John Curl's Blowtorch preamplifier part III

Status
Not open for further replies.
Electrolytics can be surprising.

I bought my McIntosh MC240 in 1978, used. Look how the original 'lytics in the voltage doubler fare 40 years later, especially the dissipation factors. I have some current F&T replacements ready to be fitted, but when I look at the specs, I'm hesitant. Would you replace them?
 

Attachments

  • IMG_2135-s.jpg
    IMG_2135-s.jpg
    126.6 KB · Views: 258
Electrolytics can be surprising.
I bought my McIntosh MC240 in 1978, used. Look how the original 'lytics in the voltage doubler fare 40 years later, especially the dissipation factors. I have some current F&T replacements ready to be fitted, but when I look at the specs, I'm hesitant. Would you replace them?
Yes. Of course (OMHO). Soon or late.
Did-it to renew my first commercial amp 'baby', designed and produced around 1970 and ... still working. More or less ;-)
As the modern electrolitics are smaller than the old ones, for the big caps in the power supply, I had emptied their cans, put the new ones in the old cans, and reassembled the whole, to keep the "vintage" original look.

For the little ones on the boards, just replaced with new good ones.
I replaced the potentiometers and all the old carbon film resistances by metal film ones. The sound has totally changed, surprised how good it is, now.
May-be my son will do the next cap change after my death ? ;-)

Btw: The power amp was one rail, regulated power supply, pseudo complementary output stage, Current-feedback like (but too high value for the feedback resistance).
Kept like it was: We have to assume our mistakes and laziness.
A proof that 'CFA' is an old classical topology which preceded LTP.
 
Last edited:
I replaced the potentiometers and all the old carbon film resistances by metal film ones. The sound has totally changed, surprised how good it is, now.
You might probably know that sometimes cleaning the noise in a system leave some empty space for other system's problem to be heard like weird oscillations or distortions that looked like they were never there before...
 
When I first heard 128k MP3 playback it sounded fine to me (I'm a little ashamed to admit, but as a partial excuse I was already old enough my hearing probably stopped above 15kHz), and I wondered what all the commotion on the Internet about it 'sounding like crap' was about. I did more reading and some experimenting. Some awful dialup-speed audio streaming gave me some hints at what to listen for, a touch of the wishy-washy phasing sound that was so overwhelming at lower bit rates. I got an encoder and encoded a jazz CD with a bright snare drum, and I heard a difference - there was a 'smearing' in the time domain of the snare crack. Encoding it at lower bitrates made this smearing more obvious. This jibed with what I had been reading about MP3 coding, that it takes "snapshots" of the spectrum every N (maybe 10 or 50) milliseconds (and of course it deletes frequencies calculated as being inaudible), and the playback crossfades between successive snapshots. I might never have heard it if I hadn't had some hints for what to listen to.

So yes, one's sensory acuity can indeed be sharpened with training and knowledge of what to listen/look/feel for.

And of course once one "hears" (actually recognize that one is already hearing it!) something like this, it can be hard to tune it out and NOT hear it.

.
Training ones ears to dislike equipment/sound that was once acceptable is to join the ranks of the sad audiophiles and their never ending journey, for which, there is no medication to reverse the sickness.
 
You might probably know that sometimes cleaning the noise in a system leave some empty space for other system's problem to be heard like weird oscillations or distortions that looked like they were never there before...
I do not worried about oscillations: Mr Nyquist was yet a (bad) friend*. As it was an industrial product, we took good stability margins.
We were quite proud to be able to display those performances:

Power: 2X50W.RMS
Distortion <0.1% (in real <0.05%)
bandwidth: 25Hz to 32KHz.
In fact, distortion was (and still after restauration): <0.05%
At this time (1973) how many commercial amps were able to show better ? Mc Intosh, for 4X the price ?

* Can be often seen in company of Mr. Murphy.
 
I had this idea for a long time and actually it was shown to be true that properly made electrolytic capacitors have (and theoretically should indeed have) lower distortions than non-polarized film ones because the dielectric is much thinner in electrolytics, nor they show any piezzo effect being damped by a liquid.



.

About capacitors in the signal line:

ALL high end DAC chips from ess and akm use coupling caps between DAC and amplification stage. The latest generations claim sub -126 dB distortion . You cannot listen to any high end DAC without the signal through an electrolyte. And in the case of current output DAC, that electrolyte has to do some real work because as seen from the DAC it is effectively grounded on the other end.

So, what harm could a capacitor do if only pushing against a much larger resistor as in an input stage. None, nada, niente, niks.

So you are completely right, use a cap if it makes sense (but don't interpret this as agreement with your covariance idea or brand attachment, equally nonsensical as an abhorrence of caps in the signal line IMO.)
 
Sorry, you don't get my point, or rather, Bruno's.
Specs are how the design object is supposed to be performing. By positing it should be current feedback, you are excluding possible solutions that might be better than CF from the outset. A true engineers nightmare.
I don't understand your point.
I believe Richard is experienced enough to know what and why he is doing.
On my side, I would not pretend to give him any lesson. We just exchange our experiences, tricks and point of view. (That are often very close.)
If for any reason, and you have no informations at all about them, he decided to go in a direction or an other, the only thing you can think is: "Appointment in the listening room" on his JBL M2.


On my own, I decided to use a Class D for my sub, a class AB VFA for the stereo bass-medium, and a CFA for my horns. For more than only one reason, like looking blind at distortion numbers that are overkill for the 3. May-be something you dislike, according to your own personal preferences ?

About Bruno, i think he is one of the best engineer in this domain.
His Class D amps are among, if not THE best class D amps on the market. As well as his SMPS.
Not at all the best amp you could find, in full range, when you compare with some more classical others.
 
Last edited:
Sorry, you don't get my point, or rather, Bruno's.

Specs are how the design object is supposed to be performing. By positing it should be current feedback, you are excluding possible solutions that might be better than CF from the outset. A true engineers nightmare.

Come on Vacuphile. This is audio - not some industrial, medical or telecoms application that may need some serious tradeoffs or performance must have's.

In this game its more important to specialize in a particular topology, refine it over time and become expert in using it.

The fact is some folks like VFA and some CFA . . . leave it at that.

🙂
 
Status
Not open for further replies.