![]() If the process by which a recording is delivered to you is anything other than 100% digital (assuming that the microphones must be analogue, regardless), chances are that your precious audio will have passed through dozens, if not hundreds, of op-amps before it hits any of your kit. Or there are these:Ĭlick to expand.As a generalization, that is utter nonsense. This isn't meant to be sarcastic, but rather a way of considering the philosophical argument that if you are forced to accept that playback will invariably involve their use, what's a handful more? In some ways, it's like wanting a car that contains no plastic, because plastic is inferior to ceramic, metal and rubber. I suspect your best bet would be to hire musicians playing unamplified music. Or reel to reel players.īut having come this far, what music will you find that wasn't produced without the help of many, many op-amps. But assuming you are still willing, and OK with their noise and distortion, you will have to find a playback device., say a CD player sans operational amps. Sadly, they cost an arm, two legs, and likely half your face. ![]() But there are amps and preamps that remain true to the entirely discrete ethic. And if unsuccessful, ask yourself, or better yet, those who blanketly condemn such conveniences, how exactly do they degrade the sound? If you remain undeterred, then ask yourself about the amplifiers and other playback devices-these two will typically include you guessed it, more op-amps. Click to expand.The biggest disadvantages will be 1) finding ADC and DAC that don't have op-amps in the circuit paths of the analog sections, and 2) being able to afford when you do.
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