I've read about similar things happening in recording studios with singers who aren't able to keep a constant distance from a mic, or don't otherwise understand how to sing into a mic. The solution is to put another mic about a foot (30cm) behind the first one, "to record room ambience" or whatever, and then only use the "ambience" mic for the signal. The variation in speaking volume and between 80cm vs. 30cm is still a good bit, but it's less than going to 1cm, and thus more manageable.
The only question that remains is what op-amp to use in the compressor...
Thanks for providing the schematics of those old Neve consoles!! I had always wondered what was inside those magic desks. Is that TDA1034 a predecessor to the NE5534?
Tantalums...yecchh!!......but in any case, the Neve was probably better than the VCA-based SSL consoles, eh?
I know Dick, he wrote for L/A; I know F15's; I spend several months on Hanscom Field in the 70-ies. I want to come! ��
Jan
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Once again, do people who actual measure things ever claim THD is the entire story?
On the second point, we accept you have issues we don't have to deal with in the home 🙂.
Bill,
Simple measurements include more than THD!
For example folks now have measured capacitor break in.
Recently post was that specialty cables are frauds. But there are measurable differences. (But while tens of dollars will produce measurable improvements more than that may just produce measurable changes.)
Yes Simon but they are generally lateral differences. No cable vendor has a working model to predict which set of numbers will produce superior results in listening sessions. They will just proclaim that theirs is better. Just because they said so.
Pretty much the same with amp vendors.
Then, Bill, please clearly state here that, in your opinion, there's no single factor/measurement that could predict performance. And I'll take the discussion from there.
Otherwise it's just "i didn't say that; yes you did; no i didn't; you surely did etc" Monty Python's Argument Clinic.
Actually if you take your existing interconnects and unplug and replug them half a dozen times many folks can hear the difference. No magic just cleaning them. Next step up in interconnects is quality gold plated contacts on both plugs and jacks.
Measurable and often perceived improvements.
Now in interconnects wire gauge also shows measurable changes with the thinner wire measuring better than thicker stuff. But measurements are when done properly able to show changes that may be below perceptable limits. But it is interesting that reports of changes for some observers follow measurements.
The interesting case is with resistors where the preferences of some inversely follow measurements.
Now with the lengths of loudspeaker cables I use there seems to be a difference that not only do the audio guys hear but even the guys who pay the bills do.
The issue under test is not resistance as the gauge stays the same. The cable construction is quite different. (Proprietary design.)
So that leaves the issue as to at what length do the differences become perceptable.
single? how about a combination?
still waiting to know how I am supposed to use T&M in this regard.
...everytime I ask, there is no response.
Jan, as long as we can not do it on a Saturday, I'll meet you there! 😀
_-_-bear
Ed, John Dunlavy had patented "8 0hm" characteristic speaker cables...
still waiting to know how I am supposed to use T&M in this regard.
...everytime I ask, there is no response.
Jan, as long as we can not do it on a Saturday, I'll meet you there! 😀
_-_-bear
Ed, John Dunlavy had patented "8 0hm" characteristic speaker cables...
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Simon, are we discussing here pro installations or home installations? Cause if it's home installation and you have such long runs of cable that a minute difference in conductivity (or whatever parameter) is highly audible, you're probably doing it wrong.
Personally I focus less on THD, I want a stable amp. We don't listen to sine waves so I believe square wave testing is a good indication of quality.
The correlation between phase margin and %overshoot is well known and if one isn't careful in design and layout you will have problems.
Triodes are nice in that they are linear and don't require gobs of feedback for good numbers. Just got to be careful if one puts an output transformer in the loop.
The correlation between phase margin and %overshoot is well known and if one isn't careful in design and layout you will have problems.
Triodes are nice in that they are linear and don't require gobs of feedback for good numbers. Just got to be careful if one puts an output transformer in the loop.
Stadiums and it is not conductivity. The issue is if the problem is clear at a 500' run, when is the run short enough it isn't perceptible?
Usually the ridiculously large speaker wire and especially long runs of it will have a large C value, this factor brings me back to the stability issue. The lack of ability to drive a heavy C load of an amp is what you hear not the cable being better. People hear "better treble detail" but really it's ringing and overshoot.
Even with pro amps there are some that can't take capacitive loads. So I don't use that brand.
Unlike home systems we do use an oscilloscope to look at the audio power amplifier's output. As the amplifiers today are almost all switching amplifiers we look not just at stability but also heterodyning.
Testing the cable at the bench shows some of the advantages, but we are getting way off topic. When I have more measurements I will start a thread to show them.
Were these the ones you measured at 1/4 rated power and sent to buddies to do uncontrolled (AFAIK sighted) listening? Typical pre-amp or line stage won't have much AC signal over a Volt or so rms which is mW even at the 1k level, not even 1% rated power.
No it was the folks who listed their favorite carbon comp ones in the exact order from bad to better and even noted there was almost no difference between two that had almost identical measurements. Interesting result.
I don't get credits either. My mic pre was used for the first set of samples that made the Line 6 POD. Also I made a mic pre that was used by the Stone Temple Pilots and a bunch of other stuff that Doug Grean did.
Well then you need to treat them as transmission lines, use telegrapher's equations, account for time delays etc. Something that people here are highly unconfortable with (I have a few on quote stating that there's no such thing as time delays, it's all about phase etc.). Have fun arguing, I'm not going there again.
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