Recording Studio Power Amplifier

OnAudio might actually have good intentions while putting up an amplifier schematic in here. However, it is my experience that SPICE models and the simulations (phase margin etc.) could be inaccurate, and even OnAudio might be well aware of the same.
 
@TNT
You are right 🙂
Even if I wanted to build, I do not have any place for a workshop in my little flat.
I only can design using SPICE and discuss.
But it's ok contemplating acquiring a space invading exercise bicycle for your "little flat"? :-)
Think of all the good stuff that could fit on that same footprint, just get an IKEA Billy shelf with a smaller footprint than a bike and fill it up with all the diy audio toys that is ever needed to realize your typical tiny 1-5 or so transistor projects. ::-))
 
1Watt performance and slew rate
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Depending on outputs chosen damping factors into 8 ohm will range between 1600 and 3200

I guess if you are going downhill with a hurricane behind you. In your dreams can DF be this high. Where do you come up with this nonsense?
 
Depending on outputs chosen damping factors into 8 ohm will range between 1600 and 3200

I guess if you are going downhill with a hurricane behind you. In your dreams can DF be this high. Where do you come up with this nonsense?
The easiest way to, well, quote a post you want to comment on is hit the quote button in the lower right corner of the post you want to quote.
(You cannot quote the last post, obviously).

BTW I agree with you.

Jan
 
Thanks for your feedback, I don't take it for granted keep the comments coming. For damping factor. Its unlikely a regular power supply will be up to the task and then again no speaker can dip that low unless its shorted out. Damping factor is not a serious spec in this case its just a fun spec as this isn't an arc welder
 
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Voicing of an amplifier begins with design before moving on to selection of parts, this studio amplifier like the LM3886 and most opamps are voiced as a jack of all trades. However there are amplifiers that shine within their area of expertise. Many people that build the 1DIFFQC and SYMEF ended up saying that the high end of SYMEF was soft unlike the 1DIFFQC which was sparkling clear in the highs, while at the same time said that its midrange was not as sophisticated as the seductive SYMEF in the midrange. Here's an example of what was happening with the 1DIFFQC.
1DIFFQC post 1 https://www.diyaudio.com/community/threads/1diffqc-amplifier.219354/
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I also post response of the bass boss in this thread https://www.diyaudio.com/community/...ier-for-whatever-speaker.401371/#post-7404062
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Once Jan and his team stop feeling threatened they will come around. I haven't even offered a silent switcher alternative😎. There are many business and personal interests here as in any other forum.
Hmmm... they might not feel "threatened" ? As they have the "street credz" ha ha...
As far as designs , I do think the "pitchfork villagers" might at of least matched the masters.

Personally , I would bring my "pitchfork" amp (below) to a audio show , burn out a couple cheap woofers. Then hook the surviving
amp up to the best of loudspeakers and let everyone enjoy PPM Hi-fi.

OS
 

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Once the slew rate is adequate there is no benefit in making it higher
Typically , but I have noticed a CFA amp with high slew rate is better at negating EF artifacts and the wild (driver) impedance swings. This is more
the "CFA" than the actual slew rate.
Simulation even will show that THD rises very slowly on even a grossly under-biased EF in a CFA amp.
OS
 
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Thanks for sharing Ostripper, I have no particular preference of amplifier or topology, that leaves my mind free to explore and learn rather than being caught up in a local optimization loop that could actually be a crater in a very high mountain peak on a mountain range 😉, audio is just fun, just like the many items we use in life, sometimes we need them sometimes we don't. Lets just have fun
 
Typically , but I have noticed a CFA amp with high slew rate is better at negating EF artifacts and the wild (driver) impedance swings. This is more
the "CFA" than the actual slew rate.
Simulation even will show that THD rises very slowly on even a grossly under-biased EF in a CFA amp.
OS
Fixing the wiggle in the middle is all about GBW. CFAs just have that in spades. The higher an amp’s GBW, the better it is able to correct high order distortion when applying feedback.

If crossover distortion were just 2nd and 3rd order no one would be bitching about it. It’s noticeable because it produces high order artifacts.
 
Fixing the wiggle in the middle
I did not think anyone believed this . Some think it a myth.
I noticed it on simulations at first while designing the "CFA vs VFA rumble (slewmaster)" amps.
(below) ... this is unique to a CFA.
I've observed the real amp hooked to a big woofer and there are even more non-linearity's present , especially with large excursions.
Back EMF , as well ?
OS
Thanks for sharing Ostripper, I have no particular preference of amplifier or topology, that leaves my mind free to explore and learn rather than being caught up in a local optimization loop that could actually be a crater in a very high mountain peak on a mountain range 😉, audio is just fun, just like the many items we use in life, sometimes we need them sometimes we don't. Lets just have fun
But you do want a "studio" amp ?

-It has to be tough .... you current sourced ,diode biased Hawksford would "choke" at overload.
-It has to be stable .... Your current mirrored symmetrical input stage is inherently unstable in the real world.

Search all the Bob Cordell threads , he explored this. I listened and that's why I just use a cascode on my symmetrical (spooky).
Professor Leach also just went the cascode route.
It's not "fun" to produce anything that would have these attributes.

Speaking of the "Leach amp" , I notice many class AB "studio amps" use variants of this topology.
OS
 

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