THD analyzers are good for getting you in the ball park. It will at least tell you if you have really bad distortion to deal with. However the problem is that they don't go far enough. IOW they are not capable of detecting small problems that occur at or near the fundamental [image] at the input.
Such problems slip well under the "THD" radar and go unnoticed.
If you examine the full spectrum which includes radio and light frequencies - you will see that only the audio portion of the spectrum requires the medium of air to exist (acoustically). Everything above that can exist in the vacuum of space. Therefore if you design an amplifier to be specifically used for audio then you must include the impact that the medium of air has within the design goals.
"Live" has a playback speed. That constant speed is what is recognized as the "live" indicator or marker to the brain. If you pass the sound as electrical data the does not take into consideration its exact speed - then you have stripped away the "live" marker. The brain defaults to "fake" instantly.
Since audio flows as a sound wave - you have to include the wave as part of the critical data needed by the brain to accept what it hears as "live".
The portion of an audio signal the has the embedded wave information is extremely small and exists right at the fundamental signal. Capturing the velocity of the wave data and using it as the speed governor for the outgoing signal is the trick.The brain is convinced that what it hears is "live" because the "live" marker still exists after the amplifying process is done.
This has already been done and it works perfectly.
Roger
Such problems slip well under the "THD" radar and go unnoticed.
If you examine the full spectrum which includes radio and light frequencies - you will see that only the audio portion of the spectrum requires the medium of air to exist (acoustically). Everything above that can exist in the vacuum of space. Therefore if you design an amplifier to be specifically used for audio then you must include the impact that the medium of air has within the design goals.
"Live" has a playback speed. That constant speed is what is recognized as the "live" indicator or marker to the brain. If you pass the sound as electrical data the does not take into consideration its exact speed - then you have stripped away the "live" marker. The brain defaults to "fake" instantly.
Since audio flows as a sound wave - you have to include the wave as part of the critical data needed by the brain to accept what it hears as "live".
The portion of an audio signal the has the embedded wave information is extremely small and exists right at the fundamental signal. Capturing the velocity of the wave data and using it as the speed governor for the outgoing signal is the trick.The brain is convinced that what it hears is "live" because the "live" marker still exists after the amplifying process is done.
This has already been done and it works perfectly.
Roger