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versus A-A/B, A/B D or non-switching new class A || Bi-AMPs and Bi-amp Stereo consolidation

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Flux Capacitors

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Our new design is unusual. 24 capacitors (12//ch), 14 inductors (7/ch) 16 resistors (8/ch): The Tantalums tune and add extra EVEN harmonics
with the use of diodes, series capacitors, parallel inductors and cascaded double sided mirror image cap banks. Currently Built Stock = 2

with the use of diodes, series capacitors, parallel inductors and cascaded double sided mirror image cap banks. Currently Built Stock = 2
This is THE way to make a low power home theater or low cost stereo sound like the expensive audiophile elite without the risks.

This is THE way to make a low power home theater or low cost stereo sound like the expensive audiophile elite without the risks.
There are 4 filters overlayed into 2 high and 2 low channels. We can claim this adds Live Sound SQ to sound stage and stereo image.

There are 4 filters overlayed into 2 high and 2 low channels. We can claim this adds Live Sound SQ to sound stage and stereo image.
That is to say there is more depth of field front to back, left/right sound effect. Vocals especially stand out better from music behind them.

That is to say there is more depth of field front to back, left/right sound effect. Vocals especially stand out better from music behind them.
We believe that this is because a squared sine wave is made up of only odd harmonics. Vocals contain more even harmonics.

We believe that this is because a squared sine wave is made up of only odd harmonics. Vocals contain more even harmonics.

This statement is a product claim: Why Bi-AMP?, Why AAHRAY?

The CFC Audio Splitter harmonic equalizer shown below here for the first time Oct. 2008- uses 24 capacitors, two 3 inch tantalum non-polar audio electrolytic tantalum supercaps retailing at $50.00 each

A Compression Flux Capacitor - Plus Harmonic Equalizer does more not
merely just splitting 2 channels into two hi & 2 low channels.

Some special sounds like a guitar whaa or flute seem to float above the speaker or in front of it. This invokes memories of what many American sound designers have said. Paraphrasing David Hafler who used to say surround sound should NOT BE NECESSARY. Audio in nature is from people's front. Sound from behind you often startles or upsets people. Only if a car drives from behind in video does Japanese marketed surround ever impress anyone. Still the CFC JHX would improve that also. Center channel speakers make up for a lack of stereo soundstage because they fill in between two channels of what seems like mono sound left and right caused by excessive filtering and noise blocks. Our new technology takes the same principle to the tenth power and I now undestand the reasons why. The term compression is used in several ways in audio since nobody wants to say de-compression. To me, compression is squeezing the signal to recover transient peaks, not leveling them out. New research has shown that sine waves are a worst case wave, more difficult to recreate. Even more confusing is that nobody wants to say BYTE rate per second. At 48 Khz/sec sampling, or standard Digital Audio Tape recorder format DAT or DTS, an 8 bit sampling depth is an Audio Bit Rate per channel of 8 times 48000. This is 384 Kbits/sec. That would be excellent, but no law prevents advertising from using 44.1 CD or 48 khz/sec at the byte rate equal to one bit, compressing the file sizes to 1/16 the actual standard audio values. It appears the 44.1 khz uses 5 bit military code by the Nyquist formula: data rate(bits/sec) = 2*audio band*(log2 of M) where M is 5 different binary register values that can be sent by 1 sample byte of DAC word. This is the most compact digital format without compression that is possible retaining alfanumeric substitution. An article in FORBES Feb 2, 2009 page 36 gives details. One pixel of video contains then 32 bits audio. So more power was designed into vintage amps because they needed it for crest factor (high frequency sine waves). Slew rates had to be high so transformers went torroidal. Now we learn designers forgot the other side of the equation, the even harmonics. The JHX spilitter brings this new dimension back. We do not hesitate to recommend it for those seeking to build low cost stereos or improve VHS tape library audio or for very expensive yachts or home theaters. ANY configuration will sound better. You don't even need to use all the outputs. Just using the high side or low channels sounds better. The CD standard bandwidth is 20671 cycles/sec (96 Kbit) bitstream per channel but we now know how to improve dynamic range as if it were sampled at much higher rates. It is like 3 dimensional sound effects sometimes. When DTS-audio was introduced to the DVD specification, studios authored DVD-movies at DTS's full bitrate (1,536 kbit/s). Later movie titles were almost always encoded at a reduced bitrate of 768 kbit/s, ostensibly to increase the number of audio-tracks on the movie disc. At this reduced rate (768 kbit/s), DTS no longer retains audio transparency. That 384 Kbits/sec can mean 2 to the fourth power or 4 bit registers which is 16 bits of video information hexidecimal but used as if it were sound sample data.

Some special sounds like a guitar whaa or flute seem to float above the speaker or in front of it. This invokes memories of what many American sound designers have said. Paraphrasing David Hafler who used to say surround sound should NOT BE NECESSARY. Audio in nature is from people's front. Sound from behind you often startles or upsets people. Only if a car drives from behind in video does Japanese marketed surround ever impress anyone. Still the CFC JHX would improve that also. Center channel speakers make up for a lack of stereo soundstage because they fill in between two channels of what seems like mono sound left and right caused by excessive filtering and noise blocks. Our new technology takes the same principle to the tenth power and I now undestand the reasons why. The term compression is used in several ways in audio since nobody wants to say de-compression. To me, compression is squeezing the signal to recover transient peaks, not leveling them out. New research has shown that sine waves are a worst case wave, more difficult to recreate. Even more confusing is that nobody wants to say BYTE rate per second. At 48 Khz/sec sampling, or standard Digital Audio Tape recorder format DAT or DTS, an 8 bit sampling depth is an Audio Bit Rate per channel of 8 times 48000. This is 384 Kbits/sec. That would be excellent, but no law prevents advertising from using 44.1 CD or 48 khz/sec at the byte rate equal to one bit, compressing the file sizes to 1/16 the actual standard audio values. It appears the 44.1 khz uses 5 bit military code by the Nyquist formula: data rate(bits/sec) = 2*audio band*(log2 of M) where M is 5 different binary register values that can be sent by 1 sample byte of DAC word. This is the most compact digital format without compression that is possible retaining alfanumeric substitution. An article in FORBES Feb 2, 2009 page 36 gives details. One pixel of video contains then 32 bits audio. So more power was designed into vintage amps because they needed it for crest factor (high frequency sine waves). Slew rates had to be high so transformers went torroidal. Now we learn designers forgot the other side of the equation, the even harmonics. The JHX spilitter brings this new dimension back. We do not hesitate to recommend it for those seeking to build low cost stereos or improve VHS tape library audio or for very expensive yachts or home theaters. ANY configuration will sound better. You don't even need to use all the outputs. Just using the high side or low channels sounds better. The CD standard bandwidth is 20671 cycles/sec (96 Kbit) bitstream per channel but we now know how to improve dynamic range as if it were sampled at much higher rates. It is like 3 dimensional sound effects sometimes. When DTS-audio was introduced to the DVD specification, studios authored DVD-movies at DTS's full bitrate (1,536 kbit/s). Later movie titles were almost always encoded at a reduced bitrate of 768 kbit/s, ostensibly to increase the number of audio-tracks on the movie disc. At this reduced rate (768 kbit/s), DTS no longer retains audio transparency. That 384 Kbits/sec can mean 2 to the fourth power or 4 bit registers which is 16 bits of video information hexidecimal but used as if it were sound sample data.

Some special sounds like a guitar whaa or flute seem to float above the speaker or in front of it. This invokes memories of what many American sound designers have said. Paraphrasing David Hafler who used to say surround sound should NOT BE NECESSARY. Audio in nature is from people's front. Sound from behind you often startles or upsets people. Only if a car drives from behind in video does Japanese marketed surround ever impress anyone. Still the CFC JHX would improve that also. Center channel speakers make up for a lack of stereo soundstage because they fill in between two channels of what seems like mono sound left and right caused by excessive filtering and noise blocks. Our new technology takes the same principle to the tenth power and I now undestand the reasons why. The term compression is used in several ways in audio since nobody wants to say de-compression. To me, compression is squeezing the signal to recover transient peaks, not leveling them out. New research has shown that sine waves are a worst case wave, more difficult to recreate. Even more confusing is that nobody wants to say BYTE rate per second. At 48 Khz/sec sampling, or standard Digital Audio Tape recorder format DAT or DTS, an 8 bit sampling depth is an Audio Bit Rate per channel of 8 times 48000. This is 384 Kbits/sec. That would be excellent, but no law prevents advertising from using 44.1 CD or 48 khz/sec at the byte rate equal to one bit, compressing the file sizes to 1/16 the actual standard audio values. It appears the 44.1 khz uses 5 bit military code by the Nyquist formula: data rate(bits/sec) = 2*audio band*(log2 of M) where M is 5 different binary register values that can be sent by 1 sample byte of DAC word. This is the most compact digital format without compression that is possible retaining alfanumeric substitution. An article in FORBES Feb 2, 2009 page 36 gives details. One pixel of video contains then 32 bits audio. So more power was designed into vintage amps because they needed it for crest factor (high frequency sine waves). Slew rates had to be high so transformers went torroidal. Now we learn designers forgot the other side of the equation, the even harmonics. The JHX spilitter brings this new dimension back. We do not hesitate to recommend it for those seeking to build low cost stereos or improve VHS tape library audio or for very expensive yachts or home theaters. ANY configuration will sound better. You don't even need to use all the outputs. Just using the high side or low channels sounds better. The CD standard bandwidth is 20671 cycles/sec (96 Kbit) bitstream per channel but we now know how to improve dynamic range as if it were sampled at much higher rates. It is like 3 dimensional sound effects sometimes. When DTS-audio was introduced to the DVD specification, studios authored DVD-movies at DTS's full bitrate (1,536 kbit/s). Later movie titles were almost always encoded at a reduced bitrate of 768 kbit/s, ostensibly to increase the number of audio-tracks on the movie disc. At this reduced rate (768 kbit/s), DTS no longer retains audio transparency. That 384 Kbits/sec can mean 2 to the fourth power or 4 bit registers which is 16 bits of video information hexidecimal but used as if it were sound sample data.

One of several audio problems solved by this passive filter is caused by op-amp
negative feedback used to linearize the sound levels to equal loudnesses -
especially MP3's and smaller speaker systems that must design for a fixed
dynamic range. In 2005 Texas Instruments began providing Opto-electronic chips
to address the problem on the inputs.

                

The TI THS4509 used bipolar transistors in an array of NPN AND PNP transistors.
Because most input circuits are forced to be non-inverting even if the IC is designed
for inverting operation, the newer TI solution was also designed to be non-inverting
and can couple better with high impedance inputs like other pre-amps. Unless you own
this particlar chip in your amplifier, which is unlikely, and even if you do it is surely
a class - D car amp. The following graph represents a simplified discussion of differential
complementary amplifier behavior.

Most people say they don't want digital audio. The HDMI and digital coax and digital optical are all for the manufacturer. The right to lock up the audio and video signal is then a technological advantage, as is longer distance multiple signal distribution. Age regressive designers still build old voltage amplifiers that must exactly match the speaker (1 usually) that is always built into the unit or sold as a seperate but usually attached as a front baffled driver unit. The reason is

Most people say they don't want digital audio. The HDMI and digital coax and digital optical are all for the manufacturer. The right to lock up the audio and video signal is then a technological advantage, as is longer distance multiple signal distribution. Age regressive designers still build old voltage amplifiers that must exactly match the speaker (1 usually) that is always built into the unit or sold as a seperate but usually attached as a front baffled driver unit. The reason is specification matching When you can't put different components between other components, be sceptical. Art Deco is at one time both expensive and cost driven.