Complete novice alert! *don't read if easily annoyed by stupid questions*
- By GooseyGander
- Chip Amps
- 246 Replies
Hello all. I just recently decided during lockdown to learn some basic electronics. I then found I just had to build myself an amplifier of some kind. I then found this Instructable: https://www.instructables.com/id/Make-your-first-Serious-Amplifier/ I have copied it as far as I can but am now stuck. I have followed the original version but used a blank pcb used some other ideas from someone else who has made this (at the bottom of the website). Basically I am stuck as to where the connection goes to V+. Also what happens at the potentiometer and the front switch. Can anyone help? This is a pic of where I'm at, but I don't know if it will help:
The two connectors in the centre of the pic are where the lines from pin 10 (V+in) and pin 1 (V+) come to. I don't know where these connect to tbh. Any help very gratefully received!
The two connectors in the centre of the pic are where the lines from pin 10 (V+in) and pin 1 (V+) come to. I don't know where these connect to tbh. Any help very gratefully received!
HowTo: Etching a brass frontplate
- By CyberIndy
- Construction Tips
- 9 Replies
Last year I struggled to mark a frontplate made from solid brass. The process involved countless tries and errors and turned into major project itself. Since I documented my findings in my private wiki, I thought it might be worth sharing them here as well.
The situation
I bought a diy-ed preamplifier on eBay that came in a custom made housing made only from solid brass. It was "untested" and completely unknown to me. The brass however sparked my interest right away so that I could not resist and bought the thing for little money.
The brass definitely needed some cleaning and polishing. As far as I could tell the scales and lables on the frontplate had been made with rub-off letters. It looked quite impressive, but unfortunately the letters would come off immediately when polishing the metal. In fact the brass would even need some serious sanding before I could even get to polishing.
I therefore needed a way to apply new markings and labels. Preferably something that would withstand future polishing and would not ruin the distinct look of the brass.
I looked into a whole variety of techniques including engraving, toner transfer, mod podge, laser engraving and what not. But nothing seemed to fit my toolset or expectations.
TL;DR
The solution I came up with involves a combination of laser etching and acid etching (just like we used to etch PCBs in days gone by). I own one of those cheaper Chinese Laser engravers. These are by far not strong enough to etch brass directly, but they are very well suited to remove a layer of etch-resistant in whatever form or shape required. The laser engraved plate is then etched in Ferric Chloride. Lastly the etched engravings can be filled in with lacquer or color of choice.
The template
I started out by designing the complete frontplate in InkScape. Since the markings had to fit the already existing holes, cut-outs and knobs, this step required a lot of measuring.
Next I printed the layout on transparent slides (as used for overhead projectors) to verify the alignments.
The transparent foil also helped a lot to mark squares around the individual elements to assist in positioning the laser.
Since my Laser (an Ortur 20Watts) has a limited working area, I could not engrave the whole plate in one go. Instead I had to move and align the laser after every element.
Positioning the laser is always a bit tricky, since the only way to "preview" where the laser will be firing is by outlining the shape with ver low power output.
The Etch Resist
Now it was time to apply an etch resist to the plate. An etch resist is simply some sort of protective layer that keeps the acid away from parts that we do not want to etch. The easiest way to apply etch resist is to simply spray paint the part with acrylic paint. I decided for black paint, as black is the easiest color to laser - it simply absorbs light the most. Nevertheless I had to test several brands of spray paint, as some of them don't adhere to brass very well or are not as "resistant" to acid as expected (some can be easily peeled off or crackle after drying, which would allow the acid to flow in from underneath). I found the spray paints from edding to work really well and also some no-name can from my local store turned out really good.
Great care must be taken to cover really every tiny spot in paint. Don't forget the edges and insides of holes and cut-outs. Every bare spot of metal will be etched away if not properly protected. Little spots can easily be corrected or improved with an edding pen (the ones containing actual lacquer and have that metal ball you need to shake before using it).
For the backside of the plate I simply applied generous amounts of overlapping packaging tape, which also makes for great etch resistant.
Activate Lasssszzzer
Now it was time to engrave my layout into the etch resistant. The laser basically burns away the spray paint and reveals the bare metal where we want to etch. Finding the right settings for the laser was another lengthy process. After some tries I found that the following worked well for me. The settings will very likely be different for another laser and other spray paint:
The Etching
Time to actually etch the brass plate. After a few experiments I found that about 10 minutes in Ferric Chloride create the desired effect. Any shorter period will result in lower engravings that cannot be filled with color very well. Longer than 10 mins and you risk to loose details - fragile letters like 'A's and 'e's will become unreadable.
The acid was less problematic to handle than I first anticipated. Just make sure to wear rubber gloves and eye protection. All materials involved should be acid resistant of course. Just don't poke around with metal or organic parts and you'll be safe.
It helps a lot if you warm up the ferric chloride before using it. If you have the possibility, you could also heat the acid bath during the process - for me it worked just fine without.
I kept the solution in motion by gently stirring with a (plastic!) brush over the plate from time to time. Make sure that no bubbles accumulate underneath the plate or in hidden spots.
After the etching time is over you need to neutralize the acid to stop the etching process. I simply purred normal baking soda over the whole plate, which works just great. Keep your neutralizer always at hand if something goes wrong during the process.
Remove Etch Resist
After the etching is done a nasty crust of neutralized ferrit chloride and etch resist has to be removed. Start by carefully washing and brushing the now crusty baking soda of.
To remove the spray paint you will need something stronger though. Universal paint thinner should do the trick to disolve the spray paint. It is quiet a mess though and should be done in a well ventilated area. Also make sure that you have plenty of paper towels at hand, since you will need it in great quantities. Initially I expected the acid etching to be the messy part, but removing the paint was by far the greater hazzle.
See below a close-up of the etched scale:
Now is the time to give the brass a good polish. The best polish for brass that I found so far is "Autosol", which I happily recommend.
Filling the Engravings
You can either leave the engravings as they are or take another step and flood fill them with color of your choice. The engraved areas will darken (faster) then the rest over time, which can also look appealing. I decided to fill out all writings and leave the scales as they were.
The filling is quite simple in theory: you pourr plenty of lacquer into the engravings and sand or polish everything plane after the lacquer has dried - leaving only the etched areas filled with paint. The practical application was again not that easy though and required once more several tries. Some of the paint I tested did not dry "hard" enough to be sanded. Other sorts of paints or lacquer attracted dust from the sanded brass parts, which again looked ugly.
The best results were obtained by using the same lacquer edding pen I used before as an etch resist. I painted several times thick layers with the pen and then used plain office paper wrapped around a block of hardwood to "sand" the excess paint off again. Professionals apparently have special filler paint or waxes for this task, but I was happy with the results I was able to generate with household items.
Finishing Touches
Lastly, I wanted to preserve the shine of the polished brass. It took again many tries (involving Zapon lacquer and the like) until I was recommended "Renaissance Wax". That wax seems to be used a lot by watch makers and was originally developed by the British Museum to preserve all kinds of materials without damage. It is a bit costly, but the smallest can will last you live time and is definately worth it. Just apply a very thin coat of the wax and you will not have to polish the brass for a long time. Even the frequently touched parts, like poti knobs, still look great.
I hope this write-up will be of use or inspiration to someone. 🙂
The situation
I bought a diy-ed preamplifier on eBay that came in a custom made housing made only from solid brass. It was "untested" and completely unknown to me. The brass however sparked my interest right away so that I could not resist and bought the thing for little money.
The brass definitely needed some cleaning and polishing. As far as I could tell the scales and lables on the frontplate had been made with rub-off letters. It looked quite impressive, but unfortunately the letters would come off immediately when polishing the metal. In fact the brass would even need some serious sanding before I could even get to polishing.
I therefore needed a way to apply new markings and labels. Preferably something that would withstand future polishing and would not ruin the distinct look of the brass.
I looked into a whole variety of techniques including engraving, toner transfer, mod podge, laser engraving and what not. But nothing seemed to fit my toolset or expectations.
TL;DR
The solution I came up with involves a combination of laser etching and acid etching (just like we used to etch PCBs in days gone by). I own one of those cheaper Chinese Laser engravers. These are by far not strong enough to etch brass directly, but they are very well suited to remove a layer of etch-resistant in whatever form or shape required. The laser engraved plate is then etched in Ferric Chloride. Lastly the etched engravings can be filled in with lacquer or color of choice.
The template
I started out by designing the complete frontplate in InkScape. Since the markings had to fit the already existing holes, cut-outs and knobs, this step required a lot of measuring.
Next I printed the layout on transparent slides (as used for overhead projectors) to verify the alignments.
The transparent foil also helped a lot to mark squares around the individual elements to assist in positioning the laser.
Since my Laser (an Ortur 20Watts) has a limited working area, I could not engrave the whole plate in one go. Instead I had to move and align the laser after every element.
Positioning the laser is always a bit tricky, since the only way to "preview" where the laser will be firing is by outlining the shape with ver low power output.
The Etch Resist
Now it was time to apply an etch resist to the plate. An etch resist is simply some sort of protective layer that keeps the acid away from parts that we do not want to etch. The easiest way to apply etch resist is to simply spray paint the part with acrylic paint. I decided for black paint, as black is the easiest color to laser - it simply absorbs light the most. Nevertheless I had to test several brands of spray paint, as some of them don't adhere to brass very well or are not as "resistant" to acid as expected (some can be easily peeled off or crackle after drying, which would allow the acid to flow in from underneath). I found the spray paints from edding to work really well and also some no-name can from my local store turned out really good.
Great care must be taken to cover really every tiny spot in paint. Don't forget the edges and insides of holes and cut-outs. Every bare spot of metal will be etched away if not properly protected. Little spots can easily be corrected or improved with an edding pen (the ones containing actual lacquer and have that metal ball you need to shake before using it).
For the backside of the plate I simply applied generous amounts of overlapping packaging tape, which also makes for great etch resistant.
Activate Lasssszzzer
Now it was time to engrave my layout into the etch resistant. The laser basically burns away the spray paint and reveals the bare metal where we want to etch. Finding the right settings for the laser was another lengthy process. After some tries I found that the following worked well for me. The settings will very likely be different for another laser and other spray paint:
- Speed 500mm/min
- 90% power
- 2 passes
- 1bit b/w dithering pass-through
The Etching
Time to actually etch the brass plate. After a few experiments I found that about 10 minutes in Ferric Chloride create the desired effect. Any shorter period will result in lower engravings that cannot be filled with color very well. Longer than 10 mins and you risk to loose details - fragile letters like 'A's and 'e's will become unreadable.
The acid was less problematic to handle than I first anticipated. Just make sure to wear rubber gloves and eye protection. All materials involved should be acid resistant of course. Just don't poke around with metal or organic parts and you'll be safe.
It helps a lot if you warm up the ferric chloride before using it. If you have the possibility, you could also heat the acid bath during the process - for me it worked just fine without.
I kept the solution in motion by gently stirring with a (plastic!) brush over the plate from time to time. Make sure that no bubbles accumulate underneath the plate or in hidden spots.
After the etching time is over you need to neutralize the acid to stop the etching process. I simply purred normal baking soda over the whole plate, which works just great. Keep your neutralizer always at hand if something goes wrong during the process.
Remove Etch Resist
After the etching is done a nasty crust of neutralized ferrit chloride and etch resist has to be removed. Start by carefully washing and brushing the now crusty baking soda of.
To remove the spray paint you will need something stronger though. Universal paint thinner should do the trick to disolve the spray paint. It is quiet a mess though and should be done in a well ventilated area. Also make sure that you have plenty of paper towels at hand, since you will need it in great quantities. Initially I expected the acid etching to be the messy part, but removing the paint was by far the greater hazzle.
See below a close-up of the etched scale:
Now is the time to give the brass a good polish. The best polish for brass that I found so far is "Autosol", which I happily recommend.
Filling the Engravings
You can either leave the engravings as they are or take another step and flood fill them with color of your choice. The engraved areas will darken (faster) then the rest over time, which can also look appealing. I decided to fill out all writings and leave the scales as they were.
The filling is quite simple in theory: you pourr plenty of lacquer into the engravings and sand or polish everything plane after the lacquer has dried - leaving only the etched areas filled with paint. The practical application was again not that easy though and required once more several tries. Some of the paint I tested did not dry "hard" enough to be sanded. Other sorts of paints or lacquer attracted dust from the sanded brass parts, which again looked ugly.
The best results were obtained by using the same lacquer edding pen I used before as an etch resist. I painted several times thick layers with the pen and then used plain office paper wrapped around a block of hardwood to "sand" the excess paint off again. Professionals apparently have special filler paint or waxes for this task, but I was happy with the results I was able to generate with household items.
Finishing Touches
Lastly, I wanted to preserve the shine of the polished brass. It took again many tries (involving Zapon lacquer and the like) until I was recommended "Renaissance Wax". That wax seems to be used a lot by watch makers and was originally developed by the British Museum to preserve all kinds of materials without damage. It is a bit costly, but the smallest can will last you live time and is definately worth it. Just apply a very thin coat of the wax and you will not have to polish the brass for a long time. Even the frequently touched parts, like poti knobs, still look great.
I hope this write-up will be of use or inspiration to someone. 🙂
Attachments
High power class AB amplifier rectifier circuit
- By nick696
- Solid State
- 4 Replies
Hi! I come across a highend Japanese amplifier, the power transformer is center tapped, normally we only need to use 4 diode to get the dual supply like the circuit below:
This amplier's dual supply rectifier circuit use 8 diode:
This circuit connected to a 3KW transformer.
May I know what is the benefit of this circuit?
Thanks.
This amplier's dual supply rectifier circuit use 8 diode:
This circuit connected to a 3KW transformer.
May I know what is the benefit of this circuit?
Thanks.
Attachments
Help trouble shooting Sanyo Plus 55
- By 45144
- Solid State
- 12 Replies
I have a left channel distortion caused by my hand slip. The signal looks good going into the amp circuit, 1khz sine wave. At Q701 (2SA798) it starts to distort. I replaced the 2SA798 with one I got from eBay and it may be bad. I pulled all of the other transistors in the circuit and they check ok using the diode and hFE functions on my meter. I was a licensed tech 40 years ago but it is really just a hobby now.
Here are photos of the scope readout and that part of the schematic.
This is PIN 1, 200mv
PIN 2, 2.8v
PIN 3, 130mv
PIN 4, 2.7v
PIN 5, 130mv
SCHEMATIC with numbers, "A" is the left input from the preamp.
Here are photos of the scope readout and that part of the schematic.
This is PIN 1, 200mv
PIN 2, 2.8v
PIN 3, 130mv
PIN 4, 2.7v
PIN 5, 130mv
SCHEMATIC with numbers, "A" is the left input from the preamp.
Attachments
Converting an old radio into a standalone stereo speaker
- By Jarro
- Construction Tips
- 27 Replies
Attachments
AMP must output sine wave when open loop
- By peizi
- Solid State
- 0 Replies
For the sound quality the audio power amplifiers must output sine wave when open loop and 4Vp-p input , I have testing the +_70V and +_85V AMP drivers , Open loop X27/X3=9 is better sound and more detail like tube AMP, It' is 3W only.
+_70 Driver open loop Vcc2 is not enough :
+_85V driver Open loop X27/X3=9 is better
1KHZ:
20Khz:
100KHZ:
Now the transistors AMP and the tube AMP are the same sound quality, and the transistors amplifiers can out put 1HZ to 20Hz audio signal.
And the Vcc1 are regulated when Vcc1*Ic(2SC5200/2SA1943)>=(Max output voltage)*(Max output voltage)/8 Ohm(Speaker impedance) , This is new rule that I tested.
+_70 Driver open loop Vcc2 is not enough :
+_85V driver Open loop X27/X3=9 is better
1KHZ:
20Khz:
100KHZ:
Now the transistors AMP and the tube AMP are the same sound quality, and the transistors amplifiers can out put 1HZ to 20Hz audio signal.
And the Vcc1 are regulated when Vcc1*Ic(2SC5200/2SA1943)>=(Max output voltage)*(Max output voltage)/8 Ohm(Speaker impedance) , This is new rule that I tested.
Dayton Audio iMM-6 False Response Rise from 200-20K
- By Braineack
- Equipment & Tools
- 5 Replies
Attachments
CS4398 output filter
- By Trileru
- Digital Line Level
- 49 Replies
I'm looking at the output filter recommended in the datasheet and I notice it's the same two pole type of filter recommended in the AK4396 datasheet. There's a few differences, apart from part values, the CS4398 circuit has two caps to ground instead of one between the outputs and there's an extra 100uF cap in series to ground with one of the resistors. What does the 100uF cap do in this case? I simulated both and they perform very similar with 2.4k replaced with 2.7k (from the AK4396 datasheet). The AK4396 values are more BOM friendly. Any reason to go for the one in the CS4398 datasheet instead of the one from AK4396 datasheet?
For some reason in the simulation when I add the 2.5V offset to the one on the right it doesn't work right.
Also another curiosity is the high DC blocking cap value, at 22uF. For 100k it would work pretty ok with 2.2uF, maybe 3.3uF. At 2.2uF you'd loose 0.13dB at 20Hz. I think that's absolutely fine considering that would allow for other types of caps not just electrolytic.
For some reason in the simulation when I add the 2.5V offset to the one on the right it doesn't work right.
Also another curiosity is the high DC blocking cap value, at 22uF. For 100k it would work pretty ok with 2.2uF, maybe 3.3uF. At 2.2uF you'd loose 0.13dB at 20Hz. I think that's absolutely fine considering that would allow for other types of caps not just electrolytic.
Fluctuating B+
- By Tom Kamphuys
- Tubes / Valves
- 11 Replies
My El Cheapo-ish amp has a low frequency, say 1-4Hz (>10mV) variation over the power tube grid leaks when no signal is applied. It's not a single frequency, but some chaotic low frequency up-and-down-thingy (it doesn't look like an oscillation to me). The ripple/hum is ~ 1mV. In order to limit the number of variables I have pulled the output tubes.
It seems that the B+ is also fluctuating.
The amp sounds ok to me, but I haven't got a good reference. OT output seems ok on the scope. Is some common mode rejection helping me out?
Non the less, I would like to solve it, or at least understand it.
What could be the problem?
Part of my problem is that I still don't understand how an LTP with a CCS (with B- below 0V) works, despite searching online and reading Jones' book. Normally 'everything' is referenced to ground, but the LTP has no idea where ground is as far as I can see. As long as I don't understand that, I can't reason about it and don't think I will be able to tackle this problem.
It seems that the B+ is also fluctuating.
The amp sounds ok to me, but I haven't got a good reference. OT output seems ok on the scope. Is some common mode rejection helping me out?
Non the less, I would like to solve it, or at least understand it.
What could be the problem?
Part of my problem is that I still don't understand how an LTP with a CCS (with B- below 0V) works, despite searching online and reading Jones' book. Normally 'everything' is referenced to ground, but the LTP has no idea where ground is as far as I can see. As long as I don't understand that, I can't reason about it and don't think I will be able to tackle this problem.
World's Best Midranges - Shocking Results & Conclusions.
Ok.
Where to start? Let's start by the beginning, which was 1 year ago when i started that thread:
World's best midrange Blind Testing - Need your help.
Now, 100+ pages and 65,000 views later i've come to some conclusions that are... uhm... well:
😱
(in any order)
-----
So, last year the original goal was simply to organize a blind test of midrange/fullrange drivers and find the best ones. Pretty straightforward.
Then, preliminary tests showed that it WON'T be that simple. Nope.
It seemed that, once blinded, it's much harder than we thought just to identify said drivers.
So i did what i had to do: push the organization of the whole thing on a more serious/scientific level. Took time and planifications, and then more adjustements and trials, etc... Bottomline, you can read the 100+ pages to understand the whole process if you want, but basically the conclusions (so far*) are the following:
1. Auditory capacities of humans are massively overestimated by audiophiles (and probably by most humans as well)
2. Frequency Response is King.
3. Once EQ'd, a 10$ midrange can mimic a 1500$ midrange, if within mechanical/electrical limits.
4. DSP/EQ/in-room measure tools might be the best investment an audiophile can make in our era.
5. Others will have to continue spending hundreds and thousands for a natural uncorrected FR.
*so far, because for the sake of statistical validity, i'll continue with the blind test on more participants.
-----------------
Here is the results of Matchup #1
World's best midrange Blind Testing - Need your help. - Page 115 - diyAudio
That is the easiest and most forgiving drivers matchup i could find. In fact, as you can see in the thread, i had to ''cheat'' with ½ octave difference... Expected success rate was very high.
(will be updated with most recent results)
As of 27th august 2016:
45 successful trials out of 61 (74% success rate)
3 successful participants out of 6 (50% success rate)
.
Where to start? Let's start by the beginning, which was 1 year ago when i started that thread:
World's best midrange Blind Testing - Need your help.
Now, 100+ pages and 65,000 views later i've come to some conclusions that are... uhm... well:
😱 (in any order)-----
So, last year the original goal was simply to organize a blind test of midrange/fullrange drivers and find the best ones. Pretty straightforward.
Then, preliminary tests showed that it WON'T be that simple. Nope.
It seemed that, once blinded, it's much harder than we thought just to identify said drivers.
So i did what i had to do: push the organization of the whole thing on a more serious/scientific level. Took time and planifications, and then more adjustements and trials, etc... Bottomline, you can read the 100+ pages to understand the whole process if you want, but basically the conclusions (so far*) are the following:
1. Auditory capacities of humans are massively overestimated by audiophiles (and probably by most humans as well)
2. Frequency Response is King.
3. Once EQ'd, a 10$ midrange can mimic a 1500$ midrange, if within mechanical/electrical limits.
4. DSP/EQ/in-room measure tools might be the best investment an audiophile can make in our era.
5. Others will have to continue spending hundreds and thousands for a natural uncorrected FR.
*so far, because for the sake of statistical validity, i'll continue with the blind test on more participants.
-----------------
Here is the results of Matchup #1
World's best midrange Blind Testing - Need your help. - Page 115 - diyAudio
That is the easiest and most forgiving drivers matchup i could find. In fact, as you can see in the thread, i had to ''cheat'' with ½ octave difference... Expected success rate was very high.
(will be updated with most recent results)
As of 27th august 2016:
45 successful trials out of 61 (74% success rate)
3 successful participants out of 6 (50% success rate)
.
An externally hosted image should be here but it was not working when we last tested it.
BH EL-34 GBuy#2, 12AX7 tubes
Hi,
I am not going to build this project, so I am selling my 2 Baby Huey EL34 pcb’s from Group Buy 2. These have the PS on board. I have most of the recommended BOM parts from Mouser for stereo as suggested by Marc (bandol83).
The parts I am missing for the stereo build are as follows:
2 x R13 - Vishay CPF 247K, 39Kohm - 2W resistors
2 x noval (B9A) sockets, sku17658
2 x R33 & 2 x R38 Vishay MBB02070C3900F 390 ohm – 0.5W resistors
2 x C6, Nichicon LGL2G221MELA25, 220uF, 400V caps
2 x C7, Nichicon UPZ2G101MHD, 100uF, 400V caps
X1, 5.08mm headers or contacts, FCI20020316-H05
X2,X3,X4,X5,X6, 5.08mm headers or contacts, FCI20020316-H02
No V2 – output tubes.
All the above for $130.00 USD.
V1’s – ECC83, 12AX7, please see my NOS stock below. “ I am not a tube aficionado so here goes:”
I have a set of PSVANE 12AX7-T. Test new, Sections match. Measure 38/37 & 39/38. They pass GM, H-K leakage, Gas and overall grade is Premium grade A, tested on Amplitrex AT-1000. ($60 USD / pair)
Set of Russian re-issue TUNG-SOL 12AX7 Test new, Sections match. Measure 114/113 & 115-114 there is 2 other numbers on the box that look like B- 56 & M 55 and B- 55 & M 54. ($30 USD/pair)
Set of 12AX7 Groove Tubes, Test new sections match ($30 USD / pair)
Set of Russian re-issue Mullard 12AX7, Test new, sections match. ($30 USD / pair)
See pics below: PSV in box, PSV data, TS, GT, Mullard
I would like to sell the BH pcbs, parts, and as many tubes as possible in 1 kit.
If a person wanted everything listed, I would let it go at $260 USD. Shipping & likely tracking is on the buyer.
PM me if interested with a postal code, and I will figure shipping costs.
Thanks,
Myles
I am not going to build this project, so I am selling my 2 Baby Huey EL34 pcb’s from Group Buy 2. These have the PS on board. I have most of the recommended BOM parts from Mouser for stereo as suggested by Marc (bandol83).
The parts I am missing for the stereo build are as follows:
2 x R13 - Vishay CPF 247K, 39Kohm - 2W resistors
2 x noval (B9A) sockets, sku17658
2 x R33 & 2 x R38 Vishay MBB02070C3900F 390 ohm – 0.5W resistors
2 x C6, Nichicon LGL2G221MELA25, 220uF, 400V caps
2 x C7, Nichicon UPZ2G101MHD, 100uF, 400V caps
X1, 5.08mm headers or contacts, FCI20020316-H05
X2,X3,X4,X5,X6, 5.08mm headers or contacts, FCI20020316-H02
No V2 – output tubes.
All the above for $130.00 USD.
V1’s – ECC83, 12AX7, please see my NOS stock below. “ I am not a tube aficionado so here goes:”
I have a set of PSVANE 12AX7-T. Test new, Sections match. Measure 38/37 & 39/38. They pass GM, H-K leakage, Gas and overall grade is Premium grade A, tested on Amplitrex AT-1000. ($60 USD / pair)
Set of Russian re-issue TUNG-SOL 12AX7 Test new, Sections match. Measure 114/113 & 115-114 there is 2 other numbers on the box that look like B- 56 & M 55 and B- 55 & M 54. ($30 USD/pair)
Set of 12AX7 Groove Tubes, Test new sections match ($30 USD / pair)
Set of Russian re-issue Mullard 12AX7, Test new, sections match. ($30 USD / pair)
See pics below: PSV in box, PSV data, TS, GT, Mullard
I would like to sell the BH pcbs, parts, and as many tubes as possible in 1 kit.
If a person wanted everything listed, I would let it go at $260 USD. Shipping & likely tracking is on the buyer.
PM me if interested with a postal code, and I will figure shipping costs.
Thanks,
Myles
Oh Great Heil
Hi all,
TLDR is at the bottom if this is too much of a long story!
My Great Heils have sat in boxes for over a year. This must change.
I am looking for advice on a good way to go with them - preferably 2-way to keep costs down.
My room is 5m wide by 7m long, and 3m tall. (15' wide by 21' long by 9' tall).
Since I have a two year old around most of the time I'm not able to listen to the system at very loud levels these days.
Some of you may have seen my thread about making a horn with them - but any horn worth a damn for the Heils will just be too wide for the house I live in at this stage, so I need another plan.
I have the equipment to actively crossover this project - multiple amps, multi-channel usb DAC and Equalizer APO software installed. So I have the freedom to choose woofers that aren't an exact match for efficiency or impedance load.
In terms of design to go with, of course I have already done a bit of research and thinking already, but many here are far more experienced and knowledgeable than me thus I am putting this out to anyone kind enough to give me some ideas or critique.
---
Originally while surfing around I came upon Linkwitz's LXMinis.
I was taken with their compact design and semi-dipole nature - and their ability to not have to be too far from the walls but still get a little dipole magic.
You might say, just build the LXMinis - sure. But I want to use my Heils! Additionally the drivers cost to Australia is very high - I have much more cost effective options here and I am trying to keep costs down to the minimum that will work for the Heils.
I thought of keeping the base design rather similar but replacing the full-range up top with the Heil.
Here is a mock up:
Then I came to the realisation - this won't work!
1, the Heils are heavy! 2, the Heils don't go as low as the full range, so it isn't a great match.
This design would be stupid without some kind of mega bracing or complete re-think.
So I thought perhaps I could make rectangular boxes for it instead, like this:
This is better but probably not ideal.
---
After this I thought maybe I should do a complete rethink towards something a bit more conventional - likely a 6-8" woofer in a ported box with the Heil on top.
So I went hunting and came up with a short-list of the woofers that could work for this project and that have availability in Australia.
The are:
Dayton DA-175-8 x2 (cost per side $130). (cons - large enclosure required)
Dayton RS180-4/8 (cost per side: $100). (cons - SPL not too great if more bass is desired)
Dayton RS225-4/8 (cost per side: $140). (probably ideal but the crossover point might be a bit tight)
I also looked at a few SB Acoustics items but nothing was jumping at me like the Daytons. I'm open to suggestions though - SB Acoustics are also readily source-able in Australia.
---
Another question I had was - ported or sealed with additional subwoofer?
I have access to a single Dayton RSS265-4 which I could make a ported cabinet for that could go down to ~23Hz.
But then I came upon a thread talking about throwing out the subwoofer if you just listen to music, which honestly appealed to me.
If I can get these speakers to go down low enough that I don't need to build a subwoofer for them, that would make me very happy.
So, how low would I need to go?
I did a test on my main system with Equalizer APO where I could turn on/off a low-pass filter at ~45Hz and see if I missed anything with the genres of music I listen to.
Well, for the majority of music I listen to, I could hardly tell the difference.
Sure, for the electronic music, the deep bass beats were not as audible or impressive, but for the rest, it was fine.
In the end, if I am not satisfied with the bass from this build I can just build the subwoofer and be done with it - but I would like to aim to not need it if at all possible.
So I was surfing along the xKi thread and again was impressed with how much the xKi can squeeze out of a small driver.
Of course I am still waiting for my own xKis to be finished from my Dad (which will be my computer speakers) but perhaps there is a driver that works in a larger xKi down to ~40Hz that I can use as the midbass match for my Heil? The XKis appeal in that they have good cone control, great midbass performance and are compact for the bass they can output.
============
TLDR
============
Is there any (preferably Dayton) driver costing at or less than $150AUD each and cabinet combo anyone could suggest that would pair well as a two-way with the Heil (so crossover point somewhere between 800Hz and 2000Hz) down to around ~40Hz or lower?
Thanks to any and all who contribute!
TLDR is at the bottom if this is too much of a long story!
My Great Heils have sat in boxes for over a year. This must change.
I am looking for advice on a good way to go with them - preferably 2-way to keep costs down.
My room is 5m wide by 7m long, and 3m tall. (15' wide by 21' long by 9' tall).
Since I have a two year old around most of the time I'm not able to listen to the system at very loud levels these days.
Some of you may have seen my thread about making a horn with them - but any horn worth a damn for the Heils will just be too wide for the house I live in at this stage, so I need another plan.
I have the equipment to actively crossover this project - multiple amps, multi-channel usb DAC and Equalizer APO software installed. So I have the freedom to choose woofers that aren't an exact match for efficiency or impedance load.
In terms of design to go with, of course I have already done a bit of research and thinking already, but many here are far more experienced and knowledgeable than me thus I am putting this out to anyone kind enough to give me some ideas or critique.
---
Originally while surfing around I came upon Linkwitz's LXMinis.
I was taken with their compact design and semi-dipole nature - and their ability to not have to be too far from the walls but still get a little dipole magic.
You might say, just build the LXMinis - sure. But I want to use my Heils! Additionally the drivers cost to Australia is very high - I have much more cost effective options here and I am trying to keep costs down to the minimum that will work for the Heils.
I thought of keeping the base design rather similar but replacing the full-range up top with the Heil.
Here is a mock up:
Then I came to the realisation - this won't work!
1, the Heils are heavy! 2, the Heils don't go as low as the full range, so it isn't a great match.
This design would be stupid without some kind of mega bracing or complete re-think.
So I thought perhaps I could make rectangular boxes for it instead, like this:
This is better but probably not ideal.
---
After this I thought maybe I should do a complete rethink towards something a bit more conventional - likely a 6-8" woofer in a ported box with the Heil on top.
So I went hunting and came up with a short-list of the woofers that could work for this project and that have availability in Australia.
The are:
Dayton DA-175-8 x2 (cost per side $130). (cons - large enclosure required)
Dayton RS180-4/8 (cost per side: $100). (cons - SPL not too great if more bass is desired)
Dayton RS225-4/8 (cost per side: $140). (probably ideal but the crossover point might be a bit tight)
I also looked at a few SB Acoustics items but nothing was jumping at me like the Daytons. I'm open to suggestions though - SB Acoustics are also readily source-able in Australia.
---
Another question I had was - ported or sealed with additional subwoofer?
I have access to a single Dayton RSS265-4 which I could make a ported cabinet for that could go down to ~23Hz.
But then I came upon a thread talking about throwing out the subwoofer if you just listen to music, which honestly appealed to me.
If I can get these speakers to go down low enough that I don't need to build a subwoofer for them, that would make me very happy.
So, how low would I need to go?
I did a test on my main system with Equalizer APO where I could turn on/off a low-pass filter at ~45Hz and see if I missed anything with the genres of music I listen to.
Well, for the majority of music I listen to, I could hardly tell the difference.
Sure, for the electronic music, the deep bass beats were not as audible or impressive, but for the rest, it was fine.
In the end, if I am not satisfied with the bass from this build I can just build the subwoofer and be done with it - but I would like to aim to not need it if at all possible.
So I was surfing along the xKi thread and again was impressed with how much the xKi can squeeze out of a small driver.
Of course I am still waiting for my own xKis to be finished from my Dad (which will be my computer speakers) but perhaps there is a driver that works in a larger xKi down to ~40Hz that I can use as the midbass match for my Heil? The XKis appeal in that they have good cone control, great midbass performance and are compact for the bass they can output.
============
TLDR
============
Is there any (preferably Dayton) driver costing at or less than $150AUD each and cabinet combo anyone could suggest that would pair well as a two-way with the Heil (so crossover point somewhere between 800Hz and 2000Hz) down to around ~40Hz or lower?
Thanks to any and all who contribute!