The are companies that have tried feedback from speaker's membrane by means of accelerometers.
I would like to mention different point: as the nature of speaker's distortion and "solid state" distortion are very different and superimposed, the question is if elimination of speaker's distortion (that will never be perfect) is enough. And - seems that some "unlogical" changes in amp's transfer characteristics lead to subjectively evaluated sonic differences. I still cannot imagine how to solve "complete feedback" (derived from SPL) in a real world.
I would like to mention different point: as the nature of speaker's distortion and "solid state" distortion are very different and superimposed, the question is if elimination of speaker's distortion (that will never be perfect) is enough. And - seems that some "unlogical" changes in amp's transfer characteristics lead to subjectively evaluated sonic differences. I still cannot imagine how to solve "complete feedback" (derived from SPL) in a real world.
PMA,
one possible feedback would be from SPL (accelerometers, microphones...). This has been tried but I think only for woofers and not that many successful examples.
So I propose a second pathway, feedback purely from electrical impedance changes during power compression in the driver. For this I haven't seen any examples. This would be fast enough to reduce harmonics due to power nonlinearities even in midranges or tweeters...
Just dreaming.
one possible feedback would be from SPL (accelerometers, microphones...). This has been tried but I think only for woofers and not that many successful examples.
So I propose a second pathway, feedback purely from electrical impedance changes during power compression in the driver. For this I haven't seen any examples. This would be fast enough to reduce harmonics due to power nonlinearities even in midranges or tweeters...
Just dreaming.
Dear Nelson,
The triplet final stage is not a darlington type, see my posted diagram.
Isn't there anybody here who tried this?
The triplet final stage is not a darlington type, see my posted diagram.
Isn't there anybody here who tried this?
Yep
Yep, I went through about 60 pages of that thread. VERY interesting!!! Kind of keeps things in perspective.
JF
Peter Daniel said:
Yep, I went through about 60 pages of that thread. VERY interesting!!! Kind of keeps things in perspective.
JF
ACD on schematics:
Which are the design criteria that are best suited to 1) jazz, 2) rock, 3) classical, 4) PA... IYHO?
And on what basis do you propose this "classification"?
BTW, you made an earlier allegation, agreeing with Wingfeather that amps with substantially the same measurements must sound the same. How does this tie in with your amp classification? Surely you are not proposing that jazz, rock, classical amps can be measurably classified too... or do you in fact no longer agree with Wingfeather?
Ok then... tell me how?
Which are the design criteria that are best suited to 1) jazz, 2) rock, 3) classical, 4) PA... IYHO?
And on what basis do you propose this "classification"?
BTW, you made an earlier allegation, agreeing with Wingfeather that amps with substantially the same measurements must sound the same. How does this tie in with your amp classification? Surely you are not proposing that jazz, rock, classical amps can be measurably classified too... or do you in fact no longer agree with Wingfeather?
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