Ker pow!!!

[Marco]

Bit beyond me but I believe that rise time is the speed the amp reacts to transients and slew rate is similar but at a higher power output. So, how many watts will it be able to reproduce a square wave.

If that's correct, Dave, you've explained it nicely. Cheers!

Marco.

[Pieoftheday]

Blimey I'd forgotten I'd started this thread I'll have to start at the beginning

[Mike Reed]

Blimey I'd forgotten I'd started this thread I'll have to start at the beginning

How I do empathise with you. It's getting rather technical ( for my simple brain, anyway). Soon as a thread delves into the internals of hifi, my eyes glaze over, let alone theory)

[Macca]

How I do empathise with you. It's getting rather technical ( for my simple brain, anyway). Soon as a thread delves into the internals of hifi, my eyes glaze over, let alone theory)

The problem with not knowing, or not wanting to know how it all works is that it makes it easy for marketing departments to rip us off with impunity.

[Pieoftheday]

How I do empathise with you. It's getting rather technical ( for my simple brain, anyway). Soon as a thread delves into the internals of hifi, my eyes glaze over, let alone theory)

Haha yes! The techie stuff is beyond me but I try to learn a bit from those that know a bit,it rarely sinks in

[Barry]

The rise time of a signal is the time taken for the signal amplitude to go from 10% to 90% of its full amplitude level. It is related to the frequency response.

Slew rate measures how fast the output voltage can swing or 'slew' into a load, and is largely a measure of the ability of the power supply's response in providing power to the (speaker) load.

[Marco]

The rise time of a signal is the time taken for the signal amplitude to go from 10% to 90% of its full amplitude level. It is related to the frequency response.

Slew rate measures how fast the output voltage can swing or 'slew' into a load, and is largely a measure of the ability of the power supply's response in providing power to the (speaker) load.

Cheers, Barry. That's equally as clear and concise as what Dave said. Interesting. I suspect that slew rate is connected somehow with the point that Anthony was making earlier, in reference to voltage rails in valve amps, which makes them able to 'react' faster to transients in music, than solid-state designs, all else being equal

Marco.

[RMutt]

I’m not sure how one can work out whether the system ‘ coming on song’ or the fact that the music is just louder makes the listening experience better. I suspect the sound level just gets to a point where it sounds nearer to what was intended, whether that be louder ( probabably usually the case) or quieter. Take as an analogy visual communication. If an artist or designer wants to create contrast he may put black against white. If a musician wants contrast he may put a quiet sound next to a loud sound. If your system is playing quietly there is less contrast between the sounds a bit like using gray against white rather than black. When your system is louder you are experiencing something closer to what the musician intended. I think Dennis was making a similar point. You might be comfortable listening quietly but it is probably only rarely sounding ‘ as intended’

[Marco]

The problem with not knowing, or not wanting to know how it all works is that it makes it easy for marketing departments to rip us off with impunity.

Indeed, which is what I'm attempting to do now

Contrary to what you might think, I'm not 'anti-measurements'; simply anti-bothering with any that don't need to concern me!

Marco.

[Marco]

Hi Andrew,

I’m not sure how one can work out whether the system ‘ coming on song’ or the fact that the music is just louder makes the listening experience better. I suspect the sound level just gets to a point where it sounds nearer to what was intended, whether that be louder ( probabably usually the case) or quieter. Take as an analogy visual communication. If an artist or designer wants to create contrast he may put black against white. If a musician wants contrast he may put a quiet sound next to a loud sound. If your system is playing quietly there is less contrast between the sounds a bit like using gray against white rather than black. When your system is louder you are experiencing something closer to what the musician intended. I think Dennis was making a similar point. You might be comfortable listening quietly but it is probably only rarely sounding ‘ as intended’

Good post, and I largely agree.

However, taking the part of your (IMO, valid analogy), which I've highlighted, that doesn't necessarily mean that the quiet bits can't still sound as 'correct' or 'real', as the loud bits, some of which (in terms of low-level musical information) might be veiled by an SS amp, due to how it's designed, in respect of the levels of feedback applied.

For me, as long as a piano, reproduced through a hi-fi system, no matter how loudly or quietly, has the fundamental sonic characteristics of a piano (as embedded onto the test recording), that's all that matters.

If, on the other hand, said piano recording only sounds convincingly 'real', when played loudly, then for me, that points to a distinct failing of the system concerned, and/or one or more of its constituent parts.

Marco.