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"Snabbt ljud" i den betydelsen att musiken "spelas med fart och driv" blir en slags vinprovarterm som inte beskriver vad man menar på ett fullgott sätt, anser jag

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Why do you design such fast, wide-bandwidth components? Although the highest audio frequency is 20 kHz [20,000 Hz], your products go out to 3 megahertz [3,000,000 Hz].

Keith O. Johnson: The Spectral philosophy has been to build products that are very fast and have very fast settling. Very fast capability means high bandwidths. High speed isn't important just to go from point A to point B quickly, but in preventing the circuit from having a memory that the musical even happened. Now I have a fresh start for the next event. That's speed. The electronics must settle down instantly from the loudest signal to the smallest signal, which is a ration of far more than a million to one. And they must do this within about ten millionths of a second.

High-speed circuits give you the ability to hear inter-transient information. With trumpets, for example, you get a brilliant sound where you can almost hear the individual cycles of a trumpet. That quality is related to interplay between various types of distortion, settling time, and energy storage within the feedback loops. If those factors aren't under control, the system will sound muddy and murky. If one tries to brighten it up to compensate, then one has harshness without much redeeming musical information.

Explain to us how an audio circuit changes its characteristics based on the nature of the musical signal it has just processed.

Johnson: A common problem in circuits is "thermal tails." If you shock the circuit with a transient audio event, then the internal parts are stressed. This stress creates heat which remains after the event, which in turn creates a memory in the circuit. It takes a finite amount of time for things to cool off. When the next transient comes along, the circuit behaves differently because it is warmer. This problem is quite audible. The faster the circuit, the less energy stored, and the less the circuit changes from transients that have just occurred.

A similar phenomenon happens with magnetic fields, particularly in power amplifiers. Even though the circuit inside might be very fast, the end result is not speed because you have to wait for the event. The feedback and compensation parts inside amplifiers store charge in a non-linear way when hit with a transient event. The charge then bleeds off after the event, creating a settling problem. You may not hear it as a sound, but you perceive that the sound is not particularly clear.

High speed isn't to get from point A to B fast. It's that you don't want anything to remain once you've gotten there.

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The memory distortion (1) of components is the greatest discovery in analog audio design over the last twenty years. It clearly demonstrates the reasons why a good valve amplifier can beat its solid state counterpart hands down for sheer musical enjoyment.

Memory distortion is the property that is the dominent factor in causing solid state amplifiers to sound shrill and mechanical. Tube technology allows electrons to travel through a vacuum which causes no storage or memory effect, but solid-state amplifiers use silicon components which keeps the trace of electrons flux that have gone through. New electron flux will be affected by the fact that other electrons preceded them.
As soon as memory effect of solid state circuits is reduced, all the improvements that transistor technology handles like unlimited power, accuracy, very low harmonic distortion and extended and linear frequency response can be added to the most alive and silky musical rendition of the best single-ended monotriode design.
This may not sound very new : some manufacturers claim to combine valve smoothness with the muscle of solid state power by using hybrid designs. As a result, they only combine the memory distortion of solid state with the limited bandwidth and distortion capability of valves.

This discovery which we made at Lavardin Technologies demonstrate that the classic measurements made all over the world for the last decade are meaningless when considering the musical quality of an amplifier. In fact, as fixed frequency or fixed level test signals are used, it is not possible to detect remanent signals of memory. Fixed frequencies or fixed levels signals may occur for less than 0.01% of the duration of any classical peace of music !! We do not believe that good sounding audio amplifiers should be designed to be perfect for 100% of the test time and only for 0.01% of the actual time they are reproducing music !!!

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