Has anyone heard the new North American products preamp and amp?

Mapman, we all have our way of saying things. I taught for 45 years and frequently sought to say things in better ways.

Many know I am a fan of Walsh driver technology, the innovation of Lincoln Walsh many years ago. its worth reading up on that.

Walsh drivers operate on a wave bending principle. Rainbows occur essentially due to wave bending.

So there is something to the concept of understanding how waves propagate in various medium and how it relates to sound.

So I understand the problem Roger’s stuff tries to solve to some extent, but cannot comment on how much of an issue this is in an amp or how effective or not Rogers approach is. Many aspects of design in an amp
affect the end results and performance. Not just any one.

Maybe I’ll get to hear this someday and maybe even get a peek inside at the magic sauce. It’s an interesting concept but the explanations are muddy as hell at best.

Claims of 0 distortion set off a clear red flag for me though..  Nothing is perfect.  Nothing.   Approaches zero....I might believe.  Many can and do already make that claim.    The consensus generally is that harmonic  distortion specs alone tell you little meaningful about the resulting sound.       Exaggerations not needed if a product is clearly superior sounding to all the rest.

Tbg, it’s an uh, affectation to refer to the speed of sound in one’s listening room as Mach 1. Give me a break. Actually Roger's whole manner of discourse is kind of an affectation, although I can live with that, so no big deal. Besides most speakers, unless they’re time aligned, provide the listener with the various frequencies of the drivers arriving at different times anyway, no? And are we supposed to just sweep room anomalies under the rug? Comb filter effects mess you up!

I thank this can be narrowed down to a basic concept.

What is the difference between listening at the venue and listening at home?

At the concert hall the medium is air.
At home (from your speakers) to you is air.
The electrical "version" of sound waves is put between you and the venue that is handled by your gear.

The only way to remove the effects of your gear is to have it "act" as if it is also air. The way to do this is to make sure the your gear delivers the (musical information) to you at the same speed as it traveled through the air at the time of the recording.

You listen to the sound (re) created by your speakers at constant velocity.
By locking the speed through the amplifier as constant you have done two things.

1) It no longer can create harmonic distortion - because air does not.
2) Your ear-brain system now accepts what it hears as a clear (air only) path from performer to you. 

It cannot sound "live" without addressing the delivery speed.
This concept cannot be easier to grasp if you can see the damage caused by an unstable velocity in the mix.

If you treat the electronic section as a "bad" connection between the venue [air] and your listening room [air], It might make more sense.

Sound has two properties
Pressure - represented by the amplitude or magnitude (vertical axis)
Time - represented by the speed or velocity (horizontal axis)

Amplifiers get the [pressure] part of it down pretty well - but they don't get the [time] part of it due to distortion.

Slight errors in amplitude (pressure) are caused by slight errors in timing.
If you fix one - you have fixed both.

You need both to be correct if you want to feed your brain with the key attributes that make it "live".

The consensus generally is that harmonic distortion specs alone tell you little meaningful about the resulting sound.

This could not be truer - the problem is that the THD specs have not been taken far enough. In other words amplifiers may have suppressed harmonic distortion but that is not good enough if you expect it to be perceived as "live". It cannot have even small amounts - it has to be removed entirely.

Roger