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Posts by jcx

I see kevin's on a roll here only audiophile marketing types don't recognize emitter/source/cathode followers, degeneration as examples of local negative feedback - you will fail your Uni EE analog design courses if you don't use feedback formulas, Blackman's Theorem in analyzing these circuits
false statement, false correlation every active circuit in a amp will have a hard slew limit from device, bias and supply limitations - feedback or no and will distort for some value of "Transient" input "soft" slew limiting, gain/phase changing with dynamic signal cause FM Intermodulation products and are also usually lumped in "TIM" too "no feedback" amps have "TIM" distortion mechanisms, measureable "FM" Intermodulation Products any nonlinear C, modulating gain working...
you do realize microphonics is a major issue with iem cable? - anything heavier, stiffer, with a rougher finish than the manu cable will add mechanical noise   it is hard to source material, build a cable as flexible
anytime    CD-4 was certainly a coding format, on vinyl, that requires more than 2 channel Redbook CD to capture, playback     another helpful thought -  we may want to disallow vinyl altogether in a "lossless formats" thread with the expected wearout with play clearly being a loss
just to be pedantic - CD-4 Quadraphonic records  would require 192k not just Redbook CD 44.1 to capture the 30 kHz subcarrier and its modulation   http://www.obsoletemedia.org/tag/quadraphonic/   http://en.wikipedia.org/wiki/Compatible_Discrete_4     vinyl does draw the corners of the box differently, few were ever cut with >5 kHz power bandwidth, but if you don't mind limiting the amplitude much higher frequencies can be recorded   but Redbook CD today are often...
batteries differ by chemistry as to what they want - NiMH don't really like float/trickle charge - more recent formulations may withstand it better than older ones   http://batteryuniversity.com/learn/article/charging_nickel_metal_hydride   NiMH is the more common rechargable "9 V" battery today   the O2 charging circuit isn't smart enough to give good battery cycle life - but it usually isn't critical
listening environment noise floor, computer fan noise, refrigerator hum, HVAC...   it can be hard to find a really quiet room and open cans have next to no isolation   Monty of Xiph/Ogg Vorbis claimed room noise was a common problem when getting new testers trained, validating, extending their resolution in codec testing   microphonics of having cups over your ears, or iem inserted give headphone listening a ultimate ~10 dB higher noise floor even in a anechoic...
sub sample time resolution isn't a challenge   Redbook 16/44 isn't really missing timing info below Nyquist and above the noise floor   even "pure analog" systems are limited by Shannon/Hartley Channel Capacity theorem - virtually all practical recordings, listening scenarios don't challenge Redbook audio S/N   so if your music really is enjoyable with <20 KHz content - and no one's provided enough evidence to change psychoacoustic textbooks yet - then Redbook is...
vertical and distance audio effects aren't directly encoded in current commercial multi channel be it Stereo or 7.1 Surround - all assume a horizontal plane that the virtual sound sources can be located angularly from the listener in   what vertical and distance effects are heard are from our brain's interpretation of relative frequency response balance, comb filtering, internal echos/phase of notes, transients, decay heard with our 2 ears near (two, horizontal) point...
listening SPL is also important - we hear different frequency balance of the exact same cut, same headphone depending on the average loudness we are listening at:   http://en.wikipedia.org/wiki/Loudness   and "o'clock" on the volume pot is not a SPL measurement
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