kosst
Where exactly are you getting perfect signals?
One of the biggest surprises I've run into is how much information is actually captured in the recordings. The resolution of the image embedded in the source is vastly superior to what was assumed as a limitation. The real problem seems to be with the resolution of the playback system.
If you recall I was offering to send you a preamp - not an amp.The entire playback chain is the amplifying process. The core process I have developed is zero distortion. This circuitry is an analog "block" that you use to make a phono stage, a DAC (output stage), a line stage and the voltage gain stage in the power amp. The output section passes the phase coherent signal to the loudspeakers. There will be limitations when driving speakers that do not adhere to the same coherency do to its design. Obviously you must have at least decent speakers.
Perfect mediums? Which perfect medium exactly?
If you are asking about the medium of air - there is no distortion presented to the sound waves traveling through air. The two times you use air as a conduit starting at the original venue is the air space in studio or hall and the air space in your listening room. These two segments have no distortion. The electronics between those segments has to approach the same level of purity found in air.
For example just by switching the preamp in an existing system of otherwise decent electronics can give you many more magnitudes of resolution and information compared to a conventional preamp. The same holds true for the phono stage. Without replacing your power amp.
I'm sorry for the confusion but when I talk about amplification I am not always referring to a power amp.There are enough problems before you get to the power amp that already restricts what you can expect to be passed on to the speakers.
what perfect gain devices are you using in your perfect circuits?
Here you are talking about two different things. It is possible to have a perfect circuit without perfect gain devices as long as the result of a unique configuration produces the perfect output. I also manufacture my own devices used in critical areas of the circuit because they don't make a device capable of behaving the way that is required to cause the overall circuit to have a linear output. My target was to detect velocity in the source signal and force the output to be synchronized to the recovered velocity which is clearly embedded in the recording. This gives you a way to match the playback speed with the recorded speed. If you don't do this you end up with an unstable or smeared image. This "out of focus" nature of such an image hides the extremely fine details missing in playback. The more stability - the more resolution. This can be seen by simply reducing mechanical vibrations in the system as well as better overall grounding which also helps to stabilize the image.
What is perfect gain?
Perfect gain is gain that does not change under load. Again I'm not talking specifically about a power amp. The desired holographic image will collapse do to any non linear segment in the entire chain. Perfect gain in the analog world is a fixed numeric value that is used to amplify the input signal at any point in the 360 deg range. If you take a line stage that has 6db of gain or an amplification factor of 2.0 then of course to be linear it would need to stay at 2.0 during the entire dynamic range.
If as the signal approaches the first positive peak and it falls short by a tiny amount (like the amplification factor at that moment was 1.998) then this is a sign that the amplifier has literally slowed down and the signal has a degree of compression that makes the shape of the current signal (fragment) look like a lower frequency. The same holds true for any segment in the 360 degree signal that somehow ended up with a gain of 2.002 - in this case the speed of the amp has gone up. The expected value of the peak has been passed and is seen as an acceleration in velocity. This non linear nature is what causes the playback speed to vary. Harmonic distortion is the direct result of accelerating the fundamental frequency to a higher part of the spectrum.
By detecting the velocity rather than trying to make a crude "comparison" as in classic feedback attempts - you simply hold the velocity constant. Constant velocity is constant gain. Constant gain is linear. Under these circumstances, there is no way for it to cause the speed to vary and as a result it does not have the ability to generate harmonic distortion. Holding the velocity constant is done as a phase correction. The greater the ability to detect velocity gives you better ability to hold it constant. This type of correction is done along the horizontal or time domain axis - not in the vertical axis the way classic feedback works. It also does it in real time preventing any form of distortion from appearing at the output of the circuit. This is what makes this method of amplifying distortion-less.
Detecting velocity is extremely difficult and requires sensitivity of astronomical proportion. This is what took me years to figure out.
This high gain detector drives the automatic focus system
Advances in the velocity detector over the years has given rise to resolution as seen by the version nomenclature like the X-8, X-9, and so on. It currently stands at X-12 and is the final version because at this level of correction - the detector now gives 100% control to the auto-focus system. No additional correction is necessary.
The detector can discern changes in velocity as small as a few micro-degrees. As a result the output of the circuit can be totally phase locked to the fundamental (input) signal. As long as the lock holds - it produces a clone of the input signal. The lock is good down to (and below) the noise floor. When no signal is present the auto-focus can maintain a lock on the actual Johnson or shot noise seen at the noise floor. Any music signal rising up from the noise floor is already totally locked. This means that the auto-focus can accurately project tiny sound objects in the background at tremendous depths while providing massive detail for anything in the sound stage at any distance. It does this with 100% transparency starting from a jet black background. Percussion instruments are startling and because the brain is use to listening to live music coming through air - it readily accepts sound waves with similar stability as live.
The average person listening to a full system that works this way for the first time can't make it passed the first 10 seconds without looking around and saying "what the hell is this?" they cannot wrap their head around what is taking place because it seems both impossible and live.
Although a conventional system can sound spectacular - after listening to a system that does not distort - and returning back to the conventional system - it now sounds distorted.
Here is a simple test for distortion:
Can you tell if your listening to tubes or solid state?
Do you recognize a 12ax7 or a mosfet?
Does it have a "signature" sound?
If you can recognize any device used anywhere in the system - its distorted. It is leaving a finger print of that device on the music signal.
You cannot hear H-CAT. It has no sound. By re-enacting the disturbance pattern of the original air space in your own listening room you have cloned the sound event. The result is pure music with instruments suspended in mid-air as a ghost like image.
I rest my case.
Roger
