"Harry Lavo" wrote in message
...

And obviously the engineers I quoted don't think "designing by the book"
is
a terrific approach if one wants to approach the state-of-the-art at a
given
price point. They factor "listening" as an important part of the
equation.

How does this work in practice. Let's say an engineer has designed an
amplifier "by the book" and it performs on the bench like the book says it
should. Now the engineer listens to it and finds that the PRAT is poor--or
perhaps the soundstage is too narrow. What does he do now? How does he
link a circuit design change to what he subjectively hears? Although I'm a
design engineer myself, I wouldn't know where to start.

Norm Strong

wrote in message
...
"Harry Lavo" wrote in message
...

And obviously the engineers I quoted don't think "designing by the book"
is
a terrific approach if one wants to approach the state-of-the-art at a
given
price point. They factor "listening" as an important part of the
equation.

How does this work in practice. Let's say an engineer has designed an
amplifier "by the book" and it performs on the bench like the book says it
should. Now the engineer listens to it and finds that the PRAT is
poor--or
perhaps the soundstage is too narrow. What does he do now? How does he
link a circuit design change to what he subjectively hears? Although I'm
a
design engineer myself, I wouldn't know where to start.

Norm Strong


That's why for some of them it is something approaching art. And where some
trial and error (remember the comment originally quoted about analog) enters
in. Perhaps substituting passive components and listening.

On 13 Mar 2005 17:06:36 GMT, wrote:

"Harry Lavo" wrote in message
...

And obviously the engineers I quoted don't think "designing by the book"
is
a terrific approach if one wants to approach the state-of-the-art at a
given
price point. They factor "listening" as an important part of the
equation.

How does this work in practice. Let's say an engineer has designed an
amplifier "by the book" and it performs on the bench like the book says it
should. Now the engineer listens to it and finds that the PRAT is poor--or
perhaps the soundstage is too narrow. What does he do now? How does he
link a circuit design change to what he subjectively hears? Although I'm a
design engineer myself, I wouldn't know where to start.

Well of course you wouldn't - because if you build it right, it will
sound *exactly* the same as any other good amp, despite Martin
Colloms' nonsense about PRAT, and 'subjective scoring'.
--

Stewart Pinkerton | Music is Art - Audio is Engineering