I think it's more that the warranty period of consumer electronics is a bit shorter
than the life of the electrolytics used.
Thanks Dan for your input on DA. It is one of the clearest explanations that I have ever read.
As far as 'linearity' goes, what IS linearity? This is where the rigid definitions fail to give us insight. Some MIT graduates are the worst in this way, as they simply cannot tolerate modified definitions of such things. Yet, a 'time-level' deviation as seen on an oscilloscope, for example, seems to me to be of importance, as well as non-linear deviation that shows up as harmonic or IM distortion.
When it comes to phono stages, the JC-3 series is OK, but not my BEST effort. I stick by the Vendetta Research Phono stage as my best effort for the money. The Constellation series is OK, but too expensive for most everybody, mostly due to the case price, as well as extra features.
As far as 'linearity' goes, what IS linearity? This is where the rigid definitions fail to give us insight. Some MIT graduates are the worst in this way, as they simply cannot tolerate modified definitions of such things. Yet, a 'time-level' deviation as seen on an oscilloscope, for example, seems to me to be of importance, as well as non-linear deviation that shows up as harmonic or IM distortion.
When it comes to phono stages, the JC-3 series is OK, but not my BEST effort. I stick by the Vendetta Research Phono stage as my best effort for the money. The Constellation series is OK, but too expensive for most everybody, mostly due to the case price, as well as extra features.
The Constellation line stage looks like a cascoded derivation of the Blowtorch, with a jfet/jfet cascode in a folded cascode ? with a jfet/mosfet cascode for the output with JC’s common and differential mode servo. but what part John may have had in it he hasn’t said.
The second stage of the phono is said to be similar to the line amp .
This preliminary schmematic as JC commented at the time was posted a long while ago in the Blowtorch 2 thread so I repost it, but I can’t find the original post after over 10,000 pages to be sure if JC wanted it removed, so if it disappears quickly you’ll know why.
The second stage of the phono is said to be similar to the line amp .
This preliminary schmematic as JC commented at the time was posted a long while ago in the Blowtorch 2 thread so I repost it, but I can’t find the original post after over 10,000 pages to be sure if JC wanted it removed, so if it disappears quickly you’ll know why.
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The Constellation is a DIFFERENTIAL version of the Vendetta input circuit, both use a folded cascode. Adding balanced input requires 4 times as many input parts to get the same noise. Only the Orion will be as quiet as the Vendetta SCP-2 because of this.
What is truth? I suspect you may find that floppy definitions give even less insight.john curl said:
I'm still curious about the characteristics of op-amp internal compensation capacitors, in particular how they compare with discrete film capacitors, such as polystyrene. Anyone have any data or insights to share?
This was done in the Pass Labs Aleph P with variable gain and a low impedance output attenuator. Also the Adcom GFP 750 Nelson did. The interesting thing was customer feed back on the proper gain setting. Everybody seemed to like 12-1 o'clock on the setting.
No idea, the products seem well priced. Another problem IIRC was with the input offset servo when not using a low impedance source.
> This was done in the Pass Labs Aleph P with variable gain and a low impedance output attenuator.
If my understanding is correct, the attenuator does not have to be at the output.
With the typical current conveyor topology similar to the BT, one can equally vary the gain by varying the resistors at the input diff pair.
In fact, I believe this is the better solution, as the current swing is then proportional to the output level, irrespective of gain.
Patrick
If my understanding is correct, the attenuator does not have to be at the output.
With the typical current conveyor topology similar to the BT, one can equally vary the gain by varying the resistors at the input diff pair.
In fact, I believe this is the better solution, as the current swing is then proportional to the output level, irrespective of gain.
Patrick
Sad isn't it when clear unambiguous descriptions of things are easy? Tell me that some folks would not be confused if a simple tone control was called a "distortion" in the user manual.
Reminds me of DA becoming "memory" then "echo" crept in and then it all became nonsense.
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I think you would find a similar cap in this one 😉. Age about 40 years, so just right for this thread.
Attachments
Not quite sure what you are looking for, there are lots of different oxides used. There was a voltage reference that was charge deposited on a cap which held the voltage for years so leakage can be a non-issue. As for DA 0.1% has been quoted for SiO2. BTW this reference should have appeared long ago.
https://pdfs.semanticscholar.org/c30a/7c00ecb7873cf1c556135ff891908fbdf179.pdf
That is correct it is just that customers where given the option and the feedback was pretty unanimous on the setting to use. I don't know if it was just psychological or they all heard the same thing but I lean towards they heard similar things. Circuit sound does change with feedback in most instances.
Intersil ISL21007
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And there are enough EPROMs still working after 40 years.
Thanks, that’s useful. I’m considering to what extent capacitor quality in opamps is a limiting factor to their use in audio. It is certainly important in discrete amplifiers. I’m also curious about whether the new discrete silicon capacitors are worthy of investigation, although they are currently very costly.
Brian
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