Et bien je crois que tu te trompes Alex 57
ou a minima n'as pas bien compris la technologie propriétaire BMC qui s'écarte notoirement des sentiers battus ( schéma )
Et j'ai écrit
s'apparente à la classe A ..sans les inconvénients bien qu'elle en soit proche avec les circuits LEF / DIGIM et Ci qui changent tout au concept habituel " A"
( Deux ventilos tournent d'ailleurs en permanence pour le maintenir tiède ce qui lui permet de tenir le puissance sans risquer l'emballement thermique typique de la classe A)
Emballement qui il faut le savoir, réduit notablement la durée de vie des composants
( notamment les condos...mais pas que. )
https://www.cinenow.fr/articles/27383-bm...s-puissant
Et je peux te certifier que ca n'est pas un schéma classe AB non plus !
Ni ,A,glissante
Carlos C parle lui de LFE
( une autre vision selon lui de la classe A )
..Extrait Review Stereophile ..
The Unique Circuit
When we met following his visit, at the 2012 Consumer Electronics Show in January, Carlos Candeias told me that the Amplifier C1's circuit is neither class-A nor class-B; instead, he calls it Load Effect Free (LEF). He doesn't use energy-wasting class-A operation to eliminate crossover distortion and have transistors operate within a more or less linear range, because such designs still usually require some global feedback to further reduce distortion. If the distortion never happens in the first place, due to the choice of transistor operating characteristic, it doesn't need to be corrected.
Candeias explained two weaknesses of transistors: variations in voltage and variations in current. Then, rather than explain his system's technical innovations in engineering terms, he compared it with a painter standing before a large canvas, who would be able to paint "more beautifully" directly in front of him, and less so as he was forced to stretch above and below that area. Compound the painter's problem, he said, by placing around his arm two large rubber bands, one of which affects upward-going motions, the other lower-going motions. When he tries to extend his reach up or down, he'll feel how nonlinear his muscle movements are, and he won't be able to paint as beautifully. But as long as his arm remains in the middle of his range of motion, the bands won't affect his painting. Having someone telling you to "Go down! Go up! You're painting ugly!" is analogous to applying global feedback.
To avoid needing such feedback, Candeias explained, "we built a platform below the painter's feet"—in technical terms, a "floating cascode." When the painter moves his arm up or down, the floating cascode accordingly shifts his entire body up or down. So the distortion caused by the restrictions imposed by the rubber bands (voltage, in Candeias's analogy) moves from the painter's hand down to the floating-cascode platform, which is not connected to the speaker—in terms of affecting the sound, it's rendered irrelevant.
But that, Candeias said, is the easy part. The hard part is applying the power required to stretch the rubber band. Extending the analogy, he said that the painter has two friends clamping the two rubber bands, and they're watching the painter's muscles for changes in the amount of power he needs to move his arm. When the amount of power needed changes, the current needed to move the arm without restriction is supplied from a separate source. This allows the Amplifier C1 to deliver the required voltage to the speaker completely independent of the current, and to deliver it from separate sources.
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Sur Stereophile by Mr Fremer
Je vais tâcher de retrouver la traduction du principe qu'en avait fait Philippe
le Monsieur de Kapraudio
Si l'Anglais ou,l'Allemand pose bp
Je te rassure j'avais pas tout pigé non plus au depart!
Mais au final ,le concept novateur m'a séduit
Le tarif et le look m'ont accroché et l'écoute m'a convaincu définitivement
