Hi guys,
Just a quick question that I couldn't readily answer for myself after a few minutes of persistent Googling; I'm getting very close to being done with my very first Aikido line stage, and the time has come for me to select the proper input potentiometer for use as a volume control.
This led me to the following question: What guides input potentiometer selection, in terms of total resistance? I see designs that call for 50k, 100k, 150k, 220k, et cetera; and I'm not sure I fully understand what constitutes a "good" choice for input attenuator.
I realize that the input attenuator sets up a voltage divider relationship, and that the precise total resistance ought not to matter when it comes to % attenuation.. so why all the widely different values? Is this to account for different source output impedances? Is source output impedance even a factor?
--k
Just a quick question that I couldn't readily answer for myself after a few minutes of persistent Googling; I'm getting very close to being done with my very first Aikido line stage, and the time has come for me to select the proper input potentiometer for use as a volume control.
This led me to the following question: What guides input potentiometer selection, in terms of total resistance? I see designs that call for 50k, 100k, 150k, 220k, et cetera; and I'm not sure I fully understand what constitutes a "good" choice for input attenuator.
I realize that the input attenuator sets up a voltage divider relationship, and that the precise total resistance ought not to matter when it comes to % attenuation.. so why all the widely different values? Is this to account for different source output impedances? Is source output impedance even a factor?
--k
If the top of the volume pot is the first thing the signal sees then your 50K compromise is dead on. 47K Ohms is the traditional input impedance for pre-amps or amps.
I have some doubts that CTS is the best choice for sound quality. Purpose made audio attenuators are available from several sources (such as Michael Percy ) they can run into real money. If you buy, don't forget to get LOG taper.
I have some doubts that CTS is the best choice for sound quality. Purpose made audio attenuators are available from several sources (such as Michael Percy ) they can run into real money. If you buy, don't forget to get LOG taper.
Aye, I'm 100% aware of the consensus that stepped attenuators are superior to the carbon-track-scraper potentiometers I'm used to (That's probably not what CTS stands for. As far as my cursory Googling has led me to believe, CTS is a brand name).
Since I'm a cheapo, and this is my first real foray into the world of valve audio, I'm attempting to keep things sane and in-budget. As compromises go, I bought a fako-ALPS 50k stereo pot on eBay; I figure this is probably a measure better than whatever I find in my own junkpile. Even so, there's room in the case for a proper stepped attenuator should I decide that's where I want to go.
Since I'm a cheapo, and this is my first real foray into the world of valve audio, I'm attempting to keep things sane and in-budget. As compromises go, I bought a fako-ALPS 50k stereo pot on eBay; I figure this is probably a measure better than whatever I find in my own junkpile. Even so, there's room in the case for a proper stepped attenuator should I decide that's where I want to go.
Geek said:Hi,
All mine are 100K (50K for my leftover CTS bin). People bring in SS for repair/mod first thing I do is rip out the 10K pots and put in 100K. They find it plays so much better with their tube pre's
Cheers!
i use a 100k in the PV12 design. for my use, i need to turn it only very little ie. 10% of the total wiper. how do i get it to sound where i need it, say around 50% of wiper?
should it be lower than 100k or higher?
A very interesting idea how to logaritmize a linear pot is found here:
sound.westhost.com/project01.htm
sound.westhost.com/project01.htm
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