Hypex NCx500 Class D Amplifier Review

[Sokel]

Hint: In the electrical domain, music is just a voltage that changes with time. "Dynamics" is simply a description of how fast (Dv/dt) that voltage might change. A musical piece that has low volume sections followed by high volume sections is less dynamic than a full volume continuous sine wave.

The use of "dynamics" probably derives from the Dymanic Range, so lowest to loudest.
That's what I get at least when people talk about it.

Agreed about the rest of course.

 

[antcollinet]

The use of "dynamics" probably derives from the Dymanic Range, so lowest to loudest.
That's what I get at least when people talk about it.

Agreed about the rest of course.

Dunno - I interpret people referring to "dynamics" being more demanding on gear than "steady state tones" they are referring to speed of change of levels. Like drum hits, for example.

 

[Sokel]

Dunno - I interpret people referring to "dynamics" being more demanding on gear than "steady state tones" they are referring to speed of change of levels. Like drum hits, for example.

It could be such as well I suppose but then again that is simply a power thing, having a 20-30-40dB headroom over average (whatever suits anyone's needs) for peaks.

For those that argue about steady tones or tones in general, we have the FSAF measurements that can even be done with music, they can ask nicely for them I guess.

 

[KL....]

Dunno - I interpret people referring to "dynamics" being more demanding on gear than "steady state tones" they are referring to speed of change of levels. Like drum hits, for example.

Thank you, @antcollinet, No, Music is a Harmony/Synergy of Harmonic Distortions (even the Fundamental is the 1st Harmonic), whereas Reproduction must be the Linear Reproduction of the Recorded Music, so that the Listener enjoys what is reproduced/displayed/presented to them. with a Real/Right/Contrasting Presentation, reasonable.

• Musically, drum hits/strikes can be described as Leading Edge attack (stop/start speed, without smear or softness, as Recorded) and the resulting Decay. Then Musically, the Dynamics of the drum hits/strikes can be described, as interpreted/heard.
• Analytically/Reproduction, drum hits/strikes can be described as, is the FR/Multitone/etc the same as the Recorded drum hits/strikes (without addition/subtraction). Then Analytically, is the Measure the same or isn't it?
• They are 2 completely different aspects of Focus, aren't they, and necessaryly so, reasonable?
• Speakers, a Transducer, must also be Linear, hopefully so, although some may suggest within reason/reasonablety. Also, their Relationship with the Room (Position/Treatment/etc) always needs to be considered, doesn't it?

The above all combine for the Listeners enjoyment although the Listener/s is another Focus, much more Directly Related to Music/Musicality, and ultimately, they (will) decide, won't they, hopefully without confuseon?

 

[MaxwellsEq]

Musically, drum hits/strikes can be described as Leading Edge attack (stop/start speed, without smear or softness, as Recorded) and the resulting Decay. Then Musically, the Dynamics of the drum hits/strikes can be described, as interpreted/heard.

Musical transients are all much less extreme and challenging than the rate of signal change at the crossing point of a full power 20kHz sine wave..

 

[Sokel]

Musical transients are all much less extreme and challenging than the rate of signal change at the crossing point of a full power 20kHz sine wave..

To be honest here we have full signals up there in some recordings, and the specific one was always a benchmark (acoustically) about performances:

The enthusiastic sudden cheering, whistling and clapping at some live recordings. One of the hardest things to record and translate to production, it's like a small explosion up there, past the 20kHz mark.

But yes, its rare and again, to @KL.... , absolutely measurable.

 

[Julf]

The enthusiastic sudden cheering, whistling and clapping at some live recordings. One of the hardest things to record and translate to production, it's like a small explosion up there, past the 20kHz mark.

Fortunately we don't hear the stuff past 20 kHz, so as long as the intermodulation distortion isn't too bad, we don't have to care about it.

 

[Sokel]

Fortunately we don't hear the stuff past 20 kHz, so as long as the intermodulation distortion isn't too bad, we don't have to care about it.

If you see its RTA is like a bumble starting at 10-15kHz and going way past 20kHz on occasion.
We maybe care or not, but its 10kHz to 20kHz range has to be covered by our gear, it's the principle if we talk engineering.

 

[KL....]

To be honest here we have full signals up there in some recordings, and the specific one was always a benchmark (acoustically) about performances:

The enthusiastic sudden cheering, whistling and clapping at some live recordings. One of the hardest things to record and translate to production, it's like a small explosion up there, past the 20kHz mark.

But yes, its rare and again, to @KL.... , absolutely measurable.

Thank you, @Sokel, re BW/45kHz 19/20kHz Multitone, to ask, would there benefit to includeing 1 octave higher in the Measure, that is 19/20kHz and say 38/40 or 44/45kHz or other?

 

[Sokel]

Thank you, @Sokel, re BW/45kHz 19/20kHz Multitone, to ask, would there benefit to includeing 1 octave higher in the Measure, that is 19/20kHz and say 38/40 or 44/45kHz or other?

It depends by what are you looking to see.

For someone caring about the audible performance only, like us listeners 20kHz BW is more than enough.
Engineering-wise, the ones who design, etc have different tasks, so it's meaningful to them.

By the way, that's me applauding and whistling, recording is 24-bit/96kHz:



At its raw looks scary response-wise, but it never translates like this down to consumer level, at least not all this BW, filters take care of this.

 

[Endibol]

The enthusiastic sudden cheering, whistling and clapping at some live recordings. One of the hardest things to record and translate to production, it's like a small explosion up there, past the 20kHz mark.

We can't hear content higher than 20kHz. So even if the musical signal would have a rise time steeper than a 20kHz signal, then the spectral content >20kHz associated with this steep rise cannot be heard (supposing the amplifier can deal with this high-frequency content, which is questionable anyway).

 

[Sokel]

No, it's not. we can't hear content higher than 20kHz. So even if the musical signal would have a rise time steeper than a 20kHz signal, then the spectral content >20kHz of this cannot be heard.

Too fast to judge, you should read the next one too

 

[Endibol]

Too fast to judge, you should read the next one too

Yes, you are right, I reacted to fast.. I will count to 10 next time

 

[KL....]

It depends by what are you looking to see.

For someone caring about the audible performance only, like us listeners 20kHz BW is more than enough.
Engineering-wise, the ones who design, etc have different tasks, so it's meaningful to them.

By the way, that's me applauding and whistling, recording is 24-bit/96kHz:

View attachment 499308

At its raw looks scary response-wise, but it never translates like this down to consumer level, at least not all this BW, filters take care of this.

Thank you, @Sokel, this implys that the Recorded Music will not be the same as the Music Event, doesn't it?

 

[Sokel]

Thank you, @Sokel, this implys that the Recorded Music will not be the same as the Music Event, doesn't it?

It never is, that was never the goal.
We try to be true to the recording, not to the event

 

[KL....]

It never is, that was never the goal.
We try to be true to the recording, not to the event

Thank you, @Sokel, Yes, reasonable, the Recorded Music cannot be the Music Event if it is not Recorded as is/was, can it? The Conundrum/Dilemma, why, people/listener will be expecting it and be looking for it, won't they/maybe, at least until it is forgotten? Their Rememberance may even fill in the bits/portions as Remembered, maybe?

 

[Julf]

Thank you, @Sokel, this implys that the Recorded Music will not be the same as the Music Event, doesn't it?

Of course not. The main shortcoming is the limitation of 2 (or even 5.1) channels, then there is the effect of room acoustics when you move around and turn your head in the real space. And you can't reproduce the smell of cigarette smoke, stale beer, weed and sweat...

 

[jmdesignz2]

Of course not. The main shortcoming is the limitation of 2 (or even 5.1) channels, then there is the effect of room acoustics when you move around and turn your head in the real space. And you can't reproduce the smell of cigarette smoke, stale beer, weed and sweat...

"can't reproduce the smell of cigarette smoke, stale beer, weed and sweat..."

obviously you have not been recently to some people's homes LOL

 

[Multicore]

"Dynamics" is simply a description of how fast (Dv/dt) that voltage might change.

I don't claim to know what other people mean with this word but, just for me, rate of change isn't quite enough. I think the word suggests some combination of the amount of change (e.g. in number of bits) and the rate of change. Without the amount then it's more like bandwidth.

 

[Julf]

I don't claim to know what other people mean with this word but, just for me, rate of change isn't quite enough. I think the word suggests some combination of the amount of change (e.g. in number of bits) and the rate of change. Without the amount then it's more like bandwidth.

That is pretty much what it is - power bandwidth. As in bandwidth at full amplitude.