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Was:audio opamp, LM4562 plots

  • Thread starter Martin Griffith
  • Start date
J

Jamie

Phil said:
" Graham Stevenson = Lying, Autistic Pile of Pommy SHIT "






** Hypocrite - moi ???????

ROTFLMFAO !!!!!!!!!!!!!!!!


This LUNATIC needs a slug in the head.




..... . Phil
Phil, not speaking for my self how ever, I think you would
have to stand in line.
 
C

Chris Jones

Eeyore said:
Approx -100dB THD but he still reckons it's a 'problem'.

There are situations where it is an advantage for the op-amp to have more
dynamic range available than the ear. For example, sometimes more than one
op-amp is in the circuit (e.g. a mixing desk) and the cumulative distortion
will not be as good as that of a single op-amp, so it makes sense to start
with a good op-amp. Also, it is not always possible to adjust the input
signal to the amplitude that is optimal for the op-amp, and the transfer
function of the rest of the signal chain from the op-amp to the ear might
have more gain at the frequency of the distortion than at the frequency of
the wanted signal, e.g. in an active filter.
Doug Self is truly a Self-aggrandising POS.

I disagree strongly. As well as providing a wealth of rational, well
thought-out circuit designs, he has also demonstrated clearly the futility
of the misguided efforts of audiophools, and the absurdity of their most
deeply held beliefs.

Chris
 
Considering that it's rare to obtain background noise levels of even say 20dB
SPL in purpose designed studios, a signal would have to be of amplitude 120dB
SPL for a -100dB component to be audible above the wideband 20dB SPL noise
floor.

Quite frankly, the ear's performance is so massively degraded at such SPLs that
I find such a postulate frankly quite ridiculous.

So did Brian Moore. Bob Stuart managed to change his mind.

Have a poke around the Meridian web-site - it carries several of Bob
Stuart's publications in the psychoacoustic literature.
 
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