No, I wont, but the actual voltage across them is 1v, that is why I figured it could be done.
I don't understand why is not possible if the regular cap is a low end brand, vs the replacement being THE very best. will it actually sound worst?
Are you sure there's only 1V there always (even during switch-on)? Seems odd, but if so then you're good to go.
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- looks the schema first before you change anything
becareful for replacement cause in factory everything
must efisien so they will use 6.3v for 1v in rail
- bigger voltage caps sometimes have better sound
- black gate maybe the best but we cant talk about the past
so try to find the replacement
- for all caps try to measure them first,
- low end caps sometimes sound worse, you must try it and look the result
becareful for replacement cause in factory everything
must efisien so they will use 6.3v for 1v in rail
- bigger voltage caps sometimes have better sound
- black gate maybe the best but we cant talk about the past
so try to find the replacement
- for all caps try to measure them first,
- low end caps sometimes sound worse, you must try it and look the result
I just figured out that I can do the Jim Williams "leakage" test -- it takes 24 hours per capacitor -- he used a wet slug 1,300 uF Sprague tantalum in his ultra-low noise measurement amplifier. New these caps cost about $300!. The cap is charged with 3 volts for 24 hours into a 1K load, and at the end the leakage measured on a nano-voltmeter.
All of this info on caps is interesting.
My 18 year old Hafler is going to get new caps in the audio circuit. Is there one brand that is favored over others? Is it OK to mix brands? Do you need to stay with 105 degree ratings, or is 85 OK?
Would the Elna's be better than Nichicon or Rubycon, or perhaps Panasonic?
We replaced all caps in the power supply and went with Panasonic FC and Nichicon.
My 18 year old Hafler is going to get new caps in the audio circuit. Is there one brand that is favored over others? Is it OK to mix brands? Do you need to stay with 105 degree ratings, or is 85 OK?
Would the Elna's be better than Nichicon or Rubycon, or perhaps Panasonic?
We replaced all caps in the power supply and went with Panasonic FC and Nichicon.
Lower ESR, ESL and higher ripple current are the parameters to look for.
Normally up to 100V electrolitics improve going up with voltage.
Yes, and sometimes at 63V. You will find this informations also in the datasheets in the most cases. Check out the ESR values at 100Hz and 10KHz.
If you can only use certainly sizes it will be better, to reduce the capacity itself (e. g. 3300 or 4700uF/100V instead 10000 or 15000V/35-50V).
Also in the aera of lower voltages (15-30V) I choice always 63V or 100V types, if it are normally electrolytics and not very special versions.
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yes, is an equalizer and according to the schematic only .05 volts across.
How ever my question still stands, if the original is 25v and I place a 50v, even if the voltage is 1v, will it sound better?
I found this information 'bout different caps sound characteristics:
WHICH AUDIO CAPACITOR?
Which capacitor to use is difficult to determine without actually trying. It depends on too many factors. To hear the potential of a certain part, it's often nessecary to change other parts too. Experimenting with different combinations is a more solid way to lift a design to a higher level. In principle the original music signal has to be preserved as much as possible, but it's difficult to tell which parts do. For analysing a music signal (harmonic structures changing in time), our ears are still the most useful instrument. But we're all calibrated differently. To some a SILMIC adds color and warmth and a Black Gate FK sounds neutral. To others a SILMIC sounds neutral because it exactly reproduces natural colors and warmth from the recording, a Black Gate FK sounds more 'hifi' to them, making the signal more pulsed, peaky (giving attack) and too clean (filtering out natural timbres).
Often a combination of different (high quality) capacitors in the right places gives the best result. Best thing is to try yourself and trust your ears. Still, we want to mention some general characteristics as a rough guideline (of course these are our personal, biased, subjective experiences). These characters apply for capacitors used either in the signal path or in the power supply (for digital different rules apply, but there are simularities as well). Lower voltage versions of a capacitor can offer more refinement (it's faster, gives more presence towards the mid-highs).
The SILMIC II is best for reproducing different timbres, natural colors and warmth in a recording. It offers most presence in the low-mid range with lots of texture (tangible). Bass is round and warm, the mid and highrange are very refined, 'silky', quiet, but with lots of openess (more open than CERAFINE, less open than Black Gate FK).
The CERAFINE is also very good for reproducing different timbres, natural colors, but has a more direct sound than SILMIC (less direct than Black Gate FK). Bass is round and warm, the midrange has most presence and the high range is lively.
The Black Gate FK has the most open and clean sound, with the main presence in the high range. It sounds thinner, offers somewhat less texture and timbre. It offers most pulse, attack in both the low, mid and high ranges.
Hope this helps.
from hificollective
Elna Cerafine and Elna Silmic Capacitors homepage
WHICH AUDIO CAPACITOR?
Which capacitor to use is difficult to determine without actually trying. It depends on too many factors. To hear the potential of a certain part, it's often nessecary to change other parts too. Experimenting with different combinations is a more solid way to lift a design to a higher level. In principle the original music signal has to be preserved as much as possible, but it's difficult to tell which parts do. For analysing a music signal (harmonic structures changing in time), our ears are still the most useful instrument. But we're all calibrated differently. To some a SILMIC adds color and warmth and a Black Gate FK sounds neutral. To others a SILMIC sounds neutral because it exactly reproduces natural colors and warmth from the recording, a Black Gate FK sounds more 'hifi' to them, making the signal more pulsed, peaky (giving attack) and too clean (filtering out natural timbres).
Often a combination of different (high quality) capacitors in the right places gives the best result. Best thing is to try yourself and trust your ears. Still, we want to mention some general characteristics as a rough guideline (of course these are our personal, biased, subjective experiences). These characters apply for capacitors used either in the signal path or in the power supply (for digital different rules apply, but there are simularities as well). Lower voltage versions of a capacitor can offer more refinement (it's faster, gives more presence towards the mid-highs).
The SILMIC II is best for reproducing different timbres, natural colors and warmth in a recording. It offers most presence in the low-mid range with lots of texture (tangible). Bass is round and warm, the mid and highrange are very refined, 'silky', quiet, but with lots of openess (more open than CERAFINE, less open than Black Gate FK).
The CERAFINE is also very good for reproducing different timbres, natural colors, but has a more direct sound than SILMIC (less direct than Black Gate FK). Bass is round and warm, the midrange has most presence and the high range is lively.
The Black Gate FK has the most open and clean sound, with the main presence in the high range. It sounds thinner, offers somewhat less texture and timbre. It offers most pulse, attack in both the low, mid and high ranges.
Hope this helps.
from hificollective
Elna Cerafine and Elna Silmic Capacitors homepage
''Through the experience of building many amplifiers, you learn the tone of individual parts.
If you need more high frequency, the best way is by your changing ohms and microfarads.
Someone may change the parts another company made. Even if the new capacitor gives him fine frequency, that capacitor brings a new sound into his amplifier's tone. His method will take him into deep woods.''
Susumu Sakuma
From a restaurant in Japan.
If you need more high frequency, the best way is by your changing ohms and microfarads.
Someone may change the parts another company made. Even if the new capacitor gives him fine frequency, that capacitor brings a new sound into his amplifier's tone. His method will take him into deep woods.''
Susumu Sakuma
From a restaurant in Japan.
I use Nichicon KZ ( i use SilmicII here and tere when i what more body) and found the new polymer caps from Nichicon also very apealing.
For example the LG range. They are very small and have extremely low ESR.
Bypassed with foils ( say 1uF Wima MKT02 and 10nF Röderstein MKP1837 ) it´s hard to blame them of any sound at all. I use them at the input of my Low Z INA successfully.
For example the LG range. They are very small and have extremely low ESR.
Bypassed with foils ( say 1uF Wima MKT02 and 10nF Röderstein MKP1837 ) it´s hard to blame them of any sound at all. I use them at the input of my Low Z INA successfully.
Just remember that when adding in 'bypass caps' or crossing a film cap across an electrolytic to 'speed it up' we are creating a resonant coupling situation, akin to the no-no of placing two different woofers in the same pressure loaded chamber. You are going to get an unwanted resonance in such wide band situations, it really is that simple. Some bits of the high frequency response will be cleaned up but the whole idea is to deal with near RF delta's or transients in a better way..and THAT is the part that gets messed up, even though at first impression it does sound smoother and cleaner. If we tried to use bypass caps in an RF situation the PS would catch on fire. For a reason.
In the end, after all is said and done, when your hi-fi design education is closer to it's end than it's beginnings...... you will find that bypass caps simply do not work.
The only way I find that they work at all, is if they are of a HUGE value. Like a single (never multiple) +20uf film on a 10kuf cap. I mean big. Not tiny. But big. Very big. This pushes the resonant interaction down to a much lower frequency where the micro transient (draw) distortion on the micro-musical transients are less likely to occur as they can be controlled better by the driving current load. We are talking about sub-harmonic interactives here.
We are trying to correct the micro detail and the micro draw so push the resonant-coupling/stepping-interactive out of that region. This can be achieved through the use of large value film caps. I know this is expensive but it is the only workable solution to this dilemma. It is still not perfect - but it is closer.
In the end, after all is said and done, when your hi-fi design education is closer to it's end than it's beginnings...... you will find that bypass caps simply do not work.
The only way I find that they work at all, is if they are of a HUGE value. Like a single (never multiple) +20uf film on a 10kuf cap. I mean big. Not tiny. But big. Very big. This pushes the resonant interaction down to a much lower frequency where the micro transient (draw) distortion on the micro-musical transients are less likely to occur as they can be controlled better by the driving current load. We are talking about sub-harmonic interactives here.
We are trying to correct the micro detail and the micro draw so push the resonant-coupling/stepping-interactive out of that region. This can be achieved through the use of large value film caps. I know this is expensive but it is the only workable solution to this dilemma. It is still not perfect - but it is closer.
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Best Electrolytic for different purposes. While trying to look at some noise on DC circuits, I (already posted, but on a different thread) -- here's a measurement setup for leakage courtesy of Linear Technologies AP NOTE 124:
The alligator clips have copper foil and copper to reduce the resistance to fractions of a milliOhm. After 24 hours the "leakage" in this Sprague 1,000u/30V measures 8.9nA. The wet-slug tantalum Williams used was less than 5nA.
Here's the jig that Williams used:
I'm measuring some 2,200uF Mallory's which were surplused by a large T&M company.
An externally hosted image should be here but it was not working when we last tested it.
The alligator clips have copper foil and copper to reduce the resistance to fractions of a milliOhm. After 24 hours the "leakage" in this Sprague 1,000u/30V measures 8.9nA. The wet-slug tantalum Williams used was less than 5nA.
Here's the jig that Williams used:
An externally hosted image should be here but it was not working when we last tested it.
I'm measuring some 2,200uF Mallory's which were surplused by a large T&M company.
What you say makes sense but I have a question related to this. If I were to replace the electrolytic in signal path instead of bypass is there a formula for the replacement value. For example if I had a 100uf electrolytic for output coupling. Approximately what value polyproplene cap should I replace it with? I was thinking about 1/10 value . What is yor opinion on this?
Is a slightly bumped electrolytic cap still usable?
I just received (new old stock) screw terminals ROE 33000uf 63v from ebay. Some of them are bumped.
Should i keep them?
http://cgi.ebay.fr/ws/eBayISAPI.dll?ViewItem&item=170479548816&ssPageName=STRK:MEWAX:IT
I just received (new old stock) screw terminals ROE 33000uf 63v from ebay. Some of them are bumped.
Should i keep them?
http://cgi.ebay.fr/ws/eBayISAPI.dll?ViewItem&item=170479548816&ssPageName=STRK:MEWAX:IT
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I do not think that it is damaged.But i suggest that you had to apply low voltage to restore them.There is an oxidation layer that makes capacitor do not work properly.Here is some info.
http://www.angelfire.com/electronic/funwithtubes/Restore_cap.html
http://www.angelfire.com/electronic/funwithtubes/Restore_cap.html