Does anyone care to ask an amplifier designer a technical question? My door is open.


I closed the cable and fuse thread because the trolls were making a mess of things. I hope they dont find me here.

I design Tube and Solid State power amps and preamps for Music Reference. I have a degree in Electrical Engineering, have trained my ears keenly to hear frequency response differences, distortion and pretty good at guessing SPL. Ive spent 40 years doing that as a tech, store owner, and designer.
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Perhaps someone would like to ask a question about how one designs a successfull amplifier? What determines damping factor and what damping factor does besides damping the woofer. There is an entirely different, I feel better way to look at damping and call it Regulation , which is 1/damping.

I like to tell true stories of my experience with others in this industry.

I have started a school which you can visit at http://berkeleyhifischool.com/ There you can see some of my presentations.

On YouTube go to the Music Reference channel to see how to design and build your own tube linestage. The series has over 200,000 views. You have to hit the video tab to see all.

I am not here to advertise for MR. Soon I will be making and posting more videos on YouTube. I don’t make any money off the videos, I just want to share knowledge and I hope others will share knowledge. Asking a good question is actually a display of your knowledge because you know enough to formulate a decent question.

Starting in January I plan to make these videos and post them on the HiFi school site and hosted on a new YouTube channel belonging to the school.


128x128ramtubes
I have some old Martin Logan Sequel II’s which when repanelled no longer sounded pleasant with my Plinius Integrated 9100 (100w), they became overly bright and shouty.



All ML esl's need amps that can handle the load "below" without becoming tone controls and stay stable doing it.

Stereophile tests:
"The speaker drops to 3 ohms at 440Hz and to a hair over 2 at 24kHz, from which I infer that puny amplifiers, current-wise, should best be avoided. (Music has considerable energy at 440Hz, though only the occasional high-level cymbal crash will cause copious globs of HF current to be drawn from the amplifier.) MartinLogan claims a phase angle of 45° or less across the range; this graph confirms that to be the case, but the speaker’s ability to shut down the Krell with prolonged pink-noise drive did worry me."
https://www.stereophile.com/images/archivesart/99Seqfig01.jpg

Cheers George
I've always hoped Roger would take the time to join the forum here.  My RM-10 Mk II that I bought new from him in 2011 is my last amp.  He personally burned it in a few days before shipping so it would be trouble-free and it has remained rock solid.  People like Roger, Ralph and Almarg make a tremendous contribution thank you all!
Roger— thank you for sharing your expertise in this thread.

I would like to know your opinion of ideal amplifier type (and your rationale) for the following loudspeakers:  Vandersteen 5A/5A Carbon.  As you know, this product is relatively inefficient but uses active crossovers with bass amplification built in.

If you could specify examples by brand, that would be ideal, but I’m also interested in general advice re: power requirements, etc.

Thanks again!
@unreceivedogma
Why would triode sound better than pentode?

Why woukd my Altec Lansing 604Cs be better for my Julius Futterman OTL3s At 16 ohms rather than 8 ohms?

And, with regard to the great interconnect debate: do you know of any testing done that approaches that of scientific blind testing that shows that any given wire, if made out of a certain material, and wound in a certain way, and shielded in a certain way, will cause electrons to move in one manner as opposed to another that can be explained as doing so and that because of that movement can be explained as yielding sonic performance that is measurably and quantifiably superior, or even just different?


Good stuff, lets go.  Triodes have inherently low output impedance and one can make a nice amp with little or no feedback and still get good performance in the areas that matter: distortion, output regulation being the most dear.

Pentodes have high output impedance and something must be done to get this down by using feedback. Pentodes became popular because they produce more power per watt of tube. For instance a single 6L6 can produce 6-8 watts single ended but 100 watts per pair push pull, in pentode. Perhaps only 20 in PP triode.

The problem with triodes is saturation voltage pure and simple.

All OTL amps like high impedance because they have lots of voltage but limited current. Since current is the limit use the forumla

Power = current squared x impedance. The amplifier max current is the same for both speakers but 16 ohms gives you twice the power of 8. 

Some cables intentionally modify the frequency response and act as filters. MIT is famous for that. Some cable makers, like those liquid metal guys, have made up a whole story of fake science to sell their wares. Some makers freeze their cables, treat them with RF from a  Tesla Coil, yada, yada, yada.  I think you can tell I dont think much or cable makers, especially the really expensive ones. 

The whole idea of tuning a system with cables seems rather weak to me. Harry Pearson was big on cables but he was an idiot. Since I brought him up, my favorite quote about HP, which he said to me in person as he leaned over his Corvette at Sea Cliff is... "Audio is a Drug and I'm the Audio Pusher".. I think that pretty well describes Harry.