When it comes to sound replaying electronics, what is unexplainable that comes out of speaker drivers?
It was about time. It's a game that can't be won, other than the other side throwing in the towel. And since it's difficult to get a man to understand something when his salary depends on not understanding it (IIRC Upton Sinclair) guess who always does it?
Find a way to see how many uncorrected errors come off a CD, weve been thru this before. And no come back for data buffer eliminating transport wow and flutter?
Oh, I think we very much do. This discussion transcedes any human adult level.
Not really, adult is exactly what it is. Study the cognitive literature. The kindergarten reference is an exaggeration, when was the last time you visited a kindergarten class. It far from literally like this, although aspects of deep down human nature would be on display there too.
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Ground coupled noise (direct or field-coupled) is always a problem. More so for those who have an audio and video system together.
In most existing homes, the grounds are not at a single point. Only recently built home have required the grounds from Telco, CATV and power all be done at one point.
For example here is the CATV grounded at its' point of entry.... the power ground is at the ac panle on the other end of this building.
When the audio system grounding thru ac power line back to the ac panel is not connected to catv gear... no ground differences are there but as soon as you connect the catv cable and its other ground point... the potential difference between grounds causes ac current to flow thru A-V system and components. This not only can cause 'hum' but noise and video artifacts.
In this case, one solution might be to break the ground of 50/60Hz direct connection and isolate it....., Blocking 50/60Hz but allowing desired signal unattenuated thru.
THx-RNMarsh
In most existing homes, the grounds are not at a single point. Only recently built home have required the grounds from Telco, CATV and power all be done at one point.
For example here is the CATV grounded at its' point of entry.... the power ground is at the ac panle on the other end of this building.
When the audio system grounding thru ac power line back to the ac panel is not connected to catv gear... no ground differences are there but as soon as you connect the catv cable and its other ground point... the potential difference between grounds causes ac current to flow thru A-V system and components. This not only can cause 'hum' but noise and video artifacts.
In this case, one solution might be to break the ground of 50/60Hz direct connection and isolate it....., Blocking 50/60Hz but allowing desired signal unattenuated thru.
THx-RNMarsh
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Hmmm, when I was in kindergarten a friend said he figured out how a periscope works, your eyesight goes out and bounces off the mirrors off of what you are looking at and comes back the same way. Closer than you think.
Scott, kids figure out some things on their own as their brains develop and become capable of it. One example is being able to understand that tall narrow glass of water does not necessarily hold more water than a wide short glass. The ability to grock volume comes with age. Mirrors are easier, especially if Mom and Dad provide an intellectually stimulating home environment. One can't control native personality or intelligence, but one can cultivate the garden as it were, to stimulate optimal growth.
Zung, I would like to tell you about Charles Hansen (RIP), as I knew him.
Charles and I were competitors, and probably his company and the ones that I work for, are still competitive in the audio marketplace. Charles and I took it personal, always trying to outdo each other, and he succeeded to better me, as often as I did him.
First, Charles learned from me how to make a really successful circuit topology, when I published the Levinson JC-2 schematics in 1977. Then, over the years, he 'one upped' me by making a complementary symmetry fet input stage (my invention) and using a folded cascode second stage with it (his improvement) to make his first power amp, that was without global negative feedback. In fact, Charles invariably avoided global negative feedback, and he could, as he controlled his company. I generally had to make 'specs' and that meant that ONLY when I was in complete control of a product, could I directly compete with Charles. The only two products that I could compete with Charles was my original Vendetta Research SCP-2 phono preamp and the CTC Blowtorch preamp the very design that started this thread some 12+ years ago. I gave Charles credit for giving me the basic topology for the CTC Blowtorch preamp. I knew about it, but I was afraid (and still am with most products) to use it, because it usually does not have enough forward gain, without adding a high Z buffer. I did not want to use a buffer in the SCP-2, so I opted for a 'more compromised circuit' in order to get good specs, like (0.01% at 3V or more) as I could then use loop feedback to lower the distortion. However, Charles took the 'high road' always and he often beat me out sonically in competition.
Now what does this all mean? It means that Charles Hansen and I both were so beyond almost everyone here on this thread that, criticism of Charles (or me) is so absurd by these 'critics' is almost laughable. That is why I can handle the insults, etc. Charles first brought me to this website, back in 2003 or so, but he could not stand the silly criticism heaped on him here, and he would get really insulting in return. It was best that he stayed away, but he and I still compared notes by telephone, because we had the highest respect for each other. He would even sometimes send me his latest schematics, knowing that I would never directly copy him.
Charles had a highly tuned audio system and he used it to develop 'changes' in his designs and even adding 'tweaks and mods' that worked for him. One of these tweaks were some wood rectangular blocks (kids toy stuff) that he would put under equipment and even under speaker wires. He gave me a set, but I never used them as seriously as I might have. Charles could hear differences with his audio system, beyond what I normally could hear with mine, and it made him a serious competitor, which kept me on my toes, unlike our critics here, and I do miss him.
Charles and I were competitors, and probably his company and the ones that I work for, are still competitive in the audio marketplace. Charles and I took it personal, always trying to outdo each other, and he succeeded to better me, as often as I did him.
First, Charles learned from me how to make a really successful circuit topology, when I published the Levinson JC-2 schematics in 1977. Then, over the years, he 'one upped' me by making a complementary symmetry fet input stage (my invention) and using a folded cascode second stage with it (his improvement) to make his first power amp, that was without global negative feedback. In fact, Charles invariably avoided global negative feedback, and he could, as he controlled his company. I generally had to make 'specs' and that meant that ONLY when I was in complete control of a product, could I directly compete with Charles. The only two products that I could compete with Charles was my original Vendetta Research SCP-2 phono preamp and the CTC Blowtorch preamp the very design that started this thread some 12+ years ago. I gave Charles credit for giving me the basic topology for the CTC Blowtorch preamp. I knew about it, but I was afraid (and still am with most products) to use it, because it usually does not have enough forward gain, without adding a high Z buffer. I did not want to use a buffer in the SCP-2, so I opted for a 'more compromised circuit' in order to get good specs, like (0.01% at 3V or more) as I could then use loop feedback to lower the distortion. However, Charles took the 'high road' always and he often beat me out sonically in competition.
Now what does this all mean? It means that Charles Hansen and I both were so beyond almost everyone here on this thread that, criticism of Charles (or me) is so absurd by these 'critics' is almost laughable. That is why I can handle the insults, etc. Charles first brought me to this website, back in 2003 or so, but he could not stand the silly criticism heaped on him here, and he would get really insulting in return. It was best that he stayed away, but he and I still compared notes by telephone, because we had the highest respect for each other. He would even sometimes send me his latest schematics, knowing that I would never directly copy him.
Charles had a highly tuned audio system and he used it to develop 'changes' in his designs and even adding 'tweaks and mods' that worked for him. One of these tweaks were some wood rectangular blocks (kids toy stuff) that he would put under equipment and even under speaker wires. He gave me a set, but I never used them as seriously as I might have. Charles could hear differences with his audio system, beyond what I normally could hear with mine, and it made him a serious competitor, which kept me on my toes, unlike our critics here, and I do miss him.
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Can you please cite couple examples of unexplainable soundwave that comes out of speaker drivers?
Money is a big motivator.Thanks - Too bad he's no longer with us.
Like I said before, very positive thinking, plus logical management of priorities, as in, hypothetically:
- I hear something I don't like
- I manage to identify the culprit, e.g. ferrite
- I make sure to remove it from all my doings
- I have to make a living, so I'll deal with the formal justification/measurement later, or maybe outsource it to some scholars or some BS or MS candidates as a thesis
I don't know, that's why I ask.
But since I have you on line, I have another burning question, off topic of course: I have a couple of mic sitting in my cellar for over a quarter of a century. One is a Telefuken branded Neumann M260-KM56, and the other is a M280-KM84; I know they're worth a fortune, but are they really good enough to be worthy of a refurb? The miniature tubes inside are not easy to come by.
a KM84 uses a FET transimpedance amp. no tubes. guessing current value $1200 in good operational condition.
one of my favorite mics for general purposes, desert island kinda mic. Even used on Judy Collins at Columbia for vocals.
a KM566 is a tube mic with a nickel diaphragm capsule that uses an AC701 tube. Those tubes in that mic rarely ever need replacing under constant usage. Sitting around makes no demand on the tube. As the tube is soldered in and not a socketed tube, the socket will not be tarnished. (its a subminature leaded tube) It may need other cleaning, but probably not. It should be brought up slowly on a variac and the power supply voltages checked as it turns on and as it settles in. Guessing current value (with supply) around $2500.
lovely mic, but more limited in application as the nickle diaphragm's are way brighter than most everything else. I have a pair of mics with the same capsule and FET's (KM88) and I can use them for things that are hammered or picked (piano or guitar say) but get them near a bowed instrument and you run screaming from the room. Great for distance recording (classical minimalist techniques)
Cheers
Alan
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