"Negative feedback is inherently a bad thing; the less it is used, the better the amplifier sounds, without qualification."
Negative feedback is not inherently a bad thing; it is an absolutely indispensable principle of electronic design, and if used properly has the remarkable ability to make just about every parameter better. It is usually global feedback that the critic has in mind. Local negative feedback is grudgingly regarded as acceptable, probably because making a circuit with no feedback of any kind is near-impossible. It is often said that high levels of NFB enforce a low slew-rate. This is quite untrue; and this thorny issue is dealt with in detail in Section 2.5.1.
I always love this argument, which suggests that a sine-wave is too simple to be an accurate test for the performance of an amplifier. Here's what Doug has to say about that:There is the opinion that amps (solid-state and tube) that use little NFB can more accurately track very complex and fast-changing signals, as whatever transient distortion is introduced by the NFB circuit is inconsequential to the output.
Bold & italics mine. Lesson here is that what appears to be complex to us is just another signal to an amp. No biggie."Sinewaves are steady-state signals that represent too easy a test for amplifiers, compared with the complexities of music."
This is presumably meant to imply that sinewaves are in some way particularly easy for an amplifier to deal with, the implication being that anyone using a THD analyser must be hopelessly naive. Since sines and cosines have an unending series of non-zero differentials, "steady" hardly comes into it. I know of no evidence that sinewaves of randomly varying amplitude (for example) would provide a more searching test of amplifier competence.
I believe this outlook is the result of anthropomorphic thinking about amplifiers; treating them as though they think about what they amplify. Twenty sinewaves of different frequencies may be conceptually complex to us, and the output of a symphony orchestra much more so, but to an amplifier both composite signals resolve to a single instantaneous voltage that must be increased in amplitude and presented at low impedance. The rate of change of this voltage has a maximum set by the frequency response and amplitude capability of the channel and is not generally greater for more complex signals; you do not get higher slew rate with bigger orchestras. You must remember that an amplifier has no perspective on the signal arriving at its input, but literally takes it as it comes.
Douglas Self, addressing audio pseudoscience:I always love this argument, which suggests that a sine-wave is too simple to be an accurate test for the performance of an amplifier. Here's what Doug has to say about that:Bold & italics mine. Lesson here is that what appears to be complex to us is just another signal to an amp. No biggie.
f. langford-smith in radiotron even says the highest form of fidelity is a PP triode amp, without feedback. Or is he only talking about SS amps?
Most supposed 'Zero Feedback' circuits simply mean no global feedback. Circuit design without local feedback is pretty much impossible with SS gear, and difficult with tube gear.
And if F. Langford-Smith says it's true*, then I guess we should all throw away out SS gear or SE & OTL tube amps. But maybe I'll hold off and decide for myself (which is pretty much what everyone should do).
*maybe it was true in 1953, when his books were written. But a thing or two has happened since then.![]()
Write him. Maybe he'll change the article to make you happy. Or not. D. Self is a SS designer of some note, and undoubtedly 'loves' tubes about as much as I do, which is why his statement ignores devices with 10% THD or more. (OK, I'll apologize for that one...I was baiting youWell "difficult" is still a long way from impossible. He should have clarified his statement.
This inconsequential thing called Solid State. Tough to make a blanket statement about the 'best sounding amp ever' and ignore sixty years of electronic design.What has happened?
This inconsequential thing called Solid State. Tough to make a blanket statement about the 'best sounding amp ever' and ignore sixty years of electronic design.
Personally, I think tubes are great for microwave ovens, but as for audio amplification, that is open for debate. (Touché)Yes solid state is great for television (whether TV is any good or not, is another discussion) and computers, but, as for audio amplification, that is open for debate...
:yes:
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"This style"? What style? SS amps can't really be designed with zero feedback, but you also have to define what kind of feedback, local or global. SS amps can be put together with no global feedback (or low global feedback), but I don't know of any methods to avoid using local feedback.EchoWars, if I understand you correctly, you're not really a fan of this style SS amp are you?
Nothing wrong with your post or asking questions. No one has all the answers (and certainly I do not), but for those who would proffer their opinion, I'd urge some serious technical reading first to get the pseudoscience out of the way before posting about things they have little understanding of. It's on this point that I have a low tolerance.I shouldn't have started this thread. I didn't know it was one of those subjects that starts trouble. I was just curious because of my amp and very limited knowledge of electronics.