lumanauw said:
2. R53,54,55,56 is connected to output. It gives somekind of feedback, modulating the drop in R61,62,63,64, instead if we put those R to ground (fix the drop in R61,62,63,64).
Somehow personally I think those R can be to ground to give constant drop at the folded cascode. But you are experienced designer. What is your reason, putting those R relatively to output, so the folded cascode is not at a fixed value?
It seems to me that this forms a high pass filter due to R57, ..., ... and C3,4, ..... The modulation of Q7,8,9,10 occurs only at very low frequencies.
See the reply of SY to my similar question.
andy_c said:
fdegrove said:
(...)How much is too much and how you'd measure what you'd be hearing, I don't know but timesmear seems to play a role here.
Err, what exactly is "timesmear"? Is this caused by parasitic flux capacitors or something? 🙂
I actually also wonder what "timesmear" is? 😉
I guess it's just Fdegrove's own "definition", But I could imagine it is something in line with my answer in this old post in the search for the "zero" distorting amplifier...
Cheers! 🙂
Hi,
Never heard the term "timesmear" before?
Fermilabs ring a bell?
Borrowed from UTs' post:
That's close enough for me.
Cheers,😉
Never heard the term "timesmear" before?
Fermilabs ring a bell?
Borrowed from UTs' post:
Imagine every amplifier stage have it's own delay from input to output, using several amp stages in some kind of error correcting circuitry just add up to the delay chain and distorsion sum.
That's close enough for me.
Cheers,😉
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