re: What is wrong with op-amps?
@bear You made a comment that I can't find right now about basing assumptions on actually working with recording engineers. Do you think I have no history with the professional recording industry? The engineer for Fleetwood Mac called me to say how good his retrofit of their mixing board came out using my 8-legs (AD744) for their HBO unplugged special. Second hand, I have been told Prince was a fan (but I think he preferred 2 legs).
@bear You made a comment that I can't find right now about basing assumptions on actually working with recording engineers. Do you think I have no history with the professional recording industry? The engineer for Fleetwood Mac called me to say how good his retrofit of their mixing board came out using my 8-legs (AD744) for their HBO unplugged special. Second hand, I have been told Prince was a fan (but I think he preferred 2 legs).
Wasn't that the case with the humble TL074 too?
His selection was kind of weird....
Do I see a pattern here, with the FET input 8-legs faring well in most applications?
Yes but the 744 was an anomaly since it was on an old planar process we brought out internal points so clever folks could do more with it, especially get around the lousy pnp. This type of design is no longer that popular, just plug and play now.
ADA4870 Datasheet and Product Info | Analog Devices
Is that still an 8-legs if it has 20? 🙂
Looks like a great part for use in a composite amplifier. Even Morinix should love it with that slew rate.
Is that still an 8-legs if it has 20? 🙂
Looks like a great part for use in a composite amplifier. Even Morinix should love it with that slew rate.
Why the use of the ADA4841-2 instead of the better-spec'd (THD,CMRR,Noise,SR) AD797?
That one kicks, I think it was for power supply tracking on base stations. It might like a lot of recent parts suffer from the crest factor issue where the intended application has a very high crest factor so continuous sine waves at max current and voltage = release of magic smoke.
Power budget & performance is more than sufficient. I only bring out my 28oz Estwig framing hammer when I need it.
BTW an Estwig hammer is a beautiful tool I have 3 or 4 but only my 40yr. old one rings like a bell and reminds me of John Henry every time I use it.
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Mind your layout AND your soldering. 🙂
Mic preamp sitting on either battery power or phantom power = want something miserly. Huge difference between the 4841 and the 797 there. The JFET in front largely dominates the noise of that stage (if I'm not being an idiot, which is a *real* possibility), so that advantage is minimal, and the other advantages, in this application, are very small. Edit -- what the designer said. 🙂
Thanks for bringing this up. Duly noted and apologies for not paying careful attention to the circuit.
Scott, I dunno exactly what you are saying. It's not exactly clear English, at least not to me...
(EDIT: oh, I get it, you can't find my post... gotcha.)
But...
I think you just said that one opamp sounded better than another according to the "engineer" for Fleetwood Mac?? So, this engineer could hear a difference between two opamps, that do not exist, and that no one else can or should (find or hear)?
So, now I am really confused about what anyone here actually thinks is the truth of this matter...
...and also your PM box is full or disabled... so hard to "back channel" and gain any common ground privately (if one wanted to...)
_-_-
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You are just blathering, an op-amp based sound board was OK for a major show there was no other op-amp, you are being so thick it is becoming stupid. You are wasting my time good day it is finished.
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No he is not, Scott. He is just surprised that you are so easily convinced that one of YOUR IC designs is virtually perfect for virtually all audio, because some engineer working with a rock band found it OK for them. I worked with that group back in 1979, they could not hear differences easily.
Your insinuations become almost intentional insulting (or maybe they already are). Scott never implied that one of his IC designs is perfect for all audio. On the contrary, Scott is one of the few here who always relativates stuff and mentions that different situations need different optimal solutions.
A far cry from your 60-ies circuits with 70-ies parts that you keep flogging as a cure-all for anything connected with audio.
Aren't you getting tired of this? We surely are.
Jan
On the flipside, it has as much merit as anyone else's "OMG these are great" comments, and your constant deferral to reviews.
Which, as far as technical quality, is pretty much zero.
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