Manuals+

Table of Contents

About the Author

7

Introduction

8

1. Definition of Goals and Requirements

10

  1. 1.1 Output Power
    1. 1.1.1 Power and Cost
    2. 1.1.2 Lesson from the Japanese School
    3. 1.1.3 Around 1 Watt and below
    4. 1.1.4 Tube Amplifiers Sound Louder Than Transistor Amplifiers
    5. 1.1.5 Power and Class of the Amplifier
    6. 1.1.6 Loudspeaker as a Determining Factor
  2. 1.2 Frequency Range
    1. 1.2.1 The Range of Our Ear
    2. 1.2.2 Frequency Range and Feedback
    3. 1.2.3 Frequency Range and Time Behavior (Phase)
  3. 1.3 Power Range
    1. 1.3.1 High-Frequency Power Range
    2. 1.3.2 Low-Frequency Power Range
  4. 1.4 Input Sensitivity and Gain Factor
    1. 1.4.1 Gain Factor in Output Amplifiers
    2. 1.4.2 Gain Factor in Preamplifiers
    3. 1.4.3 The Pleasant Volume Control
    4. 1.4.4 Input Impedance
  5. 1.5 Damping Factor
    1. 1.5.1 ESL or Dynamic?
    2. 1.5.2 Direct Influence of Damping Factor
  6. 1.6 Distortion
    1. 1.6.1 Harmonic Distortion
    2. 1.6.2 Intermodulation Distortion
    3. 1.6.3 Other Distortions
  7. 1.7 Interrelation

2. Relationship Between Subjective and Objective Goals

25

  1. 2.1 Direction of Hearing
  2. 2.2 Detail Hearing
  3. 2.3 Tone Balance
  4. 2.4 Depth Imaging
  5. 2.5 Interplay
  6. 2.6 Imaging Forward
  7. 2.7 Envelopment
  8. 2.8 Structure of the Soundstage
  9. 2.9 Involvement and Attention
  10. 2.10 Summary

3. Circuits and Their Consequences

34

  1. 3.1 Balanced Amplifiers
    1. 3.1.1 Pentode Balance
    2. 3.1.2 Ultra Linear
    3. 3.1.3 Triode Balance
  2. 3.2 Extension of Balance
  3. 3.3 Typical Characteristics of Balance
    1. 3.3.1 Distortion
    2. 3.3.2 Gain Constancy, DDFD
    3. 3.3.3 Microdetail Reproduction
    4. 3.3.4 Power Supply Modulation
    5. 3.3.5 Constancy and Equality of Quiescent Current
  4. 3.4 Single-Ended Amplifiers
    1. 3.4.1 Harmonic Distortion
    2. 3.4.2 Constant Load of the Power Supply
    3. 3.4.3 Sensitivity to Power Supply Ripple
    4. 3.4.4 Microdetail Reproduction
  5. 3.5 Voltage or Current Control?
    1. 3.5.1 Voltage Control
    2. 3.5.2 Current Control
    3. 3.5.3 Combination of Current and Voltage Control
    4. 3.5.4 Recommendations
  6. 3.6 Alternative Circuits

4. Consequences for Amplifier Parts

51

  1. 4.1 Power Supply
    1. 4.1.1 SE Power Supplies
    2. 4.1.2 PP Power Supplies
  2. 4.2 Output Stages
  3. 4.3 Phase Splitters
    1. 4.3.1 Split Load
    2. 4.3.2 Phase Inverter
    3. 4.3.3 Long Tailed
  4. 4.3.4 Phase Splitter with Transformer
  5. 4.4 Driver Stages
  6. 4.5 Preamplification

5. Details of Amplifiers

60

  1. 5.1 Balanced Amplifiers
    1. 5.1.1 PR20HE
    2. 5.1.2 Le Miracle
    3. 5.1.3 UL40-S2
    4. 5.1.4 Simpler SPT Amplifier
    5. 5.1.5 Amplifier with Variable Damping Factor
    6. 5.1.6 High Power Amplifier for Bass Guitar
  2. 5.2 SE Amplifiers
    1. 5.2.1 SE According to Bert Fruitema
    2. 5.2.2 SE According to Ari Polisois

6. Feedback

79

  1. 6.1 Feedback and Non-linearity
  2. 6.2 With Which Voltage is the Amplifier Working?
  3. 6.3 How Does Time Delay Work in the Amplifier?
  4. 6.4 Feedback Adds Harmonics
  5. 6.5 Feedback and Coloration
  6. 6.6 Feedback and Stability
  7. 6.7 Forward Feedback (Error Correction)

7. Building a Prototype

90

  1. 7.1 Starting with a Printed Circuit Board is Too Much
  2. 7.2 Order of Work
  3. 7.3 Grounding
  4. 7.4 Starting Without Feedback
  5. 7.5 Internal Oscillation
  6. 7.6 Logistics
  7. 7.7 Measuring Per Stage
  8. 7.8 Measuring the Total from Input to Output
  9. 7.9 Stability
  10. 7.10 Listening
  11. 7.11 The Circle
  12. 7.12 The Follow-up

8. Business Approach

94

  1. 8.1 Investment of Time
  2. 8.2 Investment in Hardware
  3. 8.3 Sales Channels
  4. 8.4 Possible Revenue
  5. 8.5 Middlemen
  6. 8.6 Timeframe
  7. 8.7 Designer or Businessman?
  8. 8.8 Advertising
  9. 8.9 List of Profit Points and Innovations
  10. 8.10 The Face
  11. 8.11 Service and Aftercare
  12. 8.12 Project Lifespan and Follow-up Actions
  13. 8.13 Partners?
  14. 8.14 The Face of the Economy
  15. 8.15 What About Competition?
  16. 8.16 Only Your Home Country or the Whole World?
  17. 8.17 What Does Everything Cost?
  18. 8.18 Housing
  19. 8.19 Summary

9. Holistic Approach

100

  1. 9.1 What Does Your Heart Say?
  2. 9.2 Thinking and Acting in Spheres
  3. 9.3 Your Personal Personality
  4. 9.4 The Adventure

10. Introduction to Measurements

106

  1. 10.1 Analog Measurement Equipment
  2. 10.2 Measuring with the Computer
    1. 10.2.1 Sound Generator
    2. 10.2.2 Arta Analysis Software
    3. 10.2.3 Digital Oscilloscope via USB to the Computer
  3. 10.3 Measurement Setup
    1. 10.3.1 Grounding
    2. 10.3.2 Emergency Switch
    3. 10.3.3 Attenuators
    4. 10.3.4 Overview

11. Measurements at 1 Watt in the F-domain

112

  1. 11.1 Introduction to dB
  2. 11.2 Measurement of the -3dB Frequency Range

12. Measurements at Pmax in the F-domain

121

  1. 12.1 Pmax of Balanced Amplifiers at Low Frequencies
  2. 12.2 Pmax of SE Amplifiers at Low Frequencies
  3. 12.3 Pmax Limit at High Frequencies

13. Impedances

130

  1. 13.1 Input Impedance
  2. 13.2 Output Impedance
    1. 13.2.1 Determination of Zout using the On-Off Method
    2. 13.2.2 Determination of Zout using Output Drive

14. About Measuring Gain

137

  1. 14.1 Gain in Pre-stages
    1. 14.1.1 First Disconnect the Feedback
    2. 14.1.2 Measure with 10:1 Probe
    3. 14.1.3 Output Range of Pre-stages
  2. 14.2 Gain in the Output Stage

15. Distortion

139

  1. 15.1 Pay Attention!
  2. 15.2 Analysis of Harmonic Distortions
    1. 15.2.1 Harmonic Distortion as a Function of Frequency
    2. 15.2.2 Harmonic Distortion as a Function of Amplitude
  3. 15.3 Intermodulation Distortion
  4. 15.4 Measurement of Linearity
    1. 15.4.1 Demonstrating Non-linearity with Lissajous Measurement
    2. 15.4.2 Non-linearity as a Function of Input Voltage

16. Measurements in Time and Frequency Domain

155

  1. 16.1 Phase Measurements
  2. 16.2 Impulse Response
    1. 16.2.1 About the Measurement Signal
    2. 16.2.2 Looking in the Time and Frequency Domain
    3. 16.2.3 Looking Over a Longer Period
    4. 16.2.4 Time and Frequency Combined

17. New Measurements

172

  1. 17.1 Standing Still
  2. 17.2 A New Route?
  3. 17.3 Thinking Differently
  4. 17.4 Which Route Should We Follow Now?

18. Microdetail Reproduction (Appendix)

178

  1. 18.1 Introduction
  2. 18.2 Limits of Our Hearing
  3. 18.3 Structure of the Microdetail Model
  4. 18.4 Evidence for the Microdetail Model
  5. 18.5 Influence of Distance 'd' to the Loudspeaker
  6. 18.6 Influence of Loudspeaker Efficiency
  7. 18.7 Influence of the Frequency Characteristics of the Loudspeaker
  8. 18.8 Influence of Primary Impedance Zaa
  9. 18.9 Influence of Ri,eff
  10. 18.10 Influence of a Slot in the OPT Core
  11. 18.11 Influence of the Core Iron
  12. 18.12 Discussion and Conclusion
  13. 18.13 Literature

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