That's beside the point, because they probably didn't teach you about the different sounds of op amps.
I have had no formal electronics or engineering training at all, and I always feel very much welcome and respected on this forum. Some of the gentlemen who have replied in this thread obviously have a billion times more knowledge than I, but I have never detected any snobbery whatsoever.
I suspect you have a bit of a snob trauma, but don't take it out on the innocent!
Last edited:
The entire book (Linear Circuit Design Handbook, 2008) can be found here:
https://www.analog.com/en/education/education-library/linear-circuit-design-handbook.html
The complete book can be found as a zip file at the end of the chapter list.
On closer look, it isn't.
Hank Zumbahlen and Doug Mercer used to work with Scott Wurcer.
All giants in their field, from which I learned a lot.
Here's Walt's book. There probably are lots of overlap.
Jan
"But here we say" is amazing, thank you for this gem. People need to be taught proper academic lingo or else they sound like audiophile savages.
Only i don't see how any of these linguistic discussions help the OP. His question is clearly addressed towards people with relevant subjective impressions. Teaching him how not to annoy engineers doesn't really help. Nor does a straw case of a phono pre running out of OLG.
I agree that the OPs question is purely subjective, or maybe perception, related.
So it cannot be answered except by someone else's subjective and perception related opinions.
Said another way: any answer would be equally valid.
It would be disrespectful to the OP to give some answer with a straight face knowing it may or may not mean anything.
Jan
So it cannot be answered except by someone else's subjective and perception related opinions.
Said another way: any answer would be equally valid.
It would be disrespectful to the OP to give some answer with a straight face knowing it may or may not mean anything.
Jan
But subjective impressions are different for each individual.
So how can there be a "correct" answer ?
The only way is to find out oneself, under some controlled experimental conditions.
And even the latter is subjected to arguments.
Which is why I never make any comments on "how it sounds".
🤓
Patrick
Here is a report and discussion of an op-amp blind test, maybe that helps:
https://www.diyaudio.com/community/...son-ada4627-ne5534.381780/page-4#post-6934944
https://www.diyaudio.com/community/...son-ada4627-ne5534.381780/page-4#post-6934944
Maybe a guitar pedal forum would be a good place to ask this question. There you can find endless discussions of op amps and their unique sound (or not?) when used in for example tube screamer-like overdrive pedals.
Except for dirt and scratches. Possibly one reason why some designs emphasize damaged LPs
Yes, although that is the classic failure of simple discrete phono preamps that have a very limited output current. The output of the phono cartridge rises with frequency, so the output of the preamp is ~flat, into a feedback capacitor low impedance at high frequencies. The feedback network impedance is typically low for noise considerations. Years ago, I built a phono preamp as two inverter stages for that reason, and the noise was not bad. But if you are still listening to vinyl, you deserve what you get.
I don't think that is relevant to sound reproduction, would have to see the circuit in question to figure out what's going on and whether the opamp is being used with negative feedback at all... If not all bets are off.
Opamp behaviour in clipping did not even get into the datasheets until quite recently. Many modern designs are quite clean, most older parts used to hang up a bit or even phase reverse. This must sound very different.
Different op amps in the clipping stage give different 'tone', most (but not all!) guitarists and other listeners will tell you. My personal experience is that the 741 sounds great in there, probably for the same reasons it is not suitable for hifi.
Here we go into totally subjective territory of course. It's rock and roll.
it possibly might if he seeks their help/input. and it's generally polite to not to be annoying on forums anyway.
I've always felt that nowadays there's as much audiophoolery in the guitar scene as there is in hifi. I bet every real difference in tone can be explained by the different opamp's different input impedance and the rest is imagined.
I think it is more complicated. There are more factors that matter, and they interact. Slew rate, bandwidth...
My favourite FET opamp is OPA827 or OPA828.
OPA827 is stable at Unity Gain.
OPA1641 or OPA1642(dual) is also nice.
OPA827 is stable at Unity Gain.
OPA1641 or OPA1642(dual) is also nice.
Sorry @leadbelly i just wanted to emphasize your point.
maybe i should have made that clear.
maybe i should have made that clear.
Last edited: