order to make these assessments, some of them subtle, you have to start with the best in analog and digital media. Have used mint analog vinyl from the 60s-80s, non-Dolby cassettes from analog masters (typically pre-1985) and high-res digital SACDS and music Blu-rays. You need this exacting level to see the Aleph's capabilities and one ideal example is Janus Ian's 'Breaking Silence' – one of the last true analog pop records (1993).
For those in a hurry, here's the executive summary: The Aleph 30 monos are an exceptional amplifier that offers the best class A soundstage, huge dynamic range and control, very good timbral accuracy, and exceptional bass reproduction.
No need to read any further, right? (LOL).
In order to make these assessments, some of them subtle, you have to start with the best in analog and digital media. Have used mint analog vinyl from the 60s-80s, non-Dolby cassettes from analog masters (typically pre-1985) and high-res digital SACDS and music Blu-rays. You need this exacting level to see the Aleph's capabilities and one ideal example is Janus Ian's 'Breaking Silence' – one of the last true analog pop records (1993).
For those in a hurry, here's the executive summary: The Aleph 30 monos are an exceptional amplifier that offers the best class A soundstage, huge dynamic range and control, very good timbral accuracy, and exceptional bass reproduction.
No need to read any further, right? (LOL).
Soundstage
My first listening response to the Aleph was this it shared with the ACA a precise soundstage in which each instrument/voice is firmly placed in its correct position and very tightly defined. Consequently, there is a great deal of space between the performers and this is called by audiophiles “air,” “transparency,” and similar terms. Suffice to say that the performers appear to be in your room in a most realistic fashion.
This open and accurate soundstage creates these musical advantages: denser textures are more listenable and each instrument/voice/section can be clearly delineated and enjoyed; very loud passages are natural and can be heard at extremely loud levels without the pain that noise creates; and you can center in on the instrument/voices's timbral quality and assess its nature and accuracy.
For large orchestral recordings, this is a must and the Aleph's do it better than any of the other 4 amps I am currently using. Spent time with the Chailly/Leipzig Gewandhaus Blu-ray recording of Mahler's 5th Symphoniy. Using 30+ mics arranged symmetrically over the orchestra and recorded in 192/24, it is considered one of the best technical orchestral recordings.
Since you are seeing the performers in front of you, you can match-up their image with your soundstage and see if they are coming from the right place. And with the Alephs they are right there – front and back, left and right. Doesn't hurt that the Gewandhaus is one of the best orchestras either...
My first listening response to the Aleph was this it shared with the ACA a precise soundstage in which each instrument/voice is firmly placed in its correct position and very tightly defined. Consequently, there is a great deal of space between the performers and this is called by audiophiles “air,” “transparency,” and similar terms. Suffice to say that the performers appear to be in your room in a most realistic fashion.
This open and accurate soundstage creates these musical advantages: denser textures are more listenable and each instrument/voice/section can be clearly delineated and enjoyed; very loud passages are natural and can be heard at extremely loud levels without the pain that noise creates; and you can center in on the instrument/voices's timbral quality and assess its nature and accuracy.
For large orchestral recordings, this is a must and the Aleph's do it better than any of the other 4 amps I am currently using. Spent time with the Chailly/Leipzig Gewandhaus Blu-ray recording of Mahler's 5th Symphoniy. Using 30+ mics arranged symmetrically over the orchestra and recorded in 192/24, it is considered one of the best technical orchestral recordings.
Since you are seeing the performers in front of you, you can match-up their image with your soundstage and see if they are coming from the right place. And with the Alephs they are right there – front and back, left and right. Doesn't hurt that the Gewandhaus is one of the best orchestras either...
Dynamics
This is a totally, dead-quiet amp. You have to ensure the incoming 110 volts is clean and a quality power conditioner will yield impressive blackness.
Dynamic range is, consequently, great. Softer passages are amplified with that presence that is so often lacking when an amp “goes soft.” And very loud passages are so well controlled that they sound effortlessly enjoyable. Caught myself listening at 5dBs higher than usual because of the natural ease that FFF passages enjoyed.
Microdynamics were good but not quite the level of the pure class A ACA – that excels in the continuous presentation of crescendos and small dynamic changes. Still, the Aleph is close enough to perfection here for an excellent listening experience.
Some amps create a “dynamic smear” when a very loud instrument (e.g., timpani) plays FF while the rest of the instruments are mezzo forte. The dominant instrument bleeds into the rest of the texture and creates an unnatural blend hiding all else.
Alephs are exceptionally good here. Sudden loud bursts from brass and percussion instruments appear precisely correct and the surrounding musicians stay audible at their real-world position and dynamic level. One good example: the dual timpani used in Holst's 'The Planets' and provided in stellar accuracy in the Blu-ray recording “Universe of Sound” by Solonen with the Philharmonia Orchestra (2013).
This fosters a live representation of the performance in startling fashion. Give it a try and you'll see. Someone named Pass got this very right here.
This is a totally, dead-quiet amp. You have to ensure the incoming 110 volts is clean and a quality power conditioner will yield impressive blackness.
Dynamic range is, consequently, great. Softer passages are amplified with that presence that is so often lacking when an amp “goes soft.” And very loud passages are so well controlled that they sound effortlessly enjoyable. Caught myself listening at 5dBs higher than usual because of the natural ease that FFF passages enjoyed.
Microdynamics were good but not quite the level of the pure class A ACA – that excels in the continuous presentation of crescendos and small dynamic changes. Still, the Aleph is close enough to perfection here for an excellent listening experience.
Some amps create a “dynamic smear” when a very loud instrument (e.g., timpani) plays FF while the rest of the instruments are mezzo forte. The dominant instrument bleeds into the rest of the texture and creates an unnatural blend hiding all else.
Alephs are exceptionally good here. Sudden loud bursts from brass and percussion instruments appear precisely correct and the surrounding musicians stay audible at their real-world position and dynamic level. One good example: the dual timpani used in Holst's 'The Planets' and provided in stellar accuracy in the Blu-ray recording “Universe of Sound” by Solonen with the Philharmonia Orchestra (2013).
This fosters a live representation of the performance in startling fashion. Give it a try and you'll see. Someone named Pass got this very right here.
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Timbral Accuracy
Reproducing the sound of voices and instruments perfectly is a daunting task and the Aleph gets most of its just right. Attacks are precise and natural – none of the artificial edginess that poorer amps provide. Because of its soundstage air, you can easily concentrate on one or the other voice and I imagine I am strolling through the band taking time to listen to each performer.
My comparison here is a 300B tube amp that has provided me with the most accurate timbral representation so far – and this is still the case. The Aleph is close to the 300B and more accurate than my ACA and M2x (much more than the Emotiva XPA-1) but not quite as good for steady-state sounds. The 300B excels in reproducing sustained instruments such as flutes, organs, and strings. As these instruments sound longer-held notes, their tone undergoes micro-timbral shifts, And capturing these shifts is one key to exceptional fidelity: Aleph very good, 300B, excellent.
Digital sources, btw, are poor to very poor in showing micro-timbral shift and I have speculated that this is one of the reason for certain instruments becoming less popular when reproduced by digital slicing and slithering. Particularly the case with pipe organs. Heard in true analog recordings and playback, the organ is a gas to listen to. The Aleph's sounded fun indeed with Biggs's Columbia recording 'The Four Antiphonal Organs of the Cathedral of Freiburg' (1975). It's the kind of listening enjoyment that forces you to listen to the other side of the record.
Billy Joel's '52nd Street' 12' 45rpm vinyl is particularly well-suited to the Aleph. His voice comes across with a precision that highlights the subtle mood inflections that empower his singing style. The MoFi recording is exceptional here.
Reproducing the sound of voices and instruments perfectly is a daunting task and the Aleph gets most of its just right. Attacks are precise and natural – none of the artificial edginess that poorer amps provide. Because of its soundstage air, you can easily concentrate on one or the other voice and I imagine I am strolling through the band taking time to listen to each performer.
My comparison here is a 300B tube amp that has provided me with the most accurate timbral representation so far – and this is still the case. The Aleph is close to the 300B and more accurate than my ACA and M2x (much more than the Emotiva XPA-1) but not quite as good for steady-state sounds. The 300B excels in reproducing sustained instruments such as flutes, organs, and strings. As these instruments sound longer-held notes, their tone undergoes micro-timbral shifts, And capturing these shifts is one key to exceptional fidelity: Aleph very good, 300B, excellent.
Digital sources, btw, are poor to very poor in showing micro-timbral shift and I have speculated that this is one of the reason for certain instruments becoming less popular when reproduced by digital slicing and slithering. Particularly the case with pipe organs. Heard in true analog recordings and playback, the organ is a gas to listen to. The Aleph's sounded fun indeed with Biggs's Columbia recording 'The Four Antiphonal Organs of the Cathedral of Freiburg' (1975). It's the kind of listening enjoyment that forces you to listen to the other side of the record.
Billy Joel's '52nd Street' 12' 45rpm vinyl is particularly well-suited to the Aleph. His voice comes across with a precision that highlights the subtle mood inflections that empower his singing style. The MoFi recording is exceptional here.
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Bass Response
This was the big surprise for me. The Aleph produces a much, much better dynamic and timbral representation for the low end. Used a variety of analog and digital recordings to confirm this statement and was able to hear double bass and contrabassoon passages in large orchestral textures that are hidden by all other amps I have tried.
Double basses, in particular, are difficult to record well and fail miserably in the digital world (bassists continued to record in analog for many years after the initial digital revolution). They possess a certain “growly” tonal color that gets hidden by the slicing and slithering of digital.
The Aleph presents these just right – and so much better than other amps that it will grab your attention. Tried passages by Vic Wooten ('Flight of the Cosmic Hippo') and other bassists and they were all superb. Listened last to the MoFi 12” 45rpm 'Kind of Blue' 1959 recording so overdone. Wanted to hear how the famous Paul Chambers sounded and he and his bass were better represented than any other amp I have tried – markedly so.
This is a dramatic improvement in my system makes the Aleph's a go-to device..
This was the big surprise for me. The Aleph produces a much, much better dynamic and timbral representation for the low end. Used a variety of analog and digital recordings to confirm this statement and was able to hear double bass and contrabassoon passages in large orchestral textures that are hidden by all other amps I have tried.
Double basses, in particular, are difficult to record well and fail miserably in the digital world (bassists continued to record in analog for many years after the initial digital revolution). They possess a certain “growly” tonal color that gets hidden by the slicing and slithering of digital.
The Aleph presents these just right – and so much better than other amps that it will grab your attention. Tried passages by Vic Wooten ('Flight of the Cosmic Hippo') and other bassists and they were all superb. Listened last to the MoFi 12” 45rpm 'Kind of Blue' 1959 recording so overdone. Wanted to hear how the famous Paul Chambers sounded and he and his bass were better represented than any other amp I have tried – markedly so.
This is a dramatic improvement in my system makes the Aleph's a go-to device..
Conclusion
Did I say four additional posts? Make that five...
If you listen to densely-textured popular or orchestral music a lot you are going to want to hear this amp. It's that unique.
Randy has informed me that he is out of the first boards and is assembling a second run for March. Give him a PM and get your order in.
They are not difficult to build and have as their main consideration: cooling. You should get AT LEAST a 4U chassis and the HiFi2000 deluxe option is the ideal one if you can work with its front and rear panel layouts. Since I was building monos, wanted to position the terminals differently and so went with their 4U Dissipantes. Works fine but takes some extra labor.
Have photos coming of my revised system with 5 amps available for “active amp selection” a process I am developing to increase audio pleasure. Will post them later.
Have a good amount of extra detail concerning the media sources used for the above statements and will be glad to provide any requested information AS LONG as it is civil.
It's a great amp and will enjoy hearing the listening responses from fellow DIYer in the next couple of weeks.
Did I say four additional posts? Make that five...
If you listen to densely-textured popular or orchestral music a lot you are going to want to hear this amp. It's that unique.
Randy has informed me that he is out of the first boards and is assembling a second run for March. Give him a PM and get your order in.
They are not difficult to build and have as their main consideration: cooling. You should get AT LEAST a 4U chassis and the HiFi2000 deluxe option is the ideal one if you can work with its front and rear panel layouts. Since I was building monos, wanted to position the terminals differently and so went with their 4U Dissipantes. Works fine but takes some extra labor.
Have photos coming of my revised system with 5 amps available for “active amp selection” a process I am developing to increase audio pleasure. Will post them later.
Have a good amount of extra detail concerning the media sources used for the above statements and will be glad to provide any requested information AS LONG as it is civil.
It's a great amp and will enjoy hearing the listening responses from fellow DIYer in the next couple of weeks.
Got all finished and, as promised, here is a pic of the final setup with 5 active amp sets. Took one week from arrival of parts to this stage.
Now I know that some will say "there's too much audio equipment in this room!"
But are you one of those "90% occupied" people or one of the "10% for more amps" people?
Think I know what this site prefers (LOL).
Go ahead. Ask me about the cavalier spaniel. Ask me where the computer is (hint: it's the most powerful computer in the house).
All will be answered in due time.
Now I know that some will say "there's too much audio equipment in this room!"
But are you one of those "90% occupied" people or one of the "10% for more amps" people?
Think I know what this site prefers (LOL).
Go ahead. Ask me about the cavalier spaniel. Ask me where the computer is (hint: it's the most powerful computer in the house).
All will be answered in due time.
Attachments
Your Tekton Double Impacts Look like they have a top and bottom cloth cover and that you have left the top one off. Mine is a single cover over the entire front. Is that an earlier model with two covers or did you modify yours? Also, how many class A watts do you think you are getting into its 4-ohm impedance with the Aleph 30?
Regards,
Roy
Regards,
Roy
The Tekton covers are a custom format and have a pair at another place that I cut myself but this pair was done by Eric in house before shipping. Need the lower covers because my dogs are natural and want to "lift a leg." They specialize, thankfully, in subwoofers (love them a bunch...).
Double Impacts simply sound better with the upper cover off. You can make this adjustment easily yourself but you will, of course, ruin the full cover. Eric dislikes covers in general and his have always been difficult to obtain. Now he is charging for them as an extra.
Don't know how many watts the Aleph 30s produce at 4 ohms but suspect that Randy does. By comparison, my other class A amp, the ACA, is odd here in that it produces fewer 4 ohm watts (4) than 8 ohm (8) -- the reverse of the normal 2:1 pattern. The Aleph J is listed on another site as producing 25 watts at 8 ohms and 13 at 4. But the circuit boards are completely different than the Aleph 30 and the J uses Jfets in place of some of the Mosfets.
For the Aleph, there is more than enough power for the Tektons but even the ACA at 4 watts produces plenty of power since the Tektons have 98dB sensitivity. I listen in the 80dB range and rarely higher than 85dB. In a large room, any of my 5 amp sets has generous power for the Tektons.
The Emotiva XPA-1, with 1000 watts at 4 ohms, seems to use a surprising amount of watts based upon its flashing front meter. This meter suggests it often is passing 250-300 watts. Suspect these are only transients that produce very quick draws/cap bursts. The DIs handle large power easily. They are, of course, known for being well suited to a large number and type of amps.
One final comment. The Aleph 30 is a powerful sounding amp. The superb bass response gives it a chest-thumping characteristic that provides a sense of accurate fullness. And the preamp chosen will be faithfully rendered. Prefer the Pass/Korg B1 tube preamp for my tube and ACA amps, and find that the increased accuracy/clarity/hardness of the WB2018 SS pre works particularly well with the Aleph 30. But this is going to be personal preference.
Double Impacts simply sound better with the upper cover off. You can make this adjustment easily yourself but you will, of course, ruin the full cover. Eric dislikes covers in general and his have always been difficult to obtain. Now he is charging for them as an extra.
Don't know how many watts the Aleph 30s produce at 4 ohms but suspect that Randy does. By comparison, my other class A amp, the ACA, is odd here in that it produces fewer 4 ohm watts (4) than 8 ohm (8) -- the reverse of the normal 2:1 pattern. The Aleph J is listed on another site as producing 25 watts at 8 ohms and 13 at 4. But the circuit boards are completely different than the Aleph 30 and the J uses Jfets in place of some of the Mosfets.
For the Aleph, there is more than enough power for the Tektons but even the ACA at 4 watts produces plenty of power since the Tektons have 98dB sensitivity. I listen in the 80dB range and rarely higher than 85dB. In a large room, any of my 5 amp sets has generous power for the Tektons.
The Emotiva XPA-1, with 1000 watts at 4 ohms, seems to use a surprising amount of watts based upon its flashing front meter. This meter suggests it often is passing 250-300 watts. Suspect these are only transients that produce very quick draws/cap bursts. The DIs handle large power easily. They are, of course, known for being well suited to a large number and type of amps.
One final comment. The Aleph 30 is a powerful sounding amp. The superb bass response gives it a chest-thumping characteristic that provides a sense of accurate fullness. And the preamp chosen will be faithfully rendered. Prefer the Pass/Korg B1 tube preamp for my tube and ACA amps, and find that the increased accuracy/clarity/hardness of the WB2018 SS pre works particularly well with the Aleph 30. But this is going to be personal preference.
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Roy,
The Aleph 30 as built puts out a max of 40 watts/4 ohms at roughly 1% distortion at that power level. Max is 30 watts/8 ohms. Craig would have to measure his on an oscilloscope to be exact but I am sure these are slightly conservative numbers.
All of those watts are in Class A as this is a single ended output stage topology, it does not transition to Class B, it just clips.
How many watts the Tekton Impacts “consume” is dependent on the
1) playback SPL level (which is dependent on room size, listening distance and existence of room acoustic treatments, etc…)
2) the sensitivity of the speakers (which is pretty high at 98dB) and…
the actual watts needed varies with impedance since the Tekton DI’s are not flat 4 ohm resistors and we are listening to dynamic music not sinewaves.
So in essence they can use anything from 0 watts to 40 watts but clearly in Craig’s sonic descriptions they are not clipping with his music selections and are not impacting his enjoyment. At his ~ 80dB SPL levels, he is probably comfortably under 5 watts given the 98dB sensitivity of the Tekton DI’s.
Best,
Anand.
The Aleph 30 as built puts out a max of 40 watts/4 ohms at roughly 1% distortion at that power level. Max is 30 watts/8 ohms. Craig would have to measure his on an oscilloscope to be exact but I am sure these are slightly conservative numbers.
All of those watts are in Class A as this is a single ended output stage topology, it does not transition to Class B, it just clips.
How many watts the Tekton Impacts “consume” is dependent on the
1) playback SPL level (which is dependent on room size, listening distance and existence of room acoustic treatments, etc…)
2) the sensitivity of the speakers (which is pretty high at 98dB) and…
the actual watts needed varies with impedance since the Tekton DI’s are not flat 4 ohm resistors and we are listening to dynamic music not sinewaves.
So in essence they can use anything from 0 watts to 40 watts but clearly in Craig’s sonic descriptions they are not clipping with his music selections and are not impacting his enjoyment. At his ~ 80dB SPL levels, he is probably comfortably under 5 watts given the 98dB sensitivity of the Tekton DI’s.
Best,
Anand.
Yep, agree with all. Turn the preamp up with the ACAs and even so there is never a hint of clipping. Cannot listen to the ACA loud enough to produce clipping -- have measured it solidly in the 90 dBs where it sounds effortless.
Would point out that the main difference between the two class A amps I am using is that the ACA is "pure class A" and the Aleph is "push-pull class A." So there is some minor amount of crossover distortion in the Aleph and this cannot (based on my readings) be completely eliminated. Find that you notice more significant crossover distortion in a loss of timbral accuracy and a lessening of the continuous quality to crescendos. The affect on the waveform is sufficient enough to cloud a faithful representation of the instrument/voice. Not a problem at all with the Aleph but it is push-pull.
Craig,
Actually it’s SEPP, ie Single Ended Push Pull (hybrid in a ways). It’s been debated on other threads actually. That being said, it doesn’t transition to Class B is my understanding, so no crossover distortion should occur.
But honestly…all semantics for me since the Aleph series sound quite decent (have only listened to the Aleph J thus far of Pass’ Aleph based designs).
The big deal here with Aleph is the Aleph current source which is very dynamic compared to the ACA which is a “mu follower” type output stage. When I compared my Aleph J to MOFO and ACA, hands down I will take the Aleph J!
Best,
Anand.
Actually it’s SEPP, ie Single Ended Push Pull (hybrid in a ways). It’s been debated on other threads actually. That being said, it doesn’t transition to Class B is my understanding, so no crossover distortion should occur.
But honestly…all semantics for me since the Aleph series sound quite decent (have only listened to the Aleph J thus far of Pass’ Aleph based designs).
The big deal here with Aleph is the Aleph current source which is very dynamic compared to the ACA which is a “mu follower” type output stage. When I compared my Aleph J to MOFO and ACA, hands down I will take the Aleph J!
Best,
Anand.
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If SEPP has no crossover point, would like to know the architecture. Can you describe it?
Again, it is just my Internet reading, but have read that whenever the architecture is push-pull, then the positive and negative portions of the waveform will always have CP. Emotiva started using so-called "high-bias" class A (in my XPA-1s) that simply leave the push/pull transistor sets on all of the time. So they continue to trade off power portions, but do so without the turning on and off in the A/B architecture. And because they are always on, that lessens the CD because the transition is minimized.
Let me know.
Again, it is just my Internet reading, but have read that whenever the architecture is push-pull, then the positive and negative portions of the waveform will always have CP. Emotiva started using so-called "high-bias" class A (in my XPA-1s) that simply leave the push/pull transistor sets on all of the time. So they continue to trade off power portions, but do so without the turning on and off in the A/B architecture. And because they are always on, that lessens the CD because the transition is minimized.
Let me know.