Hi from Switzerland
- By boris71
- Introductions
- 4 Replies
Hi there,
Boris from Switzerland. Not necessarily audiophile, but I love music, I love vintage hifi and love working on those old beauties. I prefer vinyl if I have time, but CD or streaming is used as well as the good old reel 2 reel tape.
My current setup (pretty small and packed room - I know)
Boris from Switzerland. Not necessarily audiophile, but I love music, I love vintage hifi and love working on those old beauties. I prefer vinyl if I have time, but CD or streaming is used as well as the good old reel 2 reel tape.
My current setup (pretty small and packed room - I know)
Cathode Feedback from Output Transformer Secondary Free for All
- By jhstewart9
- Tubes / Valves
- 60 Replies
Attachments
For Sale New pair of Dayton RS225-8 and pair of Wavecor SW182BD01
- By chris mielke
- Swap Meet
- 7 Replies
Attachments
Help me cook something up with 6S4S
- By Fuling
- Tubes / Valves
- 0 Replies
Hi,
It seems I've been spending too much time on Ebay again, this time resulting in a quad of NOS 6S4S (soviet 6B4G equivalents) being on their way from Hungary.
As I have a slight case of PTSD after chasing hum in a 6B4G SET that I built twenty years I also ordered a pair of Coleman filament regulators.
My speakers have a near zero tolerance for hum...:
At first I reckoned my James JS-6112 HS OPTs (2,5k/3,5k:4/8R) would be a perfect match, then I got some indications that people seem to prefer a less steep loadline for the 6S4S.
That made me think of my old, unused LL1688s that I bought fifteen years ago for a transmitter tube amp project that never happened. According to the datasheet they can be connected as 5K:8R. Absurdly oversized, but wouldn't it be fun...?:
It also seems that 6S4S can appreciate a bit of grid flogging, a.k.a. class A2 operation. This rules out the basic "input triode RC-coupled to output triode"-topology, leaving us with either some form of direct coupled follower or interstage transformer coupling as the only realistic options. I succesfully used high gm cathode followers to push some triode wired 807s into deep class A2 in a recent project, so it would be interesting to try interstage transformers this time. Some digging in my storage room rewarded me with this:
The LL1660 seems to have a bit of a shady reputation as an interstage transformer (but supposedly excellent as line output wired as 4,5:1) and the DCR is a bit on the high side for pushing any real grid current. Those LL1671s seem like a better choice here, although the 50mA airgaps calls for some rather meaty driver tubes.
Speaking of driver tubes, here's a short list of some candidates from the shelf behind me:
As for input tubes, I have a small batch of 2C22 / 7193s that would probably do just fine here, being ~equivalent to 1/2 6SN7 with dual top caps.
My mind gravitates towards something like 2C22 - LL1660 - 6AV5 - LL1671 - 6S4S - LL1688.
Surely an ambitious idea and I would very much like to hear any opinions you might have have about it.
Best regards
Daniel
It seems I've been spending too much time on Ebay again, this time resulting in a quad of NOS 6S4S (soviet 6B4G equivalents) being on their way from Hungary.
As I have a slight case of PTSD after chasing hum in a 6B4G SET that I built twenty years I also ordered a pair of Coleman filament regulators.
My speakers have a near zero tolerance for hum...:
At first I reckoned my James JS-6112 HS OPTs (2,5k/3,5k:4/8R) would be a perfect match, then I got some indications that people seem to prefer a less steep loadline for the 6S4S.
That made me think of my old, unused LL1688s that I bought fifteen years ago for a transmitter tube amp project that never happened. According to the datasheet they can be connected as 5K:8R. Absurdly oversized, but wouldn't it be fun...?:
It also seems that 6S4S can appreciate a bit of grid flogging, a.k.a. class A2 operation. This rules out the basic "input triode RC-coupled to output triode"-topology, leaving us with either some form of direct coupled follower or interstage transformer coupling as the only realistic options. I succesfully used high gm cathode followers to push some triode wired 807s into deep class A2 in a recent project, so it would be interesting to try interstage transformers this time. Some digging in my storage room rewarded me with this:
The LL1660 seems to have a bit of a shady reputation as an interstage transformer (but supposedly excellent as line output wired as 4,5:1) and the DCR is a bit on the high side for pushing any real grid current. Those LL1671s seem like a better choice here, although the 50mA airgaps calls for some rather meaty driver tubes.
Speaking of driver tubes, here's a short list of some candidates from the shelf behind me:
- Sylvania 6AV5GA, the (in)famous 6B4G replacement that has been discussed thoroughly on this forum.
- 4P1L. Adding another DH tube would complicate things quite a bit, and my gut feeling tells me they would prefer ITs with a bit more primary inductance (21H estimated)
- 12B4A. Also a bit of a stretch considering the 50mA airgaps
- 6EW7. Dual triode with one low mu/low Rp section, though I only have 3 and they are rare in Europe.
- 6S19P. Got plenty, not sure how good they are as drivers.
- 807. Not the most linear as triodes, but at least they look quite cool.
- PL36 (25E5). Nice triode curves, slightly inconvenient 25V heaters.
As for input tubes, I have a small batch of 2C22 / 7193s that would probably do just fine here, being ~equivalent to 1/2 6SN7 with dual top caps.
My mind gravitates towards something like 2C22 - LL1660 - 6AV5 - LL1671 - 6S4S - LL1688.
Surely an ambitious idea and I would very much like to hear any opinions you might have have about it.
Best regards
Daniel
What’s this cabinet design called?
- By ElArte
- Full Range
- 27 Replies
Do you know anyone who makes these in the USA?
Some acoustic guitar body measurements
- By jjasniew
- Instruments and Amps
- 55 Replies
I bought this acoustic guitar on line, used, boy did it sure look nice! Unboxed it, tuned it up and first chord, Uggh. Bright and boxy, just what I dont want to hear. I was wondering why this might be...
So I get out my Pink noise test kit and instead of driving a speaker, I drive a Dayton DAEX25FHE-4 exciter with the little USB powered class D amplifier setup to only play a Pink Noise file on an SD card.
I put a thin gasket foam pad on the exciter VC, to cover the monstrously sticky adhesive that comes with it. Turning the amp volume down to keep the exciter from jumping all over the guitar, I placed it just setting right on the bridge. Clearly driving pink noise into the same spot where the strings actuate the guitar's membrane-o-phone, or "top".
I have a couple older Yamaha G-XX models, which are reputed and to my ears, have a good sound.
It's pretty easy to see the builder's effort to hit a comb at 110, 200, 440 or the "A" note, though it may be off some.
Pretty similar response for the G130, albeit being strung to concert tuning. Apparently all that tension doesnt effect the resonances.
Now let's look at that guitar I didnt particularly care for;
It's clear that the body resonances are shifted higher in the construction of this model. One wouldnt think so by looking at it - it's got a big, deep body. I've read on line that there's pretty much nothing one can do, without risk to the guitar's mechanical integrity, to change this. Better off to sell it and just get something you like.
I have a guitar that's labeled a "parlor" model, a bit smaller in size. One would expect a higher frequency comb pattern. Let's see;
Sharper yet, with a discernable notch even at ~440. My wife and myself doesnt think this guitar sounds particularly good. Hmmm....
I also have a Kala nylon, which I picked up at a yard sale where someone had a whole pile to pick from. Its bridge had torn free, so I epoxied it back in place. It tore off again a couple few years later, so I really laid it on thick for the repair. It's a thin line body, I'd guess all mahogany. I really like the way this one sounds; it's my favorite to play; of course, this particular guitar is unobtanium - there's one steel string variation I can find anywhere.
Clearly this one has resonances flat from the "110" sub-multiple of the A440. So the "A" ends up just on the integrating side of the bandpass, versus the differentiating side. Interesting.
I also have a Yamaha "Silent" nylon string electric and an Ibanez classical, similar in shape to the Yamaha guitars. The Ibanez pulls off a pretty good copy of the Yamaha's "fingerprint";
The silent guitar has signal processing for delay, echo etc and I wondered if they did any analog modeling of a guitar body, you know, to make it sound like an acoustic at the output jack;
Nope - but how interesting!
I believe one could go shopping for guitars with a pink noise analysis kit (battery, SD card playing amp, driver, cell phone for analyzer) and while the use of such may not determine what instrument you should buy, it would certainly help you decide what instrument to bother playing. I wish I had more / access to more instruments, to see what they show for body response. Just setting the transducer upon the bridge is certainly not harmful to the guitar -
I'll try to add to this, as I go through more instruments. I believe the transducer is sensitive enough that it could be driven by a laptop's headphone output directly; it doesnt take much to make an acoustic body speak loud enough to be heard by a measurement mic. I'm excited to try a sine sweep for more precision in establishing the resonances and difference in amplitude between the peaks.
So I get out my Pink noise test kit and instead of driving a speaker, I drive a Dayton DAEX25FHE-4 exciter with the little USB powered class D amplifier setup to only play a Pink Noise file on an SD card.
I put a thin gasket foam pad on the exciter VC, to cover the monstrously sticky adhesive that comes with it. Turning the amp volume down to keep the exciter from jumping all over the guitar, I placed it just setting right on the bridge. Clearly driving pink noise into the same spot where the strings actuate the guitar's membrane-o-phone, or "top".
I have a couple older Yamaha G-XX models, which are reputed and to my ears, have a good sound.
It's pretty easy to see the builder's effort to hit a comb at 110, 200, 440 or the "A" note, though it may be off some.
Pretty similar response for the G130, albeit being strung to concert tuning. Apparently all that tension doesnt effect the resonances.
Now let's look at that guitar I didnt particularly care for;
It's clear that the body resonances are shifted higher in the construction of this model. One wouldnt think so by looking at it - it's got a big, deep body. I've read on line that there's pretty much nothing one can do, without risk to the guitar's mechanical integrity, to change this. Better off to sell it and just get something you like.
I have a guitar that's labeled a "parlor" model, a bit smaller in size. One would expect a higher frequency comb pattern. Let's see;
Sharper yet, with a discernable notch even at ~440. My wife and myself doesnt think this guitar sounds particularly good. Hmmm....
I also have a Kala nylon, which I picked up at a yard sale where someone had a whole pile to pick from. Its bridge had torn free, so I epoxied it back in place. It tore off again a couple few years later, so I really laid it on thick for the repair. It's a thin line body, I'd guess all mahogany. I really like the way this one sounds; it's my favorite to play; of course, this particular guitar is unobtanium - there's one steel string variation I can find anywhere.
Clearly this one has resonances flat from the "110" sub-multiple of the A440. So the "A" ends up just on the integrating side of the bandpass, versus the differentiating side. Interesting.
I also have a Yamaha "Silent" nylon string electric and an Ibanez classical, similar in shape to the Yamaha guitars. The Ibanez pulls off a pretty good copy of the Yamaha's "fingerprint";
The silent guitar has signal processing for delay, echo etc and I wondered if they did any analog modeling of a guitar body, you know, to make it sound like an acoustic at the output jack;
Nope - but how interesting!
I believe one could go shopping for guitars with a pink noise analysis kit (battery, SD card playing amp, driver, cell phone for analyzer) and while the use of such may not determine what instrument you should buy, it would certainly help you decide what instrument to bother playing. I wish I had more / access to more instruments, to see what they show for body response. Just setting the transducer upon the bridge is certainly not harmful to the guitar -
I'll try to add to this, as I go through more instruments. I believe the transducer is sensitive enough that it could be driven by a laptop's headphone output directly; it doesnt take much to make an acoustic body speak loud enough to be heard by a measurement mic. I'm excited to try a sine sweep for more precision in establishing the resonances and difference in amplitude between the peaks.
New build: Pass XONO 2019 (RSTaudio)
Hi all,
Over a long period I built a XONO 2019 with boards, documentation and help from RSTaudio (Ralph Stens).
First of all, the boards are very high quality.
Even higher quality is the documentation and preparation done by Ralph. This is unseen!
Also the questions asked about building this project got anwered real fast and professional!
This is a hobby project for him (according himself), which is hard to believe, or his days are 48hrs...
I chose to use DC coupling, so no caps. Ralph sent the boards with the smd components already mounted. I was sure to do some (remote) controlling, so the relays got ordered too, but without the microprocessor designed by Ralph. Allthough I have no doubt this is a very complete en welldesigned control part, initially I was thinking of controlling the phono-pre through the menus of the (diy) preamp, I love to play with arduino-style controllers as well! In the end, I went with standalone arduino-control on arduino boards.
So now my freshly built Xono is 'ON' for 2 weeks nonstop. Even from the beginning it was playing very good.
I am not used to describe sound characteristics.
Also, I can only compare to my previous, cheap-ish but too good for the price, ifi ZEN phono stage.
The Xono is fed by a presumably 'moderate' record player: a refurbished and tweaked Lenco L75/S with standard jelco tonearm (heavier headshell) and new Denon DL103 cartridge.
the ifi ZEN is no comparision for the Xono, with immediately very black backgrounds noticeable which the ifi couldn't do. I never heard before such very black background from a record.
Then there is a drive and speed to the music that could be a relationship between the Lenco's idler drive mechanism and fast electronics, enhancing eachother. That's a quality the IFI had too, in lesser extent. Extension is deep and high, the treble is supersmooth, as extending as my hearing goes. Bass control is tight and deep, much deeper than the ifi could do. The real magic sits in the middle: midrange is so fluent, so musical. Wooden instruments sound wood-ish, brass sounds brass. Percussion is superprecise. Attack and decay are clearly 'visible' elements. Very high resolution, much detail without being analytical at all. The ifi lacked this musicality, this fluentness. The ifi was way more analytical and very bright in comparision.
I have several times the same recordings both on CD, LP and digital. Before Xono, CD really shined. Content was best reproduced through this CD-player even compared with high-resolution digital (and Chord DAC). The record player was since the DL103 on par with digital. Now with the xono, me and friends are really convinced by the sound of Xono, surpassing the CD quality. Not that it's better, is just different with more analog sound, fuller, smoother especially midrange, simply more musical. Then the CD, allthough very good, could be a little clinical, without emotion.
The bad news: I have to buy lots of expensive LP's now!
More bad news: It makes me think about the lesser thing on the turntable: the tonearm.
Does premium cabling do this unit any good? Now it's standard power cabling and Pro-audio XLR cabling (Recordplayer already has chord clearway). If this unit could do even better with better cabling, that would be an upgrade.
System:
==> balanced to ==>
Aleph 5 power amp.
==> audioquest rocket 44 ==>
B&W 802S3 speakers (awaiting Klipsch Forte IV)
I must thank Mr. Ralph Stens, not only for the boards, but this very complete documentation as well.
Software is as follows:
Mechanic is less fun to do: this time I used a part to route a 6mm axle through the panel to make the encoder much better. The display cutout went better on my preamp. No power-on button this time, it is simply always on. The leds are provided with light guides, which is a whole lot better than just ramming a led in a 10mm frontpanel. With blue led it looks gorgeous. The 1U audio enclosure was a bit difficult: had to alter some components and cooling sinks. The arduino is with his usb protruding the backpanel, so updates to software are easy. A simple but quiet 12VDC psu is added for arduino and relays. Designing a pcb of my own with atmega328p is practically not possible for me, so I stick with the full arduino boards.
See pics (power source for Aleph5 in first pic background ;-) )
Over a long period I built a XONO 2019 with boards, documentation and help from RSTaudio (Ralph Stens).
First of all, the boards are very high quality.
Even higher quality is the documentation and preparation done by Ralph. This is unseen!
Also the questions asked about building this project got anwered real fast and professional!
This is a hobby project for him (according himself), which is hard to believe, or his days are 48hrs...
I chose to use DC coupling, so no caps. Ralph sent the boards with the smd components already mounted. I was sure to do some (remote) controlling, so the relays got ordered too, but without the microprocessor designed by Ralph. Allthough I have no doubt this is a very complete en welldesigned control part, initially I was thinking of controlling the phono-pre through the menus of the (diy) preamp, I love to play with arduino-style controllers as well! In the end, I went with standalone arduino-control on arduino boards.
So now my freshly built Xono is 'ON' for 2 weeks nonstop. Even from the beginning it was playing very good.
I am not used to describe sound characteristics.
Also, I can only compare to my previous, cheap-ish but too good for the price, ifi ZEN phono stage.
The Xono is fed by a presumably 'moderate' record player: a refurbished and tweaked Lenco L75/S with standard jelco tonearm (heavier headshell) and new Denon DL103 cartridge.
the ifi ZEN is no comparision for the Xono, with immediately very black backgrounds noticeable which the ifi couldn't do. I never heard before such very black background from a record.
Then there is a drive and speed to the music that could be a relationship between the Lenco's idler drive mechanism and fast electronics, enhancing eachother. That's a quality the IFI had too, in lesser extent. Extension is deep and high, the treble is supersmooth, as extending as my hearing goes. Bass control is tight and deep, much deeper than the ifi could do. The real magic sits in the middle: midrange is so fluent, so musical. Wooden instruments sound wood-ish, brass sounds brass. Percussion is superprecise. Attack and decay are clearly 'visible' elements. Very high resolution, much detail without being analytical at all. The ifi lacked this musicality, this fluentness. The ifi was way more analytical and very bright in comparision.
I have several times the same recordings both on CD, LP and digital. Before Xono, CD really shined. Content was best reproduced through this CD-player even compared with high-resolution digital (and Chord DAC). The record player was since the DL103 on par with digital. Now with the xono, me and friends are really convinced by the sound of Xono, surpassing the CD quality. Not that it's better, is just different with more analog sound, fuller, smoother especially midrange, simply more musical. Then the CD, allthough very good, could be a little clinical, without emotion.
The bad news: I have to buy lots of expensive LP's now!
More bad news: It makes me think about the lesser thing on the turntable: the tonearm.
Does premium cabling do this unit any good? Now it's standard power cabling and Pro-audio XLR cabling (Recordplayer already has chord clearway). If this unit could do even better with better cabling, that would be an upgrade.
System:
- Xono2019 by RSTaudio with modified Lenco L75S and DL103 cartridge (balanced interconnect PRO-audio)
- Marantz UD7007 CD-player (balanced interconnect PRO-audio)
- Roon with RPI on Chord Qutest DAC (unbalanced interconnect Chord clearway) (with sometimes cheap tube stage inbetween, allows for extra gain)
==> balanced to ==>
Aleph 5 power amp.
==> audioquest rocket 44 ==>
B&W 802S3 speakers (awaiting Klipsch Forte IV)
I must thank Mr. Ralph Stens, not only for the boards, but this very complete documentation as well.
Software is as follows:
- Power on: After logo show, device is in mute-state, warmuptime is active 60mins. Display showing minutes countdown every minute, seconds countdown last 2 minutes. Led is slowblinking while warmup. Overrule possible.
- After that, unmute, display shows settings. Display always goes out after 30sec. Turn or press encoder to wake display. Longpress encoder to alter settings, one after the other, with MC/MM showing it's dedicated values. While setting, display does not go sleep, so tweaking sound while listening is easier (allthough no remote control).
- Mute by shortpress, that is often used. Display shows mute, but sleeps after 30sec. Led blinks while sleep.
- Software was fun to do! Compared to the preamp I learned a lot: software is as smooth as can be. No program delays, always running fullspeed. (I am not a professional).
Mechanic is less fun to do: this time I used a part to route a 6mm axle through the panel to make the encoder much better. The display cutout went better on my preamp. No power-on button this time, it is simply always on. The leds are provided with light guides, which is a whole lot better than just ramming a led in a 10mm frontpanel. With blue led it looks gorgeous. The 1U audio enclosure was a bit difficult: had to alter some components and cooling sinks. The arduino is with his usb protruding the backpanel, so updates to software are easy. A simple but quiet 12VDC psu is added for arduino and relays. Designing a pcb of my own with atmega328p is practically not possible for me, so I stick with the full arduino boards.
See pics (power source for Aleph5 in first pic background ;-) )
Attachments
Sumo Nine Plus Restore Project-Version A,B,or C??
- By shroaman42
- Solid State
- 0 Replies
Hello,
I am beginning a restoration project(one of my first, I'm still very new at this) on a Sumo Nine Plus and need some advice as to which version I should build. It doesn't help that the boards are not matched. One is Rev A, the other is Rev B, although at first glace they look to both match. Some pictures attached. I read a lot of Sumo threads on here, and it looks to be unclear whether the unmatched boards came from the factory of if they are repair jobs, but it seems that this is not the only unit out there like it. Any help with these questions will be greatly appreciated:
-Do the transistors look stock?
-Does anyone have schematics for REV. A and REV B? I have Rev. C.
-Is there a schematic for the power filter and rectification board on top of the transformer?
Thank you!
Jared
I am beginning a restoration project(one of my first, I'm still very new at this) on a Sumo Nine Plus and need some advice as to which version I should build. It doesn't help that the boards are not matched. One is Rev A, the other is Rev B, although at first glace they look to both match. Some pictures attached. I read a lot of Sumo threads on here, and it looks to be unclear whether the unmatched boards came from the factory of if they are repair jobs, but it seems that this is not the only unit out there like it. Any help with these questions will be greatly appreciated:
-Do the transistors look stock?
-Does anyone have schematics for REV. A and REV B? I have Rev. C.
-Is there a schematic for the power filter and rectification board on top of the transformer?
Thank you!
Jared
Zobel for differential amplifier
- By __BriKs__
- Solid State
- 15 Replies
Hello,
I'm working on a home made amplifier, with a full differential architecture and a single rail voltage.
I use a 24V power supply, so that each speaker terminals are bias to 12V.
I use a kind of counter capacitance load composed of self with a small resistors in parallel (R78//L3 and R77//L4):
My amps presents some instabilities and I took a look on Zobel output network, but I don't know how to design it (values of components) and how to arrange it.
In the example above I connect the traditional 10R (in my schema it's 5 R59) in series with the 100nF (C16) in // with the load (R28).
R78/L3 and R77/L4 are parts of the amp and the speaker is represented by R28.
The other way I can connect is the following:
really I don't know how to choose, even if this will help me with instabilities issue (I'm unstable even with no load).
I understand well the benefice of self with R in // (R78//L3 and R77//L4): when I plot phase with spice I could see the phase and gain margin added by those components but for the other branch (R&C in series) I don't see anything when plotting.. (only a very very few difference@frequency above Mhz).
Also my design is almost full smd, I use for R78 and R77 smd 0805 resistors, from my point of view (power dissipation) that's good but I see some large resistors on a lots of design, don't know why is anybody can light me about that 🙂
I'm working on a home made amplifier, with a full differential architecture and a single rail voltage.
I use a 24V power supply, so that each speaker terminals are bias to 12V.
I use a kind of counter capacitance load composed of self with a small resistors in parallel (R78//L3 and R77//L4):
My amps presents some instabilities and I took a look on Zobel output network, but I don't know how to design it (values of components) and how to arrange it.
In the example above I connect the traditional 10R (in my schema it's 5 R59) in series with the 100nF (C16) in // with the load (R28).
R78/L3 and R77/L4 are parts of the amp and the speaker is represented by R28.
The other way I can connect is the following:
really I don't know how to choose, even if this will help me with instabilities issue (I'm unstable even with no load).
I understand well the benefice of self with R in // (R78//L3 and R77//L4): when I plot phase with spice I could see the phase and gain margin added by those components but for the other branch (R&C in series) I don't see anything when plotting.. (only a very very few difference@frequency above Mhz).
Also my design is almost full smd, I use for R78 and R77 smd 0805 resistors, from my point of view (power dissipation) that's good but I see some large resistors on a lots of design, don't know why is anybody can light me about that 🙂
Swapping 6N2P into the "Phrugal Phono Pre" - Mangled Highs - Advice Needed
- By dubadub
- Tubes / Valves
- 0 Replies
Hey guys, some of you may remember my old post on the Shure M65 Phono Pre:
https://www.diyaudio.com/community/...tage-a-tasty-m65-preamp-for-under-200.363607/
It's a good DIY kit that uses a pair of 12AX7 in anode-follower. Some impedance issues with certain amps but good for the price. Here's a schematic of one channel:
Well with the cost of 12AX7s these days, I thought I'd try a build with some 6N2P tubes I got for a song. The regular version heats the tubes with 12.6v on pins 4&5, with 14v coming off the transformer. I had a custom transformer made with a 7v 2a secondary so it delivers 6.3v to pins 4&5. So I built this thing now, and hooked it up to my system, and most of the audio band sounds correct, but the highest frequencies, like cymbal crashes, are gone/mangled, so I'm thinking the "pole" might be in the wrong place now? The b+ for this thing is only 100v, so the tubes are running at the low end of their range, and the load lines for the 12ax7 vs 6n2p are rather different grades when we're this far down the charts... Any thoughts?
thanks!
https://www.diyaudio.com/community/...tage-a-tasty-m65-preamp-for-under-200.363607/
It's a good DIY kit that uses a pair of 12AX7 in anode-follower. Some impedance issues with certain amps but good for the price. Here's a schematic of one channel:
Well with the cost of 12AX7s these days, I thought I'd try a build with some 6N2P tubes I got for a song. The regular version heats the tubes with 12.6v on pins 4&5, with 14v coming off the transformer. I had a custom transformer made with a 7v 2a secondary so it delivers 6.3v to pins 4&5. So I built this thing now, and hooked it up to my system, and most of the audio band sounds correct, but the highest frequencies, like cymbal crashes, are gone/mangled, so I'm thinking the "pole" might be in the wrong place now? The b+ for this thing is only 100v, so the tubes are running at the low end of their range, and the load lines for the 12ax7 vs 6n2p are rather different grades when we're this far down the charts... Any thoughts?
thanks!
Free Schade PCBs
For the cost of shipping (from Canada) I am giving away my surplus PCBs I used to make my full power
schade amp as seen in the following thread.
50w Single-Ended BAF2015 Schade Enabled
I can also provide the KiCAD files if you find them useful.
Regards,
Dan
schade amp as seen in the following thread.
50w Single-Ended BAF2015 Schade Enabled
I can also provide the KiCAD files if you find them useful.
Regards,
Dan
Quikea diy sound diffusers
- By grosso
- Room Acoustics & Mods
- 4 Replies
Hello guys,
I wanted to share my experience on building few sound diffusors 2 years ago.
We know they can be very expensive from a shop if you want to cover enough, but can also be very ugly if you diy while not so versed in woodworking, like me.
Well I like wood working but it's just very hard to get the clean finish I want, too impatient and I just have basic tools.
In my previous room I had a mix of Decware, ATSacoustics and Giks with great effect.
Money was not a problem at that time, but now the room is twice the size and I really needed a different solution.
Plus I would then be able to define the right frequencies and go a little lower with more depth.
So I wanted to find a good compromise, cheap, fast, easy, while good looking enough.
Re-using an existing and clean looking box was a solution.
But it's not only the box, I also needed to build the wells and fins with what I could find around at a good price (right when wood price started to fly up).
Meaning lumbers and mdf panels with the right dimensions with minimal cuts for the boxes I could find.
Plus I wanted the process to be simple and repeatable, tolerant to human errors, so they would all look and behave alike.
So the lumber cuts/wells dimensions needed to be integer, not too hard to repeat.
Started by looking around all shops for simple box, wood preferably but all kind really.
Then based on theirs size I would calculate the right dimensions for the fins and the wells.
Took a lot of back and forth but I ended with an ikea besta, 60x64x20cm, that exists in black or tan.
It allowed a double symmetric QRD n7 with 38mm wells and 6mm fins with an F low around 350Hz and an F high around 4700Hz, perfect for my OB midranges.
See calc:
Here only half:
Wells from left to right, in mm: 20 box left wall, 12x6 fins + 13x38 wells, 20 box right wall
Depths: 0 - 50 - 200 - 100 - 100 - 200 - 50 - 0 - 50 - 200 - 100 - 100 - 200 - 50 - 0
The 0.8mm added in width were need to include the fins thickness in the wells width calculation.
You will later notice it's not an exact symmetry since side walls/half wells are 20mm and the central one is 50mm with its 2 side fins.
I believe the effect is minimal, and it was just too hard to build without 2 fins on the central one to hold it.
Also once the boxes are stacked there is a little gap between them, so it kind of repeat the width of the central one. Details details...
Price-wise, it was quite some time ago so I don't have all details, but I remember calculating something like 40 euros per diffuser.
I just checked the besta price, now at 35 euros, they were for sure cheaper at that time, I think I remember 20 euros but maybe I’m wrong.
Plus I got more than half in the demo/used corner ready to go.
For the lumbers I had to visit few shops as the real dimensions can differ of their listed spec.
I started with 8 boxes but decided for more after and was lucky enough to find lots with the exact same dimensions as the lumbers I see now are not consistent.
Mdf in 6mm is cheap, especially with the big panel 250/120cm, I didn't try thinner as it was too flimsy.
Big panels are just a pain to cut without proper table but it saved quite a bit I remember.
Process (no pics sorry I didn't think of that):
1 - build the box, without the back panel, doesn't need added glue it's sturdy enough
2 - cut all lumbers to 58cm length, the internal height of the box. Trial and error but 1mm variation is ok. remove the non straight enough ones.
3 - cut mdf into 20x58cm, box height + a little more depth for some to allow glueing the deepest wells at 20cm.
I could have saved even more $ by optimising the cuts here but it was just easier to cut them all at the same dimensions, roughly. Their height is important though of course, needs a 1mm precision, and a clean "front" cut, the back one can be ugly.
4 - dry mount, here I'll try to describe what I did:
Put the box flat on the table, final front facing up.
Then use 13 spare wells (or cut leftover) with the 12 final fins to fit everything first, the wells deep to touch the table, it can be be tight so be careful to not bend the fins, use another lumber to push them.
Then I'd stack more spare wells to define the final depth (I used 25x38, so stacking them would give me the right calculated depth 5/10/20 etc, another place to save money here with thinner lumbers but it was easier)
So row 1: 5 stacked wells + 1 final well gives a final front depth of 5cm, 20-(6x2.5).
Row 2: just 2/3 spare wells to keep the fins in place for now.
Row 3&4: 3 spare wells + 1 final well gives a final front depth of 10cm, 20-(4x2.5).
Etc for other rows.
5- glueing
Once all the stacks are done, I will glue the final wells on top, pushing them to fit tight.
I wasn't sure the glue would be ok on the box surface that is plastic covered, but it was fine it worked.
Once all final wells are glued, put the box carefully on its base, and glue the 2 wells at the back for the deepest depths (row 2&5).
Placed by hand is enough, just make sure you get the 20cm depth in front.
keep drying 1 day.
6 - spare removal
Once all dried you can remove all spares and use them for the next diffuser.
I used to do 1 or 2 a day and it took less than 30min for the last ones.
Only one was not sturdy enough at the end, due to too short fins, added glue from behind fixed it.
Results:
Boxes are solid while still light, can be stacked 3 or more, and moved around safely.
I've just built a base structure as my ground is not flat.
Once all fins are glued they stay in place, but don't push too hard on them.
With the leds the effect is I think pretty cool, lovely at night.
I need to dig-in to find some "before" measurements, I have so many I'm not sure I’ll find the right ones.
Not even sure it will be visible there, but I do prefer with 9 per side for sure, while 4 per side already had an effect.
The room is rectangular, and I use it in its width, so it helped a lot to get back some depth in the soundstage, virtually increased it.
Now I have to work on bass traps...
I wanted to share my experience on building few sound diffusors 2 years ago.
We know they can be very expensive from a shop if you want to cover enough, but can also be very ugly if you diy while not so versed in woodworking, like me.
Well I like wood working but it's just very hard to get the clean finish I want, too impatient and I just have basic tools.
In my previous room I had a mix of Decware, ATSacoustics and Giks with great effect.
Money was not a problem at that time, but now the room is twice the size and I really needed a different solution.
Plus I would then be able to define the right frequencies and go a little lower with more depth.
So I wanted to find a good compromise, cheap, fast, easy, while good looking enough.
Re-using an existing and clean looking box was a solution.
But it's not only the box, I also needed to build the wells and fins with what I could find around at a good price (right when wood price started to fly up).
Meaning lumbers and mdf panels with the right dimensions with minimal cuts for the boxes I could find.
Plus I wanted the process to be simple and repeatable, tolerant to human errors, so they would all look and behave alike.
So the lumber cuts/wells dimensions needed to be integer, not too hard to repeat.
Started by looking around all shops for simple box, wood preferably but all kind really.
Then based on theirs size I would calculate the right dimensions for the fins and the wells.
Took a lot of back and forth but I ended with an ikea besta, 60x64x20cm, that exists in black or tan.
It allowed a double symmetric QRD n7 with 38mm wells and 6mm fins with an F low around 350Hz and an F high around 4700Hz, perfect for my OB midranges.
See calc:
Here only half:
Wells from left to right, in mm: 20 box left wall, 12x6 fins + 13x38 wells, 20 box right wall
Depths: 0 - 50 - 200 - 100 - 100 - 200 - 50 - 0 - 50 - 200 - 100 - 100 - 200 - 50 - 0
The 0.8mm added in width were need to include the fins thickness in the wells width calculation.
You will later notice it's not an exact symmetry since side walls/half wells are 20mm and the central one is 50mm with its 2 side fins.
I believe the effect is minimal, and it was just too hard to build without 2 fins on the central one to hold it.
Also once the boxes are stacked there is a little gap between them, so it kind of repeat the width of the central one. Details details...
Price-wise, it was quite some time ago so I don't have all details, but I remember calculating something like 40 euros per diffuser.
I just checked the besta price, now at 35 euros, they were for sure cheaper at that time, I think I remember 20 euros but maybe I’m wrong.
Plus I got more than half in the demo/used corner ready to go.
For the lumbers I had to visit few shops as the real dimensions can differ of their listed spec.
I started with 8 boxes but decided for more after and was lucky enough to find lots with the exact same dimensions as the lumbers I see now are not consistent.
Mdf in 6mm is cheap, especially with the big panel 250/120cm, I didn't try thinner as it was too flimsy.
Big panels are just a pain to cut without proper table but it saved quite a bit I remember.
Process (no pics sorry I didn't think of that):
1 - build the box, without the back panel, doesn't need added glue it's sturdy enough
2 - cut all lumbers to 58cm length, the internal height of the box. Trial and error but 1mm variation is ok. remove the non straight enough ones.
3 - cut mdf into 20x58cm, box height + a little more depth for some to allow glueing the deepest wells at 20cm.
I could have saved even more $ by optimising the cuts here but it was just easier to cut them all at the same dimensions, roughly. Their height is important though of course, needs a 1mm precision, and a clean "front" cut, the back one can be ugly.
4 - dry mount, here I'll try to describe what I did:
Put the box flat on the table, final front facing up.
Then use 13 spare wells (or cut leftover) with the 12 final fins to fit everything first, the wells deep to touch the table, it can be be tight so be careful to not bend the fins, use another lumber to push them.
Then I'd stack more spare wells to define the final depth (I used 25x38, so stacking them would give me the right calculated depth 5/10/20 etc, another place to save money here with thinner lumbers but it was easier)
So row 1: 5 stacked wells + 1 final well gives a final front depth of 5cm, 20-(6x2.5).
Row 2: just 2/3 spare wells to keep the fins in place for now.
Row 3&4: 3 spare wells + 1 final well gives a final front depth of 10cm, 20-(4x2.5).
Etc for other rows.
5- glueing
Once all the stacks are done, I will glue the final wells on top, pushing them to fit tight.
I wasn't sure the glue would be ok on the box surface that is plastic covered, but it was fine it worked.
Once all final wells are glued, put the box carefully on its base, and glue the 2 wells at the back for the deepest depths (row 2&5).
Placed by hand is enough, just make sure you get the 20cm depth in front.
keep drying 1 day.
6 - spare removal
Once all dried you can remove all spares and use them for the next diffuser.
I used to do 1 or 2 a day and it took less than 30min for the last ones.
Only one was not sturdy enough at the end, due to too short fins, added glue from behind fixed it.
Results:
Boxes are solid while still light, can be stacked 3 or more, and moved around safely.
I've just built a base structure as my ground is not flat.
Once all fins are glued they stay in place, but don't push too hard on them.
With the leds the effect is I think pretty cool, lovely at night.
I need to dig-in to find some "before" measurements, I have so many I'm not sure I’ll find the right ones.
Not even sure it will be visible there, but I do prefer with 9 per side for sure, while 4 per side already had an effect.
The room is rectangular, and I use it in its width, so it helped a lot to get back some depth in the soundstage, virtually increased it.
Now I have to work on bass traps...
UNIVERSAL SPEAKER PROTECTION 2PCB+2RELAYS
- By ronovar
- Group Buys
- 2 Replies
For sale is universal speaker protection that get supply from amplifier PSU, and 1PCB with 1RELAY is enought for STEREO speaker protection.
This protection have the following protections module:
For sale is last 2 sets (1 set is 1PCB & 1RELAY), and interested please write PM with your country so that i can calculate shipping costs...payment is via paypal.
Thanks for your time.
This protection have the following protections module:
- turn ON delay
- AC Power Off (turn speaker off after amplifier power is turned off, so there is no PUFFF in speakers when you turn of amplifier)
- DC Voltage detection on speaker (to protect expensive speakers)
- short circuit protection for output amplifier BJT or MOSFETS stage
- uses high quality relay to maximize sound quality
- it uses professionally made routed PCB that accept RN60D resistors and custom made inductor
- it takes supply from different PSU voltage that feeds audio amplifier so few resistors needs to be calculated to satisfty custom amplifier psu working voltage
For sale is last 2 sets (1 set is 1PCB & 1RELAY), and interested please write PM with your country so that i can calculate shipping costs...payment is via paypal.
Thanks for your time.
Rare Dali 700 - upgrading horrible crossovers
I recently got some speakers and possibly the most interesting ones are these Dali 700's. Could not find much information about these tho.
Anyway my very first impressions was that there must be something horribly wrong. Bass was ok, but midrange was quite peaky/one noteish and there was also lack of highs - as well as bad comb filtering. I got heavy listening fatigue after two songs! Whats going on? These are equipped with very high quality drivers: Vifa P25WO, Wifa D75MX and Vifa D25TX tweeters.
It is shame they ruined good drivers with bad crossover design (if you ask me). I took some quick measurements and there it was - same issues were visible. Took the crossovers out and drawed it to my crossover simulator software:
And here are drivers measured, with original crossover:
Pretty much matching my simulation. After that I simulated my own crossover as a starting point for designing new crossovers. Things are now looking much better at least in simulation!
Lower crossover freq is too low here for D75MX, so I finally crossed it at 900Hz / 4000Hz. Also the woofer had rising response toward the 1kHz so had to make some adjustments there too and added Z-network. Here is the measured response from woofer and mid together (some treble leak), good enough at this point.
Finally made some adjustments for mid/high section for a good transition and phase match and oh man these speakers are sounding so sweet! I actually kind of like that Vifa 3" dome midrange, it just makes something right what so ever. It has 1.5 litres enclosure, filled with wool. At this point I just need to listen and listen these to find out if they are good or not 🙂
Response from my listening position (bad room acoustics making bad things for upper bass response). But overall I'm very satisfied now 🙂
And the speakers as they are!
Feel free to give some further advices 🙂
Anyway my very first impressions was that there must be something horribly wrong. Bass was ok, but midrange was quite peaky/one noteish and there was also lack of highs - as well as bad comb filtering. I got heavy listening fatigue after two songs! Whats going on? These are equipped with very high quality drivers: Vifa P25WO, Wifa D75MX and Vifa D25TX tweeters.
It is shame they ruined good drivers with bad crossover design (if you ask me). I took some quick measurements and there it was - same issues were visible. Took the crossovers out and drawed it to my crossover simulator software:
And here are drivers measured, with original crossover:
Pretty much matching my simulation. After that I simulated my own crossover as a starting point for designing new crossovers. Things are now looking much better at least in simulation!
Lower crossover freq is too low here for D75MX, so I finally crossed it at 900Hz / 4000Hz. Also the woofer had rising response toward the 1kHz so had to make some adjustments there too and added Z-network. Here is the measured response from woofer and mid together (some treble leak), good enough at this point.
Finally made some adjustments for mid/high section for a good transition and phase match and oh man these speakers are sounding so sweet! I actually kind of like that Vifa 3" dome midrange, it just makes something right what so ever. It has 1.5 litres enclosure, filled with wool. At this point I just need to listen and listen these to find out if they are good or not 🙂
Response from my listening position (bad room acoustics making bad things for upper bass response). But overall I'm very satisfied now 🙂
And the speakers as they are!
Feel free to give some further advices 🙂
A Couple capacitor questions.
- By redride27
- Power Supplies
- 0 Replies
I'm in the planning stages of a new build and I wanted to compare some ESR D and Q measurements on the different capacitors I'm using. The results are predictable between the film caps and the electrolytic, but m having trouble understanding.
-the high ESR of the 33uf f&t (they're all new do they need "broken" in?)
-- what ripple current multipliers mean.
(The orange marks are the best numbers for .1uf capacitors) wima mkp stands out.
And if my ripple current in the first filter stage exceeds the datasheet max, do you parallel lower value caps to compensate?
'm building a single ended tube amp and I'm trying to get the best performance out of what I have available.
Thanks for the help in advance.
-
-the high ESR of the 33uf f&t (they're all new do they need "broken" in?)
-- what ripple current multipliers mean.
(The orange marks are the best numbers for .1uf capacitors) wima mkp stands out.
And if my ripple current in the first filter stage exceeds the datasheet max, do you parallel lower value caps to compensate?
'm building a single ended tube amp and I'm trying to get the best performance out of what I have available.
Thanks for the help in advance.
-
Karlson -XKi style "KUBE 12" for Kappa 12A
Attachments
-
KUBE 12 drawing no handle 1.jpg -
KUBE12 MEASUREMENT vs SIM W 1270.jpg -
KUBE12 TABLE ON-AXIS 16U 11B W.jpg -
KUBE12 FLOOR MIC 5B 12U W.jpg -
KUBE12 70 OFF H W.jpg -
KUBE 12 KAPPA 12A INPUT Z W.jpg -
KUBE12 APERTURE PLATE ON.jpg -
KUBE 15 PLAN DONE.jpg -
Screenshot 2022-01-26 at 14-28-24 1499072939623734451-US20150222984A1 - US20150222984A1 pdf.png
Who's good at adjusting over current window comparator thresholds?
Hi I have a Class D bass amplifier triggering overcurrent detection on certain notes (predominantly D3 = 147Hz) that must be causing some kind of harmonic resonance with other parts of the circuit maybe the output filtering.
Can anybody help me adjust the overcurrent detection thresholds a bit so as to be less sensitive? ... the interaction of the 2x IC's involved IC9 (TS512ID) & IC15 (LM393) is more complicated than I've seen before, maybe it's just the way it's drawn on the schematic.
VDD+ = +5V
VDD- = -5V
Here is the layout:
Can anybody help me adjust the overcurrent detection thresholds a bit so as to be less sensitive? ... the interaction of the 2x IC's involved IC9 (TS512ID) & IC15 (LM393) is more complicated than I've seen before, maybe it's just the way it's drawn on the schematic.
VDD+ = +5V
VDD- = -5V
Here is the layout:
For Sale Over 100 Speaker Spiders - 6 Sizes
More stuff from storage. See the photos for sizes & shapes. $50 PayPal F&F. US only due to shipping prices.
Cheers, -Casey
Cheers, -Casey
For Sale Eleven (11) 2½", Dual Coil (2Ω per coil) Voice Coils
Bought a dozen of these DVCs years ago from Krenz Electronics and ended up only using one of them. $50 PayPal F&F. US address only due to shipping prices.
Cheers, -Casey
Cheers, -Casey
For Sale Tubelab TSE-II 45 Amp with volume control 230V
Tubelab TSE-II 45 amplifier built by myself approximately 18 months ago. I’m an experienced builder, (hi-fi and guitar amps), based in London, UK.
** NOW SOLD **
Valves are a GZ34 rectifier in the power supply with a pair of 5842/417A input valves driving a pair of 45 output valves. The 45’s are DC heated and put out about 2W. Single input connection with a high quality volume attenuator. Housed on a 3mm gold anodised aluminium top from Front Panel Express mounted in a 12mm solid walnut case.
The valves are manually biased, (only required should you change them). It’s a trivial task but you will need a multimeter and a screwdriver. There are test points available and adjustable via holes in the top plate.
Asking price includes the following valves, (these are not the ones in the photos):
** NOW SOLD **
Valves are a GZ34 rectifier in the power supply with a pair of 5842/417A input valves driving a pair of 45 output valves. The 45’s are DC heated and put out about 2W. Single input connection with a high quality volume attenuator. Housed on a 3mm gold anodised aluminium top from Front Panel Express mounted in a 12mm solid walnut case.
The valves are manually biased, (only required should you change them). It’s a trivial task but you will need a multimeter and a screwdriver. There are test points available and adjustable via holes in the top plate.
- Monolith Magnetics SX-1 NanoX nanocrystaline amorphous 5K output transformers, 4/8/16ohm secondaries
- Monolith Magnetics custom power transformer, 230/240V primaries, (no 115V tap)
- Monolith Magnetics custom choke
- Volume control via shunt 23 stepped attenuator, (Takman metal film/Charcroft Z-Foil/Seiden 2 pole 23-way switch)
- Silver wiring (Neotech NEI-1002 on the input, Mundorf silver/gold elsewhere), silver solder
- WBT silver RCA input and speaker output jacks
- Furutech rhodium IEC outlet
- ASC X386S oil filled capacitor in the power supply
- Passive components are a mix of Mundorf/Audio Note capacitors, Amtrans AMRG/Mills/Kiwame resistors
- Dimensions: 44.5cm wide, 34.5cm deep, 22.5cm height
- Weight: 13kg
Asking price includes the following valves, (these are not the ones in the photos):
- 1x JJ GZ34 rectifier
- 2x Western Electric 417A (NOS with low hours)
- 2x RCA 45 (NOS with low hours, ST type)
FS tuning, enclosure size, WINISD and DATS...who is right ?
Hi, its been a while last time i posted here
Recently i made a DIY project. i wanted to have speakers like the 4351 from Kenrik's
So i made some with what i had.
I picked up Goldwood GW15PC-4, strictly because the specs on paper was convincing and relatively similar to the JBL 2235h. i know, i know, they are cheap woofers and there isnt much to believe in, but anyway, this is what i had, they where cheap and easy to get.
So
I entered the parameters into WINISD and builded the enclosure accordingly.
Front/back is 1" mdf, sides are multiply 18mm veneer. all braced inside, very strong. glued and screwed. i didnt cheaped on this part.
I followed what win isd told me
about 11ft3 and a tuning FS of 30hz
that made 6x 3" port of about 8.5" long
which is almost the same "close" basic dimensions as a 4350/4351 when compared so in my head i was not far from something that would work
They play loud and clean, it moves tons of bass in the house (powered byt a BGW7000)
But i had some doubts abut the Goldwoods and their published specs. Altough they play tons of bass, i feel that it is not as expected.
Cross over took me 2 year to calculate, test, design and build. lets focus on the bass section plz.
I recently bought a DATS V3. I took the woofers out and promply tested them. Turns out that with broken in woofers, the VAS has almost doubled. published spec is 4.4ft3 and the DATS measures 6.5ft3
I then mesured the sweep impedance to test the FS
it came out as 22hz !!
i know some times a woofer with a high Q can have the enclosure FS tuned below speaker FS...but 22hz i think its quite low
I then decided to shave a bit the ports
i shaved around -2inches on the 6 of them into one enclosure and came with a FS of 25....still far from the WINISD predicted 30hz.
i re-measured many times the internal volume and i am 100% dead sure it is 11.5ft3.
moderate 1" dacron on the walls
picture: measurement of the FS before shaving off the ports. and the speaker enclosure itself.
should i leave them this way ?
am i right to aim at raising a bit the FS to flaten out the frequency response from 30hz and up ?
how come the final FS is so low ?
What should i believe in, the goldwood specs, the DATS V3 ? WINISD ?
thanks for any guidance (or not if you think they are ok like that)
Recently i made a DIY project. i wanted to have speakers like the 4351 from Kenrik's
So i made some with what i had.
I picked up Goldwood GW15PC-4, strictly because the specs on paper was convincing and relatively similar to the JBL 2235h. i know, i know, they are cheap woofers and there isnt much to believe in, but anyway, this is what i had, they where cheap and easy to get.
So
I entered the parameters into WINISD and builded the enclosure accordingly.
Front/back is 1" mdf, sides are multiply 18mm veneer. all braced inside, very strong. glued and screwed. i didnt cheaped on this part.
I followed what win isd told me
about 11ft3 and a tuning FS of 30hz
that made 6x 3" port of about 8.5" long
which is almost the same "close" basic dimensions as a 4350/4351 when compared so in my head i was not far from something that would work
They play loud and clean, it moves tons of bass in the house (powered byt a BGW7000)
But i had some doubts abut the Goldwoods and their published specs. Altough they play tons of bass, i feel that it is not as expected.
Cross over took me 2 year to calculate, test, design and build. lets focus on the bass section plz.
I recently bought a DATS V3. I took the woofers out and promply tested them. Turns out that with broken in woofers, the VAS has almost doubled. published spec is 4.4ft3 and the DATS measures 6.5ft3
I then mesured the sweep impedance to test the FS
it came out as 22hz !!
i know some times a woofer with a high Q can have the enclosure FS tuned below speaker FS...but 22hz i think its quite low
I then decided to shave a bit the ports
i shaved around -2inches on the 6 of them into one enclosure and came with a FS of 25....still far from the WINISD predicted 30hz.
i re-measured many times the internal volume and i am 100% dead sure it is 11.5ft3.
moderate 1" dacron on the walls
picture: measurement of the FS before shaving off the ports. and the speaker enclosure itself.
should i leave them this way ?
am i right to aim at raising a bit the FS to flaten out the frequency response from 30hz and up ?
how come the final FS is so low ?
What should i believe in, the goldwood specs, the DATS V3 ? WINISD ?
thanks for any guidance (or not if you think they are ok like that)
PeppyMeter: can I run it stand-alone as VU-meter display only, synched with my wireless speakers?
I have an audio system based on Wireless streaming, it looks like this:
What I want to do
I would like to build a case with an integrated 11.9 inch display (see picture, bottom right corner). In the case I will have a Raspberry Pi, running the PeppyMeter software, connected to the display. And I will integrate a WiFi audio receiver based on the Linkplay A31 chipset. For PeppyMeter to run, this will be the source for the audio signal.
In the same setup, I will have two active loudspeakers, both with the same WiFi audio receiver based on the Linkplay A31 chipset.
I will use the 4Stream App to configure the two speakers as a stereo set (one Left, one Right). And to put the PeppyMeter with its own A31 receiver in the same group.
I want to create the group based on the Linkplay A31 recognition/identification, and not on AirPlay.
If I start a stream in Spotify on my iPhone/iPad, and as speaker I select the group I have just setup, the music will play through the speakers, and the PeppyMeter VU meters should respond to the same stream that I am hearing.
(What I am not looking for, is to build a unit as a streamer device. Its just about VU meter displaying)
My questions
I am not yet familiar with PeppyMeter software, and how Raspberry Pi handles audio input. But so far I have understood that the Raspberry Pi needs its OS, and PeppyMeter can be installed as a stand-alone application.
Example of my intended setup:
- Audio source: Spotify Premium on my iPhone or iPad (see picture below, left)
- Streaming connections: all components wireless via my WiFi network
- Output: wireless active speakers with integrated WiFi audio receivers based on the Linkplay A31 chipset (see picture below, top middle)
What I want to do
I would like to build a case with an integrated 11.9 inch display (see picture, bottom right corner). In the case I will have a Raspberry Pi, running the PeppyMeter software, connected to the display. And I will integrate a WiFi audio receiver based on the Linkplay A31 chipset. For PeppyMeter to run, this will be the source for the audio signal.
In the same setup, I will have two active loudspeakers, both with the same WiFi audio receiver based on the Linkplay A31 chipset.
I will use the 4Stream App to configure the two speakers as a stereo set (one Left, one Right). And to put the PeppyMeter with its own A31 receiver in the same group.
I want to create the group based on the Linkplay A31 recognition/identification, and not on AirPlay.
If I start a stream in Spotify on my iPhone/iPad, and as speaker I select the group I have just setup, the music will play through the speakers, and the PeppyMeter VU meters should respond to the same stream that I am hearing.
(What I am not looking for, is to build a unit as a streamer device. Its just about VU meter displaying)
My questions
I am not yet familiar with PeppyMeter software, and how Raspberry Pi handles audio input. But so far I have understood that the Raspberry Pi needs its OS, and PeppyMeter can be installed as a stand-alone application.
- How do I connect my wirelessly incoming signal to the Raspberry Pi? On the Linkplay A31 PCB, I have a Mini-jack connector for analog audio output. Can I connect that to the mini-jack of the Raspberry Pi for audio input there?
- Who can recommend me a casing, in which I can properly fit this 11.9 inch display?
Example of my intended setup: