John Curl's Blowtorch preamplifier part II

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why so little changes in hifi since 1970s.

Have to disagree respectfully on that, just do a case study analysis of this forum e.g. , and vision it as a down-scaled model of reality.
(with every parameter there, including the synergetic effects, imo)

What's slowing it down is what I would phrase the Audio Paradox.
One side heard the soundtrack, but not read the book, for lacking fluency in braille.
The other half did see the movie, with subtitles, but some expressions are hard to translate.
Both sides are correct, in their perception of reality.
(similar odd paradox for the wine parallel, the one with no appreciation hasn't sufficiently terminated enough sour taste bud receptors with acid)

See no evil, Hear no evil. (Gene Wilder, Richard Pryor, '89)

(I'm Jan's MiniMe, during his lunch break)
 
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My foil was in three dimensions. I made paper dolls of the three foil patterns, bent the paper to match the tight mounting restrictions I imposed. It took quite a lot of effort, as the three layers had to be built on forms matching the final 3-D geometry..used wood blocks and a 1/8th rounding bit on a router table for nice bends.. Forming the entire thing flat and then bending it around a tight radius causes the inner copper to buckle, so it was better doing it to final form.

I actually had flex pcb's in mind when I did it, but doing it 5 mil copper and purchasing it was too steep for my budget..

I used some 5 mil copper foil I had lying around, it was leftover stuff the builder used between the concrete and the sill plate (edit: he was a great builder, maybe the copper was 5 nines??). The kapton was 2 mil scrap pieces, the transfer tape is just double sided tape without the tape..scotch VHB transfer tape.

If I ever have the time and desire to do it again, I'll take pics. Perhaps the person (name unknown) who misappropriated it a few years ago would be so kind as to take internal pics for us???

jn
 
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Joined 2005
Have to disagree respectfully on that, just do a case study analysis of this forum e.g. , and vision it as a down-scaled model of reality.
(with every parameter there, including the synergetic effects, imo)

What's slowing it down is what I would phrase the Audio Paradox.
One side heard the soundtrack, but not read the book, for lacking fluency in braille.
The other half did see the movie, with subtitles, but some expressions are hard to translate.
Both sides are correct, in their perception of reality.
(similar odd paradox for the wine parallel, the one with no appreciation hasn't sufficiently terminated enough sour taste bud receptors with acid)

See no evil, Hear no evil. (Gene Wilder, Richard Pryor, '89)

The other night I met David Clark ( the "infamous" DC :D ) and had some of a few wines he had just purchased to bring to Toole's place. My preference was for a 2006 Cabernet Sauvignon, but both Floyd and David found it a tad "musty". I didn't smell or taste this at all, and joked that I'd lost my must receptors.

I did agree that the quality-price ratio for the Cab (whose price I did not know when tasting initially) was not so hot.
 
Next, let's say, being experimenters, the Wavac people played with the output polarity and found that connecting the all horn loaded speaker in one way, made it sound best? Why would this be so? Because the second harmonic would tend to cancel with the second harmonic naturally generated by the horn throat distortion. Wow! Better than a perfect amp in performance. '-)
Interesting, Can-you explain us how the H2 distortion of the amp can compensate the one of the horn ? One is expansion of the signal and the other compression ? How can-they match with listening levels ?
 
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Interesting, Can-you explain us how the H2 distortion of the amp can compensate the one of the horn ? One is expansion of the signal and the other compression ? How can-they match with listening levels ?
If the curve of growth is typical, they could conceivably compensate for a while, fortuitously or based on trial and error of the levels set.

But I don't think it's low second that would make such a system sound better. Note JC's mention of the source material, a (great!) female vocalist with presumably a sparse backup from a combo. Such material is extremely tolerant of low-order harmonic distortion, to a point, that point being before IM starts to get annoying AND results in spurious energy that doesn't fall nicely close to tones in the scale. In the "good old days" of semi-just intonation, before the wholesale adoption of equal temperament, one could tolerate this even better. Of course there weren't any 350k tube amps then either :)
 
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That is no answer, Jan. As we know, some scientists scoff at wine differences, and prove it with double blind tests. What do you think about them?

Sigh. I say it one more time, (not that I expect you to suddenly stop telling lies and misrepresenting, but hey, I'm a sucker):

I accept that you can taste the difference between classic coke and zero coke. Even when the liquid in the two bottles is identical. What's more, I know why that is so.

jan
 
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Better with flexi-rigid PCB's or at least a rigidiser bonded to the flex. 7oz copper is available these days, though it dosn't flex:) It bends and stays there.
This is also the secret! of good SMPS layout (and all PCB layout) minimise inductive loops, especialy the on and off switching loops of a SMPS and the rest will follow. Planar transformers are also fun, as you can easily add capacitive screens etc.
One problem with some spider leg star layouts is the fact that the inductive loop is often increased and is not thought about often crossing other tracks and enclosing other componets within this loop. If you have to use this sort of layout all traces and there return should follow one under the other, broadside coupling, or better still use planes, and allow the different frequencies to find there optimal way home, least resistive for low frequency, least inductive for high frequency.
 
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Have to disagree respectfully on that, just do a case study analysis of this forum e.g. , and vision it as a down-scaled model of reality.
(with every parameter there, including the synergetic effects, imo)See no evil, Hear no evil.
I appreciate your elegant way to disagree, Jacco. Will try to justify my point.
Each time i'm looking for components, i hope to find (non audiophile:) parts dedicated for audio. You know, good low noise and fast current sources (we should find all values, such as resistors), current mirrors, low noise regulators, matched complementary transistors on one die, more linear transistors, compensated for temperature etc.
Of course, when the market is important (Smartphones, GPS) we see a fast and astonishing improvements.
What new in audio? Class D, yes. Nice improvements in OPAs, yes (but hundred of similar devices, and always so difficult to find one matching your needs).
And what about capacitances ? No way to do better ? What the hell are-they doing with nano-technologies ? From a high altitude perspective, science and technology is moving too slow in the audio world, it bores me. I want more thrill, quantum devices :).
 
Interesting, Can-you explain us how the H2 distortion of the amp can compensate the one of the horn ? One is expansion of the signal and the other compression ? How can-they match with listening levels ?

If I remember rightly a guy called Eduardo de Lima published a paper demonstrating that distortion cancellation could happen with reversing speaker lead polarity. I have tried to find the paper online but no luck so far (the one link I could find was broken). I suspect this related to single ended tube amplifiers with assymetric distortion since he ended up manufacturing this type of amplifier.
 
I'm guessing you mean wattage rating ...?

Yes, because heating up resistors increases Johnson noise and it can also be seen in the measurements of resistors SY linked to a few posts ago. More current leads to more excess noise with a 1/f character, and so to stay well within the bounds of the specs is safest. Also, thermal effects in resistors can create distortion, so the less they get heated up, the better.
 
My preference was for a 2006 Cabernet Sauvignon, but both Floyd and David found it a tad "musty". I didn't smell or taste this at all, and joked that I'd lost my must receptors.

TCA. There's probably a ten or twenty-fold difference in innate sensitivity to that between tasters- I was able to correctly spot it at about 3-4 ppt, but an MW with whom I did some work (and had overall a much better palate than mine) was nearly insensitive, with a 40-50ppt threshold. What is perceived when it's below threshold is not mustiness, but a muting or attenuation of the fruit. When I spotted it in a tasting and others disagreed, a second bottle would almost always present as fresher and more lively. There was one winery in Napa which for years was notorious for having their ultra-expensive Cabernets tainted with TCA, probably from poor barrel hygiene. It was an easy marker in blind tastings- "Either this wine is corked or it's --------, in which case, it's magnificent!"
 
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TCA. There's probably a ten or twenty-fold difference in innate sensitivity to that between tasters- I was able to correctly spot it at about 3-4 ppt, but an MW with whom I did some work (and had overall a much better palate than mine) was nearly insensitive, with a 40-50ppt threshold. What is perceived when it's below threshold is not mustiness, but a muting or attenuation of the fruit. When I spotted it in a tasting and others disagreed, a second bottle would almost always present as fresher and more lively. There was one winery in Napa which for years was notorious for having their ultra-expensive Cabernets tainted with TCA, probably from poor barrel hygiene. It was an easy marker in blind tastings- "Either this wine is corked or it's --------, in which case, it's magnificent!"
It was a Shelter "The Butcher", not sure which is the wine and which the winery. No tasting notes on cellartracker when I looked so little corroboration of Toole and Clark. But I keyed favorably into the bit of bottle age and complexities. I suppose if I strained I might say I detected something a little barrel-hygiene related, but I've certainly had much worse. I did finally get to taste one of the not-yet-discarded 2007 Hitching Post Fiddlestix PN that FT complained to WineAccess about, and who even gave him a credit, but tried to say it was in a "French style". Total BS --- it was off, "cooked", really lousy. Don't know what WA was given to taste, as I can't imagine they were knowingly dumping for HP. Most everything I've gotten from them has been fine and more-or-less per their descriptions.
 
Yeah, listen to these guys brag how they can taste wine differences to an amazing degree, and then tell the serious listeners that they are deaf and are fooling themselves.
I'm sorry, guys. I am for a level playing field in the world of perception. Either double blind works EVERYWHERE, or it can be suspect in ANY particular application. Take your pick, but please don't tell me that you can taste differences, but I can't hear differences to the same degree. Double blind testing, the great equalizer! '-)
 
bscaro,
Perhaps they forgot to wash their feet before they stomped the grapes!

On a more appropriate note. If you were to use a 3d printed circuit board to what advantage would you us it? How would you take advantage of being able to bend or twist the board?

Jneutron,
Using the flat traces that you used in your supply circuit how much difference could you quantify that having such intimate location between traces vs a twisted wire do you conjecture there is? Is it a small gain in improvement or a fractional difference between the two methods. It would be hard for an amateur to duplicate what you have done but using twisted pairs and triplets such as you showed with wire could be easily accomplished. Are we giving up much to use wire or would the basic improvement in your methodology be sufficiently achieved?
 
Christophe,
The audio business itself is still worth more than a billion dollars by itself. I suppose compared to cell phones and computers and now tablets this is a very small market for the component manufacturers. It is to bad that there are no dedicated component manufacturers working to answer your desire but big business looks for the larger profit and mostly stays away from the smaller niche markets. But at the same time I do believe that we have moved forward in areas of audio such as digital circuitry and even in loudspeakers on a smaller level. It is just that the majority of what is aimed at audio is for the masses and therefor is built using the most readily available materials and most of these are commodity parts that are just mixes and matched by most designers and manufacturers. It is a financial decision to do that. How many of the smaller companies can afford to do basic materials research or development of new materials applications? Even the biggest manufacturers rarely do this type of R&D any more.
 
John,
I thought that I followed your reasoning fairly well in your description of that 350K amplifier and gave you props for not bringing any black magic into the discussion of it. The fact that they didn't stay with the amplifier itself the following year tells us that maybe they never sold any of those to any willing partakers? That would buy a pretty nice vacation cabin in the mountains at that cost!
 
Yeah, listen to these guys brag how they can taste wine differences to an amazing degree, and then tell the serious listeners that they are deaf and are fooling themselves.
I'm sorry, guys. I am for a level playing field in the world of perception.

You've been told dozens of times that we do perceptual testing in wine double blind. That's how my thresholds were determined. That's how the MW received his qualification. So, are you just unusually forgetful or are you making up stories again?

And since no-one has ever told serious listeners that "they are deaf," and you've been reminded of that repeatedly, you're plain and simply lying. I shouldn't be surprised, but I am- and disappointed. I thought better of you than that.
 
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