Hi!
While contemplating nice builds (Salas UltraFSP RIAA...), a silly thought about arranging PCBs crossed my mind:
why not placing them vertically, back to back?
of course it is about fanciness 😀, but also about some technical details:
How close could 2 PCBs be put together?
What is the best way to arrange them anyway? (I think, enabling short wires is an argument, and probably more important, keeping signal away from everything else?)
other things to consider?
thank you!
david
While contemplating nice builds (Salas UltraFSP RIAA...), a silly thought about arranging PCBs crossed my mind:
why not placing them vertically, back to back?
of course it is about fanciness 😀, but also about some technical details:
How close could 2 PCBs be put together?
What is the best way to arrange them anyway? (I think, enabling short wires is an argument, and probably more important, keeping signal away from everything else?)
other things to consider?
thank you!
david
This has been done for many years in all kinds of equipment. Here's an example from 1976.
https://www.updatemydynaco.com/pictures/PAT5ByJon_C.jpg
Board placement should depend on the circuit functions, not the appearance.
https://www.updatemydynaco.com/pictures/PAT5ByJon_C.jpg
Board placement should depend on the circuit functions, not the appearance.
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Most of the the Power amps have this for a long time.. Most Mixing consoles are build up like that..OK not actually BACK TO BACK as you would like to see but I'm sure it could be done..The PCB could be as close as the thickness of its solder layer and the Paper which goes in between of them.. This kind of build has a huge negative side.
Take for example a Mixing Console with 64 channels with all the adjustment knobs on top..If the designer was smart enough to use several Top Metal Plates which hold the Screws for the Volumes controls and also The screws for Jacks, say one top cover for 8 Channels, so if a channel breaks down, the technician must remove 8 Channels to repair the one which has gone bad.
Now, mostly the top is made for 16 Channels.. Imagine how long the Technician screws out nuts just to get that one channel fixed.. that's not enough, usually each channel connection for the other channels are soldered with small slots. you will need to de solder at least 3 Channels to get the bad one out.. I own a FOSTEX Studio Mixing console here in my Office at home.. and I hope that I never have to repair it..and mine is just 12 Channel Mixing Console, to test my Amps or whatever I'm hooking up to it.
Cheers from Bern
Chris
Take for example a Mixing Console with 64 channels with all the adjustment knobs on top..If the designer was smart enough to use several Top Metal Plates which hold the Screws for the Volumes controls and also The screws for Jacks, say one top cover for 8 Channels, so if a channel breaks down, the technician must remove 8 Channels to repair the one which has gone bad.
Now, mostly the top is made for 16 Channels.. Imagine how long the Technician screws out nuts just to get that one channel fixed.. that's not enough, usually each channel connection for the other channels are soldered with small slots. you will need to de solder at least 3 Channels to get the bad one out.. I own a FOSTEX Studio Mixing console here in my Office at home.. and I hope that I never have to repair it..and mine is just 12 Channel Mixing Console, to test my Amps or whatever I'm hooking up to it.
Cheers from Bern
Chris
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Oddly enough I'm building my Pearl 1 phono stage in exactly the same vertical configuration.
Actually, the Salas is better suited than the Pearl as the split boards of the Salas can be mounted back to back on a common, channel divider plate. The inputs would be at one bottom corner and the outputs at the other. The heatsinks would be at the top (as would the power umbilical).
Of course the unique character of this design is inevitably intended to be in the background as it would sit best behind the turntable or preamp.
Actually, the Salas is better suited than the Pearl as the split boards of the Salas can be mounted back to back on a common, channel divider plate. The inputs would be at one bottom corner and the outputs at the other. The heatsinks would be at the top (as would the power umbilical).
Of course the unique character of this design is inevitably intended to be in the background as it would sit best behind the turntable or preamp.