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11-04-2018, 01:03 PM
Hi nevetslab
There is a Picoscope, I believe, that is 16-bit and a more complete box with BNCs, reasonable-ish bandwidh and priced around $1,500cdn or so. I considered that more seriously than the AD2, but again, the whole PC issue impedes my diving in.
I have some Radford and HP THD analysers and LDOs but most of what I design for hifi is below their resolution. Even the APs cannot read the THD, which makes the "if I won the lottery" prospect of buying an AP even seem pointless to some extent. (A friend has a big manufacturing concern and has a dozen APs, so I was able to have some things tested to see if their was correlation with the sims).
But day-to-day bench work really just needs a scope and sine generator and working volt meters, ammeters and ohmmeters.
I know a lot of hobbyists who only have a multimeter and that is sufficient to verify most things are working in a guitar amp. A scope is ideal for seeing that there is proper symmetry of output and for fine tuning interstage attenuators, as The Ultimate Tone, Vol.5 (TUT5) discusses. The latter can be done by ear.
There is a Picoscope, I believe, that is 16-bit and a more complete box with BNCs, reasonable-ish bandwidh and priced around $1,500cdn or so. I considered that more seriously than the AD2, but again, the whole PC issue impedes my diving in.
I have some Radford and HP THD analysers and LDOs but most of what I design for hifi is below their resolution. Even the APs cannot read the THD, which makes the "if I won the lottery" prospect of buying an AP even seem pointless to some extent. (A friend has a big manufacturing concern and has a dozen APs, so I was able to have some things tested to see if their was correlation with the sims).
But day-to-day bench work really just needs a scope and sine generator and working volt meters, ammeters and ohmmeters.
I know a lot of hobbyists who only have a multimeter and that is sufficient to verify most things are working in a guitar amp. A scope is ideal for seeing that there is proper symmetry of output and for fine tuning interstage attenuators, as The Ultimate Tone, Vol.5 (TUT5) discusses. The latter can be done by ear.
