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Old Yesterday, 12:31 PM   #411
merlin el mago is offline merlin el mago
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Quote:
Originally Posted by Rod Coleman View Post
Grid bias should be better still, especially in terms of low distortion, but some don't like the grid capacitor. The Russian teflons sound fine to me in this position, but that's a matter of taste....
Rod could you post the schematic for 26 or a link?

TIA
Felipe

Quote:
Originally Posted by andyjevans View Post
We have been auditioning many resistors. My favourite, displacing the otherwise good vitreous enamel ones, is a military wire wound one from Russia in a silver colour.

Filament supply is always an issue, as you say. I always use choke input for that reason - it's smoother.
Andy do you remember the reference of russian wire wound silver colour?

TIA
Felipe
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Old Yesterday, 02:34 PM   #412
pcgab is offline pcgab  United States
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01A question
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Originally Posted by merlin el mago View Post

Andy do you remember the reference of russian wire wound silver colour?

TIA
Felipe
I'm fairly certain he is referring to the 'S5' type, looks like 'C5' on the resistors themselves.

51 Ohm 10W Russian Precision Wire Wound Resistors 18 pcs | eBay

Cheers,
Gable
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Old Yesterday, 02:40 PM   #413
andyjevans is offline andyjevans  United Kingdom
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Yes - those are the ones.
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Old Yesterday, 04:36 PM   #414
jhstewart9 is offline jhstewart9  Canada
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Quote:
Originally Posted by andyjevans View Post
We have been auditioning many resistors. My favourite, displacing the otherwise good vitreous enamel ones, is a military wire wound one from Russia in a silver colour.
How does one audition a resistor? What properties do we test for?
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Old Yesterday, 04:58 PM   #415
andyjevans is offline andyjevans  United Kingdom
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Originally Posted by jhstewart9 View Post
How does one audition a resistor? What properties do we test for?
Well, we all listen in different ways so I can only speak for myself. Resistors, or any parts in fact, always get auditioned in the same way. I was a working professional musician for 15 years, classical, orchestral, jazz, small groups etc. I have an excellent memory and the timbre of each instrument is stored in my memory. I listen for just 2 things - timbre and transparency. First it's a question of what you can and can't hear in a complex mix, and then it's a question of how authentic the timbre of each acoustic instruments or voice is. So typically I'll use a heavily scored orchestral excerpt, for which I use Ravel Feria (Cleveland/Boulez) plus an excerpt from an opera with a few different voices plus chorus, for which I use Janacek's Cunning Little Vixen. A large number of different timbres, and some very low level detail. That's it.

I imagine you are referring to electrical properties, and if I had the measuring equipment and the training in using it I'd love to answer that question. But my training is in the music itself - 3 years conservatoire and 15 years of live gigs. After my career as a musician I've been a psychologist specialising in musicians for 30 years. Since psychology is heavily into measurement and data analysis I'm the last person that's going to belittle measurement of any kind.

Last edited by andyjevans; Yesterday at 05:13 PM.
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Old Yesterday, 05:56 PM   #416
hpeter is offline hpeter  Slovakia
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Quote:
Originally Posted by jhstewart9 View Post
Here is the info on a DH amp I built a while ago. Notice lots of performance data.
This amp has none of the warts I see others having problems with in this thread. It is not a rat's nest of wire in a wooden box, something that invites trouble in.
But the 1B5 is microphonic!
thanks for the dht info, i didnt knew that neat one
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Old Yesterday, 07:42 PM   #417
merlin el mago is offline merlin el mago
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Quote:
Originally Posted by pcgab View Post
I'm fairly certain he is referring to the 'S5' type, looks like 'C5' on the resistors themselves.

51 Ohm 10W Russian Precision Wire Wound Resistors 18 pcs | eBay

Cheers,
Gable
Quote:
Originally Posted by andyjevans View Post
Yes - those are the ones.
Many thanks guys.
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Old Yesterday, 08:28 PM   #418
jhstewart9 is offline jhstewart9  Canada
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Quote:
Originally Posted by andyjevans View Post
Well, we all listen in different ways so I can only speak for myself. Resistors, or any parts in fact, always get auditioned in the same way. I was a working professional musician for 15 years, classical, orchestral, jazz, small groups etc. I have an excellent memory and the timbre of each instrument is stored in my memory. I listen for just 2 things - timbre and transparency. First it's a question of what you can and can't hear in a complex mix, and then it's a question of how authentic the timbre of each acoustic instruments or voice is. So typically I'll use a heavily scored orchestral excerpt, for which I use Ravel Feria (Cleveland/Boulez) plus an excerpt from an opera with a few different voices plus chorus, for which I use Janacek's Cunning Little Vixen. A large number of different timbres, and some very low level detail. That's it.

I imagine you are referring to electrical properties, and if I had the measuring equipment and the training in using it I'd love to answer that question. But my training is in the music itself - 3 years conservatoire and 15 years of live gigs. After my career as a musician I've been a psychologist specialising in musicians for 30 years. Since psychology is heavily into measurement and data analysis I'm the last person that's going to belittle measurement of any kind.

OK Andy, thankyou for the a description of that method. And you are correct, I'm looking at the problem from an engineers point of view. I'm very results driven, I like to see things get done in a timely & professional way.


I've been building amps & other electronics for more than 70 yrs. But never my day job. I will be 86 in a couple of wks. But other than failures for one reason or another I've never experienced any serious problems with the linear components, Ls, Cs & Rs.


The distortion from the tubes & transistors has always dominated, so long as care was taken in selection of the other parts. Output transformers & electrolytics can cause problems as well.



I did take the time to consult my Funk & Wagnalls Dictionary in regard to definition of 'euphony', a term used by many in these threads. From that I believe quite a bit of the sound you & others analyze by ear can be measured. With existing equipment.


I like Classical & Jazz. But Rock too. The Rolling Stones, Pink Floyd, ZZ Top, Phil Collins & on & on. I have a large collection of vinyl & CDs. My dayly driver is a Sansui AU717/TU717 combo. And in the workshop, Eico AM & FM tuners. Going thru my home grown complete 3W amp with phono front end, all in a Hammond chassis. That one built in 1968.
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Old Today, 06:21 AM   #419
indra1 is offline indra1  Indonesia
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Quote:
Originally Posted by jhstewart9 View Post
OK Andy, thankyou for the a description of that method. And you are correct, I'm looking at the problem from an engineers point of view. I'm very results driven, I like to see things get done in a timely & professional way. ...
Correlation of measurement to listening impression are rather esoteric and scarce. The effort requires sensitive equipments that used to be insanely expensive and at least one sensitive listener.

As an example, XRK971 in AKSA's Lender Preamp with 40Vpp Output did find a measured difference of 0805 smt thick film (first mistakenly referred to as metal film and later corrected to thick film) and carbon composition exclusively on feedback position at -90 to -100dB, however no correlation to sonic presentation.

Spread thinly here in Diyaudio forum, I noted findings of correlation of frequency response, distortion spectra and phase of second harmonic to sonic presentation by notables such as Nelson Pass (and Joe Sammut), John Curl (and Bob Crump), highly respected teams, and the late Charles Hansen who had the very rare combination of both exotic equipments and sensitive hearing. Other findings in Diyaudio I value is the coordinated effort of Alejandro Moglia, Andy Evans and Rod Coleman.

However, dbt result from panel of experienced listener is needed for the findings to be accepted by the AES (in which nobody cares to finance), hence the scarcity of official publication.
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