Tag Archives: amplifier

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

OK, but not sure about this.

Watts watts?

A watt’s a watt, or is it? The technical definition of a watt is a unit of power, equivalent to one joule per second, corresponding to the power in an electric circuit in which the potential difference is one volt and the current one ampere.

To get a watt out of our audio amplifier we need voltage and current. Once we have that unit of power the magnetic motor system in the drivers converts that energy into movement that compresses the air and we hear sound. A watt is a watt, yet not all stereo amplifiers at the same wattage sound the same. So what’s going on?

Amps with identical wattage ratings sound different because moving watts are different than steady-state watts.

If we were instead looking at wattage steadily powering a lightbulb we’d not really see any difference if that watt was produced by hydro or steam power. But in audio, we don’t listen to steady-state tones. Instead, we’re listening to rapidly moving air pressure. How that air moves defines what we hear.

Thus, we’d be more accurate to suggest that the motion of watts is what matters, not the watt itself.

 

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Measurements can explain certain things regarding how an audio component might sound, but to design just around measurements is usually a bad idea. Paul goes into this a bit more deeply.

Beware the measurements

For readers of this blog, it will come as no surprise my thoughts and attitudes on measurements of audio equipment. Yes, measurements are important, but only when in concert with listening—and then too only if you look deep into those measurements to find out how/why what you measure sounds the way it does.

If you’re interested in diving deeper into this subject there’s perhaps no better way than to sit down with an experienced designer and have them take the time to explain how and why measurements simply do not tell you the whole story.

Take for example global feedback in an audio amplifier circuit. If we have an amp circuit with relatively high levels of distortion, we can simply wrap the output back to the circuit’s input and voila! lower distortion. The feedback is a fix-it mechanism correcting for the failings of an amplifier’s design. But at what cost? Nothing in engineering is free. Loads of negative feedback offer low distortion figures but at the same time, harden and constrain the sound. Knowing this is invaluable to a designer who can then ask the question, “what if we don’t have distortion in the first place?”

If you’re interested in diving deep with a designer, here’s your chance. Our own Darren Myers, one of the brightest and best engineers in the industry, spent a good hour and a half with John Darko in a great podcast titled, Beware the Measurements.

Have a listen and enjoy.

 

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Telephones to symphonies

We take for granted our ability to bring an entire symphony orchestra into our living room. We’re not arguing over whether we can or cannot invite the CSO over to give us their rendition of Beethoven’s 9th, instead, today’s debates are more about how close we can get to the real thing.

144 years ago, when inventor Alexander Graham Bell first came up with the idea of the microphone—the device that makes this all possible—I don’t imagine he envisioned where it would lead us. Bell, of the telephone fame, had, on March 10, 1876, successfully tested his first water transmitter, the precursor to everything we do and hear today in stereo.

A water transmitter? Well, more accurately, a water microphone. In this crazy contraption, sound waves cause a diaphragm to vibrate a needle up and down in water that has been made conductive by a small amount of acid. As the needle vibrates up and down in the water, the resistance of the water fluctuates causing alternating current in the circuit, and we get an electrical equivalent of sound. Remarkable.

It wasn’t until 10 years later that Edison build a better microphone using granulated carbon as the electrical generation element, but his efforts were only marginally better than Bell’s. It wasn’t until 1931—55 years later—that we’d get a microphone that resembles what we think of as high fidelity sound today. In that year, two concurrent discoveries changed everything. First, E.C. Wente and A. C. Thuras of Bell Laboratories introduced the dynamic microphone with a magnitude lower noise and higher fidelity, followed in that same year by RCA’s introduction of the ribbon microphone, one of the most widely used tools for the vocal recording and broadcasting industries. It was (and still is) considered by many as the most natural-sounding microphone ever made.

Today, the most widely used microphones for high-fidelity recordings is the condenser microphone, which, surprisingly enough, was also invented by E.C. Wente back in 1916. It wouldn’t be taken seriously until years later when amplifier technology had improved enough to make it work as well as it does today.

It is endlessly fascinating to me how everything we take for granted has such a rich background that the inventors likely never dreamed of. Certainly, Alexander Graham Bell probably never imagined his water microphone reproducing a symphony orchestra at the level we achieve today.

To him, it would likely seem like magic.

 

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Up or down?

There are HiFi systems that bring me up. They energize me, fill me with a desire to hear more and encourage upward volume level nudges.

And then there are the opposites, HiFi systems that bring me down: fatiguing, over etched, trying, encouraging downward volume level nudges.

One of the best means of knowing if your gear choices are serving you, if your system setup is satisfying, is this very test. Does your system inspire you to listen more or cause you to shrink back into silence after some play?

We may not be able to put a finger on the exact causes of either emotional response to music’s reproduction, but just knowing we can use this knowledge as a tool puts us in a heck of a lot better place for evaluating gear.

Home audio reproduction can cut both ways: a real up that energizes and inspires us or the opposite.

When you’re evaluating a new process, amplifier, cable, power device, or the system itself, be mindful of how you react to it.

Your emotional state, as a result of music’s immersion, can often be more telling than just about any other metric.

 

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

This is an article written by Scot Hull from Part Time Audiophile that I totally agree with.

See www.parttimeaudiophile.com. It is always an enjoyable read.

One of my favorite hi-fi arguments involves stack-ranking your spend. That is, how should we spend our hard-earned money when assembling a high-end stereo system? What is the most important component? Is it the speaker? Is it the amplifier? Is it the turntable phono cable? In any of these debates, there will invariably be someone who says something like “the most important component in any audio system is THE ROOM.” Once this version of Goodwin’s Law plays out, there will be a lot of nodding and wise stroking of facial hair.

But what if it’s not true?

There is some sense to the notion, to be fair. We tend to build hi-fi systems in this particular “possible universe” and not others, so yes, chances are quite good that there will be a room involved. And yes, it’s true — rooms can dramatically impact the sound quality of any system. Room nodes, cancellations, reflections — all that (and a whole lot more) can contribute to a truly epic, or horrific, experience. For those keeping track, this is one of ten thousand reasons why it pays to make friends with your local area audio dealer.

But with that said, it’s pretty easy to overstate this. Common wisdom says that huge loudspeakers should never be crammed into small spaces. That low ceilings, or a narrow front-wall, or irregular side walls can “kill” the sound. That you need to “fit” your system to your space and never the other way around. That a goldilocks sprinkling of room treatments is the key “acceptable” sound.

This is all very sensible advice. It’s also a bit misleading, as anyone who has ever seen the listening room of a high-end audio reviewer will readily tell you.

Or anyone who has visited a high-end audio show.

Jeff Joseph, of Joseph Audio — for one notable example — is famous for his incredible-sounding loudspeakers AND for his off-center speaker setups. Going from room to room at an audio show, you’ll see room after room of very traditional, mathematically-plotted speaker setups — and then you’ll come to a Joseph Audio room and start scratching your head, and perhaps begin wondering if someone took their medication that morning. You then sit, your bemusement gives way to wonder, and you stop thinking about math, and “the most important component”, and start grooving to some world-class sound.

Would that system sound better in a better room? Maybe — okay, probably. But that doesn’t mean that it cannot sound amazing in your room, shitty though that room may be. Take a Vinnie Rossi demo, with some great big loudspeakers from Harbeth, the 40.2 Anniversary Edition. Big speakers, big sound, great-big-bass. And in Vinnie’s far-from-ideal-world hotel-room setup, those speakers sounded incredible. Yes, most of that has to do with Vinnie’s amazing audio electronics. But a lot has to do with the fact that the speakers have been pulled from the walls and are less than 5′ from your ears — best headphones EVER.

The point? Don’t give up because your room is suboptimal — almost all of them are — and chances are very high that you can and will still get amazing sound.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

The old saw, there’s no free lunch, has been both a curse and a blessing to me. A curse because I’d rather have 100% benefits without dealing with consequences. A blessing because knowing the flipside helps decide how much cake I can have and eat.

Take for example subwoofers. If you place a subwoofer in the room’s corner you’ll enjoy greater output because the corner acts as an acoustic amplifier. That’s the good news. The bad news is that’s exactly the position that will activate every unwanted room node possible. More gain, more problems.

On the flip side, placing a subwoofer in the center of the wall has the least amount of unwanted room interactions. That’s the good news. The bad news is you’ll lose output and perhaps struggle with getting solid bass at your listening position.

Everywhere else is a compromise for best performance at your listening position.

Like the game Whack a Mole, there’s pretty much nothing you can do in your system’s setup that doesn’t have a consequence elsewhere. The same is true for most things in life where we have to consider the choices and weigh the consequences.

That said, we shouldn’t let the cost of lunch stop us from sitting at the counter. We shouldn’t forego the good because we’re anxious of the bad.

What’s important is understanding the potential consequences of our actions, then making the right choices.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Evaluating audio equipment by ear can sometimes be challenging, while other times it’s as obvious as the nose on your face. It’s a lot easier to evaluate a video system, as our eyes are our dominant trait.

I’m always happiest when I know what an amplifier has to say for itself within the first 30 seconds of listening: yikes! this needs work; wow! this deserves more listening. Clear, clean, simple.

The tough part of evaluation comes when it’s not a clear matter of better or worse, but rather different and deciding which you prefer.

The upcoming M1200 monoblock amplifiers are like the latter. As soon as you put them in the system a smile pops on your face and your toe starts tapping. They are instantly great and you know it from the first few notes of music. Nothing is missing.

But are they better than the BHKs?

The quick answer is no. There’s a musicality and a sweetness to the BHKs that just can’t be touched, but without careful AB comparison, that’s not obvious.

To call one the “winner” and the other the “loser” has vast implications that hide the truth.

If we’re forced to think in terms of winners and losers, perhaps it’s best to imagine a close race rather than a football game.

Coming in second place by mere tenths of a second hardly qualifies one as a loser.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Likely outcomes

Engineers are like doctors. They mostly spout facts and figures and answer specific questions with specific answers—helpful if that’s what you are looking for, but rarely do they give you the big picture.

For example, if we’re in a discussion about designing a practical subwoofer system and I say, “It seems this driver is really inefficient. How many watts are we going to need to drive this thing?” That’s a very specific question with a much broader implication. One engineer might answer “4,000 watts” while another might respond, “4,000 watts, which of course is not going to work because you cannot get that out of the wall socket”.

Adding that last little piece of information, which tells us specifics followed with likely outcomes, is the key to understanding, yet so often missing in today’s world of hyper information.

If you’re visiting your doctor because you have a cold and ask, “is it alright to take this medicine?” many will give you a straight yes or no. The better answer might be, “sure, though it won’t help curing your cold.”

How often do I get asked if this or that is the right amplifier for them? “Is the BHK the best amplifier you know of?” An easy reply is “Yup”, but a more helpful answer might be, “Yup, depending on what you’re trying to achieve.”

Doing our best to rise above the specifics to understand the big picture is often tiresome, but always worth the work.

 

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

In search of better

If we’re buying a new amplifier we expect to pay a higher price for more: features, power, energy storage, damping factor. On the flip side, we’re equally comfortable paying a higher price for less: distortion, impedance, elements in the signal path, noise.

In an age where many think we’re always out after more, more, and more, it’s refreshing to consider that it can be equally beneficial to seek out less.

What we’re really after is better.

Better is a much cleaner term because it distinguishes between the wanted and unwanted.

Whenever I start leaning in the direction of more I stop myself and readjust my thinking to consider betterBetter food is preferable to more. A single Better performance is preferable to a greater number of mediocre ones.

I think it’s valuable to think more in terms of better than more.

 

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

I totally agree with this one and don’t listen to any of my systems until its been playing for around one hour.

Is burn in real?

I had to chuckle to myself. Sitting in our weekly meeting, where production engineers meet with design engineers, the topic of discussion was how to build a new burn-in rack and system for the upcoming M1200 monoblock amplifiers.

What made me laugh is all the time and money we’re spending setting up a rack whose only purpose is to make sure when owners first turn on their new amplifier it sounds right. That’s a bunch of needless expense if burn-in weren’t real.

In fact, the new M1200s require more burn-in time than any product we’ve yet manufactured. We’re still debating not the number of hours, but rather the number of days. The discussions even include what track of music to use for best results. Sound silly? Not really. The average energy level of reproduced music has a direct impact on the improvements we desire to make. A quiet musical piece wouldn’t be nearly as effective as a loud one.

Since we’re not in the habit of needlessly incurring expenses, those who doubt the efficacy of burn might be well served to take notice.

Burn-in matters.