Good points Joachim.
What I meant with an earlier post, and what you are also saying, is that you should select your devices with the application and use in the circuit in mind.
For that, you need to read the article (any article) and understand the author's reasoning.
It is possible that you put more weight to one issue or another and that you make a different choice, but it's hard NOT to learn from other's ideas.
jan
Yes it is. ( This could go on ad infinitum)
Hi,
Tedious but I'll bite the bullet. Why don't you suggest alternatiive op-amps
that "should" be better in this design and reasonably justify your opinion.
rgds, sreten.
Don't like the turnover points selected on the tone control circuits . I would prefer 50 hz instead of 100 currently used for the bass, 12 k. Instead of 10k for the highs .
10k is somewhat acceptable , the 100 hz is completely useless and while I favor full discrete designs, Im not against IC arrangements , especially since it allows one to op-amp roll , good when wanting play around with different opamps.
10k is somewhat acceptable , the 100 hz is completely useless and while I favor full discrete designs, Im not against IC arrangements , especially since it allows one to op-amp roll , good when wanting play around with different opamps.
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a.wayne wants to turn up the bass at 50hz, not the boom at 100hz.
7k to 10k treble boost is raspy, above this, such as ~12k is airy.
Ears (and many speakers) have the least performance at the farthest extents of the audio band, so if the tone controls have a limited number of selections, it would be good to do the most important things first. . . otherwise the tone controls could be really unimportant, and possibly counterproductive.
Well, it all depends on what you want. Doug Self's tone controls look like they're meant to be dialed down for LP rumble and hiss filter, not dialed up for ear contour.
7k to 10k treble boost is raspy, above this, such as ~12k is airy.
Ears (and many speakers) have the least performance at the farthest extents of the audio band, so if the tone controls have a limited number of selections, it would be good to do the most important things first. . . otherwise the tone controls could be really unimportant, and possibly counterproductive.
Well, it all depends on what you want. Doug Self's tone controls look like they're meant to be dialed down for LP rumble and hiss filter, not dialed up for ear contour.
Actually, I'm sure Self's designs sell quite well, it's just that his name is not on them ;-)
jan
If you really don't care then you are free to participate in any other conversation on the forum, otherwise you need to cool it.This appears to be a respectable pre-amp module and one I may try. How about someone more in the know than I about op-amps publish a list of compatible ones that are plug-n-play with the NE5532. Drop-in replacements?
Well there's nothing to stop you to adapt the turnover points to where you want them. This IS diy, right?
jan
.....
Haven't been able to get my hands on a copy yet.
I take it the turn over frequencies are fixed unlike the earlier "Precision Preamp" which I think has superb tone controls. I would certainly think seriously of building a variant of it into any new build integrated amp of mine. I found the NE5532's pretty faultless in that particular application although I experimented with removing all electrolytics and using TL072's.
http://www.diyaudio.com/forums/soli...-built-listened-d-selfs-precision-preamp.html
I take it the turn over frequencies are fixed unlike the earlier "Precision Preamp" which I think has superb tone controls. I would certainly think seriously of building a variant of it into any new build integrated amp of mine. I found the NE5532's pretty faultless in that particular application although I experimented with removing all electrolytics and using TL072's.
http://www.diyaudio.com/forums/soli...-built-listened-d-selfs-precision-preamp.html
Hi Mooly,
The turnover frequencies are fixed, but the circuit is a little unusual in that it utilises low-value (1K) pots for both treble and bass in a near-normal Baxandall configuration. There seems to be a lavish use of op-amps for buffering throughout and low-value associated resistors. The bass feedback path to the control is independently buffered compared to the treble path. Tone defeat relays are provided and the input interface is a balanced design.