The MUSES are 20k Potis. MAS6116 looks very interesting. Do you know what the overall-resistance is?
Edit: Sorry, I found it: 10k! Fine!
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Thanks for the hint Alex! On the point I had overlooked at the first glance at the data...
Yes ... (or something like a fitting DigiPot). For the stepped attenuator the values can be taken equal or similar to the potentiometer. The potentiometer was not excluded. We may have misunderstood each other there. Sorry. I'm just getting familiar with the details ...
But may be - if gain is really needed - it is better to do it the way you described (2 OPAs) and reduce the pot to a lower value than 10k.
But may be - if gain is really needed - it is better to do it the way you described (2 OPAs) and reduce the pot to a lower value than 10k.
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Using the MAS6116 in the circuit and the balanced input stage with unity gain provides an overall max gain of +15.5dB. This is adjustable in 0.5dB steps from -115.5dB and can also be muted. I haven't looked at the Muses circuit but believe it is similar to this.
I know Alex has done a PCB for both of these (through-hole excepting the digital pot chips). I've done my MAS6116 PCB as surface mount (excepting electrolytics)
I know Alex has done a PCB for both of these (through-hole excepting the digital pot chips). I've done my MAS6116 PCB as surface mount (excepting electrolytics)
BPPBP(BP Preamp LA vol.5) & Audio Relay Attenuator Zoja
Here is one BPPBP integrated with the Zoja audio relay attenuator that is the fruit of our local forum.ARA Zoja has a remote control, is based on a bluepill plate and is adapted for BPPBP. Attenuation is done with 6 relays (-63db) and the seventh relay is for the MUTE function. It also has an output for a POWER relay as well as a channel selector (CH1/CH2). With the help of an adapter plate that is soldered instead of a potentiometer to the BPPBP connection is made with two balanced microphone cables of 3mm.
Here is one BPPBP integrated with the Zoja audio relay attenuator that is the fruit of our local forum.ARA Zoja has a remote control, is based on a bluepill plate and is adapted for BPPBP. Attenuation is done with 6 relays (-63db) and the seventh relay is for the MUTE function. It also has an output for a POWER relay as well as a channel selector (CH1/CH2). With the help of an adapter plate that is soldered instead of a potentiometer to the BPPBP connection is made with two balanced microphone cables of 3mm.
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You need to listen with your ears - 5532 are the worst music killers in the world, and should be forbidden by law.
If you can´t hear that, it doesn´t matter what HiFi you build.
It is a 45 years old construction, and they were ok when they came out. There is a reason Bruno used much better op-amps.
It would be interesting to see some evidence supporting such a broad claim.
First, as others pointed out, most recorded music you are listening to has already been "killed" by hundreds of 5532s employed in mixing consoles and other studio equipment.
Second, in my experience, the 5532s perform well in BPPBP, although not as well as 4562s or some more modern opamps - I did post some measurements. It is not so much the opamp as it is the way you use it, and BPPBP is not particularly demanding (except in the volume control stage at high volume levels).
How would you be able to see how equipment sounds??
It might measure just ok, but it surely sounds terrible, and if you can´t hear that, don´t bother to build a reference design.
I am sure if you feed it with a 100 Hz and later a 10 KHz square wave, you will see some choking results with overshoot
and what have we. Pro op-amps will do fine with either, and some of my preamps do well at 5 Hz.
I am a musician through many years, and have attended a lot of live concerts and I build and maintain studio equipment.
We don´t use 5532, we use Jensen 900+ Pro discrete and now also Sparkos 2590 Pro discrete op-amps. That is a whole
other kind of musical stuff, and that is what is used in High-End studios. You might see a compressor or other device that
is designed to color the sound heavily, that have mediocre components in them, but that is by purpose.
It might measure just ok, but it surely sounds terrible, and if you can´t hear that, don´t bother to build a reference design.
I am sure if you feed it with a 100 Hz and later a 10 KHz square wave, you will see some choking results with overshoot
and what have we. Pro op-amps will do fine with either, and some of my preamps do well at 5 Hz.
I am a musician through many years, and have attended a lot of live concerts and I build and maintain studio equipment.
We don´t use 5532, we use Jensen 900+ Pro discrete and now also Sparkos 2590 Pro discrete op-amps. That is a whole
other kind of musical stuff, and that is what is used in High-End studios. You might see a compressor or other device that
is designed to color the sound heavily, that have mediocre components in them, but that is by purpose.
You seem to belong to the group of people who enjoy going around and tell everyone how bad some commonly used component is. I don't know what you get out of that, but judging by your lack of supporting evidence you might want to stick to throwing expensive discrete OpAmps at every piece of gear you can find.