John Curl's Blowtorch preamplifier part III

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May-be we were sitting side by side ?
The problem was, from the place were I was, that the surface of each instrument speakers was so huge that it produced a incredible directivity and a comb effect.
...
And funny to think that i'm talking to an other survivor dinosaurus drinking at the exact same water point a few million years ago.

I was sitting center-left (côté jardin), next to the stairs, among the legal bootleggers' forest of microphones. I didn't notice any comb effect there. The only puny down side of the whole gig was that nobody told me they would play 5 hours straight, 7 to 12; so half way into the set, thirst and hunger started to set in. Luckily, the gals and guys in the vicinity were better prepared and passed the baguettes and red wine around.

I too am happy to meet a co-species, but I don't think dinosaures are extinct, at least not in this thread. :)
 
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The only puny down side of the whole gig was that nobody told me they would play 5 hours straight, 7 to 12;
I remember now that I had found the time long. I wonder if I did not leave before the end (the musicians of the band with which I was touring at the time and myself). Especially since the Dead was not our favorite band at the time. I have to ask them if they remember. (We were sitting in the middle, at the back of the hall, far from optimal)
 
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I fear Scott is right. EMF is a power source (P), Impedance, the load (R).
As long as V=RI, P= RI² or V²/R, as you prefer.;-)

How awful, :) It would be nice, as I said, to keep these variables complex and let the math work out. It's not rocket science. Norton and Thevenin were around long before any contemporary professors. The current and voltage in an inductor are 90 degrees out of phase no matter how you drive it.
 
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LOTS of op-amps, I'm not sure that Dick's analog process could not be described by a digital algorithm. IMO it's more that if you start out in a digital mindset you do it a different way. For instance the recursive substitution algorithms for tick and pop removal work far better than the real time analog ones IME and raw available compute power has reduced the latency a lot.

Hey Scott,
It's true these days with 96/192KHz sampling the 20KHz+ information could be analyzed and correlated to base band in a way similar to what the analog TNF does. I am unaware of such a plugin, all I have seen are oblivious to being used on 44.1kHz data, and then there can be no 20KHz+ signal to analyze. I find these inferior to the analog TNF.

Does anyone know of a more modern digital de-clicking plugin which does correlate 20KHz+ signal with in-band clicks and pops?

Cheers,
Howie
 
Does anyone know of a more modern digital de-clicking plugin which does correlate 20KHz+ signal with in-band clicks and pops?

This is the wrong way to do it, I don't have my references handy but there is a seminal AES? paper on forensic audio restoration. Analyzing the signal statistics is far better than spectral techniques. I posted a demo here a long time ago, quite dramatic. We went through this a while ago in a thread on LP ripping, the algorithms are all public domain but an open source project died before it was finished. The demo below is from a free plug-in (Audition only) but you can not configure it to do a slow one at a time removal as I have shown below.
 

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Does anyone know of a more modern digital de-clicking plugin which does correlate 20KHz+ signal with in-band clicks and pops?

Not me. However, there are a lot of de-click and de-noise plugins today, and every one uses proprietary algorithms they tend to keep to themselves. They are usually happy to allow a free trial so one can see how they work in a particular application. Also, although we might intend that the analog audio be digitized at a sufficiently high sample rate, probably wise to verify the ADC pre-digitization anti alias filter bandwidth is truly sufficient for capturing ultra sonic data. Have to check with the ADC manufacturer on that, or measure it oneself.

As an aside, someone who has both MC and an optical phono cartridges said that clicks and pops are much less of an issue with the optical unit, and fidelity is better. The optical unit wasn't up and working at the time for unknown reasons, so I didn't have a chance to listen.
 
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Continue to laugh.
What said Dimitri and Zung was exactly the conclusion of a long and serious study of the "Service de la recherche de l'ORTF". (The state Radio/TV company like BBC for England)
With extensive listening studies and lot of tests on samples of the population.
The same kind of study that Fletcher and Munson made on levels perceptions.

A big Japanese company (Technics ?) had, at this time, produced out of this study a studio gear able to manipulate the perceived sound position in a 3D space with a 2D system, acting like the balance button (but in 3D) of the mixing desk.
I had the luck to had-it in demo in a studio, and, continue to laugh, it was amazingly *working*.

This all backs up my point. Soundstage manipulation is possible but its not supposed to happen in an amp, unless your amp is an effects box. You and many others here dont want a real amp, ( " wire with gain" ) but an effects box that changes the sound. Keep laughing, fools do a lot of that.
 
This is the wrong way to do it, I don't have my references handy but there is a seminal AES? paper on forensic audio restoration. Analyzing the signal statistics is far better than spectral techniques. I posted a demo here a long time ago, quite dramatic.

Thanks all,

I appreciate the links and info! I saw the scope pics, but did not find the two files to compare, and it looks like it does a phenomenal job of removing what it identifies. In the past when I auditioned many plug-ins for radio archival use the issue was the algorithm deciding what is desired signal and what is noise, while they were indeed effective at reducing noise, I heard a reduction in HF transients of the music which bothered me....but I'm out of date with plugins at this point, the latest I tried was five years ago.

For me it the subject is academic, I purchased one of the SugarCube SC-2 boxes with an extremely good de-clicking algorithm. It is the best I have heard from a digital process, but the nature of the processing is unknown to me.

Cheers!
Howie
 
A better attack would be to point out the load dependency of the amp I use as an example is only 0.6dB, which some would call negligible.

The GNFB not nonsense has been covered extensively here and elsewhere. Go do some reading.

Covered by audiophools. Ive done my reading, starting with:
Control Systems Engineering, Second Edition [book=]%[/book][book=
https://linearaudio.net/sites/linearaudio.net/files/volume1bp.pdf
https://linearaudio.net/sites/linearaudio.net/files/volume1ltemvdv2.pdf]%[/book]
 
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This all backs up my point. Soundstage manipulation is possible but its not supposed to happen in an amp, unless your amp is an effects box. You and many others here dont want a real amp, ( " wire with gain" ) but an effects box that changes the sound. Keep laughing, fools do a lot of that.
I believe you misunderstand. I want a transparent system, and I should prefer an amp that cancel (I know it is impossible) the flaws of the other parts of my system. Specially speakers.
The wire with gain is an utopia, as soon you plug a speaker to it, because speakers are all but "transparent".
As a sound engineer, I want the reproduction to be as close as possible to the neutrality. I would not be satisfied, you can understand why, with a system that sound nice, when the mix is not.
So, knowing better than most other people how my own mix are supposed to 'sound', I trust my ears more than measurements.
 
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Sometimes, but not always ;-).

hmmm. not sure how to read that. humor, glib, ...

For an ideal inductor, current and voltage are 90 degrees apart.

Add in series resistance, it will deviate.

Run the current slew rate fast enough, proximity effect will cause deviation as harmonics..

In a speaker, the hf slope is the vc inductance, but as you go lower in frequency, a meter will be confused by the energy storage of the suspension, the magnetic circuit, and the coupled air.

jn
 
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