Why "minimalism" is not popular ?

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We may be confusing some of our younger viewers. Monty Python is the explanation.
I believe at this point, your younger viewers have left the room, and the older viewers are starting to be confused as well... personally, I was hoping for a more in-depth discussion of transformers, perhaps even a haiku on the subject... then again, it IS Sunday, and I am loath to let go of a pleasant state of confusion.
 
That font is very similar to 'sublime font' by Joseph V. Coniglio.

Yes, it is. Thanks! Don't know how I didn't manage to come across that one as I'd searched on MyFonts before.

I've a bit of a problem with it though as he put too much "human touch" into it than I'd prefer. It's much sloppier than I would get with a simple lettering template and my Rapidograph.

An externally hosted image should be here but it was not working when we last tested it.


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No, the main priority is getting the right typeface. Fixed bitmap fonts (i.e. non-oversampled) sound better than Truetype in my experience.
You are abo-slut-ely right, and I agonise profoundly for my abstinence of the finer pints consumed so clearly in this thread.

Having said that... there was an intriguing circuit somewhere in the middle, and the start of a discussion, which, I personally found informative, and would like to say thank you for.
 
Minimalism. (minimalist form)

Silly questions about minimalism. (normal form)

Everything you want to know about minimalism and never dared to ask. (elaborate form)

Forgive me gentlemen, but over a hundred post to talk about minimalism, it will not be too much ?

I can make an oscillator with a single resistor, can consider myself a minimalist ?

What is the magic number, N, from which a design ceases to be minimalist ?

Helvetica fonts, does it sound better than Arial fonts ?

Is Michael Nyman's music, better than J.S.Bach's music ?

Is Nelson Pass a minimalist ?

Is SY human ?

:D


Edit: Is he human ?
 
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You have to remember that all commercial products have to be fairly universal in order to sell in volume . In order to achieve this they have to be little over-designed and foolproof.
There was a period in late 80's of simple square black boxes (shoe box audio) but it didn't last as we entered a "decadent" era of thick faceplates and blue LED's . Simple requires quite complicated and expensive auxiliary components . Like my 1.5W 45 amp needs $$$$$ full horn speaker to develop some convincing sound. Also all simple PASS amplifiers need almost equally elaborate read big and expensive speaker systems for serious orchestral works . Actually I'd say that no matter what amp you have if big orchestral works are concerned the speakers are going to be serious. I think it's a cultural thing. Since traditionally Asia is listening to solos on single string , simple yellow 5" driver will do and you see the popularity of yellow drivers and tiny electronics oversimplifying since the biggest horn systems and Tannoy behemoths are also there partially due to I think extreme herd behavior and cult of "Old things" . Because western culture developed big orchestral works we have a tendency to bigger more complicated system - Germanic people with lots of marching BASS and treble (Americans are following closely along with Russians , you'd be surprised how similar tastes and imperial mentality is :) Brits with their tarnished past and small, small apartments and small and usually simple systems and the rest of Europe somehow in between . I already forgot what I'm talking about so please excuse me,...:D

And yet the East gave us the big drum pieces. Try that on a 6P1/Louther!

I transitioned from overly complicated receiver technology to the late European small quality units thinking that truly was the right way to go. (Creek, Rotel, MF, NAD). Then I bought my first BIG complex well executed amps. Never going back. All my tubes are gone, all my under 50W amps are being prepped for e-bay.
 
Wow, that was a bit of nostalgia. I found not only my old pens, but my fathers from when he was in engineering school after the War, and a few from my grandfather he used to draw the houses he built before the War. There was a lot of pleasure and pride in drafting. Now it is all CAD. Something lost, but something gained I guess. Price tag on a ruling pen box: $1.69
 
For me yes, Mr. Pass is a minimalist
Have you read this article ?

https://passlabs.com/articles/single-ended-class-a

It's good creative, imaginative stuff. But I think the metaphors and analogies are a bit tortured.

The push-pull symmetry topology has no particular basis in nature...

...Descriptions of push-pull often illustrate this type of operation with a picture of two men sawing a tree by hand, one on each side of the saw. Certainly this is an efficient way to cut down trees, but can you imagine two men playing a violin?

An analogy using a violin or similar stringed instrument illustrates singleended operation nicely and points out the control and finesse which can be achieved when only one gain device controls the performance of a gain stage.
...but of course the system of muscles that moves the bow is antagonistic.

He also sounds a bit on the defensive side with this gem:
Why are we looking to reduce a subjective experience to objective criteria anyway? The subtleties of music and audio reproduction are for those who appreciate it. Differentiation by numbers is for those who do not.

Has a raw nerve been touched at some point?

And when trying to sell using the florid prose/rising above the hoi polloi method, it's important to get your apostrophes right (its vs. it's).
 
The push-pull symmetry topology has no particular basis in nature...
I would be extremely surprised if push-pull were the only human design which has no natural analogue.

Writing woffle with the implication that those who appreciate it are 'us' and those who prefer facts are 'them' seems to be an admission that the emperor is in danger of a wardrobe malfunction.
 
I don't think minimalism in the design of an audio amplifier, or any audio reproduction device, should necessarily be defined by the lowest possible number of active semiconductors.

My collection of audio equipment with its associated wiring, circuit protection, heatsinks, etc. does not look like minimalism to anyone, regardless of the number of transistors under the cover. To the average person, it looks like the opposite... massive overkill.

To most people, minimalism is a surround-sound receiver in one box, with one power cable, and one remote that also controls a flat screen TV.

Heck, the college kid at Starbucks on the corner who is perfectly happy with a pair of headphones, and a headphone amp jammed into a tin of mints is a minimalist compared to me... especially when you compare his preferred mode of transportation (a bicycle), to mine.

I am also pretty sure that he spends more time listening to live music than I do these days... :eek: So, there is minimalism for you, zero active devices, acoustic guitar, so-so vocals, and a couple human ears, LOL.
 
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It's good creative, imaginative stuff. But I think the metaphors and analogies are a bit tortured.
...but of course the system of muscles that moves the bow is antagonistic.
He also sounds a bit on the defensive side with this gem:
Has a raw nerve been touched at some point?
And when trying to sell using the florid prose/rising above the hoi polloi method, it's important to get your apostrophes right (its vs. it's).

Hi ! I agree but I admit I liked his reasonings and I have the feeling that something he says is fundamentally right
Just before I forget ... he called one of his creations Zen ... so he is definitely a minimalist
Speaking of the push-pull he is right ... the pull is like a depression ... it never happen in reality
The sound pressure at minimum is zero, never negative
I also admit that I am quite surprise that some of his designs did not have the success they deserve
With a friend we try the Bride of Zen. Both we had the feeling that rightly implemented it could be an excellent line stage.
We were able only to reach a decent result but there is so much more potential in that design we think
I followed also with exceptional interest the Blowtorch 3D hoping that some hint on the actual schema popped up
Then I got completely lost in the ocean of messages
But still I remember JC stating that the design is in some way minimalist (maybe with a very complex power supply to provide perfectly clean voltage to the amp circuit)
There are at least two crucial issue:
1) right quantity of feedback (maybe zero is the magical number )
2) measurements (because I am pretty sure that any designer carries out some sort of instrumental evaluation on the prototypes)
Regards,
gino
 
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Speaking of the push-pull he is right ... the pull is like a depression ... it never happen in reality
The sound pressure at minimum is zero, never negative

I remember that statement from Nelson. It's only true at a macroscopic level. If you think about it, pressure, air pressure that is, results from many many molecules in motions impacting on a surface. Each collision of a molecule with the surface transfers a tiny but more or less discrete momentum to it. The surface being large with lots of momentum soaks them up and it 'feel's like a constant push or pressure. But if the surface is small and light, it will jiggle all over the place with all the molecules bombarding it. This was called Brownian motion and earned somebody a Nobel price. So in my book it's not single ended class A at all, it's Class D. The inertia of the surface that the air molecules act against is effectively the 'low pass filter'.
 
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I remember that statement from Nelson. It's only true at a macroscopic level. If you think about it, pressure, air pressure that is, results from many many molecules in motions impacting on a surface. Each collision of a molecule with the surface transfers a tiny but more or less discrete momentum to it. The surface being large with lots of momentum soaks them up and it 'feel's like a constant push or pressure. But if the surface is small and light, it will jiggle all over the place with all the molecules bombarding it. This was called Brownian motion and earned somebody a Nobel price. So in my book it's not single ended class A at all, it's Class D. The inertia of the surface that the air molecules act against is effectively the 'low pass filter'.

in my book it's not single ended class A at all, it's Class D.

:eek:
I do not understand ... but i am intrigued :rolleyes:
Kind regards,
gino

P.S. you make me want to try a class d with a switching power supply
an heresy ... :eek:
better ... two heresies at the same time
 
ginetto61 said:
Speaking of the push-pull he is right ... the pull is like a depression ... it never happen in reality
Reality involves both pushing and pulling (e.g. positive and negative charges and the Coulomb force). He is just woffling, and hoping his readers will so enjoy the ride that they will temporarily suspend their critical faculties and their knowledge of physics.

I also admit that I am quite surprise that some of his designs did not have the success they deserve
I am surprised his designs have as much success as they do.

1) right quantity of feedback (maybe zero is the magical number )
No, the magical number is the right amount of feedback for that circuit in that application. Zero is merely the midpoint between a continuum of positive and negative feedback.
 
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Reality involves both pushing and pulling (e.g. positive and negative charges and the Coulomb force). He is just woffling, and hoping his readers will so enjoy the ride that they will temporarily suspend their critical faculties and their knowledge of physics.

Are you sure that this could be applied also at the sound propagation ?
You are talking about electromagnetism ...

I am surprised his designs have as much success as they do
so you are saying that are bad ? inferior ?
Please explain me ... I am here to learn actually

No, the magical number is the right amount of feedback for that circuit in that application. Zero is merely the midpoint between a continuum of positive and negative feedback

So you say that a circuit with a huge open loop gain and consequently a huge feedback can be very good sounding
This I think it is what happens in op-amps isn't it ?
So the reason for bad sound is somewhere else and not in the high feedback ?
Regards,
gino
 
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