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Valve amp (preferably DIY) to drive apair of Wharfedale DiamondII's
Keith G wrote:
"Tat Chan" wrote in message ... And they believe in the usual audio mag stuff as well ... vinyl has infinite resolution **** Nose. Was that insult directed at me or the people who believe vinly has infinite resolution? and digital still has a long way to go to match vinyl, It does, but apparently 24/192's getting close....??? But that would imply that master tapes have a dynamic range of 144dB and frequency content up to 96kHz ... power cords, etc. What about them? A typical descriptions for the effect of using an audiophile power cord would be "more bass, greater detail and dynamics" (you know, the usual audio mag ravings) |
Valve amp (preferably DIY) to drive apair of Wharfedale Diamond II's
In article , Patrick Turner
wrote: I'd also be interested to know the (complex) o/p impedance as a function of frequency and perhaps power level.... Ro = 0.5 ohms at 1 kHz, with about 7 uH inductance in series. The leakage inductance in a tube amp is similar to the LR zobel network fitted to the output of an SS amp to stop the transistors ****ting themselves with a capacitive load. Slight typo, there, I think. :-) There is no typo. Didn't know organic transistors were now available. :-) In this context, I don't know what your comment actually means. It isn't necessary to employ an output inductor with SS amps. Depends upon the design. Can't say more unless you define your "****ting themselves" claim. What about as you go down to 20Hz? All my SE tube amps and other PP tube amps can make 20 Hz at no more than 2 dB below the 1 kHz clipping levels. My question referred to the output impedance you quoted. You gave a value for 1 kHz, and I was asking what happens as you go down to 20Hz to the output impedance. I'd also be interested to know how the output impedance varies with power level. None are used anywhere near full power, and the response is -3 at 5 Hz if you want it that good because that is determined by CR couplings. You say that your amps are never used anywhere near 'full power'? Is this because you only use them yourself, and monitor them to ensure this? I had thought from you comments that you'd made them for other people. FWIW I tend to regard the RC shunt as 'Zobel', and any series parallel pair of LR as being something else. In the power amps I've done the inductor would be shunted with a resistor as well. Its normal to have an RC zobel network of say 0.27 uF and 6.8 ohms between the the output point off the transistors or mosfets to ground. This provides a 6.8 ohm load to the output devices at HF, so it limits gain, and helps stabilise the amp at F where it is never used, say 200 kHz. I'm not clear on what your "stabilise the amp at F were it is never used, say 200kHz" means. Don't know a lot about MOSFET designs as I've tended to use bipolars. However the shunt RC people use tends to be to define the load seen at RF. The LR zobel network is placed between the active device outputs and the speaker terminals to prevent absurdly high currents at HF from occuring into low value loads, or capacitors which have a low value at HF. 5 uF is only 1.6 ohms at 20 kHz. In some cases, perhaps. In other cases it is there to serve two other purposes. One is to define the load at HF and decouple from the speaker and cables to help reduce RF injection, etc. These should not have too much effect with, say, 20kHz 'squarewaves' into something like a 2m2 cap load as the HF rolloff can be defined at the amp input easily enough, and that then determined the required load current in such cases. In my experience is isn't necessary in SS to use an output series inductor for that purpose. I dunno what speakers may present 1.6 ohms at 20 kHz, perhaps it is a the larger Mrtin Logan types; I have never been able to find a schematic or impedance profile of those speakers. If you want low/cap impedance around the 20kHz region then try something like a Quad ESL57. :-) However in my experience the output (passive) network is to do the things I described above. It should be possible to design an amp that is unconditionally stable without these if desired. If you have a 1 ohm resistive load, then any amp really struggles, unless it has an enormous output device number or has low voltage rails or has transformer coupling. If you have enough secondaries on the OPT of any tube amp, its possible to get your 50 watts into 1 ohm qhite easily. Yet it is perfectly possible to build and use SS amps that work happily into 1 Ohm loads. FWIW the 732 I designed 20+ years ago will deliver well over 1kW/channel into 1 Ohm loads on a sustained basis. (I found this out by accident one day when I accidentially connected a pair of 300W 1Ohm test loads instead of the 4 Ohm ones and only realised when a protracted test caused the resistors to start melting their way through the bench surface. ;- ) The amp gave no sign of 'struggling' although the transformer buzz was a little more audible than normal. There may well be domestic audio valve amps that can do the same, but I don't know of them. :-) I'd agree that this may not have much to do with music, though... ;- And if you have 3 drivers in a system each with different Z, you are able to load match with a transformer very efficiently with a few taps. How do you do that "very efficiently" when the speaker impedance swings about from below 4 Ohms to over 20 in various places over the frequency range and the user has to choose just one tap/ratio for the entire band? Also, what does it do to the distortion behaviour of a SE amp to do this? But with the tube amp the leakage L is included in the FB loop, wheras the L on the SS amp isn't, and many SS amps give a worse peaked response into capacitive loads. Afraid I don't have the statistics to know what your 'many' might mean here. Can't say I am concerned much if a passive LC resonance occurs at HF well above 20kHz and them amp is unconditionally stable. Making tube amps to be unconditionally stable is a careful exercize. Imagine taking the feedback from after the LR zobel network fitted to most SS amps, but without the R in parallel with the L . This would be difficult to do with SS amps, and its never done, because it would make the amount of gain and feedback impossible due to stablility issues at HF. Indeed. Fortunately, it isn't necessary with most SS amps I know of and the o/p network can be treated as an entirely passive 'out of the loop' network to define the o/p impedance seen by the am at RF. The difficulty with valve amps is - I presume - the distortion, etc, that tends to arise in the o/p transformer. Hence to keep the distortion down and get a flat response, etc, you tend to need to include the transformer inside the loop. But an SS amp needs to have 10 times lower thd at the same levels of the tube amp, say 0.003% because they mainly operate in the middle of the switching region of the output transistors, and although the thd is low, I note the "mainly" in your statement. :-) Well, they do. All that does is repeat your initial claim, but without giving any actual supporting evidence. In a class B amp, or an AB amp where only one side of the PP circuit is conducting, the PS caps which are being charged by the rectifiers, and which have a varying level of 100 Hz saw tooth wave on them are in series with the transistors, valves, etc, and the load. In principle, yes. Some of the 100 Hz modulates the tones of the music, and NFB is used to clean the mess up. This is where you assume any such 'modulation' is significant in level. It is easy enough to design a SS amp so that even without feedback it tends to ignore rail fluctuations. In the context of comparing with valve designs the obvious example being to use a long-tailed pair on a current source to operate in a differential manner. Once you design with this in mind in the first place, then any feedback does not really have much of a problem to deal with. Probably no larger (if not smaller) than that due to lack of perfect symmetry in a classic PP valve arrangement. TBH these points don't seem to me to have much to do with transistor versus valve, but are simply a matter of decent design using whatever methods suit the designer. Can you give me some references that establish this on a statistical basis for a representative sample of commercial designs? I'd also be interested to see your definitions for some of the terms you use like "middle of the switching region". Also for why it has to be "10 times" as opposed to some other value, etc.... You may do your own research on the issues raised. I picked arbitary figures. I was assuming you claim was based upon evidence. Do you not have any evidence for what you said? You have given no real reason so far for the values you now say are "arbitrary" should be taken as validating the claim you made. FWIW my own work (nearly all 20+ years ago) gives me no reason to simply accept your assertion on the above point. However I am out-of-date in various ways, so I was assuming that if you made such a specific claim you were doing so on the basis that you had specific statistical evidence. Some SS designs are better, some are worse. I suspect the same could be said about valve amps... :-) The switching region for many amps is at a voltage less than needed for 1/4 of a watt, but that's where a lot of folks listen. Again, I'd be interested in the statistical basis for your "many" here. What you say sounds plausible, but I have no idea if it is really correct. 1/4 of a watt produces 84 dB SPL into 90 dB sensitive speakers. Most wives would tell you to turn it down. Are you deaf? they'd ask. Wouldn't matter (until later!) if you could not hear them at the time. 8-] However the speakers I use mostly (e.g. ESL988's/63's) seem to have sensitivities somewhat lower than the 90dB/'watt' you seem to assume. Don't know what is typical with modern speakers, but looking quickly through some of the old review collections I have seem to indicate that values around 80dB/'watt' are common. Couldn't see one that was 90dB/'watt' although I am sure they exist. But the thd was modulated by the rail swings from the mains jitter, "Mains jitter"? Do you mean ripple? No. the mains constantly varies in level due to streetfuls of ppl turning things on and off and thus the voltage "jitters" up and down, The term "jitter" tends these days to normally be used for timing variations. Hence I'd have described what you describe here as amplitude or voltage variations. with some spikes of 50 mV. Interfererence. So the DC voltage of the rails also tries to follow a fraction of the mains variations. It many be only a few mV in the case of a transistor amp, but its effect will make the amplitude of the distortion vary like an AM wave envelope. As per the comments I made earlier. Yes *if* the design is sensitive to rail variations. However by design you can deal with this. You may have seen some recent work published by Keith Howard in 'Hi Fi News' where he looks at variations in performance like this. Some amps do such things to a clearly measurable extent. Others do not. Design. Its clearly visible on the CRO whilst taking measurments, along with any hum within the output signal. It can be, depending upon design, etc. FWIW as I have commented elsewhere, when designing SS amps 20+ years ago I used to deliberately modulate the power rail(s) of a working power amp and then check to see if this appeared directly, or cause distortion, at the amp output. Standard technique, I assumed. Again, though, this is a matter of design and fabrication, not - so far as I can see - one of transtors versus valves.... so the thd level changed dynamically.. Under normal conditions, class B amps have somewhat large swings on their supply rails and these modulate all other frequencies. Unless one regulates the rails or uses 100,000 uF caps, the thd is far worse than what one measures with a sine wave. Partly, I'd agree. That was why I tended to design amps with care w.r.t. being good at rejecting powerline fluctuations. (Must admit to also being a fan of big caps... :-) ) Also why I used to test for the kinds of non-sine and asymmetric waveforms implied in what you say. That said, I didn't make any Class B designs, just AB ones. AB amps suffer all the bothers of class B amps, except that thier rail caused IMD bothers begin at threshold of output level higher than most "class B" amps, which in fact do have some quiescent current, but its often only 25 mA per output transistor, allowing only a 50 mA peak current swing in class A, and not a very linear bit of class A at that. Again, you seem to be making sweeping general claims, but have not yet provided any real evidence I can see. You also, again, seem to be assuming that problems you may have encountered in the above respects are endemic and unavoidable. My experience leads me to doubt this - unless you have some actual evidence? Class A tube amps have the advanatage ofr common mode rejection in the CT OPT output stage. SE class A tube designs have a continuous drain of power, and in any case huge supply caps are used, say 1,000 uF. All class B amps which include nearly all SS amps used today My understanding is that most are AB, not B. Hence I would not agree with the statement you make above. Nearly all class AB amps made with SS are AB in name only. The techs I know all refer to them as class B because the quiescent current is so tiny, and virtually no class A power is made. In that case they you/they may be employing your own definition of the term which may not be the same as the standard definition in each case. My understanding of the usual distinction is not quite as you describe. The point is not that "virtually no class A power is made" (slightly odd wording, but I think I understand). The point is that the AB bias and arrangement allows the design to effectively remove crossover distortion by appropriate biassing. i.e. to obtain a situation where in normal use the distortion level falls monotonically with reduction in signal level. Thus avoiding the 'classic' symptom(s) of something like a discontinuity. I would agree that if the quiescent current is set too low, then this might not occur. But this is not the same as how much 'class A power' is available, but of what occurs over a range of signal sizes both larger and smaller than this (implied) level. really need all the NFB they can muster because of the nature of their intermodulation production. I'd guess that Class B would be difficult. However this is why I've avoided it, and assume that other have as well. Bryston apparently don't. They use both npn and pnp on both sides of PP circuit. The low bias current operation is very good indeed. Afraid I don't know the circuit you are referring to so can't comment on it. I have no reason to doubt your comment about the low bias operation of this specific design, but do not regard that as evidence of the other points you are making in much more sweeping generalisations. Usually, because SS amps measure 10 times less thd than a tube amp, they often cannot be distinguished from a decent tube amp which measures well enough. But I think the dynamic distortion mechanism within SS class B amps is 10 times Well, in measurement terms, the valve power amps I've seen in magazines sometimes seem to give THDs somewhat more than x10 the values for the SS designs. An SET 300B amp at full power might make 5% thd. This is ten thousand times the thd of an Halcro at 8 watts. Be interesting to see the relative figures with reactive loads, and/or at low/high frequencies... Both amps at 1/2 a watt has sufficiently low enopugh thd to allow great listening. Fair enough. Can't comment for the same reasons as I give above. But subject to the same caveat re not using this as a basis for sweeping generalisations. :-) However I have no statistics for this. Can't say that it bothers me much once the nonlinearity is reasonably low. (And, of course, avoiding Class B.) worse than the mainly class A tube amp, so the ten times greater NFB amount leaves the two genres somewhat similar sounding to many people. But not to all ppl, and some hear a lot more though a decent tube amp, and it ain't got much to do with measurements if the buyers of SET 300B amps are witnessed. Regulated rails are one solution for class B amps. Again, I can't actually recall designing or using a Class B amp. I've used/built A and AB, but not B. That said, I'm not clear why Class B amps should require regulated rails specifically. AB and B amps all benefit with regged rails. Despite the sweeping assertion behind your "all" I'm afraid that my specific experience is to the contrary. I decided that for power amps that are well designed w.r.t. rail rejection that regulated rails caused more problems than they 'solved'. After working on this for a few years I concluded that it was better to cure such amplifier sensitivies by redesigning the amp rather than trying to protect it. Hence my own experience is that *some* class AB designs show (in my judgement) 'benefits' from *not* using regulated rails. Can't comment on "all" except to point that even one such case makes your "all" claim unreliable. :-) Above said, I am a fan of nice big rail caps. To make class A in SS, you need to have idle currents in amps, not mA, and that causes large ripple voltages and PS charge currents in the OV rail circuits. Using CLC filters or reulators like one would in a tube amp reduces the need for so much NFB, and a total of 25 dB is usually enough to get to 0.2% at 40 watts, with very small amounts of thd at 2 watts, where most listening is covered by. Most SS class B amps have perhaps 40 dB of voltage nfb in their emitter follower output stage, as well as 6 dB of current nfb in the current sharing emitter resistors, then another 60 dB of global voltage nfb is applied. That makes a total of 106 dB of NFB. Once again you make all kinds of assumptions. :-) [snip more assumptions] 0.01% of 4 vrms = 0.4 mV. Now if we banished the wanted signal and played the 0.4 mV of distortion only, then who is going to tell me 0.4mv is audible at 3 metres away with 90 dB speakers? Assuming 90dB/'watt' speakers... :-) Also, of course, your "play only the distortion" neatly sidesteps the issue that the speakers when playing such signals as caused such amp distortion may well be distorting as well. Albeit in a different manner. Also ignores the nonlinear and masking properties of human hearing. Hence even given all your assumptions I am far from sure that you can draw the implications you seem to wish from what you describe. Maybe with horn speakers of 100 dB one could hear the thd in two watts, but then we'd only need 0.2 watts for the same level, and the thd voltage at 0.01% would have fallen to 0.04 mV. A lot of what you say is based on a series of assumptions. Unfortunately, you still have not really given any reliable evidence that these assumptions are all applicable in the "many" or "all" cases you either claim, assume, or imply. Some of the things you say may be so in your personal experience. However in some of the things you say, my own experience is quite different to yours. Hence without more reliable statistical/general evidence I don't see that you have established that your sweeping claims are as reliable as you assert, I'm afraid. Slainte, Jim -- Electronics http://www.st-and.ac.uk/~www_pa/Scot...o/electron.htm Audio Misc http://www.st-and.demon.co.uk/AudioMisc/index.html Armstrong Audio http://www.st-and.demon.co.uk/Audio/armstrong.html Barbirolli Soc. http://www.st-and.demon.co.uk/JBSoc/JBSoc.html |
Valve amp (preferably DIY) to drive apair of Wharfedale Diamond II's
In article , Patrick Turner
wrote: Keith G wrote: When the amp arrived it presented no surprises whatsoever - appeared to be exactly what it said on the 'eBay box'. The worst I expected that might have to be done would be to push a set of decent trannies into it and replace the odd resistor if and when they burn out. But, I hafta say, there's no indication the (agricultural-looking) trannies aren't up to the job - the amps sound nice and the slam and bass (into a pair of DM2As that I spank mercilessly) is well up to snuff. (I have an Atomic Kitten MP3 that starts with a hell of a bang and has had one or two listeners literally jumping with surprise with the volume at the 11 o' clock mark!! :-) This prooves that amplifier sound is mostly a function of adequate open loop BW and gain and NFB. Afraid I am not clear how what Keith wrote "prooves' sic what you say. Slainte, Jim -- Electronics http://www.st-and.ac.uk/~www_pa/Scot...o/electron.htm Audio Misc http://www.st-and.demon.co.uk/AudioMisc/index.html Armstrong Audio http://www.st-and.demon.co.uk/Audio/armstrong.html Barbirolli Soc. http://www.st-and.demon.co.uk/JBSoc/JBSoc.html |
Valve amp (preferably DIY) to drive apair of Wharfedale Diamond II's
In article , Trevor Wilson
wrote: **Really? See if you can purchase any of the following: 2N5210 2N5087 2N3055 (though modern 2N3055 devices bear no relation to the originals) 2SC945 2SA733 And these are only a handful, which I buy regularly. Please let me know if you can still buy all the devices I used in the 732 power amp! I could not find any potential spares when I looked a few years ago. (Circuit on the Armstrong website.) Slainte, Jim -- Electronics http://www.st-and.ac.uk/~www_pa/Scot...o/electron.htm Audio Misc http://www.st-and.demon.co.uk/AudioMisc/index.html Armstrong Audio http://www.st-and.demon.co.uk/Audio/armstrong.html Barbirolli Soc. http://www.st-and.demon.co.uk/JBSoc/JBSoc.html |
Valve amp (preferably DIY) to drive apair of Wharfedale Diamond II's
On Tue, 16 Nov 2004 23:39:54 +0000, Kurt Hamster
wrote: On Tue, 16 Nov 2004 07:59:27 +0000 (UTC), Stewart Pinkerton used to say... On Mon, 15 Nov 2004 16:56:06 +0000, Nick Gorham wrote: Ian Molton wrote: Well if you want adjustable controlls, I'd suggest a DSP these days. If you just want 'valve sound' applied to everything, simply use a crappy valve amp and quit worrying about hi fi. Yes, fine, I will do thanks, but are you not interested that there is a consistant number of people who are reporting the same preference. Why would we? We *know* why valve amps sound the way they do, it's not any kind of mystery. You prefer that sound, I don't, end of story. Ah if it only were. The problem comes when you insist that everyone should follow your tastes and beliefs. I never do that, so that can't be right. The reality is that the problem comes when the valvies (and vinyl fetishists) try to *justify* their preference by making bull**** technical claims. What if the effect was real, and not dependent on what you describe as the "undesirable" effects of a valve amp, what if the percieved improvements were possible without affecting your transparency ? What if the Moon really is made of green cheese? Some people would say "what a lovely green moon we have out tonight". Amd of course - they'd be wrong. -- Stewart Pinkerton | Music is Art - Audio is Engineering |
Valve amp (preferably DIY) to drive apair of Wharfedale Diamond II's
On Wed, 17 Nov 2004 00:00:44 -0000, "Keith G"
wrote: Yer mate wants to learn a little bit about People Management and look up 'alienation' as a start point. Might get away with his gob in some nerdy Print Room (in fact I doubt that,even that as I type, which is why I reckon we get it in here....), my guess is that his arse would be damn soon scudding across the tarmac if he tried it in the real world.... WYSIWYG, and my arse has remained in position for more than half a century of life in a very real world. Of course, I'm not some posey hairy-arsed ex-trucker, so maybe I don't get my rocks off in the same fake macho way that you do. Compare and contrast with valvies, who are petrified to agree that their preference is inferior in absolute terms. For gawd's sake give him some basic psychology lessons - 'petrified'? Says so much about *his* psychosis, doesn't it? I think deep down he knows that valves **** on ss gear generally and he is in fact terrified to admit it to himself! (If I thought it was the other way round I'd just wire up one of my ss amps! ;-) Sure you would, sweetie. Valves do not '**** on' SS in any way other than by *adding* 'easy listening' artifacts, but as noted, you're too ignorant/terrified to admit that, so you guys have to make up bull**** about 'inner detail' and the like. There's no mystery about why technically bad valve amps sound the way they do, so why make up stories? Why is it that you can't just accept that you *like* these artifacts, and get on with listening to music? -- Stewart Pinkerton | Music is Art - Audio is Engineering |
Valve amp (preferably DIY) to drive apair of Wharfedale Diamond II's
On Sat, 20 Nov 2004 18:01:14 -0000, "Mike Gilmour"
wrote: "Stewart Pinkerton" wrote in message .. . On Sat, 20 Nov 2004 14:17:24 +0000 (GMT), "Dave Plowman (News)" wrote: In article , Chris Morriss wrote: Through away your copy of 'Yob English for inhabitants of St Neots' and ^^^^^^^ get an English grammar. Oh dear... Already seized upon immediately after I sent it Dave! Always the way. ;-) It's one of nature's fundamental laws that any post seeking to criticise speling, sintax, or punctuation error's will contain at least one. I can't afford to pay my syntax! Just as well. Best to avoid the wages of sin :-) Rail voltages below 200 will certainly help in that respect! :-) -- Stewart Pinkerton | Music is Art - Audio is Engineering |
Valve amp (preferably DIY) to drive apair of Wharfedale Diamond II's
On Sun, 21 Nov 2004 14:47:50 +1100, Patrick Turner
wrote: 3) A transistor still does what it did 57 years ago does it not? Not if it's a FET, as are more than 99% of all modern active devices. As it happens, the output stage of audio power amps is one of the very few places where you're still in with a good chance of finding a bipolar transistor. Yeah, but domestic audio amps still use class A bjt for flea power gain stages, and class B bjts for the outputs. Not in my main amp, they don't! Class A BJTs all the way! I reckon its the price that determines the use. If mosfets were cheaper for Yamaha, Pioneer, Onkyo, Sanyo, Sony, Denon, et all then they'd use nothing else but. Most Sony power amps do use MOSFET output devices. But the cheapness of devices was established for the bjts before power mosfets came onto the scene, and its was hard for them to displace an established convention. I prefer to use mosfets when I build SS amps when I ain't building tube amps. The mosfet gates draw no current, so its easy to construct the high gain class A bjt based signal amps to drive them. 0.005% thd at 200 watts is very easy to obtain. They might not draw any DC current, but they have fekkin' big gate capacitances that tale lots of current to charge up and down at 30kHz! Halcro use mosfets in their output stages for 0.0001% thd, even up to 20 kHz, 200 watts. Perhaps that's where the state of the art is. More like state of the technology. Same thing - music is art, audio is engineering. Reproducing a recorded sound is like reproducing a visual image. Its very hard to fool anyone that they are not looking at a photo when they are. The technical resolution and detail in the photo can be improved 1000 fold, and the people seeing the photo still say its a photo. Not if it's behind a studio presenter on telly they don't, because you lose the visual cues. So I believe it ain't absolutely necessary proceeding beyond a certain point in the technical excellence. There's plenty of truth in that, and the Halcro is a nearly perfect example (pun intended). So I can embrace the wonders of the vacuum tube and its abilities with music without disdain, or prejudice, as I could enjoy a fine old wine, and I hope the wine makers of today can produce a drop which tastes as good in 20 years to those who follow me. Fairy snuff. -- Stewart Pinkerton | Music is Art - Audio is Engineering |
Valve amp (preferably DIY) to drive apair of Wharfedale Diamond II's
On Sun, 21 Nov 2004 14:55:20 +1100, Patrick Turner
wrote: If it's a FET then it's not a "transistor" is it, why else would it have a different name? Kurt shows his ignorance of the well-known meaning of FET, particularly the *T* part. It seems like being a tubie is partially dependent on gross ignorance. Tubies ain't all ignorant. Some know that mosfets are metal oxide field effect *transistors*. And some know that they're semiconductors, too...... :-) We don't mind how many mosfets or bipolar transistors set up camp to surround us in our glass castles. Its a bit like being surrounded by Mc Donald's restaurants. None of us really mind the golden arches, but we know where to buy a real feed. That argument has a hollow ring to it. Oh yeah, that's where 'tube sound' comes from, isn't it? :-) -- Stewart Pinkerton | Music is Art - Audio is Engineering |
Valve amp (preferably DIY) to drive apair of Wharfedale Diamond II's
"Tat Chan" wrote in message ... Keith G wrote: "Tat Chan" wrote in message ... And they believe in the usual audio mag stuff as well ... vinyl has infinite resolution **** Nose. Was that insult directed at me or the people who believe vinly has infinite resolution? That wasn't an insult me old china. You want insults, I can give you insults which would make yer hair curl. (That would be a first, wouldn't it? :-) and digital still has a long way to go to match vinyl, It does, but apparently 24/192's getting close....??? But that would imply that master tapes have a dynamic range of 144dB and frequency content up to 96kHz ... **** Nose...... |
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