Vacuum Tubes Vs. Transistors
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Tube Condenser Microphone T-47 &
Condenser Microphones TUBE CONDENSER MICROPHONE T-47 & T-1 Vacuum Tube Condenser Microphone Professional, large-diaphragm, tube condenser microphone for unsurpassed audio quality Hand-selected 12AX7 vacuum tube for exceptional warmth and vintage sound The Ultimate Recording Mic? Classic Tube Sound Ideal as main and support microphone for studio and Since the early days of recording, The sound of tubes is undeniably live applications sound engineers have been searching rich and smooth. At the heart of for the best-sounding mics for each of these mics is a hand-selected Cardioid pickup pattern for recording acoustic instruments and 12AX7 tube, which has been specifically outstanding sound source separation the human voice. The resounding designed to give these microphones and feedback rejection choice of professional recordists their incredible sonic character. around the globe has been the tube One advantage tube condensers have Pressure-gradient transducer with condenser microphone. Why? Because over their solid-state counterparts is they shock-mounted capsule nothing compares to the sound captured are not subject to the rapid rise of odd- Perfect for vocals and by a good tube condenser microphone order harmonics, which the ear perceives acoustic instruments — so open, warm and full of character. as highly unmusical. Even when subjected to high sound pressure levels, Switchable low-frequency roll-off But tube mics can wipe out a the T-1 and T-47 mics react in much the home-recording budget faster than same way the human ear does. 20 dB input attenuation (T-1 only) you can say “phantom power supply”. That’s why we’re so very proud to present T-1 and T-47 Have a Sensitive Side External power supply with 30 ft. -
The Tube Sound and Tube Emulators
ERIC K. PRITCHARD The Tube Sound and Tube Emulators $0 RE TUBES MAGIC? IS THERE really a difference be- tween tubes and tran- I ea sistors? Some hear the warmthA and appreciate the full body of the tube sound, and others deride the thought. Is the magic of I. I. - the tube sound more than mere / ea nostalgia? A recording engineer, ....„1 .4,Aa. e1 00 14 •111 Russell 0. Hamm, could hear the Relative lame Level itoletive ler.a Level difference. Determined to find and Figure 1.Distortion components explain the difference, he began Figure 3.Distortion components for two-stage triode amplifier. testing microphone preamplifiers for multi-stage capacitor-coupled of various technologies. His fa- transistor amplifier. mous paper, "Tubes Versus Tran- sistors—Is There an Audible Dif- ference?" [1], shows that the 10 harmonic structures in overdrive 3 re N I 3 r• conditions for different technolo- gies are quite different, almost like 20 10 fingerprints. I. -___.......i..4_7" More recently, an electronics en- 14 ea gineer, Eric Pritchard, started Relative brat Level - 14 down the circuitous path to bring Retellv• tepee Leve1 Figure 2..Distortion components the two worlds together and to give Figure 4.Distortion components for two-stage pentode amplifier.. solid state the character of tubes. for multistage transformer- The elusive tube sound has finally coupled transistor amplifier. succumbed to an intensive re- search and development program TUBES AND THE TUBE that has produced solid-state tube SOUND emulators and tube emulator cir- In retrospect, the tube has many cuits [2]. The effort began nearly 3 re f technically superior aspects, it is seven years ago with the search for fairly linear, its operational pa- / a solid state guitar amplifier that rameters do not vary badly, at least / sounded like tubes. -
Cutting Edge
CuttingTHE Edge Electronically reprinted from December 2007 MASTERPIECE! Audio Research 610T Monoblock Power Amplifier Jonathan Valin t is a little sobering to look back to 1973 and the first pieces of Audio Research gear II heard—the SP-3 preamp and D75 amp powering Magneplanar I-Us in a stereo demo that, for me, has never been bettered or forgotten— and then to consider how consistently and naturally all the subsequent ARC gear I’ve heard, and I’ve heard a lot, has been voiced. From the start, ARC components had a sound that was uniquely, indelibly, addictively “right.” ARC’s designer and founder William Zane Johnson called this sound “high definition,” a trademark that still appears on the faceplate of each and every ARC component. And even in 1973 his creations were astonishingly high in definition; indeed, their standard-setting resolution, lifelike size, bloom, and airy brightness, and exceptionally low levels of tube-like coloration were a large part of what set them apart from the darker, thicker, blatantly euphonic sound of the tube preamps and amps that preceded them. Not that everyone preferred high definition tube sound. There were those, then, and are those, now, who thought and think that tubes should invariably make music sweet, round, and rosy, that prettifying sources is the vacuum tube’s job in life—the very thing that sets it apart from the crisp, clean, “neutral” presentation of the transistor. Johnson never bought into this model. Indeed, it was the superior accuracy and neutrality of transistor electronics—which in the late 60s and early 70s were even more in the ascendant than they are today—that inspired him to outdo solid-state at its own game. -
Genuine Sound
www.lewitt-audio.com EMPHASIZE THE GENUINE IN YOUR SOUND. LCT 940 LCT 940 Introduction Thank you that you have opted for a LEWITT product. In this operating manual you will learn more about your LEWITT microphone, its handling and its proper usage. With the LCT Authentica Series, LEWITT introduces a new generation of highly versatile wired condenser microphones that all aim for setting new benchmarks of technology, sound quality and user-friendliness in both professional studio recording and onstage use. The microphones of the LCT Authentica Series stand for unaltered sound and innovative features: llluminated Settings, Noiseless Push Buttons, Automatic Attenuation with Clip Detection and History all ensure error-free sonic perfection and peerless ease of use for today’s demanding recording artists and engineers. Day after day, be it for live acts, in home studios or in professional studio productions. LEWITT wishes you a lot of fun and success with this product! 02 LCT 940 The product Sound professionals naturally rely on a set of different high-end microphones in order to get the best out of their sound. But changing microphones and adjusting settings takes valuable time, the creative flow of a session is interrupted. With its new Authentica series flagship LCT 940, LEWITT now introduces a microphone that will revolutionize modern studio recording procedures and help engineers and artists to react more quickly to a desired change of style and sound. The LCT 940 combines the specific characteristics of a premium large-diaphragm FET condenser microphone and a top-notch tube microphone in one housing. Basically, users can choose between the two main settings "FET" and "Tube". -
Something Completely Different…
Something completely different… Jerry Whitaker, ATSC, and old radio guy 1 The Tube Sound: Fact or Fiction? 2 Scope of This Presentation The latest trend in audio is actually a very old trend Tubes > transistors > integrated circuits > digital > tubes? We will revisit the attributes of vacuum tubes for audio applications Attempt to answer the question—are vacuum tube amplifiers better or just different? What about source material, in particular vinyl records? Tubes and vinyl—the ultimate audio pairing for high-fidelity listening? 3 Observation #1 Vacuum tubes have been around for a very long time. Appreciated for their distinctive sound, amplifiers built around tubes have found a permanent home with audio enthusiasts and experimenters alike. You don’t need to be an “audiophile” to appreciate them. Tube-based systems can coexist nicely in today’s digital-based environment. 4 Preferences The differences make it interesting 5 Preferences Audio is all about preferences and real-life experiences • Certain fundamental reference points exist • Loudness, frequency response, noise, distortion, etc. Audio has another dimension as well—perception • The artist has a wide and varied pallet with which to paint • There are few absolutes when it comes to audio perception • With video, absolutes abound • Viewers know that the grass should be green and the sky should be blue and people should look like…people 6 Appointment Listening: Gone for Good? Consumer listening habits have changed dramatically in the last decade • Portable playback devices abound • Convenience is the key product motivator • Listening typically done while doing something else The heyday of appointment listening now well in the past • Circa 1965—console stereo in the family room, LPs on the turntable • Circa 1945—radio in the living room, family gathered around 7 Observation #2 Appointment listening is making a comeback and doing it with tubes and vinyl. -
Vacuum Tube Amplifier Modeling with Dynamic Convolution
Vacuum Tube Amplifier Modeling with Dynamic Convolution Jason Traub Department of Electrical and Computer Engineering, University of Florida Though nearly obsolete within electronics, vacuum tubes remain in high demand for musical amplification [1]; and particularly for electric guitar. This research discusses reasons for the observed preference and assesses its validity. Furthermore, amplifier electronic circuits are studied and comparisons are made between vacuum tubes and bipolar junction and metal oxide field effect transistors; the latter two have replaced vacuum tubes in nearly every application, and are responsible for the advancement of the digital computer. Undoubtedly, there exists extreme cost effectiveness in obtaining a computer processing technique to mimic the sound that is applied by a vacuum tube amplifier. Thus, many modeling techniques have been developed and used in commercially successful products. This research discusses several of these methods and ultimately attempts to mimic a vacuum tube amplifier using the dynamic convolution method, proposed by Kemp [2]. Introduction: Light Bulbs, Valves, and Transistors acuum tubes, or “valves”, as the British call them, were the first electronic component to be able to V function as an amplifier. To give a historical perspective: Thomas Edison invented and patented the light bulb in 1879 [3]; J.J. Thompson’s experiments led to the discovery of the electron in 1897 [4]; and the work of John Fleming and Lee de Forest ultimately led to the vacuum tube triode in 1906 [5]. This three terminal device allows us to amplify the current and/or voltage of an input signal. A vacuum tube triode consists of two electrodes, the plate (anode) and cathode, separated by a short distance in an Figure 1. -
RF Measurement Concepts
Published by CERN in the Proceedings of the CAS-CERN Accelerator School: Advanced Accelerator Physics, Trondheim, Norway, 19–29 August 2013, edited by W. Herr, CERN-2014-009 (CERN, Geneva, 2014) RF Measurement Concepts F. Caspers1 and P. Kowina2 1CERN, Geneva, Switzerland 2GSI, Darmstadt, Germany Abstract For the characterization of components, systems and signals in the radiofre- quency (RF) and microwave ranges, several dedicated instruments are in use. In this article the fundamentals of the RF signal techniques are discussed. The key element in these front ends is the Schottky diode which can be used either as a RF mixer or as a single sampler. The spectrum analyser has become an absolutely indispensable tool for RF signal analysis. Here the front end is the RF mixer as the RF section of modern spectrum analyses has a rather complex architecture. The reasons for this complexity and certain working principles as well as limitations are discussed. In addition, an overview of the develop- ment of scalar and vector signal analysers is given. For the determination of the noise temperature of a one-port and the noise figure of a two-port, basic concepts and relations are shown as well as a brief discussion of commonly used noise-measurement techniques. In a further part of this article the oper- ating principles of network analysers are shown. A distinction can be made between scalar and vector network analysers and their methods of measuring the transmission or reflection coefficients are explained. As digital signal pro- cessing has become cheap and easily available over the last 30 years, these instruments have become extremely versatile and powerful. -
Classic Tube Sound Meets Digital Music
C2500tube preamplifier ■ C2500 combines McIntosh’s legendary vacuum tube preamplifier circuitry with a full suite of contemporary features and technology. Six dual triode tubes ensure the finest pre-amplification of your music. ■ While maintaining the romantic sound of tubes, the C2500 can output your digital music at up to 32 bits and 192kHz for high resolution audio playback via five digital inputs. ■ Tone controls may be assigned to individual sources as needed. Up to three stereo power amplifiers may be connected at one time; two of them can be switched on and off to simplify your whole house audio distribution. ■ The beautiful polished stainless steel chassis shields the noise sensitive analog audio section from the power supply and control circuitry to provide the cleanest signal possible. Classic Tube Sound meets Digital Music www.mcintoshlabs.com C2500tube preamplifier Frequency Response: Tone Controls: +0, -0.5dB from 20Hz to 20kHz Bass and Treble, +/- 12dB +0, -3dB from 10Hz to 100kHz High Drive Headphone Amplifier: Total Harmonic Distortion: All headphones from 20 to 600 Ohms 0.08% Maximum from 20Hz to 20kHz Home Theater Pass Through: Inputs: Allows interfacing with a Six high level unbalanced Home Theater system Two high level balanced Two Phono: one Moving Coil adjustable, Overall Dimensions (W x H x D): one Moving Magnet 17-1/2” (44.45cm) x 7-5/8” (19.37cm) Five digital inputs x 18” (45.72cm) Maximum Output Voltage: Weight: Unbalanced Main and 30.5 lbs (13.8kg) net, Outputs 1 & 2: 8 Vrms 46 lbs (20.9kg) in shipping carton Balanced Main and Outputs 1 & 2: 16 Vrms Digital Section: Two Coax, Two Optical assignable and For the Consumer’s Protection: one dedicated USB Audio In order to ensure the highest level of customer satisfaction, “new” McIntosh products may only be purchased McIntosh Digital Engine is 32 bit 192kHz, over-the-counter or delivered and installed by an Authorized McIntosh Dealer. -
V33-212 Tube Guitar Amplifier with Reverb Owner's Manual
V33-212 Tube Guitar Amplifier with Reverb Owner’s Manual V33-212 Tube Guitar Amplifier with Reverb TABLE OF CONTENTS Introduction ..........................................................................3 The Front Panel ....................................................................4 The Rear Panel .....................................................................5 Important Information About Tubes and Tube Products ............6 A Brief History of Tubes ..................................................6 Tube Types and Usage ....................................................6 The Nature of Tubes: Why (and When) to Replace Them ....7 The Importance of Proper Biasing ....................................8 Survival Tips for Tube Amplifiers ......................................9 Some Suggested Settings ...................................................10 System Block Diagram ........................................................11 Technical Specifications .......................................................12 Service Information .............................................................12 CAUTION PRECAUCION ATTENTION RISK OF ELECTRIC SHOCK RIESGO DE CORRIENTAZO RISQUE D'ELECTROCUTION DO NOT OPEN NO ABRA NE PAS OUVRIR WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC PRECAUCION: PARA REDUCIR EL RIESGO DE INCENDIOS O DESCARGAS ATTENTION: PROTÉGEZ CET APPAREIL DE LA PLUIE ET DE L'HUMIDITÉ SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR ELECTRICAS, NO PERMITA QUE ESTE APARATO QUEDE EXPUESTO A LA AFIN D'ÉVITER TOUT RISQUE D'INCENDIE -
Microphones En
EXCELLENCE IN SOUND PLEASE REFER TO WWW.NEUMANN.COM FOR ADDITIONAL PRODUCT INFORMATION. MICROPHONES NEUMANN MICROPHONES NEUMANN Directional characteristics: Features: Welcome to your NEUMANN.BERLIN Partner: Omnidirectional Figure-8 High-pass lter Omni, free- eld equalized Cardioid with high-pass Switchable high-pass lter Wide-angle cardioid Hyper/Supercardioid Low-pass lter Cardioid Shotgun Remote control All measurements were made with the Human Ear Attenuation cardioid setting. Digital (AES 42 output) Georg Neumann GmbH • Leipziger Str. 112 • 10117 Berlin • Germany • Errors excepted, subject to changes • Printed in Germany • Publ. / /A EN www.neumann.com EN STUDIO MICROPHONES TLM 49 Set ......................................... 4 TLM 67 ............................................... 6 TLM 102 ............................................. 8 TLM 103 (D)...................................... 10 TLM 107 ............................................12 TLM 170 R ........................................ 14 TLM 193 ............................................16 U 47 fet .............................................18 U 67 Set ........................................... 20 U 87 Ai..............................................22 U 89 i .............................................. 24 USM 69 i ......................................... 26 M 147 Tube ...................................... 28 M 149 Tube ...................................... 30 M 150 Tube .......................................32 D 01 ............................................... -
The Tube Sound: Fact Or Fiction?
Something completely different… Jerry Whitaker, ATSC, and old radio guy 2 The Tube Sound: Fact or Fiction? 3 Scope of This Presentation The latest trend in audio is actually a very old trend Tubes > transistors > integrated circuits > digital > tubes? We will revisit the attributes of vacuum tubes for audio applications Attempt to answer the question—are vacuum tube amplifiers better or just different? What about source material, in particular vinyl records? Tubes and vinyl—the ultimate audio pairing for high-fidelity listening? 4 Observation #1 Vacuum tubes have been around for a very long time. Appreciated for their distinctive sound, amplifiers built around tubes have found a permanent home with audio enthusiasts and experimenters alike. You don’t need to be an “audiophile” to appreciate them. Tube-based systems can coexist nicely in today’s digital-based environment. 5 Preferences The differences make it interesting 6 Preferences Audio is all about preferences and real-life experiences • Certain fundamental reference points exist • Loudness, frequency response, noise, distortion, etc. Audio has another dimension as well—perception • The artist has a wide and varied pallet with which to paint • There are few absolutes when it comes to audio perception • With video, absolutes abound • Viewers know that the grass should be green and the sky should be blue and people should look like…people 7 Appointment Listening: Gone for Good? Consumer listening habits have changed dramatically in the last decade • Portable playback devices abound • Convenience is the key product motivator • Listening typically done while doing something else The heyday of appointment listening now well in the past • Circa 1965—console stereo in the family room, LPs on the turntable • Circa 1945—radio in the living room, family gathered around 8 Observation #2 Appointment listening is making a comeback and doing it with tubes and vinyl. -
Vacuum Tube & Distortion Emulation
AdAddendum A19 Vacuum Tube & Distortion Emulation Part 2 Will Pirkle May 14, 2019 Copyright (c) 2019 Addendum A19 Designing Audio Effects Plugins in C++ Copyright © 2019 Will Pirkle Addendum Preface This addendum accompanies Will Pirkle’s Designing Audio Effects Plugins in C++, 2nd Edition. It specifically addresses material that was removed from Chapter 19 on nonlinear processing. Due to space limitations, the vacuum tube chapter had to be cut short and the projects slimmed down to simple wave shaping and filtering. I almost removed the entire chapter; however there has been demand for this kind of information. The reason I removed the material has to do with a special situation that happens with vacuum tubes in high-gain modern guitar amplifiers. In these designs, the engineers purposefully overdrive the inputs to the tube devices in order to create the modern distortion that is currently popular. In contrast, non-guitar tube-amp circuits are usually designed to stay within the proper operating conditions so that their inputs are not purposefully overdriven. When you overdrive the input to most amplifying devices like transistors or op-amps, once you’ve exceeded the operating limits, no more amplification will occur. The device simply won’t amplify the signal outside of its input range, and the signal is hard-clipped at that point. For a vacuum tube, this is true for the negative part of an over driven input signal. But when the positive portion of the input goes outside the limit, everything changes and the tube’s behavior becomes very dynamic. Cascading multiple overdriven stages together with differing amounts of gain between stages produces a very complex harmonic effect where the harmonic component amplitudes are directly linked to the signal amplitude.