Sorry, but I don't find your question particularly funny and I can't take it entirely seriously either.
A timbre describes the overtone spectrum of a tone and the time course of the occurrence of
the overtones.
The timbre of a violin note changes as the bow is bowed closer to the bridge
or the bow pressure changes. A clarinet has many more overtones in the low register than in the high register.
A cymbal sounds different in piano than in forte.
When an amplifier adds distortion to the signal it may be that certain overtones are more obscured or, in the case of phase problems, the transient process
no longer corresponds to the natural transient process. Then it can occour, that those subtle changes in timbre can no longer be perceived (masking effect).
I'm a bit surprised that I have to explain something like this here.
By less timbres of the Mc, I meant that the AHB2 dissolves such subtile changes of a recorded sound, for example from nasal to dark, more finely. As professional klassical musican I think, that I am able to hear this.
Getting tired: Recognizing of a Instrument with its specific overtone spectrum is a mental achievement.
Known overtone spectra are compared with what is heard and the brain tries an assignment to a well-known voice/instrument. In addition,
the transient process is analyzed over time.
The less distortion an amplifier has, the easier it is to do this and the longer you can listen without getting tired. This is simply science:
Perceptual psychology and physics. You can also say stressed instead of tired. Did you never listen to a bad measuring amp for a longer time and making such a experience?
But my point isn't about any timbres, I just wanted to point out that the AHB2 in my experience simply works wonderfully even with a load of 0.6 to 1.2 ohms.
I wonder a little bit why you didn't address that at all.
A timbre describes the overtone spectrum of a tone and the time course of the occurrence of
the overtones.
The timbre of a violin note changes as the bow is bowed closer to the bridge
or the bow pressure changes. A clarinet has many more overtones in the low register than in the high register.
A cymbal sounds different in piano than in forte.
When an amplifier adds distortion to the signal it may be that certain overtones are more obscured or, in the case of phase problems, the transient process
no longer corresponds to the natural transient process. Then it can occour, that those subtle changes in timbre can no longer be perceived (masking effect).
I'm a bit surprised that I have to explain something like this here.
By less timbres of the Mc, I meant that the AHB2 dissolves such subtile changes of a recorded sound, for example from nasal to dark, more finely. As professional klassical musican I think, that I am able to hear this.
Getting tired: Recognizing of a Instrument with its specific overtone spectrum is a mental achievement.
Known overtone spectra are compared with what is heard and the brain tries an assignment to a well-known voice/instrument. In addition,
the transient process is analyzed over time.
The less distortion an amplifier has, the easier it is to do this and the longer you can listen without getting tired. This is simply science:
Perceptual psychology and physics. You can also say stressed instead of tired. Did you never listen to a bad measuring amp for a longer time and making such a experience?
But my point isn't about any timbres, I just wanted to point out that the AHB2 in my experience simply works wonderfully even with a load of 0.6 to 1.2 ohms.
I wonder a little bit why you didn't address that at all.
