If you had a mental aural map of the hall gained by experience of being there that might help your brain construct an image of how the instruments could have been arranged, but none of that imagery is actually coming from the speaker. I think it would also help to have wide dispersion in this instance. But how could it relate to distortion, which is what this thread is about? I mentioned negative phase HD2, anything else?
Sound better is subjective.
If you mean high distortion with H2 dominant, amplifier with GNFB can have it.
If you can not design an amplifier with GNFB which have high distortion and H2 dominant, it does not mean, everyone can not either.
Human perception can be modeled.
Example:
If you living in a country with 4 season, maybe you think 22 degree Celsius of room temperature is "hot". But for me, it is "cold".
Sound reproduction should be made accurately, but most people do not have idea which is accurate. They only know which is sound better. Some designer make the model of some preferences, example: some people love H2 distortion, other just love high SPL, etc.
Everything must be explained using brain. I see you understand nothing, may be because you are refuse using your brain or you do not have a brain 😀
The concept of well designed amplifier could hardly be more vague. It is much easier to interpret distortion figures than designs. The fact that distortion figures are design-independent and do not differentiate between amplifiers is insignificant in this context. Distortion figures serve as a substitute for technical understanding and the capacity to make subjective evaluations.
I rather think distortion figures are a useful reminder of the vagaries of subjectivism and the attendant self delusion.
You continue chanting the monotone feedback mantra. Instead of blindly memorizing shady textbooks, you should think for yourself.
Of course not. But you do agree terms like 'micro detail' are entirely subjective.
I suggested that if an amplifier is linear and accurate - and then lets say has a low noise floor and has plenty of power - it will reproduce exactly what it is fed on the input with enough power to drive a speaker, then the terms you use are meaningless.
Micro-detailing can make sense when the feedback amplifier has transient overshoot (ripple).
Different behavior with a small signal and a large signal.
THD is just one of the characteristics - stability, speed, overload capacity, clipping ...
Different behavior with a small signal and a large signal.
THD is just one of the characteristics - stability, speed, overload capacity, clipping ...
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Only the personal vagaries and the attendant self delusion are relevant. Made-up absolute scales are irrelevant. Anyone`s bad taste is irrelevant.
Often, a music signal looks like a low frequency envelope with high frequency noise, modulated with 100 Hz if considered pink noise. So much for the microdynamics - when you clip, the highs and mids are the first to suffer (the main informative part).
I assume you are the only one with the good reference taste here. Which frees you of the burden to use your brain.
You’re invoking problematic amplifier behavior that is easily resolved using control theory techniques with the ability to discern something that is a purely subjective concept and has no meaning in the real world.
Try again, but this time with an amplifier that does not suffer from ringing and overshoot - be it ZGFB or with GNFB.
How does this have anything to do with amplifiers that employ feedback not to be able to deliver ‘micro dynamics’
Can someone here define the term objectively?
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