@agear regarding the 7th harmonic. Two minutes on google will turn up ample references from piano tuning, design of wind instruments and so on. Here’s a basic one to get you startedAnything pertaining to the design of amplifiers or better yet the effects of isolation on said harmonics? Again, two minutes on Google provided about as much intel as the youtube video from Townsend.
http://hyperphysics.phy-astr.gsu.edu/hbase/Music/harmon.html#c1
Do equipment stands have an impact on electronics?
Mechanical grounding or isolation from vibration has been a hot topic as of late. Many know from experience that footers, stands and other vibration technologies impact things that vibrate a lot like speakers, subs or even listening rooms (my recent experience with an "Energy room"). The question is does it have merit when it comes to electronics and if so why? Are there plausible explanations for their effect on electronics or suggested measurement paradigms to document such an effect?
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Do some of your own research @agear Nelson Pass on amp design and harmonics https://passlabs.com/press/audio-distortion-and-feedback |
Do some of your own research @agearThat would not qualify as research.... |
Ralph, I read your posts several times. You didn’t describe a test you’re willing to take. Rather, you wasted several paragraph explaining why it’s impossible to devise such a test: Your cassette deck needs new rollers, a special platform must be constructed, and - most incredible of all - you can’t demonstrate digital aliasing on a digital system. :->) What a waste of both your time and mine this has been.Actually I did. I said (again) that it would have to be on a system that lacked the artifacts under test. So to test aliasing, it would be on a system that is immune to such (an analog system). To test for higher ordered harmonics, on a system that lacks said (likely tubes). The test would be the same track, one ’with’ then the same ’without’. I can easily make a recording of the 'with' and 'without problem of aliasing. Your belief that distortion is different from "artifacts" and so can be heard at infinitesimally small levels is preposterous. I challenge you to prove it. Hint: you can’t because it’s not true. And your other belief, that distortion "brightness" is different from frequency response brightness, is equally preposterous. If you change the spectrum, how and why it changed is irrelevant. If you add 10 percent 3rd harmonic distortion to a 1 KHz triangle wave, that’s exactly the same as boosting an EQ by about 1 dB at 3 KHz.Proof: analog and tubes are still very much alive, decades on after being declared ’obsolete’ (the market knows what’s up even if you don’t). But that’s not all: tubes/transistors debate (and the complaint against transistors is ***brightness***, when clearly there is no FR error, as I have explained....); the analog digital debate (again: brightness is the coloration...). Both of these debates are older than the web. And distortion is at the root of both of them. You **know** this! In case its not clear, all audio products make distortion and all audio products have a coloration as a result. So even in this day and age its still all about the distortion. The 3rd harmonic is not an example as I’m sure you knew when you wrote that. I’ve been careful to say ’higher ordered harmonics’, which are the 5th and above (the ear being relatively insensitive to the lower orders, the 2nd, 3rd and 4th). Your comment fits the definition of a Strawman to a ’T’. Adding 0.05% of the 7th wouldn’t even show up in a FR analysis- but its easily heard. Go back to that link of John Curl: https://www.youtube.com/watch?v=fZwS-oyqc3w The book he refers to is the RadioTron Designer’s Handbook, a reference tome known to many. I have both the 1941 and 1953 editions (the latter is the red one). If you think you can make a better amp than he or Nelson Pass (or Charlie Hanson, IMO responsible for one of the other great solid state designs), let’s see you get out there and do it. Again this is such basic stuff that I now have my answer: You do know that what you’re claiming is nonsense, but you do it anyway to sell stuff. So I’m pretty well done here, though I still look forward to your proof that distortion is always audible even when it’s 80+ dB below the music.Apparently I was right that you don’t seem to understand why its important to get rid of distortion. If what you say were true, 10% would be unimportant as you would never hear it (by your way of thinking, your masking demo shows that in spades)! But its obvious that isn’t the case and you confirm that by insisting as I do that distortion should be low. The contradiction is obvious. I am currently of the impression that you are so intent on making me wrong that you don’t care if you contradict yourself. I suggest once again that you read Norman Crowhurst. http://www.tubebooks.org/technical_books_online.htm Remember what I said about blind spots? This is an example of something where you act like you don’t seem to know, and you act like you don’t seem to know that you don’t know it. That was why I brought it up the first time and your posts have very consistently proven me correct. |
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