Fluidic components appear in some hydraulic and pneumatic systems, including some automotive automatic transmissions.

The shape of the ICs and the corresponding holes are such that the ICs fall into place and self-align, hence the term Fluidic Self Assembly.

Fluidic space is a continuum filled with an organic fluid.

Fluidic space has no stars, planets or nebulae.

Now being researched, Fluidic Thrust Vectoring ( FTV ) method diverts thrust via secondary fluidic injections.

Fluidics, or Fluidic logic, is the use of a fluid to perform analog or digital operations similar to those performed with electronics.

Fluidic amplifier, showing flow in both states.

Fluidic triodes were used as the final stage in the main Public Address system at the 1964 New York World's Fair.

The Fluidic Triode was invented in 1962 by Murray O. Meetze, Jr., a high school student in Heath Springs, S. C.

Fluidic injection is being researched for use in aircraft to control direction, in two ways: circulation control and thrust vectoring.

Many amplifiers are ultimately slew rate limited ( typically by the impedance of a drive current having to overcome capacitive effects at some point in the circuit ), which sometimes limits the full power bandwidth to frequencies well below the amplifier's small-signal frequency response.

Class AB sacrifices some efficiency over class B in favor of linearity, thus is less efficient ( below 78. 5 % for full-amplitude sinewaves in transistor amplifiers, typically ; much less is common in class-AB vacuum-tube amplifiers ).

Therefore, class-D amplifiers are typically smaller than an equivalent class-AB amplifier.

Electric guitar amplifiers typically have built-in reverb and distortion, while acoustic guitar and keyboard amplifiers tend to only have built-in reverb.

Vacuum tube ( thermionic valve ) amplifiers gave way to solid state transistors, and then rapidly to integrated circuits which continue to improve, placing millions of electrical switches ( typically transistors ) on a single elaborately manufactured piece of semi-conductor the size of a fingernail.

Semiconductor optical amplifiers are typically made from group III-V compound semiconductors such as GaAs / AlGaAs, InP / InGaAs, InP / InGaAsP and InP / InAlGaAs, though any direct band gap semiconductors such as II-VI could conceivably be used.

Semiconductor implementations of crossbar switches typically consist of a set of input amplifiers or retimers connected to a series of metalizations or " bars " within a semiconductor device.

A software-defined radio system, or SDR, is a radio communication system where components that have been typically implemented in hardware ( e. g. mixers, filters, amplifiers, modulators / demodulators, detectors, etc.

The type 6L6, still to be found in electric-guitar amplifiers, typically has a type number that was assigned by JETEC.

Schenker's main guitar for much of his career was a Gibson Flying V, which he typically played through a wah-wah pedal ( used as a parametric equalizer to strengthen the " sweet spot ") and Marshall amplifiers.

He typically has used a Telecaster guitar, HH amplifiers and Marshall 4x12 cabinets for his stage gear.

The two exceptions are keyboard amplifiers and " acoustic " instrument amplifiers, which typically aim for a relatively flat frequency response.

Acoustic amplifiers typically aim for a relatively flat response across the entire frequency range, much like a Public Address system.

Tone controls on early guitar amplifiers were very simple and provided a great deal of treble boost, but the limited controls, the loudspeakers used, and the low power of the amplifiers ( typically 15 watts or less prior to the mid-1950s ) gave poor high treble and bass output.

In addition to a 1 / 4 " input jack, acoustic guitar amplifiers typically have an additional input jack for a microphone, which is easily identified because it will use a three-pin XLR connector.

Distortion is a feature available on many guitar amplifiers that is not typically found on keyboard or bass guitar amplifiers.

Before World War II, almost all valve amplifiers were of low gain and with linearity dependent entirely on the inherent linearity of the valve itself, typically 5 % distortion at full power.

* Broadband valve amplifiers typically use class A1 or AB1.

For this reason, manufacturing wide-range general-purpose analog multipliers is far more difficult than ordinary operational amplifiers, and such devices are typically produced using specialist technologies and laser trimming, as are those used for high-performance amplifiers such as instrumentation amplifiers.

Ideally an amplifier increases the power of a signal without otherwise altering it ; practical amplifiers have finite distortion and noise which they invariably add to the signal.

Professional touring amplifiers often have input and / or output filtering to sharply limit frequency response beyond ; too much of the amplifier's potential output power would otherwise be wasted on infrasonic and ultrasonic frequencies, and the danger of AM radio interference would increase.

Class B amplifiers have a very high efficiency but are impractical for audio work because of high levels of distortion ( See: Crossover distortion ).

Modern Class AB amplifiers commonly have peak efficiencies between 30 – 55 % in audio systems and 50-70 % in radio frequency systems with a theoretical maximum of 78. 5 %.

Commercially available Class D switching amplifiers have reported efficiencies as high as 90 %.

Some players use the more nimble tips of the fingers to play fast-moving solo passages or to pluck lightly for quiet tunes. The use of amplification allows the player to have more control over the tone of the instrument, because amplifiers have equalization controls that allow the bassist to accentuate certain frequencies ( often the bass frequencies ) while de-accentuating some frequencies ( often the high frequencies, so that there is less finger noise ).

Therefore in the past often more or less normal nonlinear amplifiers or just single diodes have been used as mixers, instead of a more complex multiplier.

The power gain of an amplifier depends on the source and load impedances used as well as its voltage gain ; while an RF amplifier may have its impedances optimized for power transfer, audio and instrumentation amplifiers are normally employed with amplifier input and output impedances optimized for least loading and highest quality.

Class-A designs have largely been superseded by the more efficient designs for power amplifiers, though they remain popular with some hobbyists, mostly for their simplicity.

Class-D amplifiers have been widely used to control motors, and are used almost exclusively for small DC motors, but they are now also used as audio amplifiers, with some extra circuitry to allow analogue to be converted to a much higher frequency pulse width modulated signal.

High quality class-D audio amplifiers have now appeared on the market-these designs have been said to rival traditional AB amplifiers in terms of quality.

Bass amplifiers are less likely to have built-in effects, although some may have a compressor / limiter or distortion.

Guitar amplifiers and electronic keyboards may have switch pedals for turning built-in effects on and off.

Since the 1950s, many blues harmonica players have amplified their instrument with microphones and tube amplifiers.

Harmonica players who amplified their instrument with microphones and tube amplifiers, such as blues harp players, also have a range of techniques that exploit the properties of the microphone and the amplifier, such as changing the way the hands are cupped around the instrument and the microphone or rhythmically breathing or chanting into the microphone while playing.