Paul, I've always respected you and your passion for creating the best audio components one can buy. But today, I gained a totally new appreciation when I saw your expressions and excitement in using old, tried and true gear. You have the heart of a champion, and your drive to be the best you can be is a tribute to PS Audio.
I'm late to the show. I enjoyed this a great deal. There is an excitement about manualy tuning those old rigs. I had a couple of HP distortion analyzers, a 330B and a 332. They sure were fun to use and I was astonished how well the 330 worked when it was well set up. I still use a Sound Technologies 1700A from time to time.
Really nice job of explaining the use of the venerable old 334a and the excitement in turning the controls to more sensitive ranges. But if you then had to go to another frequency or two....
I used the HP333A everyday testing the Cambridge audio P60 in 1974/5 when I was a technician at the original Cambridge Audio Company in St.Ives, Cambs, England :)
this was cool to learn about. I actually opted for a audio product with harmonic distortion as part of the circuit design as i prefer the idea compared to a completely clean signal. i know i like added harmonics from tubes so i thought why not...
Some ignorant audiophiles believe measurements are not important and some ignorant engineers believe that listening tests are not important. You need both.
Thanks Paul, lol, about the 4:00 mark my mind quickly went to that old RUSH lyric 'analog kid becomes a digital man man' . Thanks for your Vids Paul ;-))
That same tactile effect and engagement is what draws people (or keeps them) into analogue sources like turntables, R2R decks and cassette. Computers and digital is all fine and dandy but they spoil the fun of engagement and effort. It must be something in our DNA, that makes as want to work hard and suffer before we can enjoy.
Now there’s a name that is missing from Paul’s name drop list. Siegfried Linkwitz was truly a great engineer to understand the way technology could map to perceived sound. I built myself the Wireless World active system back in 1983 and still have the KEF drivers and some notion that I will put them back into use as passive boxes - LR4 crossovers of course. Did anyone notice ‘friend and neighbour’ Nelson Pass on the Linkwitz Lab site?
Yup, you can't beat the old gear for hands on user experience, a mouse and keyboard just isn't the same,, I still use my trusty Thurlby Thandar (now sold as TTI) PL-330 QMD power supply from around the late 70's, so much nicer to use than my modern P.S.U, This thing hasn't been calibrated for around 25 years but I've had it checked against some freshly calibrated gear and it's not far off at all, fine for home use, This thing wasn't cheap in its day, but today you have to spend silly money to get that kind of quality
When you mentioned 1kHz I started to wonder.. Do you messure your amps watt output at just 1kHz (with either one or all channels driven) or do you actually messure it the correct way (like NAD and some others): 20-20-000Hz, all channels driven @ various ohms (aka FTC watt) ?? The first type of messuring will give ALOT higher watt numbers since there is no bass freq that draws any high currents while the last method gives a realistic continous watt over the whole hearable freq range.. Almost 20 years ago I had a 50w amp that beat the living shit out of a "100w" amp on the same speakers. The "100w" amp went into clipping or protect mode (the speaker ohm was correct) and even blew two tweeters while the 50w amp drived the speakers better, louder and never clipped or did go into protect. And I also never blowed a tweeter again... The 50w amp wass messured with the FTC standard while the "100w" amp was messured only at 1kHz and one channel driven... HUGE difference. And the 50w amp had twice as large power supply too so... The 150w 8ohm / 300w 4ohm (FTC) dual mono amp I have today would be equal to atleast twice the watts if messured with a useless 1kHz tone... :P
If an audio component has a sound signature it is imparting distortion. Why then do most if not all audio equipment impart such a signature? The answer of course is differentiation that audiophiles will pay for. My real question is why shouldn't we strive for no distortion in amps and pre Amps and flat response speakers and have a parametric EQ and adjust to taste?
I think you have fundamentally missed the point. No company I know adds distortion or looks for a type of distortion to suit the sound. We all do our best to lower it. That said, the ways in which distortion is lowered are many and all have their sonic signatures. Global feedback when applied in large amounts lowers distortion to beyond audibility but not without a price. Everything in engineering is a balancing act.
Lots of old guys, including me, will understand exactly what you describe. I wonder how young electronic engineers look at us: These old crazy guys, what are they talking about...
Does anyone know exactly what Audio Precision IS ? Everyone goes on about it saying it's a gift from god and is FRIGHTFULLY expensive but for your massive cash outlay what do you really end up with ? A programme you download or what ?
It's a hardware platform that basically leverages the power of a computer, uses custom software, and then all the ins and outs and signal processing done in hardware. So, it's all three: hardware, software, and a computer. Have a look here-www.ap.com/analyzers-accessories/apx52x/
@@Paulmcgowanpsaudio ~ Thank you for the info .. I appreciate it very much. How does it compare with LEAP and LMS ? I use both of those. With LMS I take acoustic measurements on a rotating table to obtain polar curves in a large open paddock at least 3 acres and on axis response by an open pit dug in the ground facing the sky. Do you guys measure decay response btw ( waterfall ) graphs ?
@@janinapalmer8368 Les, those maximum length sequence analyzers are what we use as well for speaker and polar measurements but they are very different than the hardware based AP.
Paul, I've always respected you and your passion for creating the best audio components one can buy. But today, I gained a totally new appreciation when I saw your expressions and excitement in using old, tried and true gear. You have the heart of a champion, and your drive to be the best you can be is a tribute to PS Audio.
Mr Carlsons lab is such a great resource for anyone interested in this stuff. I love this stuff!!!
Yes really enjoy his content.
Mr. Carlsons Cramped Cupboard is an amazing channel
I'm late to the show. I enjoyed this a great deal. There is an excitement about manualy tuning those old rigs. I had a couple of HP distortion analyzers, a 330B and a 332. They sure were fun to use and I was astonished how well the 330 worked when it was well set up. I still use a Sound Technologies 1700A from time to time.
Awesome explanation of what otherwise is little known of designing a good amplifier.
I enjoyed this the most of your videos. I had HP analyzers and still use a Sound Technologies 1700A from time to time. Love the theatre.
Really nice job of explaining the use of the venerable old 334a and the excitement in turning the controls to more sensitive ranges. But if you then had to go to another frequency or two....
I used the HP333A everyday testing the Cambridge audio P60 in 1974/5 when I was a technician at the original Cambridge Audio Company in St.Ives, Cambs, England :)
Back in the day the names Hewlett-Packard and Tektronix were synonymous with great test equipment.
And; Bruel& Kjaer (probably not the right spelling)
That was another one. As an engineer I never saw the B&K equipment in our labs.
Paul, the passion you put in your work is amazing! keep going on!
Thanks!
Reminds me of the "vintage" Type 517 oscilloscope with over 100 vacuum tubes in it that I've used during my ROTC days back in 1989.
Ah yes. My old friend the HP 333. Back in the day I tested Sherwood, Souncraftsman, and SAE with that baby. Seems like another lifetime.
this was cool to learn about. I actually opted for a audio product with harmonic distortion as part of the circuit design as i prefer the idea compared to a completely clean signal. i know i like added harmonics from tubes so i thought why not...
Some ignorant audiophiles believe measurements are not important and some ignorant engineers believe that listening tests are not important. You need both.
That old distortion analyzer really brought back some great memories, huh, Paul? 🤗
Greetings from the old guy who was the only one able to drive the old Marconi LCR bridge!
And that was 20 years ago😉
"The Judge" makes its own very nice sounds and Paul can mimic them perfecty. Much more exiting than the sounds of the computerized model :)
Explained very well... 👌✌😉👍
Thanks Paul, lol, about the 4:00 mark my mind quickly went to that old RUSH lyric 'analog kid becomes a digital man man' . Thanks for your Vids Paul ;-))
That same tactile effect and engagement is what draws people (or keeps them) into analogue sources like turntables, R2R decks and cassette. Computers and digital is all fine and dandy but they spoil the fun of engagement and effort. It must be something in our DNA, that makes as want to work hard and suffer before we can enjoy.
Has the BHK Signature 500 Amplifier seen in the lower right of the video been announced yet?
Paul makes it sound like playing a slot machine
Who was that designed by then the HP analyser linkwitz possibly you know
Now there’s a name that is missing from Paul’s name drop list. Siegfried Linkwitz was truly a great engineer to understand the way technology could map to perceived sound. I built myself the Wireless World active system back in 1983 and still have the KEF drivers and some notion that I will put them back into use as passive boxes - LR4 crossovers of course.
Did anyone notice ‘friend and neighbour’ Nelson Pass on the Linkwitz Lab site?
@@Hey.Joe_Ridley Nelson pass manufactures and sells the active linkwitz crossover
Yup, you can't beat the old gear for hands on user experience, a mouse and keyboard just isn't the same,,
I still use my trusty Thurlby Thandar (now sold as TTI) PL-330 QMD power supply from around the late 70's, so much nicer to use than my modern P.S.U,
This thing hasn't been calibrated for around 25 years but I've had it checked against some freshly calibrated gear and it's not far off at all, fine for home use,
This thing wasn't cheap in its day, but today you have to spend silly money to get that kind of quality
When you mentioned 1kHz I started to wonder.. Do you messure your amps watt output at just 1kHz (with either one or all channels driven) or do you actually messure it the correct way (like NAD and some others): 20-20-000Hz, all channels driven @ various ohms (aka FTC watt) ??
The first type of messuring will give ALOT higher watt numbers since there is no bass freq that draws any high currents while the last method gives a realistic continous watt over the whole hearable freq range..
Almost 20 years ago I had a 50w amp that beat the living shit out of a "100w" amp on the same speakers. The "100w" amp went into clipping or protect mode (the speaker ohm was correct) and even blew two tweeters while the 50w amp drived the speakers better, louder and never clipped or did go into protect. And I also never blowed a tweeter again... The 50w amp wass messured with the FTC standard while the "100w" amp was messured only at 1kHz and one channel driven... HUGE difference. And the 50w amp had twice as large power supply too so...
The 150w 8ohm / 300w 4ohm (FTC) dual mono amp I have today would be equal to atleast twice the watts if messured with a useless 1kHz tone... :P
Nothing beats old stuff, even if new stuff for the same purpose is technically better.
COOL!
Audio Precision, huh!! Why not test the AudioQuest Cables used with IRS V !! Just a thought.
If an audio component has a sound signature it is imparting distortion. Why then do most if not all audio equipment impart such a signature? The answer of course is differentiation that audiophiles will pay for. My real question is why shouldn't we strive for no distortion in amps and pre Amps and flat response speakers and have a parametric EQ and adjust to taste?
I think you have fundamentally missed the point. No company I know adds distortion or looks for a type of distortion to suit the sound. We all do our best to lower it. That said, the ways in which distortion is lowered are many and all have their sonic signatures. Global feedback when applied in large amounts lowers distortion to beyond audibility but not without a price. Everything in engineering is a balancing act.
These top of the line analyzers can get really expensive!
Lots of old guys, including me, will understand exactly what you describe. I wonder how young electronic engineers look at us: These old crazy guys, what are they talking about...
Does anyone know exactly what Audio Precision IS ? Everyone goes on about it saying it's a gift from god and is FRIGHTFULLY expensive but for your massive cash outlay what do you really end up with ? A programme you download or what ?
It's a hardware platform that basically leverages the power of a computer, uses custom software, and then all the ins and outs and signal processing done in hardware. So, it's all three: hardware, software, and a computer. Have a look here-www.ap.com/analyzers-accessories/apx52x/
@@Paulmcgowanpsaudio ~ Thank you for the info .. I appreciate it very much. How does it compare with LEAP and LMS ? I use both of those. With LMS I take acoustic measurements on a rotating table to obtain polar curves in a large open paddock at least 3 acres and on axis response by an open pit dug in the ground facing the sky. Do you guys measure decay response btw ( waterfall ) graphs ?
@@janinapalmer8368 Les, those maximum length sequence analyzers are what we use as well for speaker and polar measurements but they are very different than the hardware based AP.
Someday you might try a program called Google :-)
Winer might like this vid..........................
😄
Which I could babble just 1/3 as you 😅
beautiful kisses that means love for the profession
THM+n ..!! Every engineers enemy