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

geoffkait

I was mostly trying to separate the phase based errors that are found in crossovers and the phase characteristics of IC's with regard to affecting overall tonal balance of a presentation. Like the highs traveling on the outside (skin effect) and how it can warp or tare at an image in a fixed way.

There are other dynamic issues as well with cables when they pick up vibration of course and any effort to control the vibrations (anywhere) is desirable. 

It has been my experience that velocity based  "electrical modulation" in the amplifier chain were absolutely startling when removed. I would consider it a whole magnitude higher in the destructive property compared to mechanical vibrations. I know that with a constant velocity amplifier all the other issues seem to be exposed more easily.
It is quite surprising what happens when the music signal is allowed to flow steadily along the time domain without circuit induced contamination.

In fairness to your comment - I stand corrected.

Roger

Roger wrote,

"What I have done is to guarantee the flow will be at exactly one constant speed or velocity.

That was no simple - It takes control at quantum levels to achieve this function."

At quantum levels? Do you mean nanoscale? Are you doing something quantum mechanically? Or are you just fond of the word quantum? ;-)

cleeds,

No I was referring to the fact that different frequencies travel at different distances from the center of the wire. The skin effect is the RF term but it shows the extent that high frequencies move away from the center which can be present in the audio band.

geoffkait

  Are you doing something quantum mechanically? Or are you just fond of the word quantum? ;-)

Yes - part of the auto-focus circuitry that tracks sound objects (as a very small signal)

I had to create a device that was dead quiet and begins tracking at 0.07 nano volts. The quantum reference thread used to detect velocity has an extremely high Z. (90+ gig). The velocity control system is driven directly from this process which squeezes the signal [gauge] into a virtual plasma. The plasma is also high Z.  The thread is then combined with the signal at the plasma level to ensure impedance matching.The signal is suspended this way so the auto focus circuitry can fully dominate the signal velocity while preventing it from "touching" the surrounding template and support circuitry.  This keeps contamination out of the signal.

The velocity control system is a twin running shift generator (red shift - blue shift) which is held to a servo neutral point under tremendous pressure.
Once detected, extremely tiny amounts of signal velocity are met with a counter measure (injected into the plasma) of greater than 700 db in real time.

All of this is held in a solid substrate made at the factory.

The signal velocity has no chance of deviating away from a dead accurate
Max error would be in nano degrees of phase shift away from the fundamental. 

It is impossible to generate harmonic distortion.
This technique is used through the entire chain.
The output is a virtual clone of the input (only bigger).
Since the output velocity = the input velocity it will pass the electrical version of a sound wave all the way through at exactly Mach One.

The hardware itself which has no sound of its own emulates the properties of air. Both pressure and time are locked in sync with the music signal.

The experience can be described as listening through a large hole in the wall to a performance happening in the next room. Nothing but air.

That's live.

Roger