You can just model a real triode stage for reference
As mentioned depending on the circuit and how well its done.
Realistic distortion is around .004% to .01 %
and most of that can depend on the load it is driving.
if wanting a high distortion single triode can be loaded down
to .1 % distortion
and as with MI industry tube circuits can be up to 3 to 7%
or full on distortion drive stage 10 to 40% distortion
far as second harmonic being created by all these basic class A
discrete opamps that have been popping up.
Jfet is for low noise. The second harmonic is the BJT output
As mentioned depending on the circuit and how well its done.
Realistic distortion is around .004% to .01 %
and most of that can depend on the load it is driving.
if wanting a high distortion single triode can be loaded down
to .1 % distortion
and as with MI industry tube circuits can be up to 3 to 7%
or full on distortion drive stage 10 to 40% distortion
far as second harmonic being created by all these basic class A
discrete opamps that have been popping up.
Jfet is for low noise. The second harmonic is the BJT output
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Tube-sound is not because of second (or even) harmonics in the transfer characteristic.
Only triodes, vfets and sics do the trick, and by other reasons (penultimate line): the equal distance between the curves
Only triodes, vfets and sics do the trick, and by other reasons (penultimate line): the equal distance between the curves
One of the reasons for tube sound is linearity. If power supply voltage for tube pre is few hundred volts, but signal swings only few volts, it is likely more linear.
On the contrary your ipod has 3 volts supply, but tries to swing ac close to max power voltage. Less linear.
On the contrary your ipod has 3 volts supply, but tries to swing ac close to max power voltage. Less linear.
Other reason is less negative feedback. If you have tube pre with few tubes, you need less feedback to correct the nonlinearities. If you have 50 bjt's in your pre (one opamp), you need lots of negative feedback.
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Not quite gone 🙂
But I doubt you can hear the 2nd harmonic at this low level.
Still my first post schematic is the one I believe in. THD 0.117%
Perhaps also the 10 Ohm emitter with THD 0.028%
What is the limit when you can hear distortion?
There must be opinions on this.
https://www.diyaudio.com/community/threads/take-the-thd-challenge.395242/
But I doubt you can hear the 2nd harmonic at this low level.
Still my first post schematic is the one I believe in. THD 0.117%
Perhaps also the 10 Ohm emitter with THD 0.028%
What is the limit when you can hear distortion?
There must be opinions on this.
https://www.diyaudio.com/community/threads/take-the-thd-challenge.395242/
"What is the limit when you can hear distortion?"
Depends. What's your reference? How are you 'trained'? How are you 'biased'?
Do you have a stereo analyser in your skull? Is your perception flawless?
Where your limit is depends on countless factors. Asking it is your answer: limited limitlessness.
Why do tubes/vfets/sics sounds great? Harmonic distortion is involved, and we seem to like it.
Does venues where music is played live (acoustic instruments, no electronics) add those same harmonics?
The controverse between analytical reproduction (high open loop gain and feedback) and 'soft' reproduction (low open loop gain, some/none feedback) yields a thick layer of discussions through time and space (here too).
Other issues like frequency-phase (below 2kHz it's amplitude orientation, above phase orientation - due to the same skull circumference), 'studio monitors have a flat frequency response', (with phase changing abberations), implying other loudspeaker (including ESL's) intentionally are distorting? Live recordings with 'venue ambiance' sound better or worse when reproduced in the local living room?
What distortion is involved here? Wanted? Unwanted? Preferred? Are geographical, religious, ethnical, ethical, contemporain and more influences also in play? (Not to cross the lines on this website, but as an universal frame.)
There are said to be a few gods of this world (respect!), but there are 7 billion-plus gods on this world.
What is the distortion of your liking? What is your preferred 'illusion'? No one knows. But only you know the answer to your question.
Depends. What's your reference? How are you 'trained'? How are you 'biased'?
Do you have a stereo analyser in your skull? Is your perception flawless?
Where your limit is depends on countless factors. Asking it is your answer: limited limitlessness.
Why do tubes/vfets/sics sounds great? Harmonic distortion is involved, and we seem to like it.
Does venues where music is played live (acoustic instruments, no electronics) add those same harmonics?
The controverse between analytical reproduction (high open loop gain and feedback) and 'soft' reproduction (low open loop gain, some/none feedback) yields a thick layer of discussions through time and space (here too).
Other issues like frequency-phase (below 2kHz it's amplitude orientation, above phase orientation - due to the same skull circumference), 'studio monitors have a flat frequency response', (with phase changing abberations), implying other loudspeaker (including ESL's) intentionally are distorting? Live recordings with 'venue ambiance' sound better or worse when reproduced in the local living room?
What distortion is involved here? Wanted? Unwanted? Preferred? Are geographical, religious, ethnical, ethical, contemporain and more influences also in play? (Not to cross the lines on this website, but as an universal frame.)
There are said to be a few gods of this world (respect!), but there are 7 billion-plus gods on this world.
What is the distortion of your liking? What is your preferred 'illusion'? No one knows. But only you know the answer to your question.
