Har begynt å grave litt etter hvorfor det er forskjeller på forsterkere.
Prøver å finne svar på ting jeg hører. Min Diablo oppleves som mye raskere enn andre forsterkere (plutselighet). Har opplevd det samme med andre singleended forsterkere uten negative feedback.
Fant en artikkel som tar for seg peakpower som viser seg er kjempeviktig fordi de fleste forsterkere "klipper" i transientene. Da øker forvrengningen dramatisk og er lett hørbart. Måten de forvrenger på da hvirker å være den avgjørende faktoren for forskjellene vi hører.
Har lett fram masse om temaet, men disse sitatene er spot on mine argumenter på bakgrunn av lytteopplevelser.
Kanskje ikke det mest troverdige stedet å poste en slik artikkel, men har som sagt funnet forskningsartikler som omtaler disse fenomenene uten å forklare inngående som her.
http://www.enjoythemusic.com/Magazine/manufacture/0708/
The crucial factor in negative feedback is transit time, the amount of time it takes from when an error is detected at the input until it is corrected at the output. For example, a typical transistor power amplifier has three primary sections: a low-noise high-gain differential input stage, feeding a differential-to-single-ended conversion driving a high-current output stage. Each of these three stages is designed for low distortion and noise, but those attributes typically come at the sacrifice of speed. The typical transit time of linear amplifiers is about 2000 to 3000 nanoseconds, which is too slow for effective implementation of global feedback and error correction. This lagging results in ringing artifacts and enhances odd-order harmonics, which are particularly annoying to the human hearing (5) so even the smallest amounts of these distortions are highly noticeable. Long delays in feedback also introduces transient and phase discrepancies, susceptibility to transient overload and vulnerability to disturbances at the output such as reactive speaker interactions.
The fourth important characteristic of the amplifier's ability to reproduce required peak power is its output devices' heat handling capability. As we described above, Howard measured 3400 watts peak power to produce sound peaks of 120dB with the B&W 805 speakers. The estimate for the B&W 803 was 7000 watts. Its easy to extrapolate, that real-life speakers with more difficult loads than the B&W 803, can make huge demands of amplifier output-device heat dissipation. In such circumstances, a great deal of heat is generated very rapidly. However, if output devices can't handle these instantaneous high-power conditions they will be pushed beyond the safe operating area and without protection circuitry they will fail. On the other hand, if the amplifier's protection is activated, its output will be clipped.
