Markw4. I don't know if you recall, and I can't remember the exact context, but some time ago you mentioned how some instruments (not sure if saxophone was mentioned, think it was) can sound like they are synthesized, it made me think of a particular track that I couldn't recall the name of at the time, anyway this is it, particularly the opening phrases. YouTube
Good analogy. A photo is a visual snapshot of reality. Seeing Niagara is a multi sensory experience.
So you are essentially telling that one would need more than his ears to detect the audio greatness. How true, not using ears only, that’s the very essence of uncontrolled audio evaluation.
Of course you can go to a concert hall blindfolded so they can't accuse you of sighted tests, then you braille your way through your laptop to get SPL, FR, THD, IMD, which, as we all know, are the sole criteria to determine the quality of a concert.
Can a 'shill' (that is, someone who is in audio business and posts online with his business interest) be trusted to tell the truth about audio system?
Of course you can go to a concert hall blindfolded so they can't accuse you of sighted tests, then you braille your way through your laptop to get SPL, FR, THD, IMD, which, as we all know, are the sole criteria to determine the quality of a concert.
So what are you saying, a great audio system should reproduce the sound field, and as much as possible provide the sensory experience, of a live concert?
Good luck with that. Didn't know you could replace the stage view with a view of the amplifier front panel. As of the sound field, do you really understand what stereo reproduction is? Based on your comments, I certainly doubt so.
Wrong; you use the world reproduce, and reproduction means that it is something happened in the past, being it live or studio
A sound field, what else?
Awful ! probably mastered by a genius because there is no microdynamic/attacks no where. Piano, drums, sax, bass, trumpet, everything went under the smoothing-iron. A Permit points to use limiters/compressors should be established.
Wrong; you use the world reproduce, and reproduction means that it is something happened in the past, being it live or studio
A sound field, what else?
Not sure I understand what you mean; why am I not surprised?
This is going off memory on the values.....the components are packed in the closet and I’m not sure which box their in, gives a rough idea of how simple it is though.
10’s are 16ohm, tweeter 8 ohm wired reverse polarity, 15” bass modules will be crossed dsp,
Gonna try the xo by itself b4 going full dsp on the mids.
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I have never found Scott Wurcer, Nelson Pass, Pavel Macura and a few others bends the truth as he sees it, perhaps not disclosing everything for all, but I have never found what they tell as a lie or misdirection.
Another great post by someone who knows what they're talking about https://www.diyaudio.com/forums/ana...pamps-chained-measurements-4.html#post6010363
A bit retarded reaction, but just flying through the postings of this endless thread, I came across your suggested servo system, meant to remove DC from the output from the PA.
However to my opinion that is not what this topology is doing.
It should be seen as an Active Error Feedback or AEF, correcting distortion components caused by the PA, see image below.
When increasing the BW of the LPF in your schematic, it will do a very effective job of error correcting over the whole audio range, but DC at the input will come out as the same DC, not at all what a DC removing servo is supposed to do.
Hans
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