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Where I parted company with the SE-DHT crowd was single-ended circuits; for the output stage, at least, there are drawbacks to SE circuits compared to Class A PP (Class AB PP is another matter, and sonically is the worst of all).
But a little research disclosed that PP amplifier design had essentially stagnated since the mid-Fifties; in fact, there was a period between the introduction of the Williamson in 1948 and the mid-Fifties when there were essentially no new designs at all!
With most amplifiers, the reactive and delayed energy from the speaker driver greatly increases the amplifier distortion.
This is why amplifiers can sound so different with different speakers.
Anyone that listens to SE amplifiers over any length of time is going to become aware just how different they sound from each other.
Transistor amplifiers, at least if competently designed, sound more or less alike.
Another goal is getting driver-stage coloration and distortion out of the picture ...
These two classes of amps are what most audiophiles the world over had heard until the re-introduction of SE-DHT amps in the early Nineties, which created turmoil and dissension in the industry and trade magazines that lasts to this day.
With SE, the overall curvature of the grid-lines is still there, but is quite mild in the zero-signal region; the first watt really is the best watt.
This is a critical point; music spends most of the time at low levels, with brief peaks that jump to 10 to 14 d B above the average.
It was the implementation - the all-silver signal path, especially the hand-made silver coupling cap and the all-silver output transformer, that gave the Ongaku its distinctive clarity and insight.
Kondo-san said that building one on the cheap would just result in a quite ordinary SE amplifier - the Ongaku could be thought of as the ultimate parts-tweaker amplifier, a design that would sound completely different if all parts weren't exactly as specified.