RELATIONSHIP OF FACTORS AND FINDINGS
The basic cause of the difference in tube and transistor sound is the
weighting of harmonic distortion components in the amplifier's overload
region.




Transistor amplifiers exhibit a strong component of third harmonic
distortion when driven into overload. This harmonic produces a
"covered" sound, giving a recording a restricted quality. Alternatively
a tube amplifier when overloaded generates a whole spectrum of
harmonics. Particularly strong are the second, third, fourth, and fifth
overtones, which give a full-bodies "brassy" quality to the sound. The
further any amplifier is driven into saturation, the greater the
amplitude of the higher harmonics like the seventh, eighth, ninth, etc.
These add edge to the sound which the ear translates to loudness
information. Overloading an operational amplifier produces such steeply
rising edge harmonics that they become objectionable within a 5-dB
range. Transistors extend this overload range to about 10 dB and tubes
widen it to 20 dB or more. Using this basic analysis, the
psychoacoustic characteristics stated in the beginning of this paper
can be related to the electrical harmonic properties of each type of
amplifier.


It was not part of the original intent of this paper to analyze
operational amplifiers. However, the tests show that they fall into a
distinct class of their own. Basically, operational amplifiers produce
strong third, fifth and seventh harmonics when driven only a few dB
into overload. The resultant sound is metallic with a very harsh edge
which the ear hears as strong distortion. Since this sound is so
objectionable, it acts as a clearly audible overload warning signal.
Consequently, operational amplifiers are rarely operated in their
saturation region. This results in a very cleanly amplified sound with
little coloration and true dynamic range within the limitations of the
amplifier. True dynamic range is not necessarily the determinant of
good sound reproduction, however, since it is much greater than any
disc or tape system presently available. Because of their
characteristics, operational amplifiers produce only the top end of the
dynamic range which contains all the transients but lacks the solid
pitch information which the ear hears as music. When records of true
dynamic range are played on a limited-range system, they sound very
thin. This relates directly to the originally cited listener's comment
that transistor records were very clean but sounded sibilant and
cymbally.


The transistor characteristics which our subjects noted were the
buzzing or white-noise sound and the lack of "punch." The buzz is of
course directly related to the edge produced by overloading on
transients. The guess that this is white noise is due to the fact that
many of the edge harmonics like the seventh and ninth are not musically
related to the fundamental. The ear hears these dissonant tones as a
kind of noise accompanying every attack. The lack of punch is due to
the strong third harmonic which is inaudibly "blanketing" the sound.
This is correctable by using a large enough pad to prevent all peaks
from reaching the amplifier's saturated region. But from a practical
standpoint, there is no way of determining this on most consoles.
Adding auxiliary peak indicators on the input preamplifiers could
alleviate both these problems, and the sound would be very close to
that of the operational amplifier in its linear region.


Vacuum-tube amplifiers differ from transistor and operational
amplifiers because they can be operated in the overload region without
adding objectionable distortion. The combination of the slow rising
edge and the open harmonic structure of the overload characteristics
form an almost ideal sound- recording compressor. Within the 15-20 dB
"safe" overload range, the electrical output of the tube amplifier
increases by only 2-4 dB, acting like a limiter. However, since the
edge is increasing within this range, the subjective loudness remains
uncompressed to the ear. This effect causes tube-amplified signals to
have a high apparent level which is not indicated on a volume indicator
(VU meter). Tubes sound louder and have a better signal-to-noise ratio
because of this extra subjective head room that transistor amplifiers
do not have. Tubes get punch from their naturally brassy overload
characteristics. Since the loud signals can be recorded at higher
levels, the softer signals are also louder, so they are not lost in
tape hiss and they effectively give the tube sound greater clarity. The
feeling of more bass response is directly related to the strong second
and third harmonic components which reinforce the "natural" bass with
"synthetic" bass [5]. In the context of a limited dynamic range system
like the phonograph, recordings made with vacuum-tube preamplifiers
will have more apparent level and a greater signal to system noise
ratio than recordings made with transistors or operational amplifiers.


ACKNOWLEDGMENT
The author wishes to thank Walter Sear and Peter Scheiber for
innumerable helpful discussions on the musician's viewpoint of sound.
He also wishes to thank John Olson of RCA and Steve Temmer of Gotham
Audio for the loaning of amplifiers



I am not the author of this, this is (an excerpt of) the legendary
Russell O. Hamm paper. People like Arny and Randy Slone get fits
reading this buit it is factual, has been demonstrated, and can be
repeatably duplicated. The fact that the phonograph has been
substantially supplanted by CD, DVD and SACD players and by HDD and RAM
based digital music systems does not radically alter these conclusions.

Several places on the internet have downloadable copies of this
document. I believe all audiophiles should read it carefully and
neither denigrate it nor make it into more than it is. It is 32 years
old and an update would be nice, however Mr. Krueger and Mr. Slone are
either not competent to do it or have irresolvable emotional or
religious barriers from doing so.

wrote:

RELATIONSHIP OF FACTORS AND FINDINGS
The basic cause of the difference in tube and transistor sound is the
weighting of harmonic distortion components in the amplifier's overload
region.

Transistor amplifiers exhibit a strong component of third harmonic
distortion when driven into overload.............

Solution: get a solid-state amp that is powerful enough to
not clip during the loudest passages you would listen to. SS
power is cheap, so this is no big deal.

(snips)

Vacuum-tube amplifiers differ from transistor and operational
amplifiers because they can be operated in the overload region without
adding objectionable distortion.

The upshot: forget tubes and get a solid-state amp that is
powerful enough to not clip during the loudest passages you
would listen to. SS power is cheap, so this is no big deal.

I am not the author of this, this is (an excerpt of) the legendary
Russell O. Hamm paper. People like Arny and Randy Slone get fits
reading this buit it is factual, has been demonstrated, and can be
repeatably duplicated. The fact that the phonograph has been
substantially supplanted by CD, DVD and SACD players and by HDD and RAM
based digital music systems does not radically alter these conclusions.

And one big conclusion would be to simply obtain a
solid-state amp that does not clip during loud passages.
Since SS amp power is cheap, the advantages of tube amps are
not advantages at all.

Howard Ferstler

Yes but they are going to have to bring in three phase power to power
the solid state amp that NEVER clips,especially with the Boston Bland
monkey coffin speakers all objectivoids exclusively use.

wrote in message
ups.com

Yes but they are going to have to bring in three phase power to power
the solid state amp that NEVER clips,especially with the Boston Bland
monkey coffin speakers all objectivoids exclusively use.

Cal doesn't get the fact that some objectivoids use systems with lots of
horn loaded drivers. Its a reasonable way to get lots of dynamic range and
controlled directivity. The technology of horn-loaded systems has advanced
quite a ways since Cal's woefully outdate ideal of ne plus ultra speakers,
the Klipsch La Scalas, were built.

On Fri, 4 Mar 2005 09:55:43 -0500, "Arny Krueger"
wrote:

wrote in message
oups.com

Yes but they are going to have to bring in three phase power to power
the solid state amp that NEVER clips,especially with the Boston Bland
monkey coffin speakers all objectivoids exclusively use.

Cal doesn't get the fact that some objectivoids use systems with lots of
horn loaded drivers. Its a reasonable way to get lots of dynamic range and
controlled directivity. The technology of horn-loaded systems has advanced
quite a ways since Cal's woefully outdate ideal of ne plus ultra speakers,
the Klipsch La Scalas, were built.

Just a note that they are STILL being built.

Yes, warts and all. The stock LaScala is still a revelation compared to
some very expensive oh-s-modern products but better horn speakers are
very very possible, and Klipsch is unlikely to build them due to the
fact that it would be more build cost. The stock treble drivers are
cheesy. It will be up to DIYers and small companies to do better.

What horns are you talking about?

wrote:

Yes but they are going to have to bring in three phase power to power
the solid state amp that NEVER clips,especially with the Boston Bland
monkey coffin speakers all objectivoids exclusively use.

Actually, while my living room speakers are "monkey coffin"
jobs (NHT ST4 systems) and my middle system's speakers are
also in that class (Dunlavy Cantatas), my main-room systems
are triangular shaped Allison IC-20s, which are anything but
monkey coffin in terms of style.

Howard Ferstler

On Sat, 05 Mar 2005 20:40:38 -0500, Howard Ferstler
wrote:

wrote:

Yes but they are going to have to bring in three phase power to power
the solid state amp that NEVER clips,especially with the Boston Bland
monkey coffin speakers all objectivoids exclusively use.

Actually, while my living room speakers are "monkey coffin"
jobs (NHT ST4 systems) and my middle system's speakers are
also in that class (Dunlavy Cantatas), my main-room systems
are triangular shaped Allison IC-20s, which are anything but
monkey coffin in terms of style.

But they ARE rather coffin shaped, wouldn't you say?

dave weil wrote:

On Sat, 05 Mar 2005 20:40:38 -0500, Howard Ferstler
wrote:

Actually, while my living room speakers are "monkey coffin"
jobs (NHT ST4 systems) and my middle system's speakers are
also in that class (Dunlavy Cantatas), my main-room systems
are triangular shaped Allison IC-20s, which are anything but
monkey coffin in terms of style.

But they ARE rather coffin shaped, wouldn't you say?

Not unless you are planning on burying an alien.

Howard Ferstler

Howard Ferstler wrote in
:

wrote:

RELATIONSHIP OF FACTORS AND FINDINGS
The basic cause of the difference in tube and transistor sound is the
weighting of harmonic distortion components in the amplifier's overload
region.

Transistor amplifiers exhibit a strong component of third harmonic
distortion when driven into overload.............

Solution: get a solid-state amp that is powerful enough to
not clip during the loudest passages you would listen to. SS
power is cheap, so this is no big deal.

(snips)

Vacuum-tube amplifiers differ from transistor and operational
amplifiers because they can be operated in the overload region without
adding objectionable distortion.

The upshot: forget tubes and get a solid-state amp that is
powerful enough to not clip during the loudest passages you
would listen to. SS power is cheap, so this is no big deal.

I am not the author of this, this is (an excerpt of) the legendary
Russell O. Hamm paper. People like Arny and Randy Slone get fits
reading this buit it is factual, has been demonstrated, and can be
repeatably duplicated. The fact that the phonograph has been
substantially supplanted by CD, DVD and SACD players and by HDD and RAM
based digital music systems does not radically alter these conclusions.

And one big conclusion would be to simply obtain a
solid-state amp that does not clip during loud passages.
Since SS amp power is cheap, the advantages of tube amps are
not advantages at all.

Howard Ferstler

Howard,

Why are you feeding the troll?

r

"Rich.Andrews" wrote:

Howard Ferstler wrote in
:

And one big conclusion would be to simply obtain a
solid-state amp that does not clip during loud passages.
Since SS amp power is cheap, the advantages of tube amps are
not advantages at all.

Howard,

Why are you feeding the troll?

r

Killing time.

Howard Ferstler

Howard Ferstler wrote in news:422A5FD2.3EC192B5
@attglobal.net:

"Rich.Andrews" wrote:

Howard Ferstler wrote in
:

And one big conclusion would be to simply obtain a
solid-state amp that does not clip during loud passages.
Since SS amp power is cheap, the advantages of tube amps are
not advantages at all.

Howard,

Why are you feeding the troll?

r

Killing time.

Howard Ferstler


Gee Howard, I had no idea you were *that* bored.

r