Are future improvements in Amp/PreAmps slowing to a crawl?

geoffkait
What are you using for a headphone amp?

I used to use a headphone amp, a Woo Audio pure tube Class A headphone amp with WWII era tubes. Today I use a Walkman CD player and Walkman cassette player. With Grado SR 60 headphones and Sony Ultralight headphones and Radio Shack Pro 35 titanium headphones. I heard a quarter million dollar system the other day. It was much better. 😀

@roger_paul 
Sorry, pal. Sounds like snake oil sales talk to me. I've poured over thousands and thousands of pages I've at diyaudio and nobody actually building circuits talks in the cryptic code you do and that takes away from your credibility. 

" nobody actually building circuits talks in the cryptic code you do"
Thank you - I like to think I am unique. It's probably because they are still building conventional circuits. BTW - what part is cryptic to you?

So without hearing the process I'm talking about - you have totally dismissed it as "snake oil". The one thing I like about these threads is there is a kind of paper trail that we can look back on and say "remember when they didn't believe it was possible to amplify without distortion?"
  
(Lets note the date)

This is why I don't spend much time on these threads because if you introduce any kind of new thinking to solve old problems - people freak out. The ones that complain the most are those with skin in the game. Is this technology somehow a threat to you or your business?

I don't know many people on this thread as far as what they do for a living. I know Ralph who I respect has his tube circuitry but never comes across as anything other than someone who enjoys what he does and is successful at it. I'm pretty sure Ralph does not see me as a threat. My hat is off to any designer that strives for the best. These threads are for the purpose of sharing all things audio. Lets leave out the snake oil please. 

Perhaps someday you will get a chance to hear what I'm talking about.

I won't bother telling you about automatic focus - that doesn't seem go with sound reproduction either but I still use it.

kosst_amojan

Here is the simplified version:
When a recording is made of a performance in the hall and the sound waves strike the microphone diaphragm 2 bits of data are saved.

1: what is the exact air pressure
2: what is the exact moment in time (for that air pressure reading)

This assumes 2 channel optimum mic placement.
This allows you to triangulate the location of every instrument on stage.
That's it - nothing more nothing less. If you do this correctly you have a piece of acoustic history captured.

Can we agree on that?
Is there anyone reading this post that thinks otherwise?

If you can cause your speakers to produce the same air pressure changes along with the exact times - you have yourself an acoustic clone of that event and you will not be able to tell the difference between the live and the "copy".

That is my goal and I am quickly approaching it.

Roger