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Marantz discrete op amp (line stage or headphone amp)

Posted 10th November 2013 at 11:00 AM by rjm
Updated 10th November 2013 at 01:11 PM by rjm

Last one for today.

I was having problems getting this to work, the key seems to be adjusting R6 to null the voltage offset. Works fine now, but this is just a rough reverse engineer of the diagram, the parts values and the type of transistors are essentially placeholders.

The input jFET is shown as a dual package. The output bias current is most likely much lower than the 100 mA I configured, so the class A output power is proportionately smaller. For the rest of the currents and the types of transistors used, your guess is as good as mine.

edit: R7 should most likely be closer to 47 ohms, while another 5p capacitor should go in parallel with the feedback resistor, R17.
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Old

The Pentamond

Posted 10th November 2013 at 05:17 AM by rjm

A rainy and cold afternoon here in Kyoto. The mind turns to audio circuits... headphone amplifiers... diamond buffers...

This is an answer to the question of how you scale up the basic diamond buffer circuit to higher output currents without making any modifications to the driving transistor pair.

You just add more outputs in parallel.

It seems to work pretty well under simulation.
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Old

Another diamond buffer variant

Posted 9th November 2013 at 11:42 PM by rjm

Browsing through an old issue of MJ (No. 1076), I found some sketches of the Marantz SA 11S3 SACD player analog circuitry which seemed interesting.

The are two discrete op amp "modules", one is used for the I/V converter and low pass filter, the other design is applied to both the line output and headphone outputs.

The parts and values are not given, so the circuit below is just a working mock up in LTSpice based on the published diagrams.

The output stage from the headphone / line driver op amp is attached below. There's a JFET input and BJT gain stage as well, and the whole thing is wrapped up in a feedback loop. The buffer itself, being unity gain, works just fine as a standalone circuit element.
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Old

Hi-end audio, as seen from outside the bubble.

Posted 3rd June 2013 at 11:28 PM by rjm
Updated 3rd June 2013 at 11:32 PM by rjm

In early May Trent Wolbe traveled to the High End trade show in Munich, Germany. This is part one of a two part series exploring the cutting edge of audiophile technology.

By Trent Wolbe, writing for The Verge. A feature on high end audio part 1 and part 2.

Quote:
It was halfway through the next selection, a quietly seductive 24 / 192 recording of “Cielito Lindo,” that I realized I was enjoying the music quite a lot, not because I particularly enjoy bossanova versions of Mexican classics, but because the Evolution One speakers were recreating one of my favorite things about eating psychedelic mushrooms.
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Old

Hakko FX-888 : ebay unhappiness

Posted 29th May 2013 at 12:12 PM by rjm
Updated 29th May 2013 at 11:59 PM by rjm

Oh, for Heaven's sake...

Just got the FX-888 soldering station I bought on ebay.

It does not power up.

Do you know why it doesn't power up?

So glad you asked...

It does not power up because - pause for effect - the fuse board that fits on the power transformer is inserted the wrong way round. That's right, the full "rotated 180 degrees" deal.

Fortunately I have another soldering iron. You know, so I can fix my soldering iron...

*****

I would just return it, but the shipping would cost me half again what I paid for it. Perhaps ebay will refund me anyway. We'll see.

I think I know what happened: The people selling these are modding them by changing the voltage and power cord. The soldering stations are officially bound for the Chinese domestic market, 220 VAC. The box, when it came, had "110V" hand-written on it, though the instructions...
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Old

Circuit O' The Day : A headphone output buffer.

Posted 28th May 2013 at 12:24 AM by rjm
Updated 28th May 2013 at 12:08 PM by rjm

Experimental : For Research Use Only

It's bring-your-own-voltage-gain. This output stage is a unity gain buffer. A sort of diamond-buffer-meets-sziklai-pair hybrid. It lets the driver pair bias the output pair without the complexity of an additional bias network, but, unlike the basic diamond buffer, the output pair can have a much higher bias current than the drivers.

LTspice file attached, if you'd like to play along.

*****

I did my best to shut my eyes and design this just by messing about in LTSpice from the starting idea of a "level-shifted-complementary-sziklai-pair" (i.e. mirrored J-Mo mk II), but I see now a shout-out to 47 Labs is due as the 0247 Treasure uses the same stage.

Ah well, I guess my neat idea isn't new after all.

*****

The general performance is in the order of 0.01% THD for 50 mW / 16-300 ohms at 100 mA bias though the output pair. I've been trying to...
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Old

Headphone amplifiers: thinking aloud

Posted 20th May 2013 at 06:13 AM by rjm
Updated 21st May 2013 at 12:00 AM by rjm

The sobering fact is that the built-in headphone jack on most modern consumer electronics provides pretty decent performance. Taking that output and routing it through an external headphone amplifier rarely improves things, and frequently has a negative impact owing to increased background noise.*

[* This is a simple consequence of adding a volume control which attenuates the signal, and a gain stage which amplifies it back up. Even if the gain stage has the same noise floor as the input signal, the S/N is reduced by the amount of attenuation.]

There are specific use cases, particularly with "outlier" headphone models that require unusually high voltages or currents to drive, but in the main, for generic 16 ohm IEHs and the generic headphone ICs used in consumer electronics, I've found that external headphone amplifiers aren't worth the trouble and expense.

Instead, I've taken (I realise now) an elitist approach to focus on a desktop...
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Old

A catalog of headphone amplifier circuits.

Posted 19th May 2013 at 10:45 AM by rjm
Updated 21st May 2013 at 12:12 AM by rjm

Lots of circuits out there, but most are variations of a small set of archetypes. Let's see if I can put together a list:

1. Dedicated headphone amplifier IC. e.g.(lme49860)

2. Battery powered, single stage, generic audio op amp. The ever-popular mint tin cmoy.

3. Op amp + buffer (complementary transistor pair, diamond buffer, unity gain op amp, etc, in either integrated or discrete package.)
a. closed loop connection or "compound amplifier" configuration as developed by Walt Jung.
b. open loop, two stage circuit, e.g. nwavguy o2 and my sapphire amp.

4. simple 2 or 3 transistor "introduction to electronics"-style amplifier

5. The "little big amp", a scaled back version of a transistor or vacuum tube power amplifier design. (Zen, DoZ, transformer coupled SET amps)

6. The power follower. Single-ended MOSFET or BJT, with or without CCS load, voltage...
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Old

Which soldering station should I buy?

Posted 17th May 2013 at 07:47 AM by rjm
Updated 20th May 2013 at 05:20 AM by rjm

Thinking I should get a new soldering station.

I've had my eye on a Weller station for the longest time, but put off getting one for one reason or another.

Looking at the selection, I think the choice comes down to the two following models, or, indeed the equivalent made by another company:

WTCPT (link)

WES51 (link)

The main difference is in the WTCPT the tip temperature is fixed, but rigorously controlled, while the WES51 has user adjustable power but the tip temperature is left unregulated.

I'm leaning towards the WES51 as being slightly more in line with my own style of work: I'm more likely to want higher or lower temperatures depending on the job at hand than I am to require "700F" exactly.

Update 1.

A little concerned the WES51 is only 50W max. That's less than the maximum I use now for the tough stuff.

Hakko has two models in the price...
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Old

Audacity sucks.

Posted 9th May 2013 at 02:50 PM by rjm
Updated 10th May 2013 at 03:35 AM by rjm

Under windows at least, Audacity is unable to record audio at bitrates above 16 bit.

It will seem to, all right, but the data is quantized at 16 bit (30 microvolt LSB), regardless of the settings chosen.

The attached images show the same source, the first recording is made in Audacity, supposedly 24 bit, but actually only 16 bit, while the second is recorded with a program than actually supports 24 bit, exported, and imported into Audacity. The data is amplified +70dB in both cases to make the difference visible.

Audacity will happily manipulate and save high bit rate data, but as a result of licensing restrictions and on account of it being freeware, it does not support the actual recording of this data.

***

Any internet search will confirm that the Windows version of Audacity is limited to 16 bit recording. And yes, it's more of a limitation of Windows than it is of Audacity. My irritation, however, is chiefly with Audacity...
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