FOR SALE: A pair of NOS Bohlender Graebener "Ribbon" Transducers RD 50 and RD 75

FOR SALE: A pair of NOS Bohlender Graebener "Ribbon" Transducers RD 50 and RD 75

I bought a couple of pairs of RD 75s and RD 50s for a home theater, but before proceeding I determined that my room size did not warrant having a full home theater based on the Radia ribbons. Although I'll be keeping a pair of RD 50 and a pair of RD 75 for myself, the rest will be sold. These are my last remaining RD 50's and RD 75's that will be sold (I'm keeping a couple of pairs for myself).

If you are looking at this ad, then you know that the B&G drivers' stereo imaging abilities are truly amazing. Superb soundstage. Super light diaphragms result in extremely low distortion. They play clean and can achieve high listening volumes. They are best described as dynamic, smooth and ultra clean. The Radia Series of drivers shatter the performance barrier that is inherent with conventional high-performance loudspeakers:
› Flexible Exclusive line-source Radia planar technology produces a cylindrical sound field, eliminating any unwanted mid and high-frequency floor and ceiling reflections.
› Dynamic Accurately reproduces dynamic peaks at high power for realistic reproduction.
› Lifelike Planar ribbon drivers provide amazing clarity, resolution and fidelity. Critically acclaimed, the Radia ribbons are used in speakers that are favorite among audiophiles and reviewers from around the world.

The RD50 are Planar–magnetic transducers with true line source characteristics and represent the ultimate thin film diaphragm technology. The RD drivers were the only commercially available products on the market that possessed true line source characteristics. They generate a continuous and perfectly coupled wavefront even at the highest frequencies. Other discrete (multiple-driver) designs exhibit severe lobing, energy leakage, and chaotic spectrum balance changes along the listening axis. In addition to being a nearly perfect line source, the RD drivers have all of the advantages unique to planar ribbon transducers-- unsurpassed transparency and accuracy of reproduction.
The RD driver can be implemented as a dipole mounted on an open baffle, as a monopole with a rear enclosure, or as an in-wall loudspeaker. This offers the designer unlimited freedom of creativity, enabling the construction of very exquisite and unique loudspeakers.
Unique features:
• Extremely wide and even horizontal dispersion throughout the reproduced frequency range. This yields a highly stable "sweet spot", vastly expanded soundstage, and improved stereo imaging;
• Little-to-no vertical dispersion, which eliminates annoying reflections of sound from ceilings and floors, helping to deliver superior clarity and intelligibility. The designer can greatly reduce harmful room affects from the equation;
• Sound pressure level drops off at half the rate (-3dB) of conventional speakers (-6dB) with a doubling of distance;
• The driver is very easy to drive due to the purely resistive load presented to the amplifier;
• Due to the large radiating surface area, very little driver excursion is required to produce a given SPL, resulting in very low levels of distortion;
• The driver is capable of reproducing sound over seven octaves, requiring no crossover in the critical midrange region. The lack of a crossover in this region removes phase incoherency in the critical midrange, helping preserve the spectral and temporal integrity of vocal recordings;
• The RD series drivers can handle large amounts of power with ease due to the excellent dissipation of heat over the entire surface area of the diaphragm.

Driver Construction:
The RD drivers are manufactured as dipoles, with nearly identical output from the front and back of the element. The drivers feature a highly effective push-pull symmetric magnet system (Ceramic 8 magnets are located on both sides of the diaphragm). Having symmetric magnets insures maximum SPL output, minimum distortion, and a cost-effective design. The diaphragm is made of a very thin polyester (PET) film with laminated aluminum strips creating a planar spiral voice coil. The tensioned diaphragm is extremely light, with a mass very close to the mass of the associated air volume that vibrates along with the diaphragm. This close coupling of mass allows the driver to exhibit immediate and precise response to micro-dynamic changes in the recorded signal. The driver frame is comprised of three layers of high-strength steel that provide structural rigidity and maintain critical tolerances. The RD drivers' solid construction makes it free from any inherent structural resonances.

The RD series of loudspeaker drivers offer the systems designer the advantages of a thin-film, line-source transducer with very high performance potential for fixed installation sound reproduction. Unlike most exotic driver types, the RD Series models feature unmatched bandwidth, power handling and ruggedness, as well as the ease of an almost entirely resistive load to the amplifier. All models in the RD Series feature linear, push-pull Ceramic 8 motors linearly driving a polyester diaphragm whose moving mass is actually less than the air load. The bandwidth of the RD Series drivers is extraordinarily large, and is usable from as low as 150Hz to beyond audibility. The diaphragm is protected within a chassis made of three layers of heavy gauge, self-reinforced steel.

Crossover Suggestions:
The RD line-source elements offer many possibilities in system design; however their correct implementation is very important for the best results. Normally, an RD series driver is capable of reproducing sound in the 150 Hz – 20 kHz range. However, for each particular design the specific application must be considered when choosing the low frequency crossover point and filter slope. Large rooms with high absorption, high playback levels, or long listening distances usually require a somewhat higher crossover frequency and filter slope (200-300 Hz high pass crossover with at least 4th order slope). In an average or small sized room with low absorption and shorter listening distance, a 150-200 Hz crossover point with a 3rd order slope may be used.

Recommended Notch Filter Use and Application
For optimum performance of the BG RD series drivers, it is recommended that a simple notch filter be installed. This notch filter corrects for cavity resonances between the magnet structure and the diaphragm in the 5K to 6K range. The notch filter is placed in the positive signal path prior to the RD element and can be used in addition to other crossover elements. To achieve a flat frequency response throughout the entire spectrum, it is highly recommended a notch filter be used.

Dipole Suggestions:
In dipole or open baffle situations, low frequency extension and SPL output is largely dependent on baffle size and geometry. To achieve a sufficient low-end response, a minimum baffle width of 12" is recommended. Generally speaking, a baffle with irregular or sloped side(s) (e.g. trapezoidal) will yield a smoother response due to the spreading out of baffle edge diffraction effects. In dipole situations, special attention should be given to in-room speaker placement and room acoustic treatment. A minimum distance to the rear wall of 2 feet is recommended with the use of absorptive/diffusive materials on the rear wall between left and right speakers.

Sealed Enclosure Suggestions
If the driver is used in a sealed enclosure, the depth of the cabinet and amount of dampening will significantly affect the driver performance. For optimum results, the largest possible enclosure depth should be used; a minimum for best performance is roughly 3-1/2". The rear enclosure should be filled with Acousta Stuff, fiberglass, or similar acoustic damping material. Additional damping material such as Black Hole 5 or medium density 1/4"– 1/2“ felt on the rear of the enclosure is highly recommended. As in all loudspeaker cabinets, non-parallel walls, good-quality construction, and effective bracing will improve performance by reducing cabinet resonances and standing waves.

Subwoofer Integration
A matching subwoofer/woofer system should have a high level of resolution for the best sonic integration with the RD series drivers. It is recommended to use at least a 2nd order low-pass crossover on the woofer. Better results can be achieved with higher order crossovers. The use of high order active electronic crossovers is also recommended.

Radia ribbons are hard to find and will get harder and harder to find as the months and years go by. Any new owner will be very proud to acquire such amazing driver units. Do a web search and you will find many applications for the driver and easy DIY projects. These drivers were used in speakers costing tens of thousands of dollars.

Crossover network recommendations:
150Hz, minimum, 12 dB/oct. electrical minimum

RD 75 Specifications:
Power handling: 100 watts RMS/400 watts max • Nominal impedance: 6 ohms • Re: 6.0 ohms • Frequency range: 150-18,500 Hz • SPL: 88 dB 1W/1m • Net weight: 35.5 lbs. • Dimensions: 75.563” L x 4.675” W x 1.53” D


RD 50 Specifications:
Power handling: 70 watts RMS/270 watts max • Nominal impedance: 4 ohms • Re: 4.0 ohms • Frequency range: 150-18,500 Hz • SPL: 88 dB 1W/1m • Net weight: 25.2 lbs. • Dimensions: 51-1/2" L x 4-11/16" W x 1-1/2" D.

Help with Marantz 2130 Tuner

I have a question regarding a Marantz 2130 tuner I bought for my vintage audio system.

I just finished replacing all the electrolytic capacitors in the tuner and it seems to work okay with a couple of exceptions. First, the Quartz Lock worked but the indicator did not. I found that the pot RT48 was mis-adjusted causing the touch sensor to not dis-able the lock function. Problem is, someone hacked in some wires to work around the mis-adjustment. I undid the hack and now it works fine. I am worried the same hacker may have done more damage causing the two other issues I'm seeing. The problem is, when the multiplex filter switch is released, the right channel drops out completely. Also, when the "mono" button is selected the stereo indicator goes out. However, If I view the L & R output signals on my scope overlayed they appear to still be in stereo. Could these issues be due to improper alignment (MPX chip issue) or should I be looking for another wiring hack. It is very difficult to follow the signaling via the Marantz documentation. The multiplex switch appears to simply add in a .015uf capacitor into the circuit and does not seem like it should kill the right channel. If I examine the switch it appears there are lines on it's wire wrap pins indicating there were wires on them at one time but no indication in the schematics. It would be great to get some detailed photos of the wiring of a working tuner.

Any help would be greatly appreciated.
Gary

Stacked Potentiometer

I own Shure FP22 which is a battery-powered stereo headphone amplifier. It has a feature I like that uses two potentiometers stacked that can be controlled independent of one another on one shaft, on one knob by pulling up said knob. The Shure also has a concentric knob for stereo balance and a switch on one pot, neither of which I need. I’m having some trouble figuring out what to call this dual pot to source one. I don’t want a dual concentric, that has the required two potentiometers but on two seperate controls, knob and ring. I want to control these two pots on one shaft and do so by pulling up and this allows the single knob to disengage one pot and engage the other. Pushing it down returns to the first pot. The ganged pot is close but they turn together, I want to adjust them independently. My goal is to hide a tone control with the volume knob on a vintage guitar that only has a volume knob. Thanks.

Newb "cabinet" design help

Attempting a first time home speaker build. Electronics/wiring/soldering is all done. Figuring out the enclosure for the main speakers is kicking my butt. I'm using a cheap pair of 3way 6.5 car speaker. Too cheap to have a published Qes, Xmax, Vas, etc.

I realize this limits advice I can get (and this is a fools errand)... Id still appreciate any tips on these questions...

6.5" 3-way 4ohm car speakers (allegedly 150watt RMS, 90db, 100-18000hz )

1)What volume 'range' sealed enclosure?
2)What volume range ported enclosure?
3)What happens if either enclosure is too small?
4)How would no enclosure at all effect the sound (mounted on a board)?
5)How would using an 0.15cu ft open cube frame, with breathable-foam walls compare to everything else?
6)Any other tips on keeping these as small as possible?

Signal-dependent cable capacitance change

Found an Engineering Brief from the last (virtual) AES convention in Vienna. The author posits that interlink capacitance is modulated by the signal level. Since that capacitance forms a low pass with the load impedance, a varying capacitance has an impact on the reproduction. He states that this is a possible source of 'cable sound'.

I'm not sure I fully understand the measurement and testing method, and the audio is pretty much undecipherable, but what do you guys think about this?

Jan

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Phase Linear 700b refurb and full complementary conversion

I'm working on a PL700b for a friend. As the title says, its completely original and currently working fine. My friend wants it gone through completely as well as having it converted from the original quasi complementary output stage to a full complementary output. Before getting started I've done a lot of research on this amp. I've found quite a bit of info on what to do in the way of upgrading it, but the conversion info is spotty.

My big concern is that I perform the quasi to full comp conversion properly. I've redrawn the original schematic for the PL20 control pcb to show the planned changes for the conversion. I'm hoping there is someone familiar with these amps that can tell me if I'm on the right track or if I've missed something.

I've attached the original and modified drawings. Any info would be appreciated.

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Hafler DH-500 channel distortion and low volume (noob needs help!)

Today I got a little excited listening to Tool and cranked the ole DH500 up to near concert levels. It wasn't clipping at all and I swear there was plenty of juice in the amp/speakers to go even louder, despite this, about 3 minutes into Chocolate Chip Trip, the left channel lost it's juice, and was a fraction of the volume, and static-filled.

I'm thinking it's possible (maybe probable) that one of the old caps in the unit died on me. That said, I am a complete novice when it comes to electronics testing & repair, but I would like to try diagnosing and fixing the problem myself. I just don't know where to start. Anyone willing to virtually "hold my hand" through the process?

Italian Book with Collection of Circuit Diagrams from Tube Amps - TOC wanted

I am looking for the TOC (table of contents) of the books (images in the attachment).
"Manuale hi-fi a valvole. Schemario", Vol. 1, 2 and 3,
Luciano Macrì, Riccardo Gardini
Maybe one of the members know an appropriate URL - thank you.

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Can you make an active crossover from a pci sound card using jriver media centre to it and an external dac at the same time

Im using jriver media centre on a computer i built to run an external Nad dac to a set of magnepan speakers which do well when you add a subwoofer and Jriver allows you to create custom cutoff points for the signal to the dac (im thinking of going down to 34 hz) through the usb output to the dac. Im wondering if there is a way to use a pci sound card with an rca output as an active crossover for the sub. Has anyone done anything like this?

Use Behringer X32 Mixer as a USB sound card

Hello, for those like me who use a digital mixer as a secondary sound card from Behringer and model X32 Compact and MS Windows, I have written a free diagnostic software
(with the help of two gurus of the sector, Patrick Maillot and Paul Vannatto) in case of malfunctions. The software talks to the mixer via OSC so just connect the mixer via LAN to the network HUB and indicate the IP of the mixer.
You can download the software at this address: (executable validated by VirusTotal.com)
https://www.dacris.it/visc/index.html

Login to view embedded media
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New 3-way project Fane 12", some advice needed on midrange options

Recent years I made a few different 12" coaxial projects with PA drivers and are quite happy with them, still they are not fully complete on the crossover side but in general I like the PA sound of high sensitivity and punch. But as I get quickly bored I figured now its time to make my first attempt at a 3-way solution as reference hoping for more midrange clarity, and I have been thinking a lot about various drivers for this inspired by modern retro monitor speakers like Klipsch Heresy IV and JBL4319/4429 and older Pioneer CS701.

I will use the same "form factor" as my most recent coax design as I really like it: baffle inner 36x58cm, inner depth 30cm = approx 60l; outer depth 40cm, width/height 40x62cm. The box design allows a double front/rear baffle where the outer baffles can be replaced and it also allow up to 2cm thick grill to be sunken into the baffle frame, just as the Heresy which gives that retro look I like. My most recent projects I used pine, MDF and oak with various success. I plan now to use a single 1200x2400x19mm ply piece with cuts as shows in attached drawing - this is a cost-effective use of the piece and I can make many projects of the same for my future home cinema and studio.

In a weak moment I came over Fane Pro 12-500 bass driver and procured it without thinking much about it, price is quite good and it ticks of most of my requirements to a 12" in a project like this. What a monster of a driver design, cant wait to test it. I don't expect much below 45Hz in a 60l cabinet. I'm thinking rear ported but haven't decided. I also bought Fane Studio 5 midrange driver, though I hadn't really decided whether I wanted a cone mid like the 4319 or a horn mid like the 4429, Heresy and Pioneer, but I just bought it as an option - I like to have things laying around, I can definitely use it in a project some day anyway. And this is where I might need some advice. More on that below.

From before I have various 1" HF drivers that I could use: Eminence APT50 or ASD1001 as well as Selenium D220Ti, and a few various cheap plastic horns like Eminence APT80 and 150. I will most likely use the APT50/80 combo for high frequency from 5kHz and the Fane 12" up to 500Hz so that whatever mid I chose will play from approximately 500-5k. Now the Fane studio 5 will not be sensitive enough to keep up with the 12" nor the HF but it will definitly work quite good in the 500Hz region and allow some baffle step options for the LF. The HF can be tamed with a variable L-PAD so thats fine. For the low/mid I might consider active crossing but I dont want to limit anything before I have done some measurements. But for the mid I am now considering procuring Selenium D250X and use it in the APT150 short horn instead of the Fane studio 5 as indicated in the drawings below.

The D250 looks to work down to 500 with decent power handling, and the reviews seems OK. Anyone have any experience with the Selenium D250x in a setup like this, 0,5-5kHz? And will it even be possible in such a short narrow horn like the APT150 or short I like for larger horns? Max width is 30cm, height about 14cm, depth as said max 30cm. I assume the whole solution will need a lot of EQ to play OK, that is the plan but I'm thinking about distortion, sensitivity, power handling etc compared to using the Fane 5" and how much complexity I ad to EQ/DSP and XO by doing so. Any advice appreciated. Some drawings and the inspirations attached for simplicity for the reader.

Note: this project is mostly for fun, I don't aim for super high end sound. I'm all about power and sensitivity first and foremost, consider it a PA/Studio main or a front home cinema speaker. I might also build a sub to support this. The form factor allow me also to replace front baffle and drivers in the future, so its good for maintenance and mod perspective, which is why I standardize on this now. I don't need input on that.

Thanks.

https://www.parts-express.com/Selenium-D250-X-1-Phenolic-Horn-Driver-1-3-8-18-TPI-264-204

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Very low parts count shunt regulator

Too simple?

I came across this very simple HV shunt regulator at tubecad.com. It could easily fit on a 50mm x 80mm pcb and bolted flat to a 50x80x12mm flat heatsink when you want to regulate each channel separately in a smallish chassis. Is this circuit "too simple"? I like simple. My application is to regulate B+ for approx 20 to 25 MA at 350 volts.

link https://tubecad.com/2007/07/blog0115.htm

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Conrad KD269: How to unrelease full potential ?

Hi,

I bought from Euope's biggest Elctro-Distributor a nive, cheap power amp for my sub. I am astonished about the build quality (5mm Aluminium front, big toroid, big heat sink etc) and have no clue how they make money on this one.

It sounds not bad as well, but I think there is much more potential to unrelease, where I could need a bit help from the group.

You will find the schematic under http://www.produktinfo.conrad.com/d...9999/330118-sp-01-en-hifi_endstufe_kd_269.pdf

Here is what I am already working on:
- Throw out the electrolytic input cap
- Directly connect line cable on the pcb
- Throw out HF-caps c283, c229,c230 etc
- Replace Standard caps 470uF with Silmics
- Play around with the NFB-Resistor value R281 (27k)-->50k ? 100k?

The heatsink is becoming even hand warm as it is quiet big, so I guess this one works more in class b than class a. What do I need to change to get it much more in class a ?

Any other thoughts what should be modified is highly welcome as this might be a great opportunity at least for all europeans to get a really great amp as a bargain.

Thanks & Best Regards

Frank

Wayne's BA 2018 Linestage Board/Parts Kit

SOLD I am selling 1 each of Wayne's BA 2018 Linestage board and the complete parts kit from the DIY Audio Store-- a $64 value -- for $50 plus shipping. The kit is opened but untouched; everything is in it's original envelope. I'm selling because I have accumulated a backlog of projects that I am not getting completed so something has to go. Pictures on request.
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AC Heater Buzz - Reduce?

I have a new bass guitar amp with a mild amount of buzz, not overly loud or objectionable but audible and I would like to reduce it if possible. For reasons I don't need to get into here, I don't want to modify the circuit. My question is if there is anything I can do externally. I'm pretty sure the buzz is coming from AC on the heaters because in Standby there is no buzz; power on and the buzz appears.

2 x TAD 6L6GC-STR
2 x JJ 6SL7
1 x JJ GZ34
(all new)

Sony SA-WMS7 PSU help

Hi, just wanted a bit of advice for this sub. It arrived with the amp plate hanging off the rear, so I put it back together the best I could, before that had to take everything to pieces as the metal plate was severely deformed.

What I'm stumped on is,btge PSU has those pins on them in the picture, do they need to be touching the circuit board right next to it? As it has tiny lil solder points on the next board are they meant to be not touching? Don't want to plug it in just incase.

Any help would be great.

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Transcendar

It looks like Transcendar is gone for real this time. I had a pair made by them less than a year ago then I tried to get another pair and they said they were too backed up to take orders. Now my last two emails have gone unanswered. Too bad because they were great for the money, now what will I do? Any ideas on better than Hammond but faster than Edcor?

Use design software to select subwoofer driver for existing bandpass enclosure?

I have a bandpass-designed Paradigm PS-1200a subwoofer and as a thought exercise I would like to use two or more software packages to see what 12" drivers might work well with this beast of an enclosure. Unless I am missing something trying to use WinISD, the program wants me to start a project with a known driver and ends with an enclosure recommendation. I am trying to do the reverse...start with a known bandpass enclosure and end with driver parameter recommendations based on the existing and other amplifiers. Can anyone recommend a software package (free is always best) that will do this?

Thanks - Rick

PP Tube amplifier EL 84

Happy new year guys! Since childhood, I have had a hobby of DIY amplifiers. For the past two years, together with my friend from another we have been developing a tube amplifier. Here is the result!

We named ourselves Sonus Art Studio SAS
https://kdsdostup.wixsite.com/sarts/tube
I want to introduce you to our amplifier
There are two versions of TRIODE and Pentode
I hope my post is not deleted! I am always in touch and I hope you enjoy our work!
I wish you all health and not get sick!

Serhio Malicovich

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sub build suggestions please

hi!
i have aquired 4 eminence ps18-6008 speakers, so im right now struggling with a design for them.
my goal is to have them as compact enclosures as i can get,
used some online calculator and winisd, they suggest 3 types of enclosures.
77L tuned 42Hz for power handling
82L tuned 35Hz as "HIFI" most flattest
136L 44Hz for most bass extension.They are all manageble sizes that suits me.
BUT! im wondering is out there some other designs, that would be more effective on a output than reflex enclosure.
i happened to build a set of cubo subs for a rcf l18p300 and listened them side by side with a BR enclosure with the same driver, didnt hear the BR 😀unfortunally im not allowed to own/build near 300L enclosures, so am i stuck with the BR designs or is there something else out there.
they will be used 70% outdoor family/frend/foe deafening/silencing barbeques and the rest of time they will be indoors playing quietly.
all opinions are welcome.
Ps! i wont sell them.

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For Sale Telefunken EL156 for Sale

hello, 5pcs EL156 for sale, used, original Telefunken from the glorious golden tube years, measured with Neuberger 370 *, all PCB's and documents for Experience PPP power amp 100W (changed to original 10 pin Y10A socket) on request. Original photos to follow! shipping worldwide (except russia and ukraine !!!)

el_156.jpg


U1000907 145mA
U1000907 140mA
U0301807 140mA
U0301807 135mA
U0301807 135mA

Batchcode.jpg

el156-3.jpg

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cosinus - a 4way dipole speaker

Inspired by Siegfried Linkwitz and Rudolf Finke i started a new speaker-project - a 4 way speaker, full range dipol, working title: cosinus

Why dipole? Because of the acoustic energy radiated in to the room - to see and show the differences i did some simulation using "Boxsim".

Attachment 1:
shows the level on axis (upper line) and the energy that is radiated into the room for a well buildt classical 3way Bassreflex speaker

Attachment 2:
shows the level on axis (upper line) and the energy that is radiated into the room for a 4way dipole speaker, similar to the one Siegfried Linkwitz has buildt

The line for the energy describes the sum of the acoustic energy under angle radiated in to the room - and is therefore a good description of how the speaker sounds. To make it a little clearer, let us have a closer look to the angles 30, 60 and 75degrees. Just looking at the radiation to the listeners direction they ideally should be down in level as the function the cosinus, so 30° should read about -1.3dB, 60° should read -6dB and 75° should read -12dB. The following Attachments show that the dipol speaker comes a lot closer to that ideal radiation under angle than the classical speaker construction.

Attachment 3:
classical 3-way speaker

Attachment 4:
4 way dipole speaker

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Class AB amplifier issues. Simulation multisim

Hi guys,

Currently i'm designing an AB amplifier just for fun, i build an amplifier before based on STK 084 module (over 20 years ago) . Well now im building a new design which i simulated in multisim. I read the book of amplifier design of malestrom. But i'm having some difficulties. When i simulate my circuit i get a strange ripple on the positive half wave of the audio signal. I have no clue what the cause is. Is there anyone who knows what causes the ripple? Underneath the schematic and simulation output. I really would appreciate help!! I already made the PCB boards so i hope this can be solved by adjusting component values.


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Kind regards,
Geert

LTSPICE - Simulating variable load?

I would like to work on a discrete regulator circuit, and an important criterion is how well it does when the load (e.g. a DAC or pre-amp circuit) alters its power use rapidly (typically at audio frequencies (*)).

Any suggestions as to how I represent such a load in LTSpice?

BugBear

(*) yeah, I know, some extreme class-A amplifier circuits don't do this.

Solid State Kits

So seems due to a health issue I’ve been sidelined for alittle bit. So, I figure maybe I’d build an amp. Just curious what you guys think are the best sounding amps. I do know how to solder. I can get help for a really excellent retired tech. Haven’t built an amp since 1978 or so when o was a little kid. I was thinking about the ACA and trade out the signal resistors for Caddocks. Maybe upgrading the caps alittle also. My only concern is 15 watts mono are enough to drive speakers with some authority. I have a Mac MC250 that I had restored by Atma-Sphere. How would this amp compare to that? Is it easier to build separate boards to experiment with? Possible to geek out a few more watts? Any other kits that would be better? Thanks for all the input. I do appreciate it.
My system components are as follows.
Atma-Sphere MP-3 pre
Bel Canto Streamer Dac
Klipschorn speakers 105 Db.

My DIY speaker project

This is my project I did, done while I was in college and on a budget. As such I had little tools and workspace but given the means I think it came out well. I hope to continue to expand and grow this project because it was a lot of fun. For starters this project uses a set of 8in Alesis full range speakers and two 4in tweeters (from the previous full range). I harvested these from old bookshelf speakers. The box I designed and built myself out of particle board. For the amp I used a car amp and then to be able to get media to stream I used a "Up2Stream Pro V3 - Multiroom Wireless Receiver Board (No Amp)". I then built it in such a way that it actually uses an ATV battery, providing at minimum 10 hours of use before needing a recharge.
Speaker Front.jpg
The idea I had behind this was to get it so the speaker was not just a speaker for in the house, but more importantly one that could be used on the go. I realize this is significantly larger than typical portable speakers, but eventually I will build smaller.
Speaker Inside back.jpg
For the two full range drivers I ported using cardboard tubing, and then proved insulation in each speaker chamber. This came about after some trial and error and just playing around with what sounded better and reduced interference.
For the wiring like previously stated I used a car amp that allowed me to separate into left and right channel and also full range and high range. This amp was the second choice of amp I made because I had issues with several amp boards being overloaded due to wiring issues. The Arylic board I used I have done things with their products in the past and liked how I would get several input options: from Wi-Fi and Bluetooth to aux line in. In order to make this board work I used a voltage converter to reduce from standard ATV battery 12V to 5V. I encountered a number of problems from there, one of which was some feedback coming through the ground. I found a ground loop Isolator significantly reduced this problem to the point it is only noticeable at very high volumes.
Speaker inside boards view.jpg
On the box I did go for the black because I was hoping for a piano black finish, but due to time constraints and poor working areas, I did not get the high gloss mirror finish I was hoping for, but it still turned out okay. I have been using this build for over a year now and have had a blast. At first, I heavily used the Wi-Fi and Bluetooth features of the Arylic board, but now that I am in a more permanent space, I have linked this speaker via auxiliary cable with another arylic product to provide a more immersive sound in all points of the room. I use it with music, movies, and TV. What do you think? What ideas do you have?

Speaker Side.jpg

Reflections

Hi there,
Bear with me as I am a total newb on these topics..

I am using a 2.1 system. PC ---> AVR ---> speakers. Using JRiver for audio. My left channel appeared to be louder but the meter says they are equally as loud I tried lowering it by 0.5 dB increments but it never sounds right across different tracks I know well. I could be wrong but I think the wall reflections close to the left channel might've been causing this. The wall from the right channel is much further.

According my calculations the left reflection arrives at 7.55ms and the right reflection arrives at 15.55ms. I added 8 ms of delay to the left channel and it seems to me the extra loudness is gone, the sound is more balanced/coherent now and the imaging is solid as I move my head around the "sweet spot". Before it was all over the place.

So my question is if I add a slight delay to the left speaker, the reflection comes in later but so does the direct audio from the speaker. Is this the correct way of utilizing DSP?



Room.jpg

Additional changes for a pair of Maggie 2.7 qrs? I'm about to pull the covers off to fix some delaminated wire

This is my first and hopefully last attempt at fixing my new speakers delamination and wire starting to come off( i bought them broken about a month ago) is there any other quick mods like capacitor upgrades or anything that can be done while they are apart that dont cost a fortune? I thought since im pulling them apart anyway now would be the time to do them-any mods that you know that work universally or anything along those lines would be appreciated.

AC30 Grounding Rework

I have built my own 300b amp, and obviously spent a while considering the grounding.
I have just been given an AC30 to repair, and have done so, but am appalled at the grounding approach and associated noise.
I was just wondering if anyone had rerouted the earthing on an AC30 to reduce noise, including isolating signal and chassis earthing, and what their experience had been?
Many thanks

Inverting Subs - Worth It for Cooling?

Hi, all...

I think I have a full picture of all the advantages/disadvantages of standard versus inverted mounting, but I've never found a satisfactory answer to this question:

All things being equal on a sealed box, do you think it's worth inverting the subs solely for the benefit of keeping the voice-coil/motor cooler?


I mean... it's has to get hot in that sealed chamber, right? I know it varies based on the size of the subwoofer and the size of the chamber, but how hot does it get in there? Does it approach a level where it really 'matters'?

An experience that makes me ask: I had a 4th-order bandpass enclosure for four subs, all of which were individually chambered (to the same specs). Two of them were mounted in the standard cone-out fashion, and two of them were inverted. Well, guess what? When I took the woofers out of the box, two of them had seized (the standard mount) and two of them were fine (the inverted mount). It could be a coincidence, but I can't help but wonder as I build my next sealed box.

I would appreciate any insights you might have. Thanks!

SPL Calibration ideas with no reference

Obviously national labs and acoustic companies have invested millions in SPL calibration and we can't hope to compete at that level. Still, I'm trying to think of some easily reproducible "thing" that could get within 2-3 dB or so. Ideas that come to mind are a certain size and weight paperback book being tipped over onto a flat surface. A specific ball bearing dropped onto a granite surface plate. It has to be something that a person could reproduce using nothing more than a verbal description and uses commonly available materials. An impulse is fine, since we have sound cards and can look at the waveform, though the frequency should be "easy" for available microphones. This is a brain teaser so if your first thought is "impossible", keep thinking. There's the thread on spark gaps, but that's only doable by those with some electronics skills and is better for frequency response rather than absolute level.
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MIT's thin plastic speakers fall flat.

"Engineers at MIT have created paper-thin speakers using a plastic film and a piezoelectric layer embossed with tiny domes.
"These sheet speakers could potentially be applied to any surface for sound output or input: think surround sound or noise cancellation in aircraft. The technology also has potential for ultrasound imaging and echolocation, among other possibilities.
"The work is described in a paper published recently in the journal IEEE Transactions on Industrial Electronics, "An Ultra-Thin Flexible Loudspeaker Based on a Piezoelectric Micro-Dome Array.""

The Register article: https://www.theregister.com/2022/04/29/mit_flat_speakers/
Video: Login to view embedded media IEEE abstract (and PDF, paywall): https://ieeexplore.ieee.org/document/9714188

The dumbed-down article needs qualification but who cares? It may find a niche.

US Amps USA-200 Amplifier

I’ve got a USA-200 that speaker wires accidentally touched and fried a few resistors. I replaced all resistors out of tolerance and tip36 & tip35 transistors. And also replaced a few MPSA06 transistors and MPSA56 transistors. Amp powers up drawing less than 1 amp of current but no sound. I checked the TL074 and sound is present on pins 1 & 7. The relay is engaging which should release the amp out of muting sound.

determining overall system sensitivity

Hi, I've been working on a 3-way system and trying to work out its sensitivity.

Is it as simple as taking the lowest sensitivity driver (99.2db woofer) and subtracting the effect of the crossover (2nd order lowpass)?

I have the following components:
HF - Beyma CP21/F on a 4th order HP
MF - JBL 2445J w/2308A horn on a 3rd order BP
LF - Eminence Delta Pro 12A on a 2nd order LP

Is there any way to replace or repair a tweeter dome?

I ordered a pair of vintage Diatone speakers (DA-66Z) and the shipper loaded them facing down and the tweeter cone got crushed during shipping. I only paid $10 dollars for them so it seems like even more of a hassle to ship them back or deal with that. So I'm wondering is there any way to repair the cone? I tested the frequencies and sound still seems to come out fine from it, but it was just an ear test. I'm not looking for the original sound or anything but just wondering if it's possible to re-cone or is it just completely gone? Thank you




tweeter damage.jpg

FS: Audioquest cables: King Cobra, Viper, Diamondback, Type 4

These cable are all used in good used condition, showing some signs of use, except as noted.
All of the silver connectors show the usual tarnishing.
Prices as shown below plus actual shipping from 06905. Offers welcome.

AudioQuest King Cobra, 1 meter pair, silver XLRs, $125

Audioquest Viper, 1 meter pair, silver RCAs, $90

Audioquest Viper, 2 meter pair, silver RCAs, $120

Audioquest Viper, 12.5ft pair, Neutrik gold XLRs, $199

Audioquest Viper 35.5ft/10.8 meter pair, Silver XLRs, $299

Audioquest Diamondback, 1 meter pair, silver RCAs, $75

Audioquest Diamondback, 5 meter single and 2 meter single, both with gold RCAs, $100 for both.

Audioquest Type 4+, 13 ft pair, silver spades showing wear. $129

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Changing cathode resistor no effect on dissipation?

Hi, I've been building a stereo 6p15p amp based on the "zen triode" topology, but with a power supply based around a "mystery transformer" (which was in a previous life powering a mono push-pull amp based around 6CM6, rectified by a 6AX5) being my main constraint.

W/150 ohm cathode resistor, It measures 290v plate-to-cathode @ 30ma which is roughly 8.7w...

I want to get a couple more watts of dissipation.

using one of those "online calculators" and I conservatively estimated that 100 ohms will get me there.
However, when I changed it to 100 ohm, the volts have dropped to 266v plate-to-cathode @ current increase of 36ma which is roughly only 9.6w...

Before I get more aggressive with the resistance-dropping, could my power supply be my limiting factor here? what am I not considering? do I just go ahead and try a lower resistance? Or should I ditch the 6AX5 tube rectifier for solid state? Should I try more capacitor in the power supply ? (within the limits of the rectifier of course)

pentode aikido driver for 300b

myself and jamesd have concocted this amp
it has been a few months in creation
any opinions would be appreciated.....

power supply is valve rectified LC or sometimes LCLC
(i can't fit the second choke onto the board)
i have tried CLC which gives @510V HT with droppers to give 460V on driver
but choke input sounds better in this case
the driver stage has further LC decoupling
i am considering some form of shunt regulation or minimal reactance type psu

6n6p operating point was actually derived for ecc99
so we may tweak this but it does sound substantially better with 6n6p

i would like to thank jamesd for his support in this project
it was he that led me through all the calculations etc
so without him it wouldn't have happened
hope you like it.....

dave dove

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power transformer taps

Hey ya all! New to the forum so howdy! Pat here from Olympia WA. I have an old Firstman Vanguard 200 that I'm rebuilding. Before I make any real moves I'm wondering if anyone can lay some eyes on the power transformer and take some best guesses as to the taps. I think I know what I'm dealing with but am not sure. In the picture from top left to bottom right I'm pretty sure the taps are as follows, yellow neutral from power switch, center unknown, right yellow line from fuse holder, bottom left white rectifier, black ground with capacitor to neutral yellow, white rectifier, black ground, yellow heater. The yellow and black wires going off to the left are to an indicator light. Gray cord on top is power, neutral going to power switch, the other line side is to fuse. Last, lower right yellow wire is going to heaters.
20220426_162818.jpg

Can anyone confirm these assumptions?
Two questions, the yellow heater wire is only attaches to half the tube sockets heater turrets, in series. The other half of the heater turrets are series wired together to ground. Does this sound correct?
Next, how would I wire a tube rectifier given there appears to be no rectifier heater taps?
That's it for now!
Thanks for the looks,
Pat

bad clipping

Just wanted to know if anyone experienced such bad clipping behavior,
The circuit is a blameless with enhanced vas.
The really bas waveform is without diode D8.

Does anyone have a suggestion as to any changes to improve clipping.
The circuit was just built so many changes to make.

Thanks

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Amplifier with a sound. How to build for second harmonic.

What can I technically do when designing an amplifier to make it add plenty of second harmonic?

Create distortion is not too difficult.
But to generate mostly 'earfriendly' second harmonic - how do we do this?

I have one suggestion.
It is wellknown that big MOSFETs generate some 2nd.
But more specifically how do we add them?
How do we build?

Give from your experience and tell me.
Thank you.
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Najda

Does anyone want my Najda?

It's not been used for a few years but I plugged it in and all seems fine. I don't have the software and it's not easy to see it online anywhere....
Anyhow it's a very nice sounding unit - and I'd be happy to sell it for a reasonable price.

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TPA3255 ClassD Diy Board, April 2022

Yeah I know, there are other Treaths with this amp, But if its Ok,I will start my own journey here...
I just got it in mailbox, Deluxe version from Aliexpress, ( Deluxe version: use LME49720NA operational amplifier + nichicon FW 2200uF/63v fever audio electrolytic capacitor + WM capacitor ) and now I have got to test to see if its working...
Capacitors was bend, But I dont think there is no harm done to the board
The input is just a wire, I have to figur out how to get a microjack attacht to it...
I only have a 24V PSU lying around, maybee its too small, time will tell

I think I will mod it the best I can, But Im no expert, so I will read the treaths in here to see what others are doing...

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Single pole power switch, is it causing amplifier voltage problem?

Can anyone here confirm if I'm on the right track here? I replaced a broken Sansui AU-5500 dual pole power switch with a single-pole power switch but at turn on I found 58v on the positive and 12.40v negative on the collector of each output transistor? The collectors should read around 35v positive and 35 negatives, a total of 70v, the 58v and 12.40v I'm getting now both add up to 70v too? Would the single pole switch cause this or should I be looking elsewhere for the voltage problem? I can't find a proper dual pole switch at reasonable postage from the USA the new US Global postage company wants nearly $AU200, Fleabay wants even more for postage? I used the single pole switch because I thought it would work and the Sansui AU-5500 schematic shows a simple on-off switch so what could go wrong? Ha!

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SVS PB12 NSD driver substitute

Hi All,

I have a SVS PB12 NSD subwoofer that has a blown driver 🙁 It is the 2007 model that has the driver that I believe is from TC Sounds. I was very disappointed to see that the driver blew as the subwoofer has not been subjected to any REAL hard work! 😡

Any way, SVS has a replacement driver, but it's exactly the same, not an improved version like they have in their newer designs, a peerless xxls driver.

I was thinking of going the DIY way and replacing the svs driver with a Peerless xxls 835017 or the ScanSpeak 30W-4558T00.

What are your comments regarding these drivers and which would be the better choice.

PS. The sub is large and has approx. 130L of volume.

Thanks for your advice

NAD 3020 DC on right channel

Hi all. Could someone please help me?

I have an old Series 20, with the 4 caps in the middle, which has -7.5v on the right channel.

I've replaced the output and driver transistors to no avail, but have confirmed this works fine through headphones, and through another power amp.

The concerning thing is, C622 swells considerably, then blows, which I'm sure is related, but I'm not sure how to track down what's blowing it.

Any help is greatly appreciated!

-Dave

Horn project for someone feeling adventurous?

Hello all!

I am toying with the idea of another speaker project. We are planning to possibly build a house in a few years, and the living room there could be spacious enough to accommodate speakers of more "unusual" footprints and dimensions. I dare not speak this aloud around here yet, but one might even be able to design the living space to work as a listening area specifically. Although I have been most pleased with the FHXL's I currently have, such an opportunity makes one think...

I am pretty adept at woodworking, and might be willing to attempt something a bit more laborious in that respect. To be honest, I'm sort of looking for something beautiful to make. Well, how about some speakers for a change!

So what kind of speakers, then? Good question, because I am approaching this from a completely "wrong" angle, as primarily a woodworking project. However, I don't want to spend all that time and effort to build something that looks good but dissappoints sonically. In terms of sound I love the sense of space the FHXL's create, and they do generate decent bass. I definitely don't want to take a step down from them. If I could build upon their strengths, that would be great. I would like to be able to drive them with a ~20W class A amp.

I started to go through the Full Range Gallery thread, and almost immediately found something very interesting: https://www.diyaudio.com/community/threads/full-range-speaker-photo-gallery.65061/post-733344 Unfortunately that post was a long time ago and I didn't find much details of the said project. The drivers used there seem to be discontinued, though.

Now something like that would be a great project, assuming they sound good as well! I'm sure there are other designs in the similar category, I just don't really know how to search for them. Would you have any suggestions?

Rebuilding the Enigma...

So, I loaned out my Enigma subwoofer to my brother a few weeks ago for use in the background music system for his bar, and staff managed to destroy the driver (not too surprising).

I cut out the moving parts for the driver, and it looks like the fiberglass former fractured at one point. I suspect that's from the INF10 driver bottoming out - a particular flaw with that driver, so that's not too surprising. The bottom 2/3rds of the coil also seems to be blackened, and I'm a bit curious as to why the top 1/3rds is not. The driver has a vented pole piece, and the pole piece is t-shaped at the gap, but the driver is ordinary otherwise, e.g. no under-spider venting. It's rated at 100W, and was connected to an amp that also does 100W and, while the coil is a bit blackened, I think the failure was more likely due to mechanical damage from bottoming out too hard.

Rag Bose all you want - they seem to at least get speaker protection right. So I'm thinking about how I can add Bose-like speaker protection to this subwoofer, to make sure that power delivered to it does not exceed say 70W for a continuous period. PE doesn't seem to have circuit-board mountable lamps, and there's not enough information available on their polyswitches (e.g. insertion resistance) to really make an informed choice about them.

Any suggestions? I plan to raise the order for the new driver later today, once I've identified one that sims well in the current box (another big challenge).

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Design steps of building a low-jitter master clock

Greetings for all,

I’m relative new in the clock design section, so I have my beginner questions. If you feel some inspiration to answer please let me know! Originally I’ve posted this text in another topic, but considering the complexity of the subject I decided to make an own place…

My setup contains the following elements (see photo and schematic):
- DIYinhk USB multichannel XMOS board
- my AK4458 multichannel DAC
- my reclocking board with Crystek CCHD-575 crystal, NB3L553-D buffer and PO74G374A logic gates, supplied from a TPS7A4700 3.3V regulator

The circuit is working good, although it is under testing yet. Before this setup I fed my DAC direct from a MiniDSP USBStreamer, without reclocking the I2S signals. The improvement is obvious: there are more microdetails, finer textures, the instruments are better focused and more separated. Brass instruments and violins are excellent detailed. Overall a more natural presentation, not so fuzzy like a typical "digital" sound.

But! After some experiments I must say that it’s not an easy task to design so a HF circuit correctly. Depending e.g. from the applied bypassing, the sound character changes too! By not adequate setup the higher transients can be too harsh/grainy and the midrange-bass not so articulated, what I'm actually experiencing with my setup. I’d like to make a little technical “walk around” here, to find and understand the optimal environment for such a circuit.

I’ve found some very helpful literature:
- Application Manual for Power Supply Noise Suppression and Decoupling for Digital ICs
https://www.murata.com/~/media/webrenewal/support/library/catalog/products/emc/emifil/c39e.ashx
- Johnson-Graham: High-speed Digital Design (A Handbook of Black Magic)

Please find attached an excel-sheet, adapted from this book. I’ve made it for myself, to understand the basics and to have a good starting point. The applied models are relative simple (capacitors modelled only with capacitance and a serial inductance), but I think it doesn’t harm to make a check like this and make some thoughts…

Another try is to collect as good as possible spice models from the manufacturers (Murata, Kemet, Panasonic etc.) and drop them into a simulator (e.g. TINA). Feel free to experiment with that!

My next step will be to make some jitter measurements with injected noise into the power lines. Will try simply to superpose e.g. 0,1V sinusoidal signal with changing frequency and see what happens on the clock and other outputs… I hope I can determine a reasonable targeted noise floor what a supply line must be achieve to get an appropriate audio playback.

I’ll try to split the psu-lines of the ICs (clock, buffer, gates) and supply them with different voltage regulators. TPS7A4700, LT3042, shunt, LF33CV, etc.

So, I leave rather no questions at the end, because I’ve to experience it myself, but still the message: if you feel to say some advice please make it! 🙂

Thanks for your attention!

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100th or 811a?

I have an 811a amp that's in the final stages of a rebuild from a working prototype to a finished "tidy amplifier" There's a pair of Hammond opts and it will use Coleman regulators (they're in the post)
Here's the problem: I just came across a pair of 100TH valves in nos condition... The schematic I used is attached below. I am happy how it works for 811a's. When I built the amp I ended up with about 470v for the 811a plates.
Could I sub in the 100Th and keep the 6v6 drivers?

The output transformers have a UL tap at 40% that may be close to 3.5k

Any thoughts out there? I think the 100TH is a great looker!

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MTM Speaker drivers

Has anybody expirience with the 2 4 ohms midbass in Series, -and then in parallel with the High tone driver. I have bought scanspeak 18w4531G00 and R2904/700005 drivers too a very good Price and was told that this should not a problem soundwise but cant find Any exambles with this setup, or anybody with expirience in this setup?. I know It Will be 3 dB lover, that is not my problem. Thank in advance.

ZV7T : how to make distortion analyzer?

The latest Zen is Zen ver 7, common inductance loading. Mr. Pass said that this amp cannot be trimmed by matching voltage or matching current, it has to be done with distortion analyzer.
He said that we can also built (if cannot buy one), like the IM analyzer (Audio Express).
Does anyone has copy of that article? Or have other DIY distortion meter that can be used for trimming this amp?

Simple SE Amplifier

I realised that I have never hear the sound of a single ended tube amplifier, never tried to build one, therefore decided to put together a proof of concept, very simple and on the cheap.
Goals:
1) Use tubes that I have, nothing fancy. I got some 6P41S and 6N1P tubes.
2) Output power 10W (AVG), no gNF, only local feedback, less than 3% THD.
3) Cheap output transformer from China, 3K3:8ohms, 15W (claimed)
4) Use cheap SMPS for power supply.

The schematic is very simple, just 1/2 6N1P input stage and two 6P41S in parallel, self-bias, class A only, no g1 current.
I was a bit surprised that it actually works quite well, I get around 10W before clipping starts due to g1 current, but this is enough to drive my Monitor Audio Bronze BX5 speakers. Also, there is zero hum on the speakers with the volume tap at max.
The bass is not as strong as in my push-pull amp, probably could do with a better OPT, but Pavarotti, Il Volo, Aretha Franklin all sound great.
Here are some pictures, improvement suggestions are very welcome. I'm planning to add a Mosfet to allow A2 to see how much power can I get without too much distortion. I will also do some more precise distortion and bandwidth measurements, I'm interested to se how good (or bad) the OPT is.

IMG_20220418_134208.jpg
SE_2x6P41S_6N1P_InputStage.png
IMG_20220418_134229.jpg
IMG_20220418_134243.jpg
IMG_20220418_134610.jpg
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