PSB Stratus Gold i but building Proac 2.5 clones.
Musical Design D150 but building 150 wpc Aleph 2.
Sonic Frontiers Line 1.
Sonic Frontiers SFCD-1.
Sonic Frontiers SFP-1.
Rega 2 w/ Heavyweight modded arm, Sapphire bearing, Machined sub-platter instead of the flimsy plastic original, Vinyl platter. Dynavector 10x4 mk II.
Magnum Dynalab FT-101A
Musical Design D150 but building 150 wpc Aleph 2.
Sonic Frontiers Line 1.
Sonic Frontiers SFCD-1.
Sonic Frontiers SFP-1.
Rega 2 w/ Heavyweight modded arm, Sapphire bearing, Machined sub-platter instead of the flimsy plastic original, Vinyl platter. Dynavector 10x4 mk II.
Magnum Dynalab FT-101A
Re: 4 Koss for L/R
Chris,
Are these the little shielded MTMs w 2-4s?
I got a pr of these at the 2nd hand store ($4 but they needed some clean-up). My mom really likes them because they can sit by the TV on the TV stand without taking up the floor space the ones i had for her before. They aren't actually too bad at all.
dave
chris ma said:
Chris,
Are these the little shielded MTMs w 2-4s?
I got a pr of these at the 2nd hand store ($4 but they needed some clean-up). My mom really likes them because they can sit by the TV on the TV stand without taking up the floor space the ones i had for her before. They aren't actually too bad at all.
dave
It was a while ago...
From early 1981 till late 1984:-
Harksound turntable
Audio Technica cartridge.
Amcron IC150 preamp
ETI series 4000(?) mosfet pwr amp ~150 watts when it wasn't oscillating.
JBL L19's - 8" bass reflex, 1.5" cone tweeter ~1 cu ft.
CD - not invented yet, then later too expensive.
Then a long rest because electrically unsafe amplifiers and little children don't mix. Then thinks "Aha! Time to apply superbrain to something other than car computers and big SMPS's."
So now the Solid State, High Fidelity, Stereophonic, *Circlotron Doomsday Amplifier* with approx 100 watts per channel into 8 ohms is nearing the end of a difficult birth. Then some speakers. I think I'll get some el cheapo car subwoofers and put them in a proper box and see what happens. Haven't really decided what to do here. Oh yeah, I have a CD player; it's black with gold writing.
GP
From early 1981 till late 1984:-
Harksound turntable
Audio Technica cartridge.
Amcron IC150 preamp
ETI series 4000(?) mosfet pwr amp ~150 watts when it wasn't oscillating.
JBL L19's - 8" bass reflex, 1.5" cone tweeter ~1 cu ft.
CD - not invented yet, then later too expensive.
Then a long rest because electrically unsafe amplifiers and little children don't mix. Then thinks "Aha! Time to apply superbrain to something other than car computers and big SMPS's."
So now the Solid State, High Fidelity, Stereophonic, *Circlotron Doomsday Amplifier* with approx 100 watts per channel into 8 ohms is nearing the end of a difficult birth. Then some speakers. I think I'll get some el cheapo car subwoofers and put them in a proper box and see what happens. Haven't really decided what to do here. Oh yeah, I have a CD player; it's black with gold writing.
GP
If I remember the P3A is simpler than the ETI 480. I would choose the P3A and add the protection circuits by yourself.
I'm designing something like that right now, but I've had many troubles with my CAD-program, so I just keep on designing the PCB. If you're interested: I'll publish it soon (when it's finished)
best regards,
HB.
I'm designing something like that right now, but I've had many troubles with my CAD-program, so I just keep on designing the PCB. If you're interested: I'll publish it soon (when it's finished)
best regards,
HB.
here you can find an example of a LS protection circuit: http://www.geocities.com/ResearchTriangle/8231/tra/index.html#PROT_CIRC
HB.
HB.
Hi Hugo,
Got it, thanks.
The 3A is certainly simpler than the ETI 480. But are the protection circuits not blamed for introducing distortion?
I would like to see what you have designed. Let us all know when it is over.
Also, is the P3A a very vast improvement over its predecessor, the Project 3 (barring the power).
Vivek
P.S: I am sorry that this thread was meant to discuss something else.
Got it, thanks.
The 3A is certainly simpler than the ETI 480. But are the protection circuits not blamed for introducing distortion?
I would like to see what you have designed. Let us all know when it is over.
Also, is the P3A a very vast improvement over its predecessor, the Project 3 (barring the power).
Vivek
P.S: I am sorry that this thread was meant to discuss something else.
Planet10 you wanted details on my tubes driving a power follower. Well, I just finished off my tube voltage gain stage and will post pics/details of it as soon as I get my digital camera back. The power followers aren't finished yet they're just waiting for their heatsinks to come (unfortunately 2-3 weeks...). The rest is coming along nicely as well (xover, pre, speakers) and I'm putting way more effort into it then my other projects, so I'm pretty proud and I'll show it off when I get it all done (probably soon after I get my heatsinks).
many people over here say this indeed. But would you risk your expensive speakers for that?? Believe me, sometimes you have to deal with serious DC voltages at the output - I remember me a party where we had to use different sockets to power our installation... It seemed the sockets didn't use the same ground, so there was a big difference between the ground of the mixer and the amp, so the speakers were damaged. Now we use always balanced wires with the shield only connected to the source, and I prefer amps with protection (just to keep my friends happy when their speakers are connected to my amps
).So calculate the risks for your app! I think you won't here a difference in sound. Feedback networks are also said to add distortion (a HF sinewave swapping around the ideal signal), I don't hear anyone complaining of this.
HB.
The Cardinal Rule
Hi Hugo, THE FIRST RULE of live audio systems is that the amp rack and the mixer are all powered from the the one mains power socket or else you WILL get system humm due to non equipotential earthing connections - earth current loops.
Next time you see a live show you will see a long power extension lead running alongside the audio multicore all the way from the on stage amp rack upto the FOH mixer/effects rack - this is standard practice in live systems.
Regards, Eric.
Hi Hugo, THE FIRST RULE of live audio systems is that the amp rack and the mixer are all powered from the the one mains power socket or else you WILL get system humm due to non equipotential earthing connections - earth current loops.
Next time you see a live show you will see a long power extension lead running alongside the audio multicore all the way from the on stage amp rack upto the FOH mixer/effects rack - this is standard practice in live systems.
Regards, Eric.
Eric,
Right now, we're thinking of building our own supply connected to the excisting sockets. A case with automatic fuses, a new ground, etc... I think this is the best solution for us.
We've got too many problems in the past due to bad placed electric circuits in the rooms we had to play.
HB.
Right now, we're thinking of building our own supply connected to the excisting sockets. A case with automatic fuses, a new ground, etc... I think this is the best solution for us
.We've got too many problems in the past due to bad placed electric circuits in the rooms we had to play.
HB.
Not enough pictures
My system is bi-amped.
Soon (when I finish CD-Pro transport) I can say that I've built everything myself. The speakers consist of Raven tweeter, Triangle mids and 15" and 12" Focal Audiom woofers (same as Wilson Grand Slamm) in an open baffle setup.
Amps are A75 but recently I'm using Aleph5 for mid/tweet. Separate wires to both woofers (Audiquest Midnight). Mids don't have high pass crossover since open baffle makes for it. Woofers use 3rd order 120Hz active based on Threshold PCX (all of you who don't want to wait for Nelson's new crossover project should check this one).
DAC is based on Broadhurst design and is using parallel 1704 chips. Transport is Technics Z1000 and has black lettering on gold chssis.
No preamp, switched attenuator at DACs output based on ELMA switch, Holco resistors, total resistance less than 500 ohm. Interconnects are custom silver, sourced from East. No source selector, used TT before (MapleNoll air bearing), but since I built my new DAC I moved the turntable to the basement. Not much industrial music on vinyl anyway.
There is also a Pioneer CD burner since I would have to spend a fortune to get all the music I want. UPS for AC conditioning for line components. Transport connected directly to the mains.
My system is bi-amped.
Soon (when I finish CD-Pro transport) I can say that I've built everything myself. The speakers consist of Raven tweeter, Triangle mids and 15" and 12" Focal Audiom woofers (same as Wilson Grand Slamm) in an open baffle setup.
Amps are A75 but recently I'm using Aleph5 for mid/tweet. Separate wires to both woofers (Audiquest Midnight). Mids don't have high pass crossover since open baffle makes for it. Woofers use 3rd order 120Hz active based on Threshold PCX (all of you who don't want to wait for Nelson's new crossover project should check this one).
DAC is based on Broadhurst design and is using parallel 1704 chips. Transport is Technics Z1000 and has black lettering on gold chssis.
No preamp, switched attenuator at DACs output based on ELMA switch, Holco resistors, total resistance less than 500 ohm. Interconnects are custom silver, sourced from East. No source selector, used TT before (MapleNoll air bearing), but since I built my new DAC I moved the turntable to the basement. Not much industrial music on vinyl anyway.
There is also a Pioneer CD burner since I would have to spend a fortune to get all the music I want. UPS for AC conditioning for line components. Transport connected directly to the mains.
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