So how do you tell whether an amp is inaudible? I have a few amps, and each sound different. I have measured differences when the real speaker is a load.
Wow, the "amplifiers all sound different" argument. I thought that had been relegated to the dustbin of insignificant.
In virtually all tests done blind no differences are noted. In non-blind tests (done by a leading audio rag) listeners heard differences when there were none.
If you can measure differences in your amps depending on load, then one or more of them needs to be fixed, because this should not happen. Solution: Buy better amps.
In virtually all tests done blind no differences are noted. In non-blind tests (done by a leading audio rag) listeners heard differences when there were none.
If you can measure differences in your amps depending on load, then one or more of them needs to be fixed, because this should not happen. Solution: Buy better amps.
Beyond the Ariel
So what amp are you using that is perfect? I ask because I have never experienced an amp that works the same as spec shows under real speaker loads, regardless of price.
I am sure that if I did an internal design review on most audio products like I normally have done on projects I have worked on, most of designs would be lacking of data to ensure optimum design.
So what amp are you using that is perfect? I ask because I have never experienced an amp that works the same as spec shows under real speaker loads, regardless of price.
I am sure that if I did an internal design review on most audio products like I normally have done on projects I have worked on, most of designs would be lacking of data to ensure optimum design.
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or avoid loudspeakers that present a reactive load to the amp...
or as Joe is trying to do, make the relationship better.
The real issue when selecting amps is that they are publish specs that are insufficient to determine performance under realistic loading conditions. Speaker manufactures seldom publish impedance curve specs as well. You would think with advancement in technology would allow them to do better in this aspect.
is the guy who claims all amps sound different auditioning them on the same pair of speakers?
could it be possible that differences heard are in fact the amp's reaction to the load?
i remember the introduction of the Carver PM 1.5 great amp, physically lighter than other amps of the same wattage, a godsend to the pro audio/PA scene because of this, pound direct radiator speakers all day long no problem, that is until you tried running a horn loaded system with them, and they were none to happy with high order passive x-over's either.
could it be possible that differences heard are in fact the amp's reaction to the load?
i remember the introduction of the Carver PM 1.5 great amp, physically lighter than other amps of the same wattage, a godsend to the pro audio/PA scene because of this, pound direct radiator speakers all day long no problem, that is until you tried running a horn loaded system with them, and they were none to happy with high order passive x-over's either.
Not a solution, crossover distortion is there in any case (in a poorly designed amplifier) the shunt loads only make it worse. The reactive "bad current" is only a smokescreen due to lack of understanding of what is going on.
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As per the diagram in post 150066, in deriving the feedback signal for motional feedback using a Wheatstone Bridge, R1 and L2 are balanced out by the bridge and therefore R2, L1, and C1 become the impetus for the feedback signal.
Of course, in Lojzek's simplified electrical analogy R2, L1, and C2 are values representing the speaker resonance (or free air resonance of the driver before mounting). But more generally, they represent the elements that model the motion of the cone... which is how you get feedback which includes, at long last, the speaker and the room environment in so far as it influences the speaker.
B.
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Not a productive use of time. BYRTT's last plots showed a max 20 degrees or so of phase, I would consider an amplifier that can't handle that to be a poor design, find a new amplifier.
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Thanks Lojzek., I found this, maybe it helps to leave the swamp to those like me we are overcome by so much verbiage.
The capacitance is CM or Mm in the graph.
Speaker equivalent circuit / electrical model | Audio Judgement
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Thanks for the clarification,
I was already remembering the 8 tracks of the vintage magazine, which by the way, far surpassed the cassette created by Phillips & Sony, only it was not so small and could not be recorded. But if the electronic engineering of the moment managed to extract sonic wonders from that small tape cassette of 2.81 mm wide, I would have achieved the same without so much cost in electronics and mechanics only with double the tape width and more speed of translation.As an example, the cheaper open-tape Akai recorder greatly exceeded the most elaborate cassette in sound quality.
Akai 4000 vs Akai GXC570 (add DB to both acronyms if you liked the Dolby system)
It all started with portability and ended up being a disproportion, IMHO...
8-track tape - Wikipedia
Cassette tape - Wikipedia
Sorry for the off topic, it's just for illustration of the very initiated in audio...
The cassette was created by Phillips, the association with Sony was for the release of the Audio CD
Sorry
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