This emphasis on harmonic distortion is completely unfounded. Of all types of currently measured distortion, harmonic distortion is the most consonant with the musical signal. Why, because the distortion products are harmonically related to the fundamental, just as a given instruments unique sound is related to the harmonics that it produces along with the fundamental tone. Is this distortion good? Hell no, but it is in unison with the music itself. Most other amplifier distortions are not musically related such as intermodulation distortion, transient intermodulation distortion, crossover, or notch distortion (only found in push pull amps of course), slewing induced distortion, typical clipping, etc. and this, by definition, makes these distortions amusical. So why the focus on harmonic distortion? Because in the dark days, it was the first measureable distortion in amps. Here is a great case of the measurement technique defining the importance of the distortion rather than the actual audible effect defining the hirearchy. Harmonic distortion specs are, at best, a one dimensional look at amp performanance and, at worst, a crutch for not looking deeper into the causes of psychoacoustic effects. A great proof of this can be found on Stereophile's Test CD2 which demonstates the effects of added harmonic distortion of the second, third and seventh harmonics. As I point out above, one quickly sees that an amp with .02% harmonic distortion of the seventh harmonic will sound much steelier than an amp with .02% harmonic distortion of the second harmonic, and that all harmonic distortion is more tolerable than IM or other distortions. Most people have not even tried to personally correlate the measurements with audible phenomena, much less understand the science.
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- 15 posts total
- 15 posts total

