That's only in recent months. For a variety of reasons that's what I'm interested in playing with at the moment, I have far more conventional speakers scattered around the place, which have drivers which are quite respectable by the standards of this forum - my "pleasure" and interest is in extracting the most out of whatever I'm looking at, to understand where the limits are. The very bottom of the spectrum of systems is interesting - what can be achieved with very low end gear - and the complete opposite, systems capable of extreme SPLs, say a highly competent, fully 'musical' setup that peaks at 132dB ...
> What does the 240v primary do for you?
120 V into 240 V primary is a discipline that
helps to stay away from saturation.
> is that why four?
I assume Simon meant that with 4 windings you have
the capability of 2 separate split supplies ( 1 / channel )
using a separate bridge for each polarity .
120 V into 240 V primary is a discipline that
helps to stay away from saturation.
> is that why four?
I assume Simon meant that with 4 windings you have
the capability of 2 separate split supplies ( 1 / channel )
using a separate bridge for each polarity .
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Wasn't impressed. First of all had to run the webpage through Google's translate to be able to read it in English which I'm sure made for not quite accurate translation but with statements like the following "[SIZE=-1][FONT=Arial,Helvetica]Capacitors, especially Ölpapiertyen require a break in period of about 100 hours until they bloom to full playback performance"
[/FONT][/SIZE]
Capacitors don't need 100 hours break in, same as all passive components and active ones and wires and PCBs, but its a good get out of jail free scam:
If it sounds c**p out of the box it is because it need 100 hours break in, meaning you ears will adjust, only in high end esoteric audio...
If it sounds c**p out of the box it is because it need 100 hours break in, meaning you ears will adjust, only in high end esoteric audio...
Yes, and I have even been using those bucket-brigade audio delay lines in my prime.
But I am really interested in this, finally something you are all taking about that I somewhat understand.
That understanding is that an ideal delay line is a limiting case of a discrete series of L-C sections, as for instance used in oscilloscope vertical amplifiers.
That seems to indicate that the signal propagates through them (must do so for it to work) at finite speed.
Is that the same in cables with a length significant with respect to signal wavelength? If you say that the signal propagates through the field, what happens inside the cable, and why does a signal in a delay line (which is just a chopped-up cable) propagate apparently through the cable in the form of voltages and currents?
Jan
BTW For those who missed Bruno's article, this: The G word: How to get your audio off the ground | EDN is the first part, sort of intro, with the meat of the content in a following issue.
Jan
Jan
I was going to recommend KP1830, if polypropylene is OK for particular project and you don't need values larger than 22nF.
To my ears they 'sound' better than WIMA FKP2, but that's just me. YMMV.
www.vishay.com/docs/26016/kp1830.pdf
www.wima.com/EN/WIMA_FKP_2.pdf
Interesting article, I would love to see the second part. Interestingly, the technique shown can be used on PCBs (I am currently changing some boards I have been working on for two years (on and off) where we have used a pseudo balanced routing and wiring to avoid crosstalk between various channels.
You may also find this interesting:
http://sites.ieee.org/ctx-emcs/files/2010/09/Archambeault-Ground-Myth.pdf
Page 51 is relevant to pseudo differential (balanced) signalling/routing
While this article is mainly referencing high speed, it is a technique that I use for analogue signals (audio included) with the same benefits, more often used for sensitive/critical analogue signalling, and does require a proper ground plane to operate. Spiders legs star ground routing on PCBs (the work of the devil in conjunction with Maxwell's demons!!!) will render this technique useless, for best low level analogue signal integrity a proper plane is best
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Here Groner measured some caps. I think the MKP1837 was chosen.http://www.sg-acoustics.ch/analogue_audio/publications/pdf/low_distortion_oscillator_design.pdf
Self had an article in Linear Audio about self improvement in MKT ( Polyester ) caps.
They measured better after some use.
Self had an article in Linear Audio about self improvement in MKT ( Polyester ) caps.
They measured better after some use.
IIRC Samuel's figure shows no measurable distortion, hard to improve.
See your up early . My preference polyprop reasonable cost the metal is the big one in caps . I prefer copper as a metal. Just saying much better than tin and alluminium but cost is high no economy of scale.
And a luminance delay line to in order for the chroma and luminance images to coincide on the screen. 600ns comes to mind. From the days before SWAF's and more advanced signal processing.
WIND A DELAY LINE FOR COLOR TV
"A wide bandwidth amplifier passes signals more quickly than a lower bandwidth one", as I was always taught
And luma... was wide band going up to 6Mhz (PAL)
The old chroma delay lines really were acoustic, a block of glass with two transducers on the polished faces... the good old days
Isnt the delay due to the extra processing of the chroma signal, thus more complex circuitry so more propagation delay. Would the same component count amp (but different bandwidths have different propagation delays?
Some quick maths and I get a speed of 0.026ns/mm for the delay line! for microstrip its 0.006ns/mm either my maths is wrong or the construction slows the signal propagation down...
Some quick maths and I get a speed of 0.026ns/mm for the delay line! for microstrip its 0.006ns/mm either my maths is wrong or the construction slows the signal propagation down...
I would say that two similar amps but differing in bandwidth do have different propagation times.
The chroma delay (not to be confused with the luminance delay) was needed to advance the design of "simple PAL" type decoders which relied on averaging by eye. The chroma delay was equal to one line period (actually a fraction less), so 63.9us for the PAL D with its 64us line rate. Inverting the phase on successive lines allowed phase errors (that in the NTSC system caused hue or tint error) to cause much more acceptable colour amplitude errors.
My maths isn't up to calculating that without researching it
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