Regarding strange things that he never had thought could be audible, Paul Frindle posted at gearslutz:
Gearslutz - View Single Post - Paul Frindle - Is This Truth Or Myth? -
Gearslutz - View Single Post - Paul Frindle - Is This Truth Or Myth? -
Oh, please, I experienced the Digital recording at its early beginning. Where were-you at this time ?
Comprehension and listening seems to not be your world. As much as respect to others. I dispense you from your insults.
Now, Let me explain what i said slowly, because you seem to misunderstand images. I don't care so much about reverberation tails. I care with not enough bits at low levels.
Stupid ? As all the guys which fighted for increasing to 24 bits, Noise shaping and, about digital and analog processing, take efforts to add a little linear amplifier floating at the top of the class D signal to try to address your non existent problem.
The occasion to ask an other more general question. Why the hell this curious close inverse correlation between the level of conviction of the partisans of fundamentalist objectivism and good education. (Read education in all the means of this word ;-).
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Mark: The link you posted appears to be some sort of bunfight between stereophile reviewers over what most would consider a rubbish DAC. And an exceedingly badly formatted webpage that doesn't appear to be work parsing. I love analog and vinyl for pure hedonistic enjoyment but I cannot take seriously anyone using one to compare DACs. My predudice for sure, but when the source has 30 odd dB higher noise floor that DAC what is the point?
Zung: Tried to parse what you wrote, but still makes no sense to me. If I want decay I listen to choral music in a cathederal where decay is over 8 seconds or more. Or a good symphonic recording where you can feel the room breathe with the music. I just don't recognise what you are taking about or how the characteristic is affected by anything in the operating parameters of the amplifier. Happy to be educated if there is anything a bit less fluffy to work on.
Zung: Tried to parse what you wrote, but still makes no sense to me. If I want decay I listen to choral music in a cathederal where decay is over 8 seconds or more. Or a good symphonic recording where you can feel the room breathe with the music. I just don't recognise what you are taking about or how the characteristic is affected by anything in the operating parameters of the amplifier. Happy to be educated if there is anything a bit less fluffy to work on.
Funny ... that was one of the reasons why i ordered blind (because noway to listen to them before) my KEF LS 50 wireless.
This and all the elogious reports everywhere.
I was very disappointed. Not on the principle, but the sound they produce, apart in the high-medium/treble.
Oh, if i'm not mistaken, the bass driver use a class D amp, and the tweeter a linear one. Guess why this complexity from KEF engineers ? Do-you think they are stupid audiophiles too ? ;-)
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Noise spectral density (in rt(Hz) band, narrow band) vs. noise (i.e. rms value over defined frequency band, like 20kHz). Explained million times without much impact. Signals below noise level (Vrms BW20kHz), so we can see -100dB line in 16bit dithered. After amplification it is audible, signals below overall noise are audible as well. There is no "darkness" below -96dBr.
I'm afraid there isn't a trace of common grounds for you to understand any explanation about noise, noise floor, DAC resolution, etc... and expecting others to engage with you, beyond "BS" qualifiers, is not realistic. You throw in notions ("noise shaping") that are well beyond the basics that you have no clue about, and when caught in offside you throw in the "golden ear" arguments. That's a tactic that was long time debunked, and while others around are still using it to promote commercial interests, you seem to prefer to make a fool of yourself for the sake of attention you crave for. Which I'm making right now the mistake of feeding.
To your benefit, I have to admit you are doing much better talking about "sound quality" than attempting to design amplifiers. At least with the "sound quality" talking you don't risk making a fool of yourself.
A Kii3 and an LS50 are at different ends of the scale. Price and performance. I would not order either blind but would like the chance to sample the Kii
Like I recommended, you should try "You are on my ignore list." and see how it goes. 🙂
When it comes to ****, I never thought of recommending a manure spreader instead of a fan. I have to admit, it's much more effective
Here is the non-switching, "analog" version... :=)
YouTube
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The opportunity to settle my accounts with you, your permanent insults, the grotesque self satisfaction that you show in persistence towards yourself and your inelegant contempt.
It is not proof of intelligence, as confirmed by your repeated misunderstandings in various situations.
In order to experience (I am not looking for answers in bibles) the character differences that I had noticed between VFA and CFA, I decided to draw a CFA with VFA characteristics. Significant open loop gain (diamond like input stage + VAS, both with max gain).
I published a simplified schematic diagram simulated with ideal models (all transistors perfectly paired).
A frame to work.
I proposed a community work and, eager to take the opportunity to make a constructive thread from which the readers / handymen could learn things, decided to express myself as a novice so that each point could be explained in details and with simple words understandable by everybody by those who want to collaborate.
Or read: our words are on Google for a long time.
I received silly criticism, given the context, from the little troup of haters, mainly addressed to my person.
That is to say, criticizing this simplified shema, which has beautiful results in simulation, proof of its feasibility, as if it were a final diagram.
The funniest and insulting being that I would know nothing about VBE mismatches.
Despite multiple calls for practical and positive suggestions to improve the schema and make it buildable in a collaborative spirit, no response from the small band of thugs who claim to be the masters of science. Apart, again, insults on my competencies.
Curiously, when the final shema (theoretical, but designed to do not request changes of the printed board during all possible bench adjustments) was published, which addresses everything I could imagine as possible problems, with some good suggestions from other contributors, VBE mismatches, tempco (so flat in the VAS), stability margins, offset, clipping behavior, etc. No one remark any more. Nothing to propose apart insults on my competencies ?
In terms of distortion, the simulated end result is:
Bandwidth, without low pass input filter: 10MHz (-3dB)
Phase margin: 60 °, margin gain: 13dB. (to be improved on the bench)
Slew-rate: 240V / µs
Loop Gain> 100dB up to> 1KHz.
0.000001% at 1W 8Ohms 1000Hz
0.000009% @ 100W
0.000013% at 250W
Incompetent ? Seems i'm very lucky !
We will see at the arrival after all bench adjustments.
Incompetent ? I wonder how I was able to collaborate on amps designs sold at thousands of samples on the market, to be paid as a consultant by famous multinationales of audio etc. I would like to know you own curriculum in this regard, Mr. SYN08. You and your 42 active devices CFA that no serious industrial company should never accept.
I noticed too that no one of those aggressive genius noticed the original Servo that Mr. Marsh understanded immediately. And one of them proved in this J.C. thread that he even did not understood anything about the way it works.
To conclude, let me tell you, mister syn08, that your insults flatter me. Coming from you I consider them as an honor.
I will continue to read you, for the pleasure of seeing you cover yourself with shame and ridicule
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The honest answer is I don't know: I'm not lecturing, I'm just trying to find answers.
What I meant in my previous post is related to one single note; what you're saying is related to a song or a mouvement, and these are composed of multiple notes, plus the hall effects, if any.
From listening, I realize some electronics mess up either the notes (micro-dynamics) or the songs (macro-dynamics), or both, more than others. I have no idea why, and I don't know if there's any relations with the usual operating parameters.
I'm doing some listening with a $100 DAP and a $3 IEM; mostly to break them in for the upcoming skiing season, but I find myself enjoying this sometimes; disgusting isn't it? 🙂
Someone early said they've only ever had a spine tingling sensation when listening to Class A amps, I refrained from commenting. 😉 It wasn't T, which made it even more confusing 🙂
I often enjoy a cheap sansa clip but I do have etymotic ER-4s. A pair of totally irrational purchases that worked out for the best.
There is a classic low level linearity test of a signal being reduced in level and checked for tracking. It seems to have been forgotten perhaps because of nothing interesting to see. It would seem to show issues with low levels pretty clearly.
The challenge of a good r-2r Dec is the errors stacking up with low levels. The high order bits need to be really accurate for bits 14 and below to be remotely accurate. There are lots of ways to look at this issue.
It's possible that the low level stuff is getting acceuated by linearity errors or artifacts. Worth a close look.
The challenge of a good r-2r Dec is the errors stacking up with low levels. The high order bits need to be really accurate for bits 14 and below to be remotely accurate. There are lots of ways to look at this issue.
It's possible that the low level stuff is getting acceuated by linearity errors or artifacts. Worth a close look.
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