I'm working on a 4-way studio monitor project focused on electronic music. Now I'm exploring the use of Discrete Op-Amps to maximize performance.
I don't know if you have any, but I'd like your help to better understand which Discrete Op-Amp models would be best suited for each frequency range:
I know that Discrete Op-Amps have specific characteristics that can make all the difference in sound reproduction, so I'm looking for the best options to ensure fidelity and performance.
I also welcome ready-made projects and schematics.
I know that many here have a lot of experience on the subject and since I'm a newbie, I humbly ask for help.
I'd really appreciate it if anyone could share their experiences and suggestions!
I don't know if you have any, but I'd like your help to better understand which Discrete Op-Amp models would be best suited for each frequency range:
- Bass
- Midrange
- Mid-highs
- Treble
I know that Discrete Op-Amps have specific characteristics that can make all the difference in sound reproduction, so I'm looking for the best options to ensure fidelity and performance.
I also welcome ready-made projects and schematics.
I know that many here have a lot of experience on the subject and since I'm a newbie, I humbly ask for help.
I'd really appreciate it if anyone could share their experiences and suggestions!
It is my opinion that the "the best options to ensure fidelity and performance" of quad, stacked, band-pass filters are delivered by the many integrated opamps designed for audio. That said, off-the-shelf discrete designs behave and are plugable much like integrated units but I would be concerned about the reliability and depth of the performance specs (with respect to the needs of each filter wrapped around it/them).
Of more importance, perhaps, is the choice of filter topology for each band, the way the different filter topologies interact and the way the different bands load the preceding stage. These considerations require research but will probably help you decide between discrete or integrated.
Of more importance, perhaps, is the choice of filter topology for each band, the way the different filter topologies interact and the way the different bands load the preceding stage. These considerations require research but will probably help you decide between discrete or integrated.
Early patents leading to the opamp go back to 1905
heavy research by 1947 widespread by 1968
If you plan on funding 100 or more years of research and plan on spending another 100 to beat what is already here.
No offense the discrete gimmick is outdated. 4 way crossovers and Tone Control nothing new. Passive or Active.
Most the sound plus series from TI will cover your applications. Unless low power , Low Noise applications are needed.
They exceed the Audio Bandwidth. Multiple opamp designs not needed for Bass Treble etc etc
One model chosen depending on application. Will cover all requested Bandwidths
heavy research by 1947 widespread by 1968
If you plan on funding 100 or more years of research and plan on spending another 100 to beat what is already here.
No offense the discrete gimmick is outdated. 4 way crossovers and Tone Control nothing new. Passive or Active.
Most the sound plus series from TI will cover your applications. Unless low power , Low Noise applications are needed.
They exceed the Audio Bandwidth. Multiple opamp designs not needed for Bass Treble etc etc
One model chosen depending on application. Will cover all requested Bandwidths
