I remember when Carver introduced the Phase Linear 300. "Three Hundred watts! You must be crazy!" is what they said.
But Bob Carver's inventiveness is, I think, best exemplified, not by power amps (although his were certainly different) but by his preamp, particularly the Autocorrelator, which was also available as an outboard unit. I had two (for quadraphonic use). The Autocorrelator was a dynamic multiband filter designed to surpress the noise characteristic of LPs. What made it different from other dynamic filters was the way that the filter gains were controlled. Bob realized that above some surprising low frequency (I seem to remember 2000 Hz) there are no music fundamentals: just harmonics. The frequency bands that will have harmonics are predictable from the signal content in the range of fundamentals. So, in the Autocorrelator, a filter required two things to be opened (gain increased). (1) Signal in that frequency range. (2) Proper harmonic relationship to signal in the fundamental range.
The unit worked quite well for conventional stereo, but for quad, where the inherently inferior L-R signal of LPs (vertical groove modulation) was amplified and broadcast by the rear speakers, the Autocorrelator in the rear channels made a very big improvement. It also had a dynamic rumble filter operating below the frequency range used for gain control, and a Peak Unlimiter (to counteract what recording engineers need to do to stop your stylus from hopping out of the groove).
Clever guy.
But Bob Carver's inventiveness is, I think, best exemplified, not by power amps (although his were certainly different) but by his preamp, particularly the Autocorrelator, which was also available as an outboard unit. I had two (for quadraphonic use). The Autocorrelator was a dynamic multiband filter designed to surpress the noise characteristic of LPs. What made it different from other dynamic filters was the way that the filter gains were controlled. Bob realized that above some surprising low frequency (I seem to remember 2000 Hz) there are no music fundamentals: just harmonics. The frequency bands that will have harmonics are predictable from the signal content in the range of fundamentals. So, in the Autocorrelator, a filter required two things to be opened (gain increased). (1) Signal in that frequency range. (2) Proper harmonic relationship to signal in the fundamental range.
The unit worked quite well for conventional stereo, but for quad, where the inherently inferior L-R signal of LPs (vertical groove modulation) was amplified and broadcast by the rear speakers, the Autocorrelator in the rear channels made a very big improvement. It also had a dynamic rumble filter operating below the frequency range used for gain control, and a Peak Unlimiter (to counteract what recording engineers need to do to stop your stylus from hopping out of the groove).
Clever guy.