tag:blogger.com,1999:blog-23685742840175275032024-02-18T22:29:32.359-08:00Golden TubesNazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.comBlogger77125tag:blogger.com,1999:blog-2368574284017527503.post-69990122499216357212014-11-26T12:40:00.002-08:002014-11-26T12:40:56.571-08:00Ashly PQX-572 Dual Parametric 7 band EQ<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6mOSvAWp0sFoiXYTzo9nJZvPlmH21HxYRsc9KGU8VcM3Rfi-bJhYIpxia7pXe2hJWWIy01SFQoceXrde3FdeNhyphenhyphenr7PK0jka701dkXk4tZOIZcgOM9TWZnd056UyYMkZcnwWNuRn9a0nQ/s1600/pqx572med.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6mOSvAWp0sFoiXYTzo9nJZvPlmH21HxYRsc9KGU8VcM3Rfi-bJhYIpxia7pXe2hJWWIy01SFQoceXrde3FdeNhyphenhyphenr7PK0jka701dkXk4tZOIZcgOM9TWZnd056UyYMkZcnwWNuRn9a0nQ/s400/pqx572med.jpg" height="153" width="640" /></a>
<br />
<br />
This is a simple, practical Parametric EQ design, <br />
which is very flexible, and replaces/increases the options <br />
on any input channel of your mixer via insert.<br />
<br />
<img alt="" border="0" class="bbCodeImg" src="https://static.gearslutz.com/board/imgext.php?u=http%3A%2F%2Febay.dawgeatdawg.com%2F_SOLD%21%2FAshlyPQX-572%2F1.jpg&h=e006e81d1c38459e022b64ef16d82614" /><br />
<br />
It can also be very effectively used for tone shaping of <br />
PA systems via inserts on the Main Outputs of your mix. <br />
<br />
One example use would be to dedicate one "channel" <br />
for a mono stage-monitor/foldback mix, and the other <br />
"channel" for the Mains FOH (Front of House) Mono mix. <br />
<br />
It is good enough quality to also apply to a simple mixdown, <br />
for testing or tone-shaping or corrective EQ.<br />
<br />
On some units for sale used, you will see damaged front knobs.<br />
The front knobs stick out a significant distance from the panel,<br />
making them susceptable to damage, unless precautions are taken. A metal railing or recessed mounting is advisable. <br />
<br />
The rear XLR / TRS in/out as well as screw-strips make <br />
hookup very flexible. <br />
<br />
<img alt="" border="0" class="bbCodeImg" src="https://static.gearslutz.com/board/imgext.php?u=http%3A%2F%2Febay.dawgeatdawg.com%2F_SOLD%21%2FAshlyPQX-572%2F4.jpg&h=900965b4844981832f962cb166c47883" /><br />
<br />
I suspect that some units get damaged in live gigs due to abuse, rather than poor construction.Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-56354079202587770272014-11-26T12:13:00.000-08:002014-11-26T12:13:44.112-08:00TOA E-1231 Series 1000, 31 band Graphic EQ<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEpvNcCuuUSPb4iJ0zz-i7GFmXdbE8gYuL8zn-3AHBSvWJ9IHUnuRCHgOHC_XSUaiGctdmvwv1uW3SjwIqqqlafkK8Jtkd2bItiPIaQb4H4TZR80Z3qRwtj5zzNPB30-cm_szt3denmVo/s1600/E-1231-Front4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEpvNcCuuUSPb4iJ0zz-i7GFmXdbE8gYuL8zn-3AHBSvWJ9IHUnuRCHgOHC_XSUaiGctdmvwv1uW3SjwIqqqlafkK8Jtkd2bItiPIaQb4H4TZR80Z3qRwtj5zzNPB30-cm_szt3denmVo/s1600/E-1231-Front4.JPG" height="480" width="640" /></a></div>
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<br />
<br />
<br />
<br />
Two things commend these 31 band EQs:<br />
<br />
(1) They were manufactured in Japan, where quality control standards are very high. <br />
<br />
This results in quality performance of electronic circuits, <br />
and also reliability over time.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPHGaByhvpj6hsS-hxTYfNvU1gTj-TkK8QNwtURT57wYas-POgMKW7Y7dN7zJru-txV3kJyDel_lDQDPj4BSyf1KqdJ3QURAhykOBQ8CWrDIvrg5Vh3KQJ3xran4P-9cutGebFRo_z9s4/s1600/E-1231-Front3.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPHGaByhvpj6hsS-hxTYfNvU1gTj-TkK8QNwtURT57wYas-POgMKW7Y7dN7zJru-txV3kJyDel_lDQDPj4BSyf1KqdJ3QURAhykOBQ8CWrDIvrg5Vh3KQJ3xran4P-9cutGebFRo_z9s4/s1600/E-1231-Front3.JPG" height="480" width="640" /></a><br />
<br />
<br />
<br />
(2) These particular units have full size, high quality slider-pots, <br />
with a professional quality feel usually found only on high end stereos. <br />
<br />
They are very smooth and have a nice resistance to the touch,<br />
and hold their positions very accurately. The Knobs themselves <br />
are also well designed for visibility and durability. <br />
All three units I have purchased have all their knobs and <br />
exhibit no damage from 'roading'.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHRCexE9diFHDsoygui_7dqxLKpCkS6AtBHj678ep2s5oeg3jfrEvv6E773P085ftFH7ruS1HJLbIyHcnoaS3ldYwzaU6ut5R8A7rb8D-yK1XQ2tTsOU8PtXyfU5cJzxeNXazFG8dvAlU/s1600/E-1231-Front2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHRCexE9diFHDsoygui_7dqxLKpCkS6AtBHj678ep2s5oeg3jfrEvv6E773P085ftFH7ruS1HJLbIyHcnoaS3ldYwzaU6ut5R8A7rb8D-yK1XQ2tTsOU8PtXyfU5cJzxeNXazFG8dvAlU/s1600/E-1231-Front2.JPG" height="480" width="640" /></a><br />
<br />
<br />
<br />
<br />
The one drawback is a minor one. These units come <br />
by default without input or output transformers, <br />
and are expected to be hard-wired into permanent systems, <br />
such as church and public address PA systems, and so <br />
TOA has left it as an option to order them with transformers <br />
installed. Thus all my units came without transformers. <br />
<br />
In fact, Graphic 31 band EQs are best used next to your mixer board when doing live gigs, so transformers are not necessary, since the EQs can be inserted at the board, <br />
and the unit shouldn't need to drive long balanced lines. <br />
<br />
In case one does want to install them say between monitor sends and the stage, and still keep them next to the board,<br />
one will probably want either output transformers (only), <br />
or have input transformers on your power amps. <br />
<br />
The real issue is that they are by default only provided with <br />
terminal strips, which means you must either install <br />
XLR / TRS jacks, or make up short cable adapters.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA7oOL4SMEjCu5YaK14PLq1SA_8w3XBmOrpsUxHx1xG82BO5mtIs7rWvtJDhE7bJn9-eKkS8woz-YWeX9uv5kFKMcuYFMKIou9JuXpfuq68m_CkuGM86iS5lSZGeYsipeq2-Kot6OMZSE/s1600/E-1231-back1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA7oOL4SMEjCu5YaK14PLq1SA_8w3XBmOrpsUxHx1xG82BO5mtIs7rWvtJDhE7bJn9-eKkS8woz-YWeX9uv5kFKMcuYFMKIou9JuXpfuq68m_CkuGM86iS5lSZGeYsipeq2-Kot6OMZSE/s1600/E-1231-back1.JPG" height="374" width="640" /></a></div>
<br />
<br />
This is not a real problem as there is plenty of space inside <br />
the units and on the back panel for additional jacks. <br />
<br />
I installed TRS jacks on two of my units to make them <br />
easy to plug in and remove, as per the photos.<br />
<br />
<br />
Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-77038092434194009992014-11-22T07:21:00.001-08:002014-11-22T07:21:47.508-08:00Sexy Tubes from the Pre-transistor Era<div class="separator" style="clear: both; text-align: center;">
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<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-33645707040614573932014-09-19T10:02:00.001-07:002014-09-19T10:02:25.539-07:00How to Wrap Cable without Damaging it<br />
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There is an important trick that nobody is explaining but is paramount if you are hand winding cables on the elbow.<br /> <br />
People do the elbow wind for speed.<br /> <br />
With a rope, it doesn't matter, or at least it isn't likely to damage the rope for a long time, <br />
and you can untangle it.<br /> <br />
With a cable, you need to <br /> <b><i><br />
Pro Method: (fast)</i></b><br /> <br />
(1) automatically "roll" the cable in your fingers with your winding hand, <br /> <br />
(2) do it by feel, in such a way that you can have zero 'twist' tension <br />
in the direction of the roll of wire on your arm. <br /> <br />
(3) keep shaking out the unwound end, so that the curl, <br />
which usually BUILDS, as you ROLL the wire during the wind, <br />
gets relieved by the unwound portion spinning to undo the twist you're adding.<br /> <br />
This technique is critically important, <br />
so practice it until you are sure you really know what you're doing. <br />
And practice on one shitty cable of no value, <br />
before you wind up your whole set of cables after a gig.<br /> <br />
Here is my assistant demonstrating the method:<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVyk09oeI01BgOzO3hyQW-JyLxGoJpMwEhig14kNsIvzQXRnaaVA0xOuvm2-fWbfwLwQyuv6njXRV9gSXwQXqC52wAE11jWVCgRQ42ZaIRROFvZWYML291wK9SElzvOhnsPzbTCahAQQQ/s1600/VID_20140919_121455684.mp4" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVyk09oeI01BgOzO3hyQW-JyLxGoJpMwEhig14kNsIvzQXRnaaVA0xOuvm2-fWbfwLwQyuv6njXRV9gSXwQXqC52wAE11jWVCgRQ42ZaIRROFvZWYML291wK9SElzvOhnsPzbTCahAQQQ/s1600/VID_20140919_121455684.mp4" height="320" width="180" /></a><br />
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<br />
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<br />
<br />
<br />
<br /> <a href="https://www.youtube.com/watch?v=xqCEyUckZTs" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=xqCEyUckZTs</a><br /> <br /> <br /><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaZmxt_Ljf-v2PBI3R0gIvNdiLOc9TkkNWhdSdNvlF1Zdu9G-FdW3Le5ToFh96FWFTCl7ROTT3knXbSmHpWmvQCTKhItUFryJd9oOONwFoTHWwrNgIMbotV61MHzwzd5AIymgKlLpZQIc/s1600/VID_20140919_121536690.mp4" style="margin-left: 1em; margin-right: 1em;"></a> </i></b><br />
<br />
<br />
<br />
<b><i><br />
B. SAFE Method: (slower)</i></b><br /> <br />
If you don't have a really strong mechanical sense of <br />
what is going on with the cable, and you can't feel the <br />
twist of the cable in your fingers, <br />
DON'T use the elbow-winding technique.<br /> <br />
Instead do it the slow way, <br />
by <br />
(1) Holding the loops at the top, <br /> <br />
(2) pulling up a loop, and twisting the whole roll of loops<br />
from above, in the direction that relieves the tension, <br /> <br />
(3) seating the new loop on top of the others, always same side up.<br /> <br />
Here is my assistant demonstrating the method:<br /> <a href="https://www.youtube.com/watch?v=TIuBlZXLN2M" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=TIuBlZXLN2M</a><br />
<br />
<b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaZmxt_Ljf-v2PBI3R0gIvNdiLOc9TkkNWhdSdNvlF1Zdu9G-FdW3Le5ToFh96FWFTCl7ROTT3knXbSmHpWmvQCTKhItUFryJd9oOONwFoTHWwrNgIMbotV61MHzwzd5AIymgKlLpZQIc/s1600/VID_20140919_121536690.mp4" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaZmxt_Ljf-v2PBI3R0gIvNdiLOc9TkkNWhdSdNvlF1Zdu9G-FdW3Le5ToFh96FWFTCl7ROTT3knXbSmHpWmvQCTKhItUFryJd9oOONwFoTHWwrNgIMbotV61MHzwzd5AIymgKlLpZQIc/s1600/VID_20140919_121536690.mp4" /></a></i></b><br />
<br />
<br />
<br />
<i><b> Fixing Cables:</b></i><br />
<br />
You can also restore a cable sometimes, depending upon how the cable has been twisted.<br />
<br />
What appears in the OP photo is that the outer protective rubber has been pulled away from the inner wires and fiber, <br />
and also that the inner wire package has been twisted in relation to the outer housing. <br />
<br />
In this case, sometimes the cable can be easily fixed (if not too severe),<br />
by a combination of stretching lengths of the cable by hand, <br />
and shaking down the section to cause the inner cluster of wires <br />
to return to their natural positioning (twist-wise). <br />
<br />
Also, pulling on the outer housing can also relieve the built-up stress <br />
in any cable housing, and stroking the cable through the hands <br />
in the appropriate direction. <br />
You pull on the outer housing, with a heavy slow friction, <br />
and this will relieve the tension, twist, or bunching that <br />
has built up inside the cable between the outer rubber cover,<br />
and the inner wire cluster and reinforcement rope/housing.<br />
<br />
<b>With MICROPHONE cables you have to try these techniques very gently, </b><br />
since you can "unwind" the shielding, and cause the cable to lose its <br />
electromagnetic field and RF protection, becoming a 'noisey' cable. <br />
<br />
<b>Good cables use a braided shield</b>, which can't be damaged by unwinding. <br />
<br />
<b>CHEAP mic cables use a simpler wound "wrap"</b> which is easily mucked up. <br />
<br />
You can check the type of cable by pulling back an end and looking at the shielding <br />
to see if its braided. If it isn't, sell the cable and by a better one.Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-17615488203538636522014-09-17T08:54:00.000-07:002014-09-17T08:54:26.686-07:00Yorkville Sound TL352 PA Cabinet<br /><b><img alt="" border="0" class="bbCodeImg" src="http://www.poweralley.com/Yorkville/Yorkvi36.jpg" /> </b><br />
<br />
<b> Yorkville Sound TL352 PA Cabinet. </b><br /> <br />
I have been working with PAs off and on for decades,<br />
starting way back in the 80s with Cerwin Vega bins, and JBL horns. <br /> <br />
I have always kept an eye on Yorkville Sound's products, <br />
as they are a local manufacturer here in Toronto, and are <br />
famous for their <b><i>Trainor Guitar amps</i></b>, used by rock players <br />
for years, and now coveted tube gear.<br /> <br />
They have now been in the PA supplying business for quite a while, <br />
and have been a staple supplier of PA gear through <br /> <b>Long & McQuade Music Stores</b> across Canada. <br /> <br />
This meant their gear had to survive the inevitable torture <br />
and abuse of both touring and rentals. As a result, <br />
Yorkville Sound have taken that experience to heart, <br />
and produced some of the most rugged and durable, <br />
and even near-bulletproof PA gear around.<br /> <br />
I finally purchased a couple of PA cabinets from their <b><i><span style="color: darkred;">"Pulse Series" line</span></i></b>, which is a medium cost build. <br /> <br />
The first thing I did was pull the horn to see what kind of <br />
thing was going on. I was astounded; inside as advertised <br />
was a<b><span style="color: darkred;"> Celestion</span></b> <b>100 watt compression driver,</b> but most <br />
importantly, was the way they had the driver bolted into <br />
a 1" thick plywood framework to make it immovable and <br />
immune to the cabinet dropping 10 feet. <br /> <br />
(most cheaper cabinets have drivers screwed onto horns <br />
which support the weight of the driver, up to 7 llbs. <br />
When a cabinet like that is dropped, the driver can be sheared <br />
off of the horn, or the<b> ABS plastic horn</b> can be simply snapped off.)<br /> <br />
Next, I pulled the woofer, and was very impressed with this <br />
massive custom <b><span style="color: darkred;">Eminence Driver </span></b>rated at 400 watts, with giant <br />
black enameled steel plates and cooling vent. <br /> <br />
The biggest surprise was the huge heavy-duty crossover, <br />
which actually stunned me. I have never seen a bigger, <br />
heavier, tougher-made crossover than the monster bolted <br />
into the bottom of this cabinet. <br /> <br />
Even with 40 years on an electronic tech bench, <br />
I have never even seen the gigantic (50-100watt?) resistors <br />
they used here. (Of course I've seen power resistors, <br />
in Hydro gear, but not in audio equipment before.)<br /> <br />
The coils were similarly massive, and plainly made <br />
very credible their claim of a 400 watt power handling capability. <br /> <br />
If you ever rent one of these cabinets, take a peek inside;<br />
I think your jaw will drop when you compare this tank <br />
to average PA cabinets. <br /> <br />
I know they have had a longstanding policy of building tough, <br />
but this cabinet surpised me even though I was prepared <br />
to see a good build. <br /> <br /> <b><i>As to the sound: </i></b> <br /> <br />
They have chosen a design in this series with <b>crossover points <br />
between 2000 Hz and 2100 Hz</b>. This results in a very smooth <br />
upper mid between say 2000 and 6000 Hz. <br />
Other manufacturers crossover much higher, to protect <br />
cheaper horn drivers from overload and burnouts, but <br />
making the 15" woofer try to cover between 3000 and 5000 Hz <br />
usually results in wonky uneven frequency response, as <br />
the inductance of the speaker kicks in and the piston surface <br />
begins to "break up" (flex and develop standing waves). <br /> <br />
By crossing so low, they let the horn handle this critical range. <br />
The horn is then protected from overload by various circuits <br />
such as the 'lamp bypass' and varistors etc. <br />
This PA bin is similarly protected with an automatically resetting<br />
circuit incase of feedback or overload.<br /> <br />
In a previous set of different cabinets, I replaced the crossover <br />
with a 4th order LR at 3.5 kHz, and got a very acceptable sound. I had
chosen the higher frequency to protect the horn compression driver also.
<br /> <br />
I don't think the Yorkville Sound PA box has such a high order crossover, but they have approached the problem differently, <br />
with a lower frequency and protection circuits. <br />
The result is a very smooth sound in which the woofer is <br />
relieved of having to provide higher frequency coverage.<br /> <br /> <b>The birch plywood box </b>is built like a tank, and I expect that <br />
this unit can take a lot of abuse, and is the type that you'd <br />
rather maintain or repair than replace. <br /> <br />
Hats off to whoever is in charge of their quality control and <br />
design specs, as they have produced something like the highest quality
product one could hope for, with top notch components and drivers, and a
supremely heavy-duty build. <br /> <br /> <b><i>What are the drawbacks? </i></b><br /> <br />
Only one I can see: <b>These cabinets are heavy</b>, <br />
and although not that large, two will fill the backseat of a car.<br />
You will need a pickup to move an entire PA built around these cabinets. And they are alot easier to lift with two people.<br /> <br /> <b>I would have liked to have seen metal handles</b>, <br />
but the recessed ABS-style handles seem well-made. <br /> <br />
The cabinet is covered with a tough plastic/fibreglass type coating that
seems very scuff resistant (unlike rugs and paint), and looks like it
will hold up visually over time. <br /> <br />
I thought I was going to swap out the crossover, <br />
but once I saw the monster that was in there, I decided <br />
to leave it as is.<br /> <br />
Very pleased with this purchase, so far, and <br />
I have to say picking up a used pair at Long & McQuade <br />
was the bargain of the century. <br />
Not only a great product, but L&M gave me a warrantee as well!!!<br /> <br />
I'm going to road these locally and I consider this <br />
one of the most robust components of my rigs.<br /> <br /> <b><i>Summary:</i></b><br /> <br />
Sound - Great.<br /> <br />
Build - Awesome. <br /> <br />
Drivers - Top Quality.<br /> <br />
Crossover - <a class="gearLink" href="https://www.gearslutz.com/board/radial/powerhouse-g7700/" rel="nofollow" style="color: navy;" title="More info about powerhouse">powerhouse</a>.<br /> <br />
Box - a tank. <br /> <br />
Handles - (minor worry: wish they were metal)<br /> <br />
Finish - durable.<br /> <br />
Grill - metal curved grill, non-existant rattle issues. <br /> <br />
Connectors - Speakon / Phone. <br /> <br /> <br />
My score:<span style="color: darkred;"><b> 95% of my wishlist met.<br /> </b></span><br /> <br /> <br /> <img alt="" border="0" class="bbCodeImg" src="http://www.poweralley.com/Yorkville/Yorkvi36.jpg" />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-56871419701426141452014-07-11T04:00:00.000-07:002014-07-11T04:11:13.695-07:00RCA Golden Age Microphone Preamps BA-71B<br />
What equipment did Elvis and Harry Belafonte use to get those sweet sounds?<br />
Well, RCA equipment back in the day (1950-1970).<br />
<br />
There were the now famous 44 and 77 Ribbon microphones,<br />
and of course the RCA consoles, with their modular microphone preamps,<br />
first off the OP7 (tube gear) and finally, in the 60s and 70s, the first transistor preamps, like the BA-71B.<br />
<br />
The care in design and pioneering skills of the early RCA engineers became legendary, alongside the artists that helped make recording equipment coveted.<br />
<br />
Being a bit of a packrat, I had picked these up surplus and squirrelled them away to restore and use them. <br />
<br />
<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl92s-gTmFBJfSEeYpaM1xlu-T-W_3hZ56lbaJ_O77SE5c2bbFq3HjJHVuSN7luqWdqgXXyesaTO0rNEcz8mkstM_q1AOPp1KNAwuV3cfed8D-gLXqjz9V6u7x5zvRZNoOmfsZ5almTks/s1600/BA-71-B-Fronts-UTC-transf.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl92s-gTmFBJfSEeYpaM1xlu-T-W_3hZ56lbaJ_O77SE5c2bbFq3HjJHVuSN7luqWdqgXXyesaTO0rNEcz8mkstM_q1AOPp1KNAwuV3cfed8D-gLXqjz9V6u7x5zvRZNoOmfsZ5almTks/s1600/BA-71-B-Fronts-UTC-transf.jpg" height="330" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">RCA BA-71-B Microphone Preamps! </td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnR_4LNMSjxk3qqUKbyJWXOedA0NJcX6Azr9hfR1giSsAm7-EkbwIoYegeBaHmkJYe2j3xUVt_n53QBATqEyUEjlN1R4OSyPWY20ouZ71Ald9uT8_nXFkJmjNbj8C8taKoFm2FQLXdDN4/s1600/BA-71-B-Backs-Serial-39xx.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnR_4LNMSjxk3qqUKbyJWXOedA0NJcX6Azr9hfR1giSsAm7-EkbwIoYegeBaHmkJYe2j3xUVt_n53QBATqEyUEjlN1R4OSyPWY20ouZ71Ald9uT8_nXFkJmjNbj8C8taKoFm2FQLXdDN4/s1600/BA-71-B-Backs-Serial-39xx.jpg" height="110" width="320" /></a></div>
<br />
<br />
I replaced the wiring and removed the connector sockets, in order to hook them up to XLR plugs in the early 1990s to test them as outboard units. My boss at the time didn't think they amounted to much, as people back then didn't think of these as 'vintage' but just 'recently old'. Now however, interest in vintage gear has both revived and expanded to include a wide array of audio gear.<br />
<br />
I've decided to finally follow through and restore at least one for myself, and possibly sell the others. These units are now fetching interest at a much higher price-point than what I first got them at.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb5QmKkGrKQpzo15mdMj5oIh8maFFvj1tAgXs8viB6fUxj6dYo6pCaP2NQ3jKJejZWTye9d0NtUsPusCfnaspZz2NrgcKPLO2p8Q7tAo2hs8uU7wR3bFcyPYgLISD2otOFZij1NBgHFqw/s1600/IMGP7490-1st-one-done-SALEPIC.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb5QmKkGrKQpzo15mdMj5oIh8maFFvj1tAgXs8viB6fUxj6dYo6pCaP2NQ3jKJejZWTye9d0NtUsPusCfnaspZz2NrgcKPLO2p8Q7tAo2hs8uU7wR3bFcyPYgLISD2otOFZij1NBgHFqw/s1600/IMGP7490-1st-one-done-SALEPIC.jpg" height="212" width="320" /></a></div>
<br />
<br />
Here are some examples of prices (at least asked) on Ebay for both unrestored ('As Is') and fully restored and enhanced versions:<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI60HzPjXWdQlkGm9-O61mqvzYxorXCrNXHVjUAdAGC__mkmDhHq5zFgB58wWaceGCpY5np_FhQqdq9DMGPZLEvRLmYJ2i97b8e8-OX23bVrm3F5C2OcSzsbIgZUCNIiP8fn6HzfFVveU/s1600/BA-71B-2rack-meters-$1,849USD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI60HzPjXWdQlkGm9-O61mqvzYxorXCrNXHVjUAdAGC__mkmDhHq5zFgB58wWaceGCpY5np_FhQqdq9DMGPZLEvRLmYJ2i97b8e8-OX23bVrm3F5C2OcSzsbIgZUCNIiP8fn6HzfFVveU/s1600/BA-71B-2rack-meters-$1,849USD.jpg" height="414" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaatgcgrVcti5XGlNo137q9vyIG7wMjOMzVhcT8dr-8ewtP4MXO388hGYkJcmFfgrtD4dAneZlmsWwqDtaJlq8LfJ9Vq8F99YDlhRJkOhh6BQZKu4QTjNOjtxKni1S7Pg-o9krrPJ7PLM/s1600/2pres4sale.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaatgcgrVcti5XGlNo137q9vyIG7wMjOMzVhcT8dr-8ewtP4MXO388hGYkJcmFfgrtD4dAneZlmsWwqDtaJlq8LfJ9Vq8F99YDlhRJkOhh6BQZKu4QTjNOjtxKni1S7Pg-o9krrPJ7PLM/s1600/2pres4sale.jpg" height="298" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXuVGVqtYLDVmNGn_IyD5x9_BydpDAXWG3YdzRJHHU5qITJQK-VRyBnmFKTwIX6hgpDxi3xNDgngdQHv6aTdeqSMircUtpLQA5PhWSEz2bFltlLyNj73AKYBblqdbF7uKrbDmBM5n-oiM/s1600/BA-71C-Pre-$300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXuVGVqtYLDVmNGn_IyD5x9_BydpDAXWG3YdzRJHHU5qITJQK-VRyBnmFKTwIX6hgpDxi3xNDgngdQHv6aTdeqSMircUtpLQA5PhWSEz2bFltlLyNj73AKYBblqdbF7uKrbDmBM5n-oiM/s1600/BA-71C-Pre-$300.jpg" height="338" width="640" /></a></div>
<br />
So it doesn't seem unreasonable for me to ask about $275 each for mine,<br />
'As Is'.<br />
<br />
<br />
<br />
<br />
<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-83095585532270757272014-07-04T00:53:00.000-07:002014-07-04T01:09:38.548-07:00Fixing Up a Behringer 31 Band EQ<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAqRSscXUzM-0WT3tZbO8r4xX18IR21r8_LgHwaO88XBUmqQ1CMaGjD2Ui8UW0vTCBcjC5-C1ZN2UifoSuLS5GACZG4rqxXf0MRrgFb7HW4l4GQ_Sa7b-Vktsblxe2LqbBPKlFRnxkUvw/s1600/B0002E50XG-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAqRSscXUzM-0WT3tZbO8r4xX18IR21r8_LgHwaO88XBUmqQ1CMaGjD2Ui8UW0vTCBcjC5-C1ZN2UifoSuLS5GACZG4rqxXf0MRrgFb7HW4l4GQ_Sa7b-Vktsblxe2LqbBPKlFRnxkUvw/s1600/B0002E50XG-1.jpg" height="196" width="640" /></a></div>
<br />
On <i><b>Amazon</b></i>, under the listing for the<span style="color: #cc0000;"><b> FBQ3102 31-Band Stereo Graphic Equalizer</b></span>, you may find the following notes in the review section:<br />
<br />
"<span style="color: blue;">This equalizer works fine and is easy to use. But I am uncomfortable
with the <i><b>high heat</b></i> it generates. <b> It gets VERY hot on the back panel
around the sub output</b>. It gets so hot in that area, it hurts to keep a
finger there. This is very strange as the heat is generated <b>even when
the EQ it not wired to anything</b> but the A/C power. It is not on top of
warm equipment either. I have observed this high-heat behavior on two
units. Two different calls to Behringer yielded two results. The first
time it was suggested that I exchange the device, which I did. The
second time I was told the heat was O.K. Weee, multiple choice from
customer support."
(</span><span style="color: blue;"><span class="a-color-secondary"><span class="a-size-normal"><span class="a-color-secondary">By
</span>
<i>Dr. James Williamson</i>
</span>
<span class="a-color-secondary"> on July 15, 2010</span></span>)</span>"<br />
<br />
In fact, one will find (on <b><i>Musician's Friend, Amazon,</i></b> and other sites) many <b>mixed reviews</b> with this and other similar products (low end home-studio, inexpensive semi-pro equipment).<br />
<br />
These units (many brands and models) all <i><b>seem to fail frequently</b></i> in partial functions or even completely, after heavy use or leaving them on for extended periods.<br />
<br />
<b>This can almost always be traced to HEAT PROBLEMS</b> as a result mainly of cutting corners and assuming that consumers will not run the units 24/7 or for more than an hour or so at a time.<br />
<br />
The manufacturers typically use smaller heat-sinks (or no heat-sinks at all),<br />
or they skip on fans, or provide poor ventilation to allow heat to escape at<br />
<b>an adequate heat-transfer rate for continuous use</b> (i.e., extended on-times).<br />
<br />
On the one hand, you will read great reviews praising the performance of the products, and on the other hand you will also read seemingly contradictory horror stories of how these products fail after only moderate extended use, often just outside the warranty time limits!.<br />
<br />
This is precisely what is to be expected. <br />
<br />
Luckily there are solutions.<br />
<br />
If you're trying to save a few dollars with these inexpensive units,<br />
and since the warranty will rarely work in your favour anyway,<br />
you can take a bit of risk voiding the warranty and instead modify<br />
the unit so that it at least has a chance of functioning normally<br />
and without problems under extended or continuous use.<br />
<br />
This usually means providing better ventilation and heat-transfer,<br />
and even adding fan-cooling or larger heat-sinks or metal components.<br />
<br />
Here's what we did to deal with the heat problem on our 31 Band EQ:<br />
<br />
First, we opened up the unit to discover a lot of empty space in there,<br />
and one seemingly adequate, but unfortunately sealed, heat-sink<br />
in the input area at the top, which accounts for the high heat you can<br />
feel on the top of the left side of the case when its powered on for any<br />
length of time.<br />
<br />
I was initially thinking I would add a heat-sink to the outside, so as<br />
not to deface the unit, by gluing it on. But inspecting the inside showed<br />
me that this would not really work. The chip doing the heating was not<br />
screwed to the case as I anticipated, but had its own heat-sink already,<br />
which was not touching the case at all!<br />
<br />
This is doubly disturbing, since the case was incredibly hot in spite of<br />
not being connected directly to the heat-sink.<br />
<br />
Obviously the real problem was no ventilation, not no heat-sink.<br />
<br />
Heat-sinks can't operate properly unless there is some air-flow that can<br />
transfer heat continuously to the outside without build-up.<br />
<br />
So I took a 'nibbler-tool' and cut a square hole right above the heat-sink,<br />
and also one on the bottom of the unit about the same size,<br />
so that air can flow naturally by convection up through the bottom,<br />
over the heat-sink fins, and exit the unit at the top.<br />
<br />
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<tr><td class="tr-caption" style="text-align: center;">HOLE CUT ON BOTTOM WITH SCREEN TO KEEP OUT INSECTS, MICE, DUST</td></tr>
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Also of concern if you are 'roading' the unit is to make sure things you do can't introduce more problems:<b>
I used some <span style="color: #cc0000;"><i>Locktite</i></span> on the nuts holding the screen in place above,</b>
just to make sure that they didn't work loose and start bouncing around inside the case,
shorting out electrical components. You can also just use a bit of paint or glue,
to make sure screws don't come loose with jiggling over time.<br />
<br />
<i><b>To prevent injury, I also filed the sharp edges of the hole</b></i> I cut with a file,<br />
and then 'painted' the edges with a permanent magic-marker to remove<br />
any unsightliness. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMq0KkqRdReyO2PpDNlL7_3CxMWqT9iWpy-F9sU9fNfH3b-A-xZmSu2hu30__QrM3VUBFhKMc-f9FoWvNBz3G7CY2_WavcB__vqJk0dROZQDM33aSAnD41BAJaI2teLFypUtN2LMOYgIA/s1600/mixer2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMq0KkqRdReyO2PpDNlL7_3CxMWqT9iWpy-F9sU9fNfH3b-A-xZmSu2hu30__QrM3VUBFhKMc-f9FoWvNBz3G7CY2_WavcB__vqJk0dROZQDM33aSAnD41BAJaI2teLFypUtN2LMOYgIA/s1600/mixer2.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">UNIT MAY BE OUT OF WARRANTY BUT STAYS COOL!</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxlgMwRCYd8Ge2nFi-MER1RK0XaUGxgH5rXWP0BWQHzO3NXy71jcYmJWBu1j3tf24-vGSla6CNUHriXlxyDweam9Gx9HAOhNd-kQuT9AoJANukajNhrAsn-ywEqFG9j5KyUjFwOLpQSZs/s1600/EQsettings.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
This seems to have solved the heat problem, but keep in mind that<br />
these window-vents might get blocked still, if the unit is mounted tight against<br />
other equipment in a rack.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5geIDiaD9e-WRwlH5MIPVsu1re-M6UodwyzX7bS3agn7okPzAokUBYP8jLSdZlATCKvRf_YuIfNacmDVQM34qD7E5QZst-ik84qJvfOXQS51uswzE9FHfIU1irqjeCUm6VSe6Qq6yynY/s1600/mixer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5geIDiaD9e-WRwlH5MIPVsu1re-M6UodwyzX7bS3agn7okPzAokUBYP8jLSdZlATCKvRf_YuIfNacmDVQM34qD7E5QZst-ik84qJvfOXQS51uswzE9FHfIU1irqjeCUm6VSe6Qq6yynY/s1600/mixer.jpg" height="292" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">USING A TILTED RACK KEEPS VENTS UNBLOCKED, AND MAKES UNIT EASY TO READ WHILE MIXING.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<br />
There is also plenty of space on the back of the unit to cut a hole,<br />
instead of the bottom, if that is better in your situation. (e.g., if the bottom hole will be blocked otherwise.) I cut the bottom because it would be less visible,<br />
and I had planned to tilt the unit in a special rack. <br />
<br />
<br />
<br />
<i><b>Another way to protect EQ units is to use them properly.</b></i><br />
<br />
Here you can see I have left EQ centered and flat except for<br />
subtractive notches to take out room-boom and feedback points.<br />
No frequencies are boosted, because that is better done with wider Q<br />
tone controls on the channels and mains, i.e., a parametric EQ.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxlgMwRCYd8Ge2nFi-MER1RK0XaUGxgH5rXWP0BWQHzO3NXy71jcYmJWBu1j3tf24-vGSla6CNUHriXlxyDweam9Gx9HAOhNd-kQuT9AoJANukajNhrAsn-ywEqFG9j5KyUjFwOLpQSZs/s1600/EQsettings.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxlgMwRCYd8Ge2nFi-MER1RK0XaUGxgH5rXWP0BWQHzO3NXy71jcYmJWBu1j3tf24-vGSla6CNUHriXlxyDweam9Gx9HAOhNd-kQuT9AoJANukajNhrAsn-ywEqFG9j5KyUjFwOLpQSZs/s1600/EQsettings.jpg" height="192" width="400" /></a></div>
<br />
The very ends of bass and treble can be rolled off too,<br />
to protect bass speakers and remove harshness from horns.<br />
<br />
EQ should be used in an insert on the mixer board so that what it<br />
is doing to the sound can be monitored at the board with headphones,<br />
for both Front of House (main FOH) or monitors (e.g., stage monitors with<br />
a separate EQ channel).<br />
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<br />
<br />
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<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-91251901394937698572014-05-15T10:45:00.000-07:002014-05-15T11:03:57.015-07:00New Live PA Monitors from MAX Professional! WOWI'm so excited about these new PA speakers!<br />
<br />
One of the perenial problems with smaller live gigs in bars, coffee shops, churches, pizza places and community centers is vocal sound quality.<br />
<br />
Typically, the sound systems are old, crappy, old-technology, rentals, abused, set up wrong, and the equipment is worn out or damaged from mishandling and careless use.<br />
<br />
Even careful EQing, volume adjustments, positioning, and training singers and speakers often results in a final sound that is depressingly poor, leaving the performer sounding like they have cotton in their cheeks, and a horrible lisp.<br />
<br />
Two of the key weak points in the sound chain are the microphones (and channel inputs), and the PA speaker system.<br />
<br />
<br />
<b>Frank Fabian</b> , the chief designer behind the <i><b>MAX Professional line</b></i> of speaker and sound products, was well aware of the problem of providing the highest quality sound reproduction through the speaker system, at adequate volumes and modest and attainable price points.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-1ZyiEMS4XKv3o8iLucsRdIqS6pXRgwuJl436xKuvBlGzZGe7Q2CSLEkvCSWQEkYER0tA5PXUGem_4hyphenhyphenQcKNlsJNlgCW51bb8xAEw41k_aQ3uBkFRP5zwbTu2vwSxPkdzJXDBDoqqO-k/s1600/IMGP7473-logo2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-1ZyiEMS4XKv3o8iLucsRdIqS6pXRgwuJl436xKuvBlGzZGe7Q2CSLEkvCSWQEkYER0tA5PXUGem_4hyphenhyphenQcKNlsJNlgCW51bb8xAEw41k_aQ3uBkFRP5zwbTu2vwSxPkdzJXDBDoqqO-k/s1600/IMGP7473-logo2.jpg" height="147" width="200" /></a><br />
<br />
One of these brilliant designs is the pair of speakers I have taken on now as my main workhorse for live PA sound for local gigs in coffee shops, churches and bars.<br />
<br />
These speakers are phenomenal in sound!<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4JA3ksgc92hWyOY2Owho-OmLNomCCKVL6HbR14MQBruplBKKs9gOa2rduMpCq0_t8_0StTw9UsdzbCu8kmGoncxjYKuMswsBO6o5e9Raqz8RhWsZw_YHbTKVwEc3Zj7LQRROEQylMyg0/s1600/IMGP7462-speaker2-front-web.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4JA3ksgc92hWyOY2Owho-OmLNomCCKVL6HbR14MQBruplBKKs9gOa2rduMpCq0_t8_0StTw9UsdzbCu8kmGoncxjYKuMswsBO6o5e9Raqz8RhWsZw_YHbTKVwEc3Zj7LQRROEQylMyg0/s1600/IMGP7462-speaker2-front-web.jpg" height="640" width="424" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSfUxm2SvifrrIHiNvQGpa9kjOkvEMdJ1wwUy30iQJh_ww9Y6x2zrHO8A021tAHmD8aKXtYNqFdYlEd4XsZBPG7Sph2xCzAsVWLAQ1Mht2AdWVPdkM2dbKCiiSE_a2cn6oDpZZqZWaGE/s1600/IMGP7460-speaker-back-web.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSfUxm2SvifrrIHiNvQGpa9kjOkvEMdJ1wwUy30iQJh_ww9Y6x2zrHO8A021tAHmD8aKXtYNqFdYlEd4XsZBPG7Sph2xCzAsVWLAQ1Mht2AdWVPdkM2dbKCiiSE_a2cn6oDpZZqZWaGE/s1600/IMGP7460-speaker-back-web.jpg" height="200" width="132" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYiy9sZr5FpuFE7SVTX7v3TgMZyvPehz596-giYcN8S1lt1hdyiQMttLqzpeKQ0XcrmGhQZ5JLdF7rcFHTQQt3kOB7K_cvgR94l9LC7Z7ZqV6Cp5RivsPlJkT6fv1dFuu9tP7-De0_eGc/s1600/IMGP7459-Speaker1-side-net.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYiy9sZr5FpuFE7SVTX7v3TgMZyvPehz596-giYcN8S1lt1hdyiQMttLqzpeKQ0XcrmGhQZ5JLdF7rcFHTQQt3kOB7K_cvgR94l9LC7Z7ZqV6Cp5RivsPlJkT6fv1dFuu9tP7-De0_eGc/s1600/IMGP7459-Speaker1-side-net.jpg" height="400" width="264" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqo3kcybh21qr5SNuz-de9eU4OWPUyDb4bx8aiO9s3sok9ixcTG8O7tyVHxI0viu_J_JD1DVegLEfM2fpoxH3SUNM0KiMN5Wgr2HOs21DIXW-USLfuv8vDZCKykG5VG0264qB5GPzJOM/s1600/IMGP7461-speaker-side2-web.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqo3kcybh21qr5SNuz-de9eU4OWPUyDb4bx8aiO9s3sok9ixcTG8O7tyVHxI0viu_J_JD1DVegLEfM2fpoxH3SUNM0KiMN5Wgr2HOs21DIXW-USLfuv8vDZCKykG5VG0264qB5GPzJOM/s1600/IMGP7461-speaker-side2-web.jpg" height="400" width="264" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYiy9sZr5FpuFE7SVTX7v3TgMZyvPehz596-giYcN8S1lt1hdyiQMttLqzpeKQ0XcrmGhQZ5JLdF7rcFHTQQt3kOB7K_cvgR94l9LC7Z7ZqV6Cp5RivsPlJkT6fv1dFuu9tP7-De0_eGc/s1600/IMGP7459-Speaker1-side-net.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
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They come with 12" drivers custom designed for the MAX Professional line,<br />
with incredible power handling and a deep flat range that allows these units to be used alone with vocals and acoustic instruments (including upright basses!) and also in combination with a suitable subwoofer system for active crossover configurations.<br />
<br />
One of the most important components is the ultra-low distortion horn driver, which has a sparkling clarity that is jaw-dropping at all volume levels.<br />
These cabinets perform with a clarity that is astounding.<br />
<br />
Of special interest is how complimentary they are in combination with superior microphones and a good solid professional board, such as the Soundcraft series.<br />
These mixing boards can deliver a stunning sound on their own, but can only truly shine their best with a speaker system capable of revealing the rich detail and lustre of the Soundcraft input channels and front end.<br />
<br />
We are doubly floored by the combination of this mixer / speaker configuration with Frank Fabian's professional series microphones, which feature larger, more robust capsules and a sensitivity and flatness that is astounding in its own right.<br />
<br />
I should mention some other great and practical features:<br />
<br />
<b>Pole-stand mounts</b> on the bottom so they can be placed at appropriate heights in any situation.<br />
<b>Locking phone-jack inputs</b>, which prevent accidental unplugging of speaker cables, and<br />
<b>SpeakOn</b> connectors as well! so a variety of cables can be used.<br />
<br />
These speakers easily handle 350 watts per cabinet of pure sound joy. <br />
<br />
<br />
<br />
<br />
I'll be reviewing Frank Fabian's microphones in a future article!<br />
<br />
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<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-25953792126416694312014-03-09T14:45:00.003-07:002014-03-09T14:54:28.641-07:00Overdoing and Removing Cavity Shielding Without making too much out of the loss of treble / sparkle due to
ground/shield capacitance, it is true that this effect is quite
measurable and audible, and can also lead to undesirable side-effects.<br />
<br />
The <b>Zexcoil</b> fellow recently studied shielding on cabling from pickup to
controls as a result of some anomalies noticed in cable brands, and as a
side-issue he measured also the capacitance effects of cavity
shielding. I believe he measured <b>conductive paint</b> (graphite) used to shield pickup cavities, but one should expect that even more dramatic effects will be found when using <b>copper</b> shielding.<br />
<br />
<i><u><br />
<b>Copper Shielding</b><br />
</u></i><br />
Some recommend copper as preferable because it is a much better
conductor, and a better Radio Frequency (RFI) shield for noise
reduction. And this has become more important in a heavily polluted
radio environment we now live in, with multiple sources of interference,
from cell-phones to satellites. <br />
<br />
To get equivalent shielding with conductive (graphite) paint, one must
usually use two or three coatings and build a thick layer.<br />
<br />
However, a disadvantage of copper is that it is also a natural capacitor. <br />
<br />
This capacitance effectively bleeds treble to ground, and can also cause or alter natural resonances and frequency response. <br />
<br />
<br />
So people have discovered on their own that removing either paint or
copper shielding restores the sparkle or clarity and dynamics of single
coil pickups, and even modern noiseless ones.<br />
<br />
The drawback is that of course the noise and hum returns to the signal path.<br />
<br />
I recently acquired a MIJ body already fully shielded with copper, and
routed only for single coil size pickups. Obviously the concern was
that I would lose the expected sparkle and dynamic response from either
single-coils or stacked noiseless pickups. <br />
<br />
Looking at the problem closer, it was obvious that far too much
shielding was used to shield the cavity, and that much of it was
superfluous and could be removed while retaining most of the effective
shielding of the cavity. <br />
<br />
For instance, as I will show in the photo, a large amount of the
shielding inside each pickup cavity can be removed without degrading
shielding.<br />
<br />
The inside facing, and sandwiched walls do not need to be shielded in
these cavities, because they are already shielded by the outside walls
and edges. <br />
<br />
Removing the copper from these sides dramatically reduces the stray
capacitance of the cavity, while preserving the shielding against
outside RF sources.<br />
<br />
<u><b> Photo 1:</b></u><br />
<br />
Here you can see where I have cut out the top half of the shielding in the middle pickup cavity. The middle pickup is certainly heavily shielded already from being sandwiched between the other two cavities. Stray RF coming at the guitar endwise is caught by the outer shielding and the other pickups.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXQ-q6zgBGCw8gHH2DaWDDYxyRXoLJDlT8W-EIc_9zbobSZpe9Sh6C_qNLJuNlQLLGrWT7e_ObSlSiRTksjJUK5WaQOxYpbxnaNWomMGvXoBEIzKDEVO_ungO8lQBJchRZBb_3DL_mJs/s1600/Cav-7429.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXQ-q6zgBGCw8gHH2DaWDDYxyRXoLJDlT8W-EIc_9zbobSZpe9Sh6C_qNLJuNlQLLGrWT7e_ObSlSiRTksjJUK5WaQOxYpbxnaNWomMGvXoBEIzKDEVO_ungO8lQBJchRZBb_3DL_mJs/s1600/Cav-7429.jpg" height="424" width="640" /></a></div>
<br />
<br />
<u><b> Photo 2: </b></u><br />
<br />
Here is shown that much copper laying in the bottom of the cavity has been cut out, drastically reducing the stray capacitance expected along the cables/wire leads running from pickups into the controls area. This copper does little to shield the pickup network from RF, but adds a significant amount of capacitance to ground for the signal path. Also, the copper is an added hazard that can short out or ground bare wire, eyelets or solder-points on the back of a pickup, if it is lowered too far into the cavity.<br />
<br />
<br />
If the pickups are not suffiently brought back to life by this removal, <br />
one can go even further, either leaving narrower strips, or simply
disconnecting most of the copper from ground. There is no need to
remove all the copper unless the results are not satisfactory. Its a
law of diminishing returns here, and some shielding is desirable, even
with "noiseless" pickups. <br />
<br />
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Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com1tag:blogger.com,1999:blog-2368574284017527503.post-38260178460464488752014-03-01T14:33:00.001-08:002014-03-01T14:45:48.493-08:00Lace Holy Grails - Swelling of PickupI bought some used Lace Holy Grails on Ebay.<br />
<br />
When they got here, I started to install them in an Anodized PG,<br />
and noticed they had swollen somehow, so that the plastic covers <br />
(which are glued on with these ones) were binding in the hole, <br />
and preventing the pickups from rising up higher without forcing. <br />
<br />
I don't want to file the anodized (new) pickguard, <br />
although I probably would have, if it were simply a plastic one. <br />
<br />
I am suspicious that either the glue melted in the sun or was a poor choice <br />
in the first place. <br />
<br />
I haven't established whether the pickup covers were originally glued on,<br />
i.e., by Lace, or if this was done by previous owner(s) to prevent them rattling or being removed.<br />
<br />
If anyone has Lace Holy Grails, I'd like to know if the covers are glued on.<br />
<br />
Secondly, I am wondering what the cause for the swelling is:<br />
<br />
(1) glue swelling or bubbling over time, <br />
<br />
(2) glue reacting with potting / coatings in coils.<br />
<br />
(3) glue partially melting or swelling in the sun (the pickups have a noticable brownness to the tops (only). <br />
<br />
(4) I am also wondering if someone had previously tried to darken or
age them using coffee staining or heat. This might have damaged the
original glue and/or expanded the plastic covers.<br />
<br />
(5) Someone perhaps using improper glue to fix the covers and this just not working out one way or another.<br />
<br />
(6) Maybe someone tried to heat and soften or loosen the glue, to remove
the plastic covers and see inside, but this tactic failed? Now the
pickups are out of shape. <br />
<br />
I am obviously concerned because any tampering may have also affected
the sound or reliability of the pickups, even if they appear to
function.<br />
<br />
Does anyone have experience owning, examining, and/or installing these pickups? <br />
<br />
Notably, do they come glued together? <br />
<br />
Has anyone ever had problems with them swelling or binding in slots?<br />
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Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com1tag:blogger.com,1999:blog-2368574284017527503.post-36927785358914336492014-03-01T09:21:00.002-08:002014-03-01T10:15:47.688-08:00Noiseless Stacked Single Coil Pickups: Entwhistle and DragonfireI just purchased a set of Dragonfire Noiseless stacked single coils,<br />
and two Entwhistle 57 Noiseless stacked single coils, on Ebay.<br />
<br />
The Dragonfires were about $60 USD a set plus $12 shipping and $15 import duties/handling = $88 ($30 USD per pickup = $35 Can.).<br />
<br />
<h1 class="it-ttl" id="itemTitle" itemprop="name">
<a href="http://www.ebay.com/itm/271294721291"><span style="font-size: small;">Dragonfire Strat Pure Noiseless Pickup Set</span></a></h1>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX6CkwCzkyOZ2HtNxixerRPe3n6PvK8YEJAxuI5oOfE4Gnh7GbJVlZN3H2gzyNLmzE61GEtu4ocRZgO7WESkaOnwpNzvyb3kWObF_Z8RdsxLkicNKxTBN7RiOakVoxTdqFrbCKfn5-aGw1/s1600/Dragonfire-noiseless.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX6CkwCzkyOZ2HtNxixerRPe3n6PvK8YEJAxuI5oOfE4Gnh7GbJVlZN3H2gzyNLmzE61GEtu4ocRZgO7WESkaOnwpNzvyb3kWObF_Z8RdsxLkicNKxTBN7RiOakVoxTdqFrbCKfn5-aGw1/s1600/Dragonfire-noiseless.jpg" height="424" width="640" /></a><br />
<br />
The Entwhistle 57s were $30 USD + $10 shipping<br />
(no import/handling duties to Canada) (=$40 USD each or $45 Can.)<br />
<br />
<h1 class="it-ttl" id="itemTitle" itemprop="name">
<a href="http://www.ebay.com/itm/230880644585"><span style="font-size: small;">Entwistle ASN 57 Alnico noiseless</span></a></h1>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-pAArynGefmsOr_c-ztJvon_NbzhtdEzaiOwatT-4r9OgpLBXaVkCyX9GYX-vm4WIyRTAgyBTYmceBjRTRRVlD9AWlIS_78nebi9vyJKoztCg9uCo-5M-gj_GgpRDYDHEdP41P5S5i8ed/s1600/Entwhistle-57-noiseless.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-pAArynGefmsOr_c-ztJvon_NbzhtdEzaiOwatT-4r9OgpLBXaVkCyX9GYX-vm4WIyRTAgyBTYmceBjRTRRVlD9AWlIS_78nebi9vyJKoztCg9uCo-5M-gj_GgpRDYDHEdP41P5S5i8ed/s1600/Entwhistle-57-noiseless.jpg" height="424" width="640" /></a></div>
<br />
First off, they look near-identical, except the Entwhistles (unlike the Ebay pic),<br />
had four metal eyelets and a 4-wire cable, whereas the Dragonfires were<br />
simplified, with three eyelets and a 2-wire cable, prewired.<br />
<br />
Presumably, the Dragonfires have simplified the wiring because there is only<br />
really one feasable wiring option (e.g., series) and less chance for wiring errors<br />
by buyers.<br />
<br />
The
Entwhistles are advertised as Alnico magnets (and there are no
under-magnets, just the pole-pieces) and they look identical to the
Dragonfires.<br />
<br />
The Dragonfires are advertised as copies of Fender Noiseless 'vintage',<br />
and so presumably the Entwhistles are also copies of that basic design.<br />
<br />
Both look near-identical and appear to have been made from the same factory.<br />
Something of importance to those looking for the best price.<br />
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<br />
Differences in wiring harnesses shown below:<br />
The Entwhistles allow for bypassing the noise-cancelling coil,<br />
and other wiring options for experimenting, whereas the<br />
Dragonfires are pre-selected but simple to wire up.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgONacZEzrHPoXPFuzPW9EB0QPLAJoR2QztTLRkaa8druR2dwHydZiuFs9IxF1xx39IhTu-yKDducBHV-UmCxB4zdPf8YH1F1rRw0qt5j-4Bik-2zJUaz60TImRVnP5619_Yql1AKUcm3BK/s1600/Dragonfire-wiring.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgONacZEzrHPoXPFuzPW9EB0QPLAJoR2QztTLRkaa8druR2dwHydZiuFs9IxF1xx39IhTu-yKDducBHV-UmCxB4zdPf8YH1F1rRw0qt5j-4Bik-2zJUaz60TImRVnP5619_Yql1AKUcm3BK/s1600/Dragonfire-wiring.jpg" height="424" width="640" /></a></div>
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<br />
There is probably no RWRM configuration for the 'middle pickup' option,<br />
since the noise-cancelling coils remove the need for fancy phase reversals,<br />
or magnet inversions. The quack' factor however will be different with the<br />
extra coiling, but probably no different at all from standard Fender noiseless.<br />
<br />
Both sets seem to have identical magnet staggering, probably as a result of<br />
the use of the same Alnico magnet sets.<br />
<br />
A quick measurement of the Dragonfire coils showed no difference in DC<br />
resistance between the Neck and Middle pickups, (e.g. 10.18k for both),<br />
while the Bridge pickup is slightly overwound (e.g., 10.21k for bridge).<br />
<br />
Presumably had I ordered a full set of the Entwhistles, there would also be<br />
a similar difference: They make you specify which position you want for<br />
each pickup bought on the Ebay page.<br />
<br />
Although there is no electrical difference between the Neck and Middle,<br />
there may be another difference, for instance a different grade of Alnico<br />
magnet or different degaussing, for each position. They are clearly marked<br />
on the back to prevent mixups.<br />
<br />
I am not set up to measure magnetic differences or resultant impedances.<br />
<br />
I fully expect both sets to perform about as well and sound very similar to<br />
the standard ('vintage') Fender noiseless, or slightly better.<br />
<br />
I am not imagining to be able to tell much difference.<br />
<br />
However,<br />
those buying these pickups should be aware that REMOVING any extra shielding, i.e., copper or even paint in the pickup-cavities, or reverting to an unshielded plastic pickguard might give the best results, as the metal shielding is<br />
known to roll of the treble response and dull the pickup sound.<br />
<br />
So
far it looks as though the Dragonfires are a licensed copy of the
Entwhistle, which is roughly a knock-off of the Fender Noiseless, but
with probable improvements by Entwhistle, who appears to be the designer
behind these<br />
nice, cost-effective Noiseless pickups.<br />
<br />
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<br />
And those guitars got sold off to pay credit card interest.<br />
<br />
But the next two builds are a bit more substantial and interesting:<br />
<br />
<i>First a little background:</i><br />
<br />
There has always been a bit of controversy about what are the best stratocasters. When <b><i>Fender got sold off to CBS in the early 70s</i></b>, things went downhill rapidly, and by 1981 they had to bring in people to re-organize and start rebuilding high quality guitars again. At the same time, the Japanese started building strats for Fender in Japan (c. 1981-fwd).<br />
<br />
<b>As a result, some of the best strats ever made came out of Japan</b> while Fender USA got themselves together to start making good instruments again.<br />
Three series of Japanese strats (MIJ = Made In Japan) are of special interest, being the earliest and highest quality, due to diligent and careful manufacturing.<br />
<br />
The JV series, the <b>A-series</b>, and the<b> E-series</b>.<br />
<br />
By the late 80s, a Korean factory was also started up, which we think in the first year were making bodies but buying necks from Japan briefly (inspecting the Korean necks from this era show both good Japanese technique, and also cheaper Korean necks).<br />
<br />
To make a long story short, MIJ Strats from the early/mid 80s are highly coveted as well-made and easily as good as Mexican and American strats, especially the necks. (later, Alder bodies were replaced with basswood bodies, with mixed results and opinions on that).<br />
<br />
With that in mind, we secured two very high quality necks made in Japan, one from the A-series (so-called 'Blacktops' that often had Humbucking pickups instead of standard single coils), and one from the E-series, both in excellent or near-mint condition, and hardly played.<br />
<br />
Next, we secured a complimentary MIJ body for the <b>A-series</b>, and installed a highly prized <i><b>Seymour Duncan Invader</b></i> pickup on it, and upgraded both the tremolo bridge and other hardware, to improve this 'partscaster' to a new level:<br />
<br />
<i><b>Strat 3: MIJ BlackTop 'Piano Finish' Invader (A-Series)</b></i><br />
<br />
<br />
<i><b>A few notes are in order: The early tremolo bridges turned out to be a disaster, and after several attempts were discontinued and replaced by Floyd-Rose bridges. We chose the following superb Wilkinson bridge as a substitute for the original Fender, so as not to have to re-route the body and destroy the piano finish. As a result of this choice, we removed the (no longer relevant) nut-lock, and replaced it with standard but improved roller-retainers. This along with nut lubrication is actually better for tuning than the original design. </b></i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNl4a7Bg6GbXdKRG_v2qEPEF4k4uLrUbSJLR8jbxFHFmhXUczt6tqGdrQIwgMA4BlZMUbCjM21Obft7mttahhKLbG2UO0TW8sV45cCfZf9QjaLvdt6VSyqZ6Hab1MpXNffvYW-cf01bYM/s1600/$(KGrHqZ,!nwFG1PiWj9YBRz5K5od,!~~60_57.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNl4a7Bg6GbXdKRG_v2qEPEF4k4uLrUbSJLR8jbxFHFmhXUczt6tqGdrQIwgMA4BlZMUbCjM21Obft7mttahhKLbG2UO0TW8sV45cCfZf9QjaLvdt6VSyqZ6Hab1MpXNffvYW-cf01bYM/s1600/$(KGrHqZ,!nwFG1PiWj9YBRz5K5od,!~~60_57.JPG" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">New Bridge is Traditional Fender style but with Steel Block for great sustain.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUiIeR-TIHy2qNenrpnPQSaoOUx_p3aujTtZRn_64z7m3ng6aEFMZaQNjp0oxAUywlMjTzFsqHbbJU0wNIu-BTkePIFBYseVx0LKhMRzflZ9n88Nx0gbv64MlveyLRcbTojxVbNWTmUA0/s1600/n7.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUiIeR-TIHy2qNenrpnPQSaoOUx_p3aujTtZRn_64z7m3ng6aEFMZaQNjp0oxAUywlMjTzFsqHbbJU0wNIu-BTkePIFBYseVx0LKhMRzflZ9n88Nx0gbv64MlveyLRcbTojxVbNWTmUA0/s1600/n7.JPG" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Original Nut lock was removed</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7cGVGh1eyOB8YTpJI21LahaOsPurebGdgbuUc02ifV7GKUjfkajirRK5tTPaWtzUl9SSvuoVbuHML1cYgyvU_msCXq9DxC5CG3lWJE9_GE7cKi14hyUUL1AoBw2s6_GpiSFpQfbkyJVM/s1600/pickup1-invader.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7cGVGh1eyOB8YTpJI21LahaOsPurebGdgbuUc02ifV7GKUjfkajirRK5tTPaWtzUl9SSvuoVbuHML1cYgyvU_msCXq9DxC5CG3lWJE9_GE7cKi14hyUUL1AoBw2s6_GpiSFpQfbkyJVM/s1600/pickup1-invader.JPG" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The very best Metal-Rock pickup for this application</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2MGv-ToZb4Hdkiz_zp6KJFcbmb7i0FkmUnlFk597z8UIUxCfgWjqkvFA6JdcMoxEWxW0OwxSM_zBPvyXh0q1TL8fQ7ezEy-3ywAoqlPKKh6kyMuyf3vBW-u3gQBTExG2DwKeqhT2Yzho/s1600/JACK.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2MGv-ToZb4Hdkiz_zp6KJFcbmb7i0FkmUnlFk597z8UIUxCfgWjqkvFA6JdcMoxEWxW0OwxSM_zBPvyXh0q1TL8fQ7ezEy-3ywAoqlPKKh6kyMuyf3vBW-u3gQBTExG2DwKeqhT2Yzho/s1600/JACK.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One necessary body modification was to replace this end-plug (notoriously unreliable and failure-prone) with a standard Fender shoe-jack on body top. </td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwcDqwGArbmFBp0hha0vBT1eZkkozX5XratjCjx_6npPgHNPruOz-jxklOMn13FzHBrLdMupQjz7T09Y0xngqoo_FXk_oBEHRXfiVnn2ljKn1xiC548cJptqaqkYj552rrDv-pZ7D-nnQ/s1600/rollerTrees.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwcDqwGArbmFBp0hha0vBT1eZkkozX5XratjCjx_6npPgHNPruOz-jxklOMn13FzHBrLdMupQjz7T09Y0xngqoo_FXk_oBEHRXfiVnn2ljKn1xiC548cJptqaqkYj552rrDv-pZ7D-nnQ/s1600/rollerTrees.JPG" height="528" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">These string retainers replace nut-lock for superior performance with standard tremolo.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3lgL9OWmVZTaI2uS_SmKt_Bk3biaQsHo8zFN3Hgxn7hj5nInH7sCR87QFbasuRoscldkUyPGWGlfE59I4NlB_3VxAskFu7ajd0OCzjfnxWCCqOIbaujzXOwuBI7pVe9045oVWN9qK0Ho/s1600/springs.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3lgL9OWmVZTaI2uS_SmKt_Bk3biaQsHo8zFN3Hgxn7hj5nInH7sCR87QFbasuRoscldkUyPGWGlfE59I4NlB_3VxAskFu7ajd0OCzjfnxWCCqOIbaujzXOwuBI7pVe9045oVWN9qK0Ho/s1600/springs.JPG" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Noiseless springs are also handy for whammybar enthusiasts</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0Pd61VNNvhqQPDa4IuILFW09yyQoZ0evpm6dCt6IVyxigatlbaN_tA7rDIzSHDltZdNigxv2QnNbNOLfG-_3_B6Iw69ngw3TUsK1BwXgtPocqj9H6YP-BRh6BZc6JKagf7EVKLCas_4/s1600/back2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig-8c2jSMQ1ljkqG-0JPmOv2K0kGUdQAcwNgY5vITF9zQFVsSVglgSx9fChXnKqTdn0yl76DrLFjZnZ6GOS1WFi4N-WNeZ3KLfplApC3jWwc_uQraLivGUiMNYIpPxP5Fzz0DCewHxcMM/s1600/goldheads.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig-8c2jSMQ1ljkqG-0JPmOv2K0kGUdQAcwNgY5vITF9zQFVsSVglgSx9fChXnKqTdn0yl76DrLFjZnZ6GOS1WFi4N-WNeZ3KLfplApC3jWwc_uQraLivGUiMNYIpPxP5Fzz0DCewHxcMM/s1600/goldheads.jpg" height="400" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gold Machine Heads (Genuine Fender) make a nice upgrade</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaGmKoesjh27F646BTJJKJbPJ2OYDaNSBVnqtVlnHEUVBiKUtTloj1w1MxQrNi5HxfhbvfaqDa9Kr5dUnrEg5af-9KES648jnjuX5TA875TUopC6LlHzzNsa1j1tI_swTy1r8xYBbiruc/s1600/micro-tilt.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaGmKoesjh27F646BTJJKJbPJ2OYDaNSBVnqtVlnHEUVBiKUtTloj1w1MxQrNi5HxfhbvfaqDa9Kr5dUnrEg5af-9KES648jnjuX5TA875TUopC6LlHzzNsa1j1tI_swTy1r8xYBbiruc/s1600/micro-tilt.jpg" height="500" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Both Neck and body have<i><b> Microtilt</b></i> feature so a new backplate has to match.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTdLs6NNBS_SVt7q-c5asIgSrmQwzfpEGfEDm1ph6tt8dSeh91p3ZjUIw_U0FrnqId73f-sjk307kMC5K4z6-3LFAzPDY1e_SxxANMgMPdamuwfn5Kup0sG9d8JmFk2ybBXS_ytfcshHk/s1600/pickup-bridge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTdLs6NNBS_SVt7q-c5asIgSrmQwzfpEGfEDm1ph6tt8dSeh91p3ZjUIw_U0FrnqId73f-sjk307kMC5K4z6-3LFAzPDY1e_SxxANMgMPdamuwfn5Kup0sG9d8JmFk2ybBXS_ytfcshHk/s1600/pickup-bridge.jpg" height="424" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gold Metal Pickup Ring adds luster and beats plastic hands down.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGNnG0M1YNXXV_bhAaHJw3CkGaWaIXHHSkYRbk-xiL-mkEMFUImctZrc8pc6tV50_c5Klf3J6_Q0-22CuWwOhwgmna0yn0RLKG2fHK8xycABCOxti5GaxNrZxE0ML_ps5P-3UKNkElWXU/s1600/guitar-MIJ.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGNnG0M1YNXXV_bhAaHJw3CkGaWaIXHHSkYRbk-xiL-mkEMFUImctZrc8pc6tV50_c5Klf3J6_Q0-22CuWwOhwgmna0yn0RLKG2fHK8xycABCOxti5GaxNrZxE0ML_ps5P-3UKNkElWXU/s1600/guitar-MIJ.jpg" height="640" width="233" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">finished restoration</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-80026921037607850522014-02-07T11:25:00.000-08:002014-02-07T11:36:35.186-08:00Stratocaster Building (2)First, its catch-up time:<br />
<br />
I took my player strat, (which I had bought to replace my two old strats that got sold off to buy food because the government was bankrupting me), and had previously installed a Floyd Rose tremolo (after butchering the body a bit to fit the thing in).<br />
<br />
I also added a pickguard to accomodate 2 Humbucking pickups and ended up with two Zebras and a Blue Lace Sensor for the middle.<br />
<br />
I wasn't happy with either the sound, playability or bridge, and I felt like building something new, so I stripped it apart again.<br />
<br />
I got another new body (without hacks) and reinstalled a set of Mexican pickups on that, and put the neck on. Voila! A great guitar, but nothing special, as there were no humbuckings and no Lace Sensor, and just the standard tremolo, pickguard, and a <b><i>made in Indonesia </i></b>(2004) <b>neck</b>.<br />
<br />
Well, I watched someone else pick up a fantastic guitar (<i><b>Bullseye Les Paul</b></i>) and re-sell it for $<b>1,500</b>, (Can) and <i>ding! </i> It hit me that there were far more people playing and buying guitars than buying hi-fi audio gear. I should make some guitars and sell them.<br />
<br />
Well, I assembled two guitars as an experiment, purchasing another body and Indonesian neck on <span style="color: blue;"><i><b>Ebay</b></i></span> (Tm), and I had some fun putting in pickups and etc., but unfortunately, strapped for cash, I had to let them go cheap to the local pawn shop for $100 each, and lost money, whilst paying off bills.<br />
<br />
Here is some pics of the first adventure:<br />
<br />
<i><br /></i>
<i><b>Guitar 1:</b> re-built from my old Indo-strat:</i><br />
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<b><i><br /></i></b>
<i><b>Guitar 2</b>: Quick Fun Build</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFxHT69YBr0zcbBQX4vEl_X4L9aXUhT_sms1FsitvR_w_wiZ6ATqHBPsBFxsYGvEfpHA1o5VBJ5BMa1jMRtN3X673Tm-FWrrCLSJq56EoeUO04I2Z6NmBENzImclSKO3O71claqH2AKUk/s1600/strat-indo2-01-SMALL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFxHT69YBr0zcbBQX4vEl_X4L9aXUhT_sms1FsitvR_w_wiZ6ATqHBPsBFxsYGvEfpHA1o5VBJ5BMa1jMRtN3X673Tm-FWrrCLSJq56EoeUO04I2Z6NmBENzImclSKO3O71claqH2AKUk/s1600/strat-indo2-01-SMALL.jpg" height="640" width="478" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2mGGxN5UVBfmSCTGDUpGs54rvmtBkdctjSzUbYCjwC9hd4d5XkEYa5_5xnUjcqsnG6hv_RZN-0F7lvxe9h57F1DVQ77wrrPmzoUJORuBFqfOF5-0O7Z33MA9qeL_-rCbfz_NtjdeHvV0/s1600/strat-indo2-03-SMALL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2mGGxN5UVBfmSCTGDUpGs54rvmtBkdctjSzUbYCjwC9hd4d5XkEYa5_5xnUjcqsnG6hv_RZN-0F7lvxe9h57F1DVQ77wrrPmzoUJORuBFqfOF5-0O7Z33MA9qeL_-rCbfz_NtjdeHvV0/s1600/strat-indo2-03-SMALL.jpg" height="640" width="192" /></a></div>
<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-16893749901452252812014-02-07T11:02:00.001-08:002014-02-07T11:08:33.443-08:00Stratocaster Building (1) Hi again.<br />
Haven't posted on the blog for a while, due to many other matters, including the winter storms etc.<br />
<br />
I'm on a <b>stratocaster building cycle</b> for some reason,<br />
so I thought I would post some pics and talk a bit about how much fun it is to build musical instruments.<br />
<br />
First of all, while we are talking about guitars, I really want to recommend a couple of youtube videos which I think are really awesome, one is on how to tune your guitar (not so simple as you think),<br />
and the second is on how to setup a stratocaster for floating tremolo operation so that it stays in tune! <br />
<br />
If you like strats watch these great videos:<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/axGbSLmGyf8?feature=player_embedded' frameborder='0'></iframe></div>
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And how to set up your strat tremolo bridge here;</div>
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After this, <br />
<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-41313833094988659952012-07-20T07:42:00.005-07:002012-07-20T07:52:49.251-07:00Making the Good Better: NHT 1.2 Speaker Upgrade<br />
A friend who reviews speakers once described the<b> NHT </b>line of speakers from the 1990s as <span style="color: blue;">"nothing special"</span>. Of course, he was used to listening to $6,000 speakers, so his perspective was slightly skewed.<br />
<br />
In fact, the smaller line of NHT bookshelf-size speakers (1.2, 1.5 etc.) were a stunning innovation and an incredible bargain for their time.<br />
<br />
<i><b> State-of-Art Cabinets</b></i><br />
<br />
In an era where speaker cabinets were typically made of formaldehyde chip-board covered with plastic 'wood finish' mactac, the NHTs were shocking in their high-quality materials: heavy density <b>MDF</b>, and a 7-layer black finish coated with car-paint clear-coat. This resulted in a near bullet-proof piano finish rivalling a Steinway or Yamaha baby grand.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilKae-jHJ6wku4EPTUAljGLGJzRNteal3fqKCBCGLSDhhKlyQX2IhMmy1NqPEUYTK84YJTZ8RE_5Byl3Ag034TYCpJeCHgadiTSc0X5z1Q9G6cEHxrwQkgNt3k1HLkoayOp8P162213cc/s1600/NHT-1.3-02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilKae-jHJ6wku4EPTUAljGLGJzRNteal3fqKCBCGLSDhhKlyQX2IhMmy1NqPEUYTK84YJTZ8RE_5Byl3Ag034TYCpJeCHgadiTSc0X5z1Q9G6cEHxrwQkgNt3k1HLkoayOp8P162213cc/s640/NHT-1.3-02.jpg" width="640" /></a></div>
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<br />
Secondly, the heavy cabinet weight and inertia gave a razor-focus to the sound-stage.<br />
<br />
Furthermore, the design itself was innovative, with a built-in 22-degree inward tilt to the front baffles, making the ideal angle for cabinet placement a snap, and allowing the cabs to blend tidily with a rectangular room, and point toward the listening area.<br />
<br />
This design gave the added genius-bonus of eliminating standing waves from front to back of the cabinet completely! (The front and back are the pair of walls with the strongest potential, being directly driven in line with the woofer). <br />
<br />
<br />
<i><b>High Quality Drivers </b></i><br />
<br />
Also, given the price-point ($399 - $800), at the low (more popular) end of the high end hi-fi market, these speakers offered a surprising sound quality and clarity, mainly because of the very high quality metal-dome tweeters, stunning in comparison to speaker systems of previous eras.<br />
<br />
The weakest point in the design was the very simple (1st order) crossover, simply an air-coil and an electrolytic capacitor (4.7 uF for the 1.2 model). <br />
<br />
Its unfortunate however, that the NHT woofers of the 1990s suffer from that so common malady, deteriorating foam surrounds, a result of the foam type and manufacture available in those ancient 'Dim Times'. Some 12-20 years later, the surrounds on most NHT woofers are either falling apart or ready to go.<br />
<br />
One could simply have the woofers re-surrounded, but at about $50 a pop in most repair places, replacing them with new woofers might be a better bargain. (Labor is as always, the most expensive component of anything.)<br />
<br />
Yet it would be ludicrous to simply cast these lovely well-made cabinets away. <br />
<br />
What better time than now, then, to replace the drivers and crossover, and give them a whole new life for another 10 - 20 years as the ultimate near-field monitor!<br />
<br />
<br />
<i><b>Better than the Original Drivers</b></i><br />
<br />
I turned to a local celebrity, <b>Frank Fabian</b> (designer of the <i>Max Fidelity</i> line of speaker drivers and systems). He immediately understood the problem, and suggested a more state of the art and much higher performance woofer and tweeter combination, which would allow the minimum alteration of my original 1.2 model cabinets:<br />
<br />
<b>MF165/77L8</b> <b><i>Max Fidelity</i></b> <b>woofer</b> (Fabian Acoustics)<br />
<b><br /></b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOjavNgUOjvMcxkORejk9kzA63aPfoWLLmOfNye0kYr7VF82lNWF0_sO41lwuq0cw2l-3YqRx47ivRHIAmcpMhSI9BLP8a4eI0fJpGdTmQU9EfWYMh0r4AXFTp_hpO7ZAj50GE8FtWHw8/s1600/woofer.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOjavNgUOjvMcxkORejk9kzA63aPfoWLLmOfNye0kYr7VF82lNWF0_sO41lwuq0cw2l-3YqRx47ivRHIAmcpMhSI9BLP8a4eI0fJpGdTmQU9EfWYMh0r4AXFTp_hpO7ZAj50GE8FtWHw8/s640/woofer.png" width="640" /></a></div>
<b><br /></b><br />
<b><br /></b><br />
<b>T26AFF5neoB <i>Max Fidelity</i> tweeter</b> (Fabian Acoustics) <span class="st"><i>with Neodymium magnets!</i></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZsSlAe3zSvEFk2JT9T06TSOoHbT4nC7R7RuiVHupEiAtqii3VNvcug7_ZAHnl528jII-EYQAef9Zj1qspjw0jKvu_QzK3_FQdEbZ3nO6Nykra0JtdAOTCzAluDBL0_mBxU71BUV3Cthw/s1600/MaxTweeter.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZsSlAe3zSvEFk2JT9T06TSOoHbT4nC7R7RuiVHupEiAtqii3VNvcug7_ZAHnl528jII-EYQAef9Zj1qspjw0jKvu_QzK3_FQdEbZ3nO6Nykra0JtdAOTCzAluDBL0_mBxU71BUV3Cthw/s640/MaxTweeter.png" width="640" /></a></div>
<br />
<br />
<br />
I had already had a wonderful experience using Mr. Fabian's <b><i>Max Pentivent</i> 10" subwoofer (PV-1050/4)</b> in a pair of Tannoy-style cabinets. These amazing drivers are rated at a conservative 240 watts RMS, or 480 watts peak power, but at normal control-room listening levels (100 watts) appear virtually distortion-free! The design of those drivers incorporates five different venting methods for the most efficient cooling possible.<br />
<br />
<br />
<i><b>Installation of Drivers</b></i><br />
<br />
All that is required for the woofer is to shave off a small amount of the inside rim of the speaker-hole to allow for the heavy cast frame of the new driver. The tweeter-hole similarly needs a bit of rasping to allow for the <span class="st"><i>Neodymium magnet</i>. A new gasket, and pilot holes for the screws, and voila. </span><br />
<br />
<span class="st">Here is the new look:</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjky1ipvHl3rTN1dyg1jV1qxWVy27Bv24-x2CqPcnw_LzWWnU6bpP5tF8BLG1wlNSnyUBeV3AJaCFWS6H6_pHMMkvqO1JS-_d5erOZp3XjiXr_AWtvnOVMcZmiHdPh_rrqY_rDL8cRJvF0/s1600/NHT-MOD-04-front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjky1ipvHl3rTN1dyg1jV1qxWVy27Bv24-x2CqPcnw_LzWWnU6bpP5tF8BLG1wlNSnyUBeV3AJaCFWS6H6_pHMMkvqO1JS-_d5erOZp3XjiXr_AWtvnOVMcZmiHdPh_rrqY_rDL8cRJvF0/s640/NHT-MOD-04-front.jpg" width="462" /></a></div>
<br />
<span class="st">Finally, Mr. Fabian offered a modification of the original crossover, which allowed re-use of the existing coil, and replacement of the original (electrolytic) capacitor with a proper <b>polypropylene capacitor network</b> with proper amplitude adjusts. We made the appropriate mods and plugged in these reborn near-fields for a test-listen.</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgomicKgVzoTTKoBUQ3lcgkwzAfWySQpXshnUuI5j5RFB8c9S2mwDc-FX24JtAtv0OgFpKLt8aaJxu4fFXCq5uDulW7XSGqERx_EdW54Mkt2V0dBdy4PPEcaDGourT0q8l74d7jj2uQNgY/s1600/NHT-MOD-03-xover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="608" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgomicKgVzoTTKoBUQ3lcgkwzAfWySQpXshnUuI5j5RFB8c9S2mwDc-FX24JtAtv0OgFpKLt8aaJxu4fFXCq5uDulW7XSGqERx_EdW54Mkt2V0dBdy4PPEcaDGourT0q8l74d7jj2uQNgY/s640/NHT-MOD-03-xover.jpg" width="640" /></a></div>
<br />
<br />
<span class="st">The result is neither an original NHT speaker, nor a true Max Fidelity design, but a great home-modification for the novice. </span><br />
<span class="st"><br /></span><br />
<span class="st">It wouldn't be right to leave the cabs appearance as if they were actually still NHTs, so we carefully removed the original stickers on the back, and the grill logos, and placed the Driver decal on the back. </span><br />
<span class="st"><br /></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNSABayKno9S8Bvsh1vNbpExrZDIHxu8PbqhRI_zDdpZZ-xVEEXr51eSqRb9HTgK2FqihayljQQ6Bo_WxhomCfrpaWvVH0mNmFWxTO05zMV0ML7InfD_hbBFxVH036hSdvMh8vTgU-Jkk/s1600/NHT-MOD-02-back.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNSABayKno9S8Bvsh1vNbpExrZDIHxu8PbqhRI_zDdpZZ-xVEEXr51eSqRb9HTgK2FqihayljQQ6Bo_WxhomCfrpaWvVH0mNmFWxTO05zMV0ML7InfD_hbBFxVH036hSdvMh8vTgU-Jkk/s640/NHT-MOD-02-back.jpg" width="588" /></a></div>
<span class="st"><br /></span><br />
<i><b><span class="st"><br /></span></b></i><br />
<u><i><b><span class="st">Test Results:</span></b></i></u><br />
<b><span class="st"><br /></span></b><br />
<span class="st"><b>Fabulous! </b> We have now replaced our regular near-fields with these <b>Rubies</b>!</span><br />
<span class="st">Sparkling clear and open soundstage. <i>An order of magnitude better than the original NHT cabs. </i></span><br />
<span class="st"><br /></span><br />
<span class="st">Contact Mr. Fabian at <i><b>The Speaker Shop</b></i> (Toronto), if you are interested in doing this mod to an old pair of your NHT bookshelf speakers! </span><br />
<span class="st"><br /></span><br />
<span class="st">- Naz</span><br />
<span class="st"><br /></span><br />
<span class="st"> </span><br />
<span class="st"> </span>Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-57135896252402376502012-06-25T03:12:00.002-07:002012-06-25T03:12:29.322-07:00RIAA Preamp (part 6):Here are the last useful RIAA EQs:<br />
<br />
<br />
<b>(G) Columbia 78 rpm </b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtr5tguGneph_kijo5hwJVgpxxVnuGWup13V1UsQE_KS7jOOkNl036QeOrjOyzCLpshwVXq_zkC7pRZ1zJU_YTMkr6TnHNAl6Nyv7sBrPqMIZ4HOhrF9BR8A9H8uMug0EgGRYBa3uTvW4/s1600/Columbia78.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtr5tguGneph_kijo5hwJVgpxxVnuGWup13V1UsQE_KS7jOOkNl036QeOrjOyzCLpshwVXq_zkC7pRZ1zJU_YTMkr6TnHNAl6Nyv7sBrPqMIZ4HOhrF9BR8A9H8uMug0EgGRYBa3uTvW4/s640/Columbia78.jpg" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZYWfc_t4K5_4oj-_Y1Dnba5o55MD40pdjvkpZ-cUUZCd07gWnmSXn-GwzAYZb1gG-Gk4dCYPoeCrJn5PmokgW9GPDjJYVZ8qNyLcNYsNstecK7hoLlaMDaoLfWK0w0EfFNWbxLLxST4A/s1600/DeccaFFRR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<b> (F) RCA 78 rpm </b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDiyX22erlWYJNchgTQ0TGd0kEmXlPlL97PPpsiUoinnIuBMrCv2yfJQFmBeHFs78yAD27MIt6YbJOT41AJ9lGBKdrSH_SaVYZu2kJLhHecMl2qtABZKm5WSQIFFjoe6wz15WBAdgATx4/s1600/RCAVictor78.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDiyX22erlWYJNchgTQ0TGd0kEmXlPlL97PPpsiUoinnIuBMrCv2yfJQFmBeHFs78yAD27MIt6YbJOT41AJ9lGBKdrSH_SaVYZu2kJLhHecMl2qtABZKm5WSQIFFjoe6wz15WBAdgATx4/s640/RCAVictor78.jpg" width="640" /></a></div>
<br />
<b>(</b><b>H): Decca FFRR </b><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZYWfc_t4K5_4oj-_Y1Dnba5o55MD40pdjvkpZ-cUUZCd07gWnmSXn-GwzAYZb1gG-Gk4dCYPoeCrJn5PmokgW9GPDjJYVZ8qNyLcNYsNstecK7hoLlaMDaoLfWK0w0EfFNWbxLLxST4A/s1600/DeccaFFRR.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZYWfc_t4K5_4oj-_Y1Dnba5o55MD40pdjvkpZ-cUUZCd07gWnmSXn-GwzAYZb1gG-Gk4dCYPoeCrJn5PmokgW9GPDjJYVZ8qNyLcNYsNstecK7hoLlaMDaoLfWK0w0EfFNWbxLLxST4A/s640/DeccaFFRR.jpg" width="640" /> </a><br />
<br />
Note that with the last (Decca FFRR), only the lower left cap is the same, and this is best made up as a separate network.<br />
<br />
<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-28803296644674074752012-06-24T18:41:00.000-07:002012-06-24T18:43:58.289-07:00RIAA Preamp Build (part 5): ExtrasNow lets take the basic RIAA (Flat Xover),<br />
and form two more of the most popular EQs:<br />
<br />
<b>(D) The NARTB Standard</b>: (Artist, Capitol, M.G.M., and many other American pressings) = (C) The 500 Hz Flat Xover + a cap:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3WZmBceUrfYofRlok-qwT7tdEdxegJ3UyCh4b2geEgR0Uz_4aGm65GlrAHmyr-qR0Sae5z0nY7ZRO16U3eDkuCGdor635dlv6BSaeWI-3nN15yGEJbU9G93YNBu1zQ1wUk2Ks-SvbKx8/s1600/NARTB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3WZmBceUrfYofRlok-qwT7tdEdxegJ3UyCh4b2geEgR0Uz_4aGm65GlrAHmyr-qR0Sae5z0nY7ZRO16U3eDkuCGdor635dlv6BSaeWI-3nN15yGEJbU9G93YNBu1zQ1wUk2Ks-SvbKx8/s640/NARTB.jpg" width="640" /></a></div>
<br />
and finally,<br />
<br />
<b>(E) The Columbia Microgroove:</b> (NARTB + a resistor):<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKLE8WtoqTv6cPc3TRFSEf9TNTjCuJsnD5IXaFj1R5YpzwGTgtzSZ_uIN1efndQOInvqXUDpJJZZz3oqMjsM-Kg8qtG8Tz2JkBOEBXL3V3XAOuctdhPgjFFA82qJt-7i76fOaNp6Tf8Rk/s1600/Microgroove.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKLE8WtoqTv6cPc3TRFSEf9TNTjCuJsnD5IXaFj1R5YpzwGTgtzSZ_uIN1efndQOInvqXUDpJJZZz3oqMjsM-Kg8qtG8Tz2JkBOEBXL3V3XAOuctdhPgjFFA82qJt-7i76fOaNp6Tf8Rk/s640/Microgroove.jpg" width="640" /></a></div>
We can also squeeze out the<b> RCA Victor 78 </b>rpm EQ from a basic RIAA (flat 500), by adding an additional L-network, but after this we have to start from scratch to punch out the last two, (Decca FFRR, and Columbia 78 std.), because they require more extensive changes.<br />
<br />
Well, it shouldn't take much imagination to wire up a switch or two to eek out at least 5 RIAA EQ settings.<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-83111072492317873022012-06-24T17:18:00.001-07:002012-06-24T17:18:51.685-07:00RIAA Preamp Build (part 4): 2-stage standardLets look at a basic 2-stage RIAA preamp from the early 50s.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQsHyETHqdK1H1ilxfGAp_0OgTaA5_N4s5GZFUM1zOTbRZgoV3DMFMmN0M-h_gOoIO68cy6iMNfvWQZvgbwayjdmcAtE1JemGr0e8_-EmQo_XRHnkJNOwHPWf8VwtlyetUXs5w97KS5WI/s1600/RIAA-2stage-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQsHyETHqdK1H1ilxfGAp_0OgTaA5_N4s5GZFUM1zOTbRZgoV3DMFMmN0M-h_gOoIO68cy6iMNfvWQZvgbwayjdmcAtE1JemGr0e8_-EmQo_XRHnkJNOwHPWf8VwtlyetUXs5w97KS5WI/s640/RIAA-2stage-01.jpg" width="640" /></a></div>
<br />
As expected, the RIAA EQ will be inserted after the first stage, where headroom can be found and behavior controlled.<br />
<br />
There are actually two parts to the circuit in regards to phono cartridges.<br />
<br />
(1) <b> The Input Impedance of the Unit</b>. (R in). This will be set to<b> 16K</b> for ceramic cartridges, and otherwise, for magnetic cartridges, it should match that specified by the maker of the cartridge. Thus you could have a couple of resistors here to switch in and out depending upon the cartridge you were using, or a Ceramic/Magnetic setting.<br />
<br />
(2) <b> The RIAA Network Proper.</b> This is a 3-terminal (in/out/ground) interchangeable or adjustable network, activated by selection switches. Note the pre-specified .0068 uF input cap, and the 1 Meg output load to the next stage. These are chosen as a base for the variations to follow.<br />
<br />
<br />
<span style="font-size: large;"><b><i>Circuit Operation:</i></b></span><br />
<br />
The 6SL7 is chosen for its high Mu (gain). With all high Mu triodes, care should be taken to prevent HF rolloff from Miller capacitance. Here with a gain of 30 and a MC in the order of 100 uuFd, the output Z of the source shouldn't be higher than 75K to keep the 3db point above 20kHz. Luckily both ceramics and magnetics generally have Out Z lower than this.<br />
<br />
We now design the Out Z of the RIAA circuit etc. to keep the signal to stage 2 low in size (and distortion). The EQ circuit will have an Amplification factor of .022 at 1kHz, even at 20 Hz the Amplificatoin (after losses) will be only about .33. This means you can have a bias as low as -2 volts on the 2nd stage, and a typical input signal of .1 volt to the first stage. <br />
<br />
1K R Cathode resistors will typically be bypassed with a 47 uF cap to keep up the gain and most importantly to reduce heater hum. To keep the signal clean, this (electrolytic) can itself be bypassed with a small polypropolene for signal clarity, slew-rate and reduced noise.<br />
<br />
In these low-signal circuits you need a really good, well filtered Power Supply. In my view this makes the Mu-Follower the ideal method for supplying the HV.<br />
<span style="font-size: large;"><i><b><br /></b></i></span><br />
<span style="font-size: large;"><i><b>Design of the RIAA Circuit (EQ):</b></i></span><br />
<br />
(1) First, the input Z which the first stage sees must be high enough not to load the tube too much, (which would cause distortion). <br />
<br />
(2) Second, the Out Z presented to the 2nd stage should be low enough not to lose high end through Miller Capacitance. <br />
<br />
(3) Finally, if you have more than one RIAA circuit, they should be matched in overall attenuation losses so you can switch easily between settings without volume problems. <br />
<br />
<i><b>Flat Turnover EQ:</b></i><br />
<br />
A basic L-circuit does the trick for flat recordings with a fixed turn-over point (i.e., where the gain is about 0 db).<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuR1FwGEDK-5jLEd0dkRuqKznmYO1anxPE4FH6nX6hSSutylVwmEOmSw0jhuIn1E_Wi1dF_IfAlUXZNVQq2ci7A-OuEQBCp1XWqokhx5rtuQ_oNLzkDdqGym51-7brB8FWgFeK-aZFMg0/s1600/Basic+RIAA-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuR1FwGEDK-5jLEd0dkRuqKznmYO1anxPE4FH6nX6hSSutylVwmEOmSw0jhuIn1E_Wi1dF_IfAlUXZNVQq2ci7A-OuEQBCp1XWqokhx5rtuQ_oNLzkDdqGym51-7brB8FWgFeK-aZFMg0/s640/Basic+RIAA-01.jpg" width="640" /></a></div>
(A) 250 Hz Flat Xover: For British H.M.V. and other European pressings (Mittell, B.E.B., etc)<br />
<br />
(B) 500 Hz Flat Xover: Older American Vintage pressings.<br />
<br />
(C) 1 kHz Flat Xover: Some rare European recordings.<br />
<br />
<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-55650587013181159722012-06-24T15:29:00.000-07:002012-06-24T15:29:02.406-07:00RIAA Preamp Build (part 3)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsdjgOWu9jfqH0GXjqwHweLwXMncuXP95v_ZRBpFv1L3JmCjmbXmfScv0DZPWjn4BfwaymGzygrBOUoCLsX5-Umpa6RPnHnkZ5m7Yoh-wVkG4bFyqzXY79-MV7-l_HcAQw9Xt8n7pUGG8/s1600/RIAA-schematic4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<i><b>RIAA circuits 101</b></i><br />
<br />
We could get into an extended discussion of RIAA equalization and its
history, but why bother? This would be overkill for the average DIYer.<br />
<br />
All we really need is the basic overview, and some idea of how to
successfully integrate standard and practical circuits into our preamp.
No point in re-inventing the wheel.<br />
<br />
So lets skip the worst of the technical questions and complex equations
for filter networks, and look at some real-world examples, which we can
modify for our purposes.<br />
<br />
First of all, the overview:<br />
<br />
It is generally best to either do the EQing after the first stage of
amplification, or between two stages in the signal path, so we can gain
the headroom needed and control the results of our efforts.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsdjgOWu9jfqH0GXjqwHweLwXMncuXP95v_ZRBpFv1L3JmCjmbXmfScv0DZPWjn4BfwaymGzygrBOUoCLsX5-Umpa6RPnHnkZ5m7Yoh-wVkG4bFyqzXY79-MV7-l_HcAQw9Xt8n7pUGG8/s1600/RIAA-schematic4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsdjgOWu9jfqH0GXjqwHweLwXMncuXP95v_ZRBpFv1L3JmCjmbXmfScv0DZPWjn4BfwaymGzygrBOUoCLsX5-Umpa6RPnHnkZ5m7Yoh-wVkG4bFyqzXY79-MV7-l_HcAQw9Xt8n7pUGG8/s640/RIAA-schematic4.jpg" width="640" /> </a><br />
<br />
<br />
Since we will probably only have a single stage, our RIAA network will come afterward, once the signal is amplified.<br />
<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-75666299863869880502012-06-24T15:12:00.000-07:002012-06-24T15:12:47.040-07:00RIAA Preamp Build (part 2)Mu-follower circuits have been well discussed, ... so I will leave the basic circuit to one side for now, and discuss RIAA.<br />
<br />
We may note in passing that in the evolution of music recording, various
media and techniques were developed, each with its own problems,
side-effects and equalization requirements. <br />
<br />
The main problem with recording was the limitation and the skewedness of the frequency response. <br />
<br />
An ideal frequency response would be similar to that claimed for a modern stereo amp:<br />
<br />
<a class="highslide" href="http://www.ecoustics.com/electronics/products/articles/131064.jpg"><img alt="Click the image to open in full size." border="0" class="tcattdimgresizer" src="http://www.ecoustics.com/electronics/products/articles/131064.jpg" title="Click the image to open in full size." /></a><br />
<br />
However, the actual process of recording would imprint its own frequency
response 'fingerprint' or bias. Thus a magnetic phono record
response curve might look more like this:<br />
<br />
<a class="highslide" href="http://www.phonostagepreamp.com/images/riaa-replay-magnetic.jpg"><img alt="Click the image to open in full size." border="0" class="tcattdimgresizer" src="http://www.phonostagepreamp.com/images/riaa-replay-magnetic.jpg" title="Click the image to open in full size." /></a><br />
<br />
That is, in the process of recording, the final product (a vinyl record
and playback needle) has very loud treble, and very little bass. <br />
<br />
As a result, the signal needs heavy correction or 'equalization' to
restore the sound back to how it originally sounded. Thus the
"equalizer" was originally a correction device in the playback chain to
compensate for frequency response distortion in the recording and
playback media chain.<br />
<br />
The "Equalization" is imposed in the preamp stage, just after the signal
is retrieved from the record through the magnetic cartridge. Like an
adjustable tone control, this circuit imposes its own curve on the
signal:<br />
<br />
<a class="highslide" href="http://www.oestex.com/tubes/RIAA.jpg"><img alt="Click the image to open in full size." border="0" class="tcattdimgresizer" src="http://www.oestex.com/tubes/RIAA.jpg" title="Click the image to open in full size." /></a><br />
<br />
The two filtering processes (recording and playback) are supposed to
cancel each other out, restoring the signal to its original balance, and
achieving a more or less flat frequency response overall. <br />
<br />
As a matter of history, early attempts at equalization had some
variations, before some semblance of standardization sorted itself out
in the marketplace, and in the interim, several hi-fi equipment makers
offered alternate settings to more closely accommodate various
recordings the methods used. The <b>McIntosh AE-2</b> (pre)amplifier Equalizer control (1950) for instance offered both a 5-position switch and bass and treble adjustments:<br />
<br />
<a class="highslide" href="http://www.antonioceretti.net/Pictures/McIntosh/16McIntosh_AE2/Immagini/1McIntosh_AE2.jpg"><img alt="Click the image to open in full size." border="0" class="tcattdimgresizer" src="http://www.antonioceretti.net/Pictures/McIntosh/16McIntosh_AE2/Immagini/1McIntosh_AE2.jpg" title="Click the image to open in full size." /></a><br />
<br />
<br />
Today, an RIAA equalization circuit is usually a simplified version (a
compromise) of the various EQ curves and standards floating about in the
50s and 60s. It is assumed that most stereo systems will have some
kind of 'fine tuning' tone-control adjustments, so that specialized RIAA
circuits for each case are not really needed.<br />
<br />
Those who are serious about playing back their vinyl records as they
were really intended, and with the best fidelity however, will not be
satisfied with such commercial compromises, and will want to have a
selection of RIAA equalization circuits at hand for playing various
records.<br />
<br />
In terms of the variations, the following main cases are:<br />
<br />
(1) the Columbia 78 rpm circuit<br />
<br />
(2) the Columbia 33.3<br />
<br />
(3) the RCA Victor 78 and 45 rpm, <br />
<br />
(4) the RCA Victor 33.3, and Concert Hall 78 versions.<br />
<br />
(4) the London (records) FFRR and Decca FFRR.<br />
<br />
These are the most used and most popular versions.<br />
<br />
If you have a swelling vinyl collection, it might be wise to do some
sorting or labeling on the basis of the RIAA type or equalization
needed.<br />
The brand-names and dating will go a long way toward sorting out the issues.Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-35977501811565366162012-06-23T10:43:00.002-07:002012-06-23T10:43:48.364-07:00Marshall Cab (3)Just an update:<br />
I installed the 2 12" Pro Blue bass drivers,<br />
and tried hooking up just one:<br />
Wow! So that is what good loud bass sounds like!<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCo9hU7sE3iIN-wZ8EIW4yyCCIODPuULWFnifUr8yAKV7picqQqRUPs8mPkoJb8weNoy4CjR7u_yDkDyY5gRZQMNo-XdO3uUBTT4ULRPdKL6Lz0eWLfQKiw6fOkGUeppRDV1OPCbvFWc0/s1600/marshall-007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCo9hU7sE3iIN-wZ8EIW4yyCCIODPuULWFnifUr8yAKV7picqQqRUPs8mPkoJb8weNoy4CjR7u_yDkDyY5gRZQMNo-XdO3uUBTT4ULRPdKL6Lz0eWLfQKiw6fOkGUeppRDV1OPCbvFWc0/s320/marshall-007.jpg" width="298" /></a></div>
<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-85127980271193629912012-06-22T08:13:00.000-07:002012-06-23T12:34:52.861-07:00RIAA Preamp Build (Part 1)Well, someone asked me to design a low-noise stereo preamp for RIAA, (record phono input Equalization), so Challenge Accepted!<br />
<br />
I made a preliminary design effort using a Mu-Follower type layout for dead-quiet PSRR and low noise, and also chose a low-voltage tube. I will be using either 6922s or a 6GM8.<br />
<br />
Decided on separate power supply and preamp chassis, for even lower noise, because this is a really low-voltage input signal (old magnetic cartridges etc.).<br />
<br />
I enlisted the boy to help me with the power supply. I took a standard but nice-looking metal box as a base.<br />
<br />
The boy loves these special wire-strippers. He thinks they look like Oscar the Grouch, and calls them the "Eyebrow tool": <br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV1XYJQIzgcCIuCNvSxCwrEH_EmqrKxZ0v-mTJqTlQ6VLUlxBlrwmOr2yj9d9laXF_odz8wHG7B6Ld2Fe2XJ320yNnFOwfOrwXs-gSIvtjHLbiSIDtTGGC20NqDbMBkPlNihdvpmT84go/s1600/preamp-PS1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV1XYJQIzgcCIuCNvSxCwrEH_EmqrKxZ0v-mTJqTlQ6VLUlxBlrwmOr2yj9d9laXF_odz8wHG7B6Ld2Fe2XJ320yNnFOwfOrwXs-gSIvtjHLbiSIDtTGGC20NqDbMBkPlNihdvpmT84go/s640/preamp-PS1.jpg" width="640" /></a></div>
<br />
<br />
I happened to have a ready-made 60 volt filtered supply PCB, loaded and tested. All that was needed was a 12 vAC transformer. Well, I ordered one on Ebay (notice it says right on it TRANSFORMER). I assumed the housing was just shielding and a convenient mounting. This turned out not to be a transformer at all, but a DC power supply <i>containing</i> a transformer! Who knew! Idiots.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXQgE2ZgOW1-20nv-zO3VLbcYf5mk1QT119L0Wg-np84uf6f8ITiDjKm_43S4HpFxI3of4LdoRHXnv54YtR_UDOaolCWLA13awJXvwpAPB-u2LYE7pdiiXAPQ-3OQnI6kRFMK4ruLMZE/s1600/preamp-PS2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXQgE2ZgOW1-20nv-zO3VLbcYf5mk1QT119L0Wg-np84uf6f8ITiDjKm_43S4HpFxI3of4LdoRHXnv54YtR_UDOaolCWLA13awJXvwpAPB-u2LYE7pdiiXAPQ-3OQnI6kRFMK4ruLMZE/s320/preamp-PS2.jpg" width="320" /></a></div>
<br />
Well, pressing on, I got some four-wire shielded cable and attached a nice solid connector to it. This will go to the preamp chassis proper. I improved the HV insulation inside the plug by weaving electrical tape between the pins.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMxOj05m8r8S7394ksbF15CNziaDqhy9qavClXXjSrgJtSf9-tmI37ExW79rUw9ENoT97BT_THpPVEDBb3Wn2GZNjA95y7vtB1ih7tilbu3TEXof4FfjFTMiC5pWClsxKVkbuArlsfMo/s1600/preamp-PS3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMxOj05m8r8S7394ksbF15CNziaDqhy9qavClXXjSrgJtSf9-tmI37ExW79rUw9ENoT97BT_THpPVEDBb3Wn2GZNjA95y7vtB1ih7tilbu3TEXof4FfjFTMiC5pWClsxKVkbuArlsfMo/s320/preamp-PS3.jpg" width="320" /></a></div>
<br />
For tagging purposes, (and additional isolation), I re-paired (no pun) the wires so that the heater (which doesn't matter is two whites, and the HV (60v) is blue/orange (-/+). Keeps things simple to hook up correctly.<br />
<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdI0BYTzhmFNiRWbskHVpvzXhLmXDTJxt7okObqfj5pxzfCAfsKSXnj1nTsGs1engs01AOFiqIkP9ARy8YWVygRocO9lpcNFop4gD14n74M1Dck1Ls65Ev6N4yftibUmmwjQv4ypJMoYQ/s1600/preamp-PS4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdI0BYTzhmFNiRWbskHVpvzXhLmXDTJxt7okObqfj5pxzfCAfsKSXnj1nTsGs1engs01AOFiqIkP9ARy8YWVygRocO9lpcNFop4gD14n74M1Dck1Ls65Ev6N4yftibUmmwjQv4ypJMoYQ/s320/preamp-PS4.jpg" width="320" /></a></div>
<br />
Here's a sneak preview of the other half of the project: My part collection for the preamp itself. I'm using this nice knick knack box as a base, it looks really nice. It will have two tubes on it, and some RCA jacks, and a pwr connector.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZHIxVOBQbU4y104Fe8r-i7fSreBSx9p_rspDNCEc-wk_0BPisWFXPUO38j71rPzOXwPoIobGBkV4P_0drddWLGc7jNHleJbKYPDWrbL-UtYOsqkBgQ4sTs_uswY0jorjTjucjLNoqASk/s1600/preamp-RIAA-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZHIxVOBQbU4y104Fe8r-i7fSreBSx9p_rspDNCEc-wk_0BPisWFXPUO38j71rPzOXwPoIobGBkV4P_0drddWLGc7jNHleJbKYPDWrbL-UtYOsqkBgQ4sTs_uswY0jorjTjucjLNoqASk/s320/preamp-RIAA-1.jpg" width="320" /></a></div>
<br />
Not a lot to remark on schematic-wise so far. Will discuss circuits in following posts.<br />
<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-31887486187577060592012-06-20T09:01:00.000-07:002012-06-20T09:03:06.407-07:00Fender Rumble 60 Upgrade<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCumPGroytxdtT82E3AMI2H3S7lYqsq3UGyPSmJFHKxOcbdSElMIDoOtXQjoLWPP6urNj2nbnsBtsQeI1eijBsU-bj7md2b2HgrU9ep1Lrbt0zSE-AwqZ0uK5dVy9whJ3_lD26Ig2Nrtw/s1600/rumblebox.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCumPGroytxdtT82E3AMI2H3S7lYqsq3UGyPSmJFHKxOcbdSElMIDoOtXQjoLWPP6urNj2nbnsBtsQeI1eijBsU-bj7md2b2HgrU9ep1Lrbt0zSE-AwqZ0uK5dVy9whJ3_lD26Ig2Nrtw/s640/rumblebox.jpg" width="424" /></a></div>
<br />
<br />
I just inherited this <i><b>Rumble 60</b></i>, and I note it seems to have an 8 ohm <b><i>Fender Special musical instrument speaker</i></b>. However, this speaker is actually undersize compared to a regular Fender 12", and seems to be only about a 40 watt speaker.<br />
<br />
Note the small magnet.<br />
<br />
<br />
The cabinet could use reinforcing, <br />
and it looks like I could reinforce corners/edges inside,<br />
seal the box and port too:<br />
<br />
<br />
<h3>
<b>Bass Reflex Cabinet w. slot along bottom:</b></h3>
<br />
9" deep X 15 3/8" wide x 15 1/4" high (16 3/4" at back) interior box, <br />
<br />
= 2140 cubic inches (1.24 ft³, .035 m³ )<br />
<br />
with port/slot = 3/4" high x 16" wide, (12 Sq. In.)<br />
and about 7" deep. (84 cubic in. in volume). <br />
<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVwOd5MINMv94pBy1zsm2w4LrZ9oju2x462q6Yerg_t5rPFeFPiXZEG-uhooPQdrN8D0vbMqDZgxrf5kFlOORvleRYU5VRMme1rsbhoN_EWXpErEB4ilvwl575eeH7kYxOzpX7UOU0Ozc/s1600/Rumble60Cabinet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVwOd5MINMv94pBy1zsm2w4LrZ9oju2x462q6Yerg_t5rPFeFPiXZEG-uhooPQdrN8D0vbMqDZgxrf5kFlOORvleRYU5VRMme1rsbhoN_EWXpErEB4ilvwl575eeH7kYxOzpX7UOU0Ozc/s640/Rumble60Cabinet.jpg" width="578" /></a></div>
<br />
<br />
On the other hand, <br />
The chassis for the Rumble 60 (at least this one) isn't made of Aluminium! It seems to be <i><b>soft steel.</b></i><br />
<br />
Its solid, rectangular and just about perfect for a small 2-tube push-pull power section.<br />
<br />
I'd have to build a separate wood cabinet for it (Marshall-style).<br />
<br />
<a class="highslide" href="http://thumbs4.ebaystatic.com/m/myKl5emwDp8NEn3IaB2GUgQ/140.jpg"><img alt="Click the image to open in full size." border="0" class="tcattdimgresizer" height="300" src="http://thumbs4.ebaystatic.com/m/myKl5emwDp8NEn3IaB2GUgQ/140.jpg" title="Click the image to open in full size." width="400" /></a><br />
<br />
Somebody maybe already got that idea, and sold a chassis on Ebay. <br />
<br />
I'm thinking, - now that the Rumble 60 has been discontinued,<br />
and it has gone down from $500 new to about $200 or less used,<br />
it makes a good start-pack for a 'champ' project complete with speaker cabinet!.<br />
<br />
I don't know if this speaker would satisfy a guitarist, <br />
but the chassis should satisfy a DIYer!<br />
<br />
Okay here's a closer look:<br />
<br />
<a class="highslide" href="http://www.diyaudio.com/forums/attachments/instruments-amps/281326d1336489567-fender-rumble-60-what-mods-clean-up-chassis1.jpg"><img alt="Click the image to open in full size." border="0" class="tcattdimgresizer" height="425" src="http://www.diyaudio.com/forums/attachments/instruments-amps/281326d1336489567-fender-rumble-60-what-mods-clean-up-chassis1.jpg" title="Click the image to open in full size." width="640" /></a><br />
<br />
16.5 " wide x 9.75 " deep x 2.75 " (at back. 2.25" front) chassis <br />
<br />
<br />
______________________________<br />
<br />
<h3>
<span style="font-size: large;"><i><b>Recommendations for Amp:</b></i></span></h3>
Chuck integrated chip-amp,<br />
and build tube amp on chassis, mount it in separate Marshall-style box.<br />
<br />
Ok so the chassis is 16.5" wide (without any sides), <br />
and 10" deep (ignoring transformer bulge and knobs).<br />
<br />
I'm guessing a separate 'head' box will be:<br />
<br />
(inside: 16.75" x 12" deep (allow for knobs/fuses) x 8" (3" + at least 5"))<br />
<br />
Add 3/4" ply (x2) box:<br />
<br />
18.25" x 12 (or 13)" deep by 10" high.<br />
You can use the metal speaker-grill (cut) as a front/back grid above the
chassis / knobs, to keep fingers out of front and back, and have
plywood top, bottom and sides.<br />
Carpet (or woodfinish) and corners as desired.<br />
<br />
Makes for a sweet looking 60w push-pull head.
<br />
<br />
<br />
------------------------------<br />
<br />
<span style="font-size: large;"><i><b>Recommendations for Speaker Cabinet:</b></i></span><br />
<br />
As it is, <b>the cabinet has a horrible "honk/peak"</b> on the low E string (G,G#),<br />
and another one about an octave higher (Gb, G, G# smeared).<br />
<br />
Its a very uneven bass response, almost unplayable in certain areas of the fretboard!<br />
<br />
The four-knob EQ doesn't fix this,- not even in the ballpark.<br />
<br />
<br />
I'm thinking: put a real 200 watt speaker in it,<br />
seal the port with a plywood block,<br />
maybe add a midrange speaker (in separate compartment) + crossover.<br />
<br />
Reinforce cabinet walls with crossbraces, <br />
and foam 3 sides inside to stop standing reflections.<br />
<br />
<h2 style="color: blue;">
<i> To update:</i></h2>
<br />
<b>I've added wheels</b> (a necessity with any amp larger than a 10watt).<br />
<br />
Also: <br />
<br />
<b>I reinforced the inside</b> with a cross-piece horizontal pine board about
1" thick and 4" wide, edgewise toward speaker-back, cutting back-panel
in half. Screws in sides and back and glue to hold.<br />
<br />
<b>I added a 16" piece of 2x4 in bottom</b>, after removing fruity lightshow
panel, right on bottom and right against port-hole inside blocking it:
glued and screwed from bottom/sides (1.5" screws).<br />
Long-screws were used on ends (from side).<br />
<br />
<b>I used a spray-can of insulating-foam</b>, filling port, corners and edges all around inside box. Worked well.<br />
<br />
I replaced speaker and tested:<br />
<br />
The two main resonances were still there, (49 Hz and 98 Hz), but a
little less bad. Much of the cabinent distortion on other notes however
were cleaned up, so this cabinet reinforcement is really worth doing.<br />
<br />
I went back to my buddy at <b><i>The Speaker Store</i></b>, asked about a
notch-filter. This was not good news, as the cap/inductor combo would
require 150 mH (HUGE if aircore) and 20,000 - 40,000 uF caps. The cost
was unjustifiable, and the coil was made of unobtainium.<br />
<br />
But the good news is my speaker expert recommended<br />
<b>stuffing the cabinet full of quilt-stuffing material to kill all standing waves.</b><br />
So I gutted a 'comforter/pillow' and stuffed cabinet and replaced speaker:<br />
<br />
<br />
...FANTASTIC! <br />
<i><b>The two main resonances were about 80% killed off</b></i> (still a slight and
noticable peak/resonance but the bass guitar was actually playable and
the notes near the 'resonance' weren't all blended together and
indistinguishable.<br />
<br />
Also, the whole bass fretboard was not only playable but sounded musically awesome (especially two-note stuff and octaves)!<br />
<br />
Bass Guitar amp went from pure honky crap to sonic bliss.<br />
<br />
Pull all your bass woofers, reinforce sides and stuff the box full!<br />
You will be amazed.<br />
<br />
Now the amp actually doesn't sound so bad (for a transistor),<br />
although the EQ is still crap.<br />
<br />
In an ordinary room (practice, coffeeshops) it seems more than adequate.<br />
Also seems to work good as a small guitar amp (maybe better than as a bass).<br />
<br />
Still, speaker seems underpower for useful playing.<br />
<br />
I'm now thinking of just adding a tube-circuit (12ax7 etc.) inside the box for an 'overdrive' channel:<br />
You don't have to make a separate 'head' for this, to get a 'tube' sound.<br />
<br />
I will get back again on this.
<br />
<br />
<div style="color: blue;">
<i> "you mean, you sealed that .75" gap on the bottom of front?<br />
isn't that needed to let the pressure out, so speaker won't blow up? "</i></div>
<br />
Yes I blocked that, to get a smoother frequency response.<br />
<br />
<br />
No, unless you are pumping ridiculous levels of power into it.<br />
<br />
The sealed cabinet should limit the excursion somewhat, <br />
protecting the speaker against physical overload. <br />
<br />
I think there is some problems with paper-accordion surrounds (i.e., guitar speakers) handling extreme excursions of bass, <br />
and supposedly the surrounds can tear. <br />
It may be that this speaker (the original equipment) is susceptable to this, if pushed:<br />
It certainly looks rather underrated (small magnet etc.) for a bass speaker.<br />
But I think Fender would have put a speaker in that can handle bass, <br />
since they contract speaker-makers to customize their speaker requirements.<br />
<br />
I haven't overdriven it, but no one should with a small cab/speaker like this. Its strictly for practice and coffee-shops.<br />
<br />
I was tempted to drop in a guitar-speaker (higher power) but resisted
the temptation, since guitar-speakers are not made for bass-excursion.<br />
<br />
I am still tempted to further modify the cab:<br />
<br />
That is, put a Karlson-skirt on it to greatly amplify the loudness for a given wattage. If this was done properly, <br />
the amp/speaker combo could probably power a rock-band / bar scene.Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com3tag:blogger.com,1999:blog-2368574284017527503.post-74769117007971850092012-06-19T18:52:00.000-07:002012-06-20T04:16:49.094-07:00Woofer Distortion 101<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9qgoPUXvo2aPpErkwYPdjJhZ9JopBY5ilU7YdOvnlghSyFElVAew15NstmghY5WZwTxhWxzC-ljQMF_8xYWS8PeHQH1u42mn8mSlKLl7_ZRH64xNgiGIWy6_TJGAoa1PI1tZMgSoyvOI/s1600/ALVIN-03a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
Recently there was a discussion in regard to speaker distortion. It was about what happens when you have two woofers in one box, but have them crossed-over at different points.<br />
<br />
A poster wasn't able to articulate his point, and as a result of some confusing expressions, left people thinking he was 'trolling'.<br />
<br />
In fact, he was right on the essential point, which I'm going to illustrate with some diagrams here:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnylPdP8uKr2oRHUoSJ57zhO_mKdt6m4B7oPbshXyTNZLEBnI733TOAS-hjlrtQ-9VHB5rurfO0J72OnNhSgxmEhwbkuvKVaDeWT7w2wsHxMuOVYaWCWD3GM0pJOqdkF452Oxg3-Cw7GY/s1600/ALVIN-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnylPdP8uKr2oRHUoSJ57zhO_mKdt6m4B7oPbshXyTNZLEBnI733TOAS-hjlrtQ-9VHB5rurfO0J72OnNhSgxmEhwbkuvKVaDeWT7w2wsHxMuOVYaWCWD3GM0pJOqdkF452Oxg3-Cw7GY/s640/ALVIN-01.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Diagram 1: Two Separate Cabinets vs. One Cabinet</span></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<br />
What actually happens when two woofers share the same cabinet?<br />
Well, in the above diagram, there isn't much difference between the two situations. If this isn't clear, the following diagram should help out:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhheiWMN8qUkhLfmzOjHQHoDVT-4IqrUAY5LZJWpfCP0FrC64A1I24j1RDPMu0tHkq0dfqUmukAnuQhlpiB98QHBv4SqznAQVzy7agoM40b10aJ7K6zfx2tiY9gWFwrK56UQFo2zojPsIo/s1600/ALVIN-03b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhheiWMN8qUkhLfmzOjHQHoDVT-4IqrUAY5LZJWpfCP0FrC64A1I24j1RDPMu0tHkq0dfqUmukAnuQhlpiB98QHBv4SqznAQVzy7agoM40b10aJ7K6zfx2tiY9gWFwrK56UQFo2zojPsIo/s640/ALVIN-03b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Diagram 2: Front and Back Radiation</span></td></tr>
</tbody></table>
<br />
Above we assume that both speakers are wired "in phase", which means that regardless of whether they are in series or in parallel, the coils are set so that a positive voltage across the marked terminals makes both speakers move outward, while a negative voltage makes the speakers move in. You can test this with a small battery.<br />
<br />
The sound waves are pushed simultaneously in the same direction out the front, and they make a large parallel wavefront, twice as powerful as either speaker alone. In the back, a sound wave of opposite phase is pressed against every wall of the inside of the cabinet, with only a short delay from the speaker to the cabinet-wall.<br />
<br />
By inspection, we may note that the sound pressure is applied equally to both sides of the separating wall in the first cabinet. When the speakers are moving out, they create suction inside, and when the speakers are sucking inward, they increase pressure in the cabinet. That is, while the action inside the cabinet is the opposite of that outside, the same thing happens in both compartments at the same time, either high pressure in both, or low pressure.<br />
<br />
This means that the pressure is equal on both sides of the separating wall at all times, and according to classical mechanics, there is then no net-force on the separating panel, and no energy will be exchanged between the two partitions. From this it should make no difference if the wall is removed, as in the speaker cabinet on the right. The forces (both pressure and vacuum) are equal and opposite, and cancel inside the box.<br />
<br />
<span style="font-size: large;"><b><br /></b></span><br />
<span style="font-size: large;"><b> Distortion from Excursion</b></span><br />
<br />
Another thing to observe, is that the loudness of a sound of a given frequency will be based on how much air is pushed, or the area of the woofer surface. It follows that doubling the number of speakers will give us one of two options.<br />
<br />
(1) If the two speakers are in parallel, and are presented with the same voltage (speakers are voltage-operated devices), we will have twice the air and <b>twice the power</b> used, which means a lot more loudness. <br />
<br />
(2) Alternately, and this is much more interesting, <b>we can instead put half the power into each speaker, and get the same volume</b>, with each speaker doing half the work. So what? Well, it means that each speaker only needs to physically move half as much, for the pair to move the same amount of air.<br />
<br />
Why is (2) significant? If speakers move too much, the result is distortion. Speakers have a limited<i><b> excursion</b></i>, that is, they can only move so much before they put up too much resistance, and start either clipping the signal, or they might get out of control. The excursion is a measure of headroom, or freedom to respond to signals. If the speaker is already playing a loud bass-note for instance, and is moving at its maximum swing, it can't respond when another musical note is added on top. There is no more headroom, and the new signal is either attenuated, or otherwise distorted. This can be referred to as <i><b>Intermodulation</b> (or I.M.)<b> distortion</b></i>, and happens at higher volumes as the speaker puts up more resistance and changes the wave-shape, which automatically adds harmonics or sidebands, and attenuates other frequencies.<br />
<br />
Splitting the bass-load between two speakers will then cut back a large amount of distortion, and leave headroom for more musical input, with much less I.M. distortion. Of course this is very similar to simply using a larger speaker, which can then output more bass with less motion, and less distortion.<br />
<br />
Thus many people might presume that this can only be a good thing, and that there is no trade-off in musical quality by doubling the speakers (other than cost!). We will see if that is always the case, below.<br />
<br />
<br /><br />
All this is just the necessary background to the discussion at hand, which originally took place on the DIYaudio forum. <br />
<br />
Here is the link, although some of the discussion may have been subsequently deleted. <br />
<br />
<a href="http://www.diyaudio.com/forums/multi-way/214481-3-5-way-speaker-design-should-i-put-woofers-together.html" id="thread_title_214481">3.5 way speaker design, should I put the woofers together?</a><br />
<br />
----------------------------------------------<br />
In the original discussion, the speaker builder wanted to have two speakers, but with only one speaker carrying some midrange also. This is done simply by having a different crossover-point for each woofer. One speaker would just carry the bass, while the other would carry both bass and lower mids.<br />
<br />
The argument was as to whether or not there was a musical drawback to the method of doubling the woofer, operating the two woofers across different bandwidths, while having them share the same box. <br />
<br />
<b>The poster</b> felt that there would be distortion because of this, and <b><i>he was essentially right. </i></b><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjldIpArTPlpZBrY73KFe0SLYrKqA3T39GqZDk7l6x734tZhIwukRVVubtd6lCfIwNRcwLQoPBSX7B6CO772DmhbjVex_9H7n7TiKkO-Nv8JZBXlaeSREsVI8vSQFAz-J-GINQxVbnL67k/s1600/ALVIN-02a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjldIpArTPlpZBrY73KFe0SLYrKqA3T39GqZDk7l6x734tZhIwukRVVubtd6lCfIwNRcwLQoPBSX7B6CO772DmhbjVex_9H7n7TiKkO-Nv8JZBXlaeSREsVI8vSQFAz-J-GINQxVbnL67k/s640/ALVIN-02a.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: large;">Diagram 3: Midrange Bleed-Through</span></b></td></tr>
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Lets assume the top speaker is the one that will carry the extra midrange musical content. In the separate compartments, the out-of-phase back-wave from the speaker would mostly be absorbed by the box, and only a small amount would feedback to the originating speaker, resisting and affecting the signal radiating out the front. <br />
<br />
Now look at the diagram on the right:<br />
<br />
<i>Without the barrier</i>, the back-wave from the top speaker will also reach the bottom speaker, and radiate out through the cone. From the point of view of the cone, it matters not whether the signal is imposed upon it from an electrical signal via the coil, or mechanically from the back via the air. The cone will move (vibrate), and the sound will radiate out. The cone is a relatively thin and pervious veil over the lower hole, and permits sound to escape the box.<br />
<span style="font-size: large;"><b><br /></b></span><br />
<span style="font-size: large;"><b>The Flange-Effect</b></span><br />
<br />
However, this new copy of the midrange signal is not identical to the original. It has now been time-delayed, much as the sound from a port is. Here however, the midrange sounds are very short wavelengths, and will alternately cancel and reinforce the original signal, depending upon wavelength. This acts as a fixed-frequency comb-filter, as well as a phase-shifting filter. <br />
<br />
Compounding this comb-filter/delay flanging effect will be the secondary I.M. distortion added by the moving lower speaker, pumping bass. Almost the same amount of I.M. distortion being added to the midrange already via the top speaker will also be added to the inverted signal radiating out the bottom.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9qgoPUXvo2aPpErkwYPdjJhZ9JopBY5ilU7YdOvnlghSyFElVAew15NstmghY5WZwTxhWxzC-ljQMF_8xYWS8PeHQH1u42mn8mSlKLl7_ZRH64xNgiGIWy6_TJGAoa1PI1tZMgSoyvOI/s1600/ALVIN-03a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9qgoPUXvo2aPpErkwYPdjJhZ9JopBY5ilU7YdOvnlghSyFElVAew15NstmghY5WZwTxhWxzC-ljQMF_8xYWS8PeHQH1u42mn8mSlKLl7_ZRH64xNgiGIWy6_TJGAoa1PI1tZMgSoyvOI/s640/ALVIN-03a.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: large;">Diagram 4: Intermodulation Distortion<br />
</span></b></td></tr>
</tbody></table>
<br />
<br />
This does not negate the gains achieved by doubling the bass-woofer. But now the midrange being reproduced by the system is accumulating distortion of an entirely different kind than would have originally been the case for a single driver with no radiator or port. And it should be remembered that the same gains in lowering I.M. distortion could have been achieved with a single larger woofer.<br />
<br />
<b>Thus two questions need to be asked: </b><br />
<br />
(1) Why would you choose to have two smaller woofers rather than one larger one? The answer ought to be, that some other benefit is achieved, namely a different frequency response, or cabinet resonance, or speaker specs, which would move the builder to take on the extra work of designing for two speakers. <br />
<br />
(2) Secondly, can anything be done to minimize the drawbacks introduced by two speakers in one cabinet? Well, the answer is a definite yes! The simple act of dividing the cabinet into two compartments, and stuffing the top with absorbent materials, should eliminate the undesirable 'flanging effect' we can expect from single compartment.<br />
<br />
<b>Thus, that poster was right when he insisted that the design could be significantly improved by partitioning the cabinet.</b><br />
<br />
<br />
<br />
<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0tag:blogger.com,1999:blog-2368574284017527503.post-22282676258538633052012-06-18T01:35:00.000-07:002012-06-18T01:43:25.042-07:00Ultralinear Guitar Amp (10): Transformers, Grommet!<div class="separator" style="clear: both; text-align: center;">
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Transformers, Grommet!</div>
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Yes, whenever you mount transformers to a chassis, always have plenty of rubber grommets to protect the wiring insulation from abrasion, cuts, and short-circuiting! Especially with high voltage stuff. </div>
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<b>First Transformer goes on the Chassis! </b> Output tranny at one end, and power supply trannies and chokes at the other. Orientation aint so critical with this incredibly long chassis.</div>
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I always seem to be short of lock-washers. Ideally locknuts would be even better, but hey, we'll be using what is on hand for this economy build. When you run out of washers, you can always use nail-polish to fix nuts from loosening, that are never supposed to come off again. Transformers are one of those parts that should never die!</div>
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The second (Power/HV) Tranny goes in the corner.<br />
Here my son is drilling the holes for the massive choke (larger than the Power Tranny!). We had to check for clearance with the speakers in the Fender cab.<br />
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<br />
After this quick training exercise, my son is now<b> a professional Grommeter!</b><br />
It first seems impossible to stuff correct-size grommets into the hole, And in the past I've even cut them to assist in tucking them in. But the best tool for this is simply a medium flat-head screwdriver. You have to watch it, so that the rubber isn't penetrated or torn, since that defeats the whole (hole) purpose of protecting the wires from contact with sharp metal edges, and also providing electrical insulation.<br />
<br />
<br />
<span style="font-size: large;"><b>Power Plug Innovations:</b></span><br />
<br />
Next we want to get the power chord installed. But here, instead of the usual fixed line, we want the new 'computer-plug' style. There are several good reasons to go this route:<br />
<br />
(1) If the chord is damaged, its an easy replacement, without tools!<br />
<br />
(2) You can change the length of the power cord, if you want to add a longer one!<br />
<br />
(3) There is built-in powerline filtering in most of these units, which is pretty essential these days with tons of digital broadcast noise all around, (cells, internet etc.) and all kinds of equipment piggy-backing on powerlines (local transmission of security, LANS, even audio!).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYGgFZxa6GFMU9p1MTdzEf0NSmoX9HEmkuJcQD-sdoKwxHxPHio8LVzZmjl3mIM5npDRVYDDWqoGcYNpxxHEi-gS9e-nw7ALrZJKdcRVq2_0ghP_u2CRI2LfDzBJm21steaBMDGVJ2ZLM/s1600/nibbler2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYGgFZxa6GFMU9p1MTdzEf0NSmoX9HEmkuJcQD-sdoKwxHxPHio8LVzZmjl3mIM5npDRVYDDWqoGcYNpxxHEi-gS9e-nw7ALrZJKdcRVq2_0ghP_u2CRI2LfDzBJm21steaBMDGVJ2ZLM/s640/nibbler2.jpg" width="640" /></a></div>
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But alas, there's a snag! How do you cut a square/rectangular hole with ordinary tools? Sure, of course you can make four or more holes with your drill, dig out the jigsaw and cut out the extra metal, and finish up with some various sized metal files; all a lot of annoying and boring work, which is also time-consuming.<br />
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Or you can graduate to<br />
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<span style="font-size: large;"><b>The Nibbler!</b></span><br />
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When I found out about this tool, I fell in love! It does just what they call it, It nibbles out sheetmetal of almost any thickness or type, and its easy and fast.<br />
Of course the metal handle isn't the most comfortable, but you can either wear a glove, tape on some rubber padding or apply insulating sheaths from a pair of pliers, or just MAN UP and cut the hole! Usually for one or two holes, you don't need to do much except mark out the size and nibble away!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmacdLb4rwBV0fHJXARiUGVpJkYHJvURRu39OrKPJoZiio6mQkXDPLQKg7oxqK1LAMIRFmXDlEn6MqAFNUwaOrOxFSOKicrPHuWY90VLPopMAsAyKgh1dZC5bBD2gRcJ_lpAcjGcHJraQ/s1600/nibbler4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmacdLb4rwBV0fHJXARiUGVpJkYHJvURRu39OrKPJoZiio6mQkXDPLQKg7oxqK1LAMIRFmXDlEn6MqAFNUwaOrOxFSOKicrPHuWY90VLPopMAsAyKgh1dZC5bBD2gRcJ_lpAcjGcHJraQ/s640/nibbler4.jpg" width="640" /></a></div>
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To get started, you just drill a 3/8" or larger pilot hole to work the tool in to where it can start chopping. Be sure to use cutting oil to protect the sharpness of your Nibbler tool, which is going to become your favorite tool for cutting perfect rectangular shapes, refitting new parts which are the wrong size, etc.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCBcqz_LjPMQ0OjDhkO7OVQBj9-tvtOyIbTgpwJgoCN8MR8O4IS_dPeyeMBani5kd39qVWlOWvu02qpGY_nQ8TA0oSkD17ZzvHlb_1fioUvyBeAX64C6z5ZVI1EfxKFx0X-BbvO1UQOW4/s1600/nibbler3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCBcqz_LjPMQ0OjDhkO7OVQBj9-tvtOyIbTgpwJgoCN8MR8O4IS_dPeyeMBani5kd39qVWlOWvu02qpGY_nQ8TA0oSkD17ZzvHlb_1fioUvyBeAX64C6z5ZVI1EfxKFx0X-BbvO1UQOW4/s640/nibbler3.jpg" width="640" /></a></div>
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Here the son gets an instructional hands-on in Nibbling 101. Soon the AC socket will be ready for power!<br />
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A final nostalgic look at today's accomplishments. Time to rest.<br />
I don't want to tucker the boy out.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE6r5E37jp2S0pdATPsEQPNWZfDopmdJl1jcyyrL-KvMgxBiZy2zTWvBlaMezoGtIzIHrz2MRx1NB25kFQ4z6Ms-cutGmOINspkfWn63Le0gD8LStEsI19dDrIf4nWH5mI2WbUE-yR8iw/s1600/crocket-2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE6r5E37jp2S0pdATPsEQPNWZfDopmdJl1jcyyrL-KvMgxBiZy2zTWvBlaMezoGtIzIHrz2MRx1NB25kFQ4z6Ms-cutGmOINspkfWn63Le0gD8LStEsI19dDrIf4nWH5mI2WbUE-yR8iw/s640/crocket-2.png" width="640" /></a></div>
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A few more internals, like caps, a bridge and a power-switch and fuse, and we'll be ready to wire up and test the output stage!<br />
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For that, all we need is a good tube-pedal (like one we built earlier) to drive the splitter, Output stage and transformer! Lets rock!<br />
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<br />Nazaroohttp://www.blogger.com/profile/03584331774685466296noreply@blogger.com0