Driver of Choice: The-ÓÈN7
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Valve Biasing
VALVE AMP BIASING Biased information How have valve amps survived over 30 years of change? Derek Rocco explains why they are still a vital ingredient in music making, and talks you through the mysteries of biasing N THE LAST DECADE WE HAVE a signal to the grid it causes a water as an electrical current, you alter the negative grid voltage by seen huge advances in current to flow from the cathode to will never be confused again. When replacing the resistor I technology which have the plate. The grid is also known as your tap is turned off you get no to gain the current draw required. profoundly changed the way we the control grid, as by varying the water flowing through. With your Cathode bias amplifiers have work. Despite the rise in voltage on the grid you can control amp if you have too much negative become very sought after. They solid-state and digital modelling how much current is passed from voltage on the grid you will stop have a sweet organic sound that technology, virtually every high- the cathode to the plate. This is the electrical current from flowing. has a rich harmonic sustain and profile guitarist and even recording known as the grid bias of your amp This is known as they produce a powerful studios still rely on good ol’ – the correct bias level is vital to the ’over-biased’ soundstage. Examples of these fashioned valves. operation and tone of the amplifier. and the amp are most of the original 1950’s By varying the negative grid will produce Fender tweed amps such as the What is a valve? bias the technician can correctly an unbearable Deluxe and, of course, the Hopefully, a brief explanation will set up your amp for maximum distortion at all legendary Vox AC30. -
Common Small Signal Tubes
Common Small Signal Tubes Type Manufacturer Date Microphonics Quantity $ Each Descriptions 12AX7/ECC83 Amperex 1970’s Moving-Coil 4 $94.00+ With orange World-Map branding, still using the same 12AX7/ECC83 Amperex 1970’s Moving-Magnet 8 $84.00+ classic tooling & machinery but it’s running faster 12AX7/ECC83 Amperex 1970’s Line 14 $74.00+ now and the tube sounds a bit faster and hotter. 12AX7/ECC83 Amperex 1960’s Moving-Coil 5 $140.00+ Type 2 (The Classic "Bugle Boy" of the 1960’s). 12AX7/ECC83 Amperex 1960’s Moving-Magnet 8 $120.00+ Very nice, a bit lighter with a touch more sparkle 12AX7/ECC83 Amperex 1960’s Super-Line 21 $118.00+ and liquidity than the Telefunken, but still completely 12AX7/ECC83 Amperex 1960’s Line 10 $88.00+ sweet! 12AX7/ECC83 Amperex Late 1940's & 50's Moving Coil 2 $198.00+ Type 1 (Long Plate) 1950’s "Bugle-boys". These 12AX7/ECC83 Amperex Late 1940's & 50's Moving-Magnet 4 $168.00+ came in several styles. The most liquid, sweetest, 12AX7/ECC83 Amperex Late 1940's & 50's Super-Line 4 $148.00 and rarest of the 12AX7 in the Amperex family. 12AX7/ECC83 Amperex Late 1940's & 50's Line 6 $118.00 12AX7/ECC83 Mullard 1960’s Moving-Coil 7 $150.00+ Type 2 (Short Plate) The same magical, warm but 12AX7/ECC83 Mullard 1960’s Moving-Magnet 6 $130.00+ detailed sound as it’s older sister with a touch more 12AX7/ECC83 Mullard 1960’s Super-Line 18 $108.00+ neutrality. -
6C33C-B OTL Amplifier - Background and OTL Circuits
6C33C-B OTL Amplifier - Background and OTL Circuits http://www.audiodesignguide.com/otl/aria.html Tube Lovers Anonymous 6C33C-B OTL Amplifier - Background and OTL Circuits INTRODUCTION The purpose of this paper is to explain the selection process and trade-offs involved in choosing the circlotron as the optimal topology for a high-power OTL amplifier. The issues involved in making this selection include circuit simplicity, balanced performance under small- and large-signal operation, and achieving low output impedance (and hence a high damping factor) without the excessive use of feedback. BACKGROUND For many of us, the vacuum tube remains the only acceptable electronic component for amplifying music. Endless debates and discussions on the merits of solid state versus tubes rage on, but we find that the transparency and realism offered by a device consisting of metal and vacuum just cannot be matched by silicon for sheer musical enjoyment and getting as close as possible to the original sound. Prove what you like, tell us we're imagining things, but we know it just sounds better. However, by insisting on all-tube amplification, there is classically a major penalty to be paid in the power amplifier. Tubes are simply not designed to couple directly to today's modern low impedance speakers, and a transformer must be used to match the power output to the load. Even with finest modern materials, the output transformer remains the weakest link. At low frequencies its finite inductance steals current away from the load, and at high frequencies its stray capacitance, leakage inductance, and high-frequency copper losses combine to attenuate amplitude and introduce severe phase shifts. -
A 25W OTL Tube Amplifier Presenting a New Output-Transformerless Circuit with Direct Coupling to the Loudspeaker
Copyright Segment LLC. This article cannot be reprinted without permission: [email protected]. To subscribe: www.circuitcellar.com/subscription/ t u b e s By Tim Mellow A 25W OTL Tube Amplifier Presenting a new output-transformerless circuit with direct coupling to the loudspeaker. f you have spent $500 or more more in common with the Futterman ample loop DC feedback, which—after on 5m or so of exotic loudspeak- circuit2, except that a long-tailed pair initial adjustment—keeps the offset er cable, have you ever wondered of pentodes is used for the driver stage voltage within 20mV between tube re- I about the 500m of standard copper instead of the concertina phase splitter. placements. Similarly, the DC bias needs wire in the output transformers of your The pentodes provide the current drive hardly any adjustment over time. tube amplifier? Audio output trans- as well as greater voltage swing than I know that signal feedback is a con- formers are large, expensive compo- triodes. troversial issue and there are those who nents that require complicated winding A general aim of the design was to maintain that the ultimate goal should arrangements in order to work properly have as simple a circuit as possible with be 0dB. However, zero feedback in this at high frequencies. They are the prime a minimal number of components in design would result in audible noise culprits for the soft bass sound associ- the signal path as well as push-pull op- and an output impedance of 8Ω, which ated with tube amplifiers. eration throughout (Fig. -
Controlled Audio Valve Amplifier
Associac¸ao˜ Portuguesa de Engenharia de Audio´ Secc¸ao˜ Portuguesa da Audio Engineering Society Artigo Apresentado no 13◦ Encontro da APEA 7 e 8 de Outubro de 2011 ESMAE O artigo apresentado nesta Conferenciaˆ foi seleccionado com base num resumo estendido revisto por pelo menos dois revisores anonimos´ qualificados. Este artigo foi reproduzido pelo manuscrito previamente fornecido pelo autor, sem qualquer edic¸ao,˜ correcc¸ao˜ ou considerac¸oes˜ do quadro de revisores. A APEA nao˜ se responsabiliza pelo conteudo´ apresentado no artigo. Todos os direitos reservados. E´ proibida a reproduc¸ao˜ total ou parcial do conteudo´ deste artigo sem permissao˜ directa da Associac¸ao˜ Portuguesa de Engenharia de Audio´ . Controlled Audio Valve Amplifier Tiago Campos1,V´ıtor Tavares1, Ricardo Carvalho1 1DEEC - Faculdade de Engenharia da Universidade do Porto, 4200-465 Porto, Portugal A correspondenciaˆ devera´ ser enderec¸ada para: Tiago Jose´ da Silva Campos ([email protected]) ABSTRACT Valve amplifiers are well known for their typical problems. Valves tend to age and deteriorate much faster than solid-state devices, making their characteristics to drift quicker with time of use. Consequently, these amplifiers need particular care on this issue, being necessary a regular calibration of bias currents at the output stage, usually adjusted by the user or technicians. It should be also noted that these circuits are known for having typically higher levels of distortion when compared to transistorized amplifiers. Because valves have relatively low amplification factor and also because of large phase shifts, mainly caused by the output transformers, high amounts of (global) negative feedback are not admissible. In opposition, with solid-state amplifiers huge amounts of feedback are generally employed, making transistor amplifiers to present superior linear characteristics. -
The PEARL Archive of Vacuum Tube, Loudspeaker & Solid State
Web: http://www.pearl-hifi.com 86008, 2106 33 Ave. SW, Calgary, AB; CAN T2T 1Z6 E-mail: [email protected] Ph: +.1.403.244.4434 Fx: +.1.403.245.4456 Inc. Perkins Electro-Acoustic Research Lab, Inc. ❦ Engineering and Intuition Serving the Soul of Music The PEARL Archive of Vacuum Tube, Loudspeaker & Solid State Audio Technology Updated approximately monthly; this is Ver. 1.10, May 1, 2014. To obtain the most recent version of this document click here Click on blue text in the Volume/Section listings to be taken directly to the web page where the articles can be downloaded. HE FOLLOWING IS A COMPLETE INDEX of the arti- Titles of presently downloadable articles are Tcles contained in the P EARL Archive of Vacuum shown in blue text, clicking on which will take you to Tube, Loudspeaker and Solid State Audio Technology. the relevant page on our site. Presentl spanning 16 volumes that cover a wide range of topics, the ‘Archive is a collection of approxi- This latest release is expanded from the original mately 1,200 articles that chronicle the implementation intent back in the late 1980s to provide an extensive of vacuum tubes in the audio-reproduction chain from archive of only vacuum tube technology as imple- the late 1920s through to the present day. mented in audio to include the very large amount of While we might at some point make the entire col- information amassed up the present; early 2014. lection available on DVD, the scanning, page-by-page reconstruction and conversion to OCR-d PDF of at least 5,000 pages is a very time consuming project that will not be completed for some time. -
Silver Luna PRESTIGE
Silver Luna PRESTIGE USER’S MANUAL SAFETY TIPS ______________________________ In order to obtain the highest possible sound reproduction quality and for the sake of your own safety, please kindly refer to the following safety guidelines and please adhere to them: • Never place the Fezz Audio Silver Luna PRESTIGE amplifier near heat sources, such as radiators, heaters or direct sunlight. Ensure adequate ventilation and airflow. • We also warn against exposure of the amplifier to conditions such as very low temperatures and/or high humidity. • During normal operation, the vacuum tubes radiate significant amounts of heat - there is a risk of burns • The amplifier should be plugged directly into a wall socket. If you must use an extension cord, please make sure that it has load parameters sufficient to ensure proper handling of current delivery to the device. • When cleaning, always disconnect the Silver Luna from the power source. Use a dry, soft cloth. Do not use water or cleaning agents. • If your amplifier starts to misbehave or to work incorrectly, if it’s temperature gets too high or you start feeling smoke - immediately disconnect the device from the mains. • Due to the risk of exposure to high voltages – please do not open the lid of the amplifier. ATTENTION: This warning remains in force also in a situation where the device is already disconnected from the wall outlet. • Always replace fuses in accordance with the original, intended specification. • Do not make repairs on your own, or adjustments beyond those as described in this manual. Execution of any unauthorized repairs or modifications of the device result in a loss of warranty. -
Operational Amplifiers: Basic Concepts
Operational Amplifiers: Basic Concepts Prof. Greg Kovacs Department of Electrical Engineering Stanford University Design Note: The Design Process • Definition of function - what you want. • Block diagram - translate into circuit functions. • First Design Review. • Circuit design - the details of how functions are accomplished. – Component selection – Schematic – Simulation – Prototyping of critical sections • Second Design Review. • Fabrication and Testing. EE122, Stanford University, Prof. Greg Kovacs 2 EE122 Parts Kit EE122, Stanford University, Prof. Greg Kovacs 3 Parts Kit Guide LT1175 LT1011 Adjustable Comparator Negative Voltage AD654 V-F Regulator LT1167 Converter Instrum. Sockets Amp 7805 +5V Regulator Yellow LEDs MJE3055 NPN Power Transistor Bright Red LEDs 555 Timer IRLZ34 Logic-Level Power LM334 Temp. Sensor MOSFET (N-Chan) CdS Cell LT1036 Voltage Regulator +12/+5 SFH300-3B LT1033 Voltage Phototransistor Regulator 3A Negative, LT1056 Op- LTC1064-2 Adjustable Amps Switched Capacitor Filter EE122, Stanford University, Prof. Greg Kovacs 4 Each set of five pins are shorted together internally so you can make multiple connections to one i.c. pin or component lead... Each of the long rows of pins is shorted together so you can use them as power supply and ground lines... Protoboards... EE122, Stanford University, Prof. Greg Kovacs 5 USE decoupling capacitors (typically 0.1 µF) from each power supply rail to ground. This is essential to prevent unwanted oscillations. The capacitors locally source and sink currents from the supply rails of the chips, preventing them from “talking” to each other and their own inputs! EE122, Stanford University, Prof. Greg Kovacs 6 Point-To-Point Soldering On A Ground-Planed Board EE122, Stanford University, Prof. -
HI-FI+ GUIDE to PERSONAL AUDIO Sponsored by Hifiman and Echobox Audio
HI-FI+ GUIDE TO PERSONAL AUDIO Sponsored by HiFiMAN and Echobox Audio HI-FI+ GUIDE TO PERSONAL AUDIO GUIDE TO PERSONAL AUDIO HI-FI+ The Explorer The Explorer represents the evolution of portable audio, and our refusal to accept the limitations of digital audio. Smartphones, with their mediocre DACs, integrated, noise-prone circuitry and lossy files, just don’t do justice to the emotion behind our favorite music — that's why we've carefully crafted the Explorer using nothing but the the highest quality components to recreate a portable listening experience that's as close to real vinyl as it gets on-the-go. #AUDIOEVOLUTION Echobox is a company founded and run by music-lovers and audio geeks. We’ve been watching the personal audio industry for years, researching and analyzing everything from the types of music people listen to, how and where we listen, and, most importantly, the quality of audio. The truth is, there are a lot of fashion oriented headphones and earphones in the market today. Most sound mediocre, are built like dollar store toys, or are The Finder X1 just way too expensive for the quality they provide. We’ve founded Echobox to help The Finder X1 is a revolutionary new HiFi personal audio evolve in a way that does justice to good music. Our goal is simple: make earphone that, in many ways, is the first of its great sounding audio products that are well built and affordable. kind. Combining innovative structural engineering and the highest quality materials, we have created an earphone that sounds powerful, lively and transparent, while setting a new industry standard for durability. -
Silhouette Reference Preamplifier
Silhouette Reference Preamplifier User Guide MADE IN USA © 2014 Raven Audio. All Rights Reserved. Congratulations on your purchase of the 16-tube Silhouette PRODUCT DETAIL Reference Preamplifier with Phono Stage. Locate the preamp with air circulation in mind. It features a Tokyo Ko-on 50k ohm Specifications motorized volume control. The preamplifier is tube-rectified and Inputs: 1/pr balanced XLR, 4/pr single-ended RCA tube controlled, and matches well with a wide variety of Input impedance phono: 47k ohms amplifiers. The phono stage is loaded at 47k ohms for Output impedance line-stage: < 200 ohms high-output MC (moving-coil) or MM (moving-magnet) cartridges. Output gain: +3dB The standard Silhouette Reference Preamplifier gain is 3dB but Dimensions: W 19.4" x D 11.5" x H 8.5" can be modified upon request. Weight: 47lbs Tube Complement 1 x 5Y3/5AR4 – Rectifies tube power supply 1 x 6B4G – Voltage regulator VACUUM TUBE ASSEMBLY DIAGRAM 1 x 6SN7 – Voltage adjuster 1 x OA3 – Reference voltage 2 x 12AT7 – First-stage amplifier 2 x 12AU7 – Current supply for first-stage amplifier 2 x 6DJ8/6922 – Output stage cathode follower 6 x 12AX7 – Phono preamplifier section IMPORTANT: USING YOUR VACUUM TUBE PREAMPLIFIER 6DJ8/ 6DJ8/ 12A X7 12A X7 • Do not unplug an interconnect while the preamplifier is on 5Y3/ 6922 6922 5AR4 6B4G • Do not plug your preamplifier into an ungrounded power socket • Be sure to turn on source components and preamplifier first 12AU7 12AU7 12A X7 12A X7 • Allow them to warm up before turning on your amplifier 0A3 6SN7 • Turn down the volume on the preamp and turn the amp on last 12AT7 12AT7 12A X7 12A X7 • Turn down the volume on the preamp and turn the amp off first • Always use the correct tube types available from Raven - 1 - - 2 - PLEASE READ AND FOLLOW THESE WARNING: Liquid – Avoiding Electrical Shocks Do not operate your Raven Audio device if liquid of any kind is IMPORTANT SAFETY PRECAUTIONS spilled onto or inside the unit. -
Cars, Planes, and Circlotrons John’S Response
2003 John Broskie's<< Guide TUBE to CAD Tube JOURNAL Circuit Analysis >> & Design Page October www.tubecad.com 2003 An Experiment Many of you miss the old Tube CAD Journal, the one that was once published along a fairly regular schedule, the one that held several articles per issue and a Article readers’ letters section. What happened to the old Tube CAD Journal? Cars, Planes, In spite of over 50 articles, hundreds of schematics and well over a and Circlotrons thousand emails, I believe the TCJ was never given a real chance to prove itself. It was the Cinderella that only received scraps of time and effort. Since it drained both money and time -- lots of time -- it was resented by family and friends. The Tube CAD Journal companion programs did not solve the dilemma. Thus I have devised an experiment to see if the Tube CAD Journal can support itself, allowing me to devote the many hours it would take to publish once again a full journal each and every month; in fact, my goal would be to produce a better journal than the old one. My vision for this reborn TCJ includes a strict publishing schedule, optimized PDF format, tube-based audio projects, and the return of reader mail. Because of the way the Yahoo! Store works, I will have to make this experiment a “limited time offer.” So in order to make it something you can buy for yourself and all your tubehead friends for Christmas, Hanukkah, Kwanzaa, Winter Solstice, New Year’s, Festivus or any other winter celebration you desire, I will be announcing the experiment the week of the American Thanksgiving holiday (that’s the week of November How to contact the 24th, for those of you outside the U.S.). -
Mode of Operation of the Pentode Or Tetrode Tube in the Output Stage Of
Web: http://www.pearl-hifi.com 86008, 2106 33 Ave. SW, Calgary, AB; CAN T2T 1Z6 E-mail: [email protected] Ph: +.1.403.244.4434 Fx: +.1.403.245.4456 Inc. Perkins Electro-Acoustic Research Lab, Inc. ❦ Engineering and Intuition Serving the Soul of Music Please note that the links in the PEARL logotype above are “live” and can be used to direct your web browser to our site or to open an e-mail message window addressed to ourselves. To view our item listings on eBay, click here. To see the feedback we have left for our customers, click here. This document has been prepared as a public service . Any and all trademarks and logotypes used herein are the property of their owners. It is our intent to provide this document in accordance with the stipulations with respect to “fair use” as delineated in Copyrights - Chapter 1: Subject Matter and Scope of Copyright; Sec. 107. Limitations on exclusive rights: Fair Use. Public access to copy of this document is provided on the website of Cornell Law School at http://www4.law.cornell.edu/uscode/17/107.html and is here reproduced below: Sec. 107. - Limitations on exclusive rights: Fair Use Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, includ- ing such use by reproduction in copies or phono records or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for class- room use), scholarship, or research, is not an infringement of copyright.