A short comment from Anson Anderson about his circuit design theory:
- The most important audio character is reality: a good live recording must
sound as if it is alive! All instruments have to sound as if the listener is
just in front of the Instruments or on stage! when someone defines an audio
system as 'warm', 'bright', 'clear' etc. this means the sound tends to be
different than 'real'. When someone says his audio system sounds very close
to reality and it is lots of fun and full of life, his system is extremly
good and very valuable.
- An Audio system has to have a large 0 volt conductor area with almost no
impedance. The return current through this impedance forms a voltage working
against the 'good' current through the load and it will affect the sound
negatively. The audio signal should be the only current that flows on this
impedance. That is why we only use symmetrical circuits, where the supporting
currents flow through the +/- power supplies and not through the 0 Volt
conductor. Our 0 Volt areas (including cables) have very low Impedance and
- Driving current has to have a source of high current as close as possible
to the driving elements which deliver load current. The current source must
deliver it's current fast and with almost no impedance to current drivers.
Amity® products power up very slowly. They are symetrical and current
sources are matched. They have a delivery time at least 100 times the
average drain time and and they deliver current at least 100 times faster
than the fastest current impulse.
- Contrary to 'normal' Audio circuits, which put audio ranges between
50 Hertz and 20 kilo-Hertz, Amity® circuits free the sound and allow,
- and deliver, frequencies from 10 Hertz up to 200 kilo-Hertz with an
absolutely flat frequency responce. For the 'smart' people: very active
music such as symphonic music is a mix of very many frequencies.
The mathematic mix of additive frequencies (Fourier transforming in the other
direction) forms signal frequencies and slew rates well into the 100 kilo-Hertz
and 1V/micro-second slew rates. So when this is filtered, the symphonic sound
is put into a small cotten filled box and the stage is reduced to an unreal
sound where single instruments are almost imposible to pick out of the audio
- Violence and fine feelings in audio is defined as 'headroom' and
'definition'. Definition is a result of freeing the frequency range and reducing
noise and distortion, while violence is a result of over powering the output
circuit as well as speeding it up so that it has a very fast slew rate. If a
circuit can reproduce a thunderclap and rumble as well as the very sharp edge
of the thunderbolt and it sounds 'real', it is an extremely good audio circuit.
The cuircuit has then an extremely large head room and very fine definition.
Symphonic sound will be no problem for this circuit
- Amity® circuits are reduced to a minimum on parts, where phase
shifting is under control and reduced to a very small amount. Phase shifting
away from the original, or shifting the output signal phase away from the
input signal phase, is the hardest parameter to control in audio design.
When the circuit phase is influenced by frequency and power changes, so that
it shifts the signal away from the original, the output does not sound
'real'. Our ears are extremely sensitive to this type of distortion. This
distortion delivers a sound soup no matter how good the other