MartinV56

Durante el año 1947 aparecieron en la revista inglesa de audio Wirelles World una serie de artículos publicados por DTN Williamson sobre el diseño de un amplificador de alta calidad "Design for a High-quality Amplifier." Este amplicador es conocido como el pionero de la alta fidelidad. Es un Push Pull simétrico con retroalimentación negativa y un diseño Ultra lineal en el transformador de salida para lograr una distorsión más baja frente a los amplificadores de audio fabricados hasta ese entonces, utiliza doble triodos 6SN7 como inversores de fase y como drivers, el tubo de salida es el KT-66 conectado como triodo . Circuito Original Links http://oestex.com/tubes/williamson.htm http://www.xs4all.nl/~ideas/amps/ http://online.sfsu.e...HomebrewHL.html http://www.clarisonus.com/Archives/Amp_Design/Williamson%201952%20The%20Williamson%20Amplifier.pdf

http://www.tubebooks...EC_approach.pdf Excelente publicación sobre diseño de amplificadores valvulares Push Pull , vale la pena echarle una ojeada, ESENCIAL

[img]http://www.hifichile.cl/public/style_emoticons/default/birthday.gif[/img]

Quieres usar solo la etapa valvular del 2100 esto es como preamplificador, poder se puede pero toca entrar a mirar el circuito y hacerle unas modificaciones, no te parece mejor comprar o hacer un preamplificador valvular?

Ver etapa de potencia o amplificador [url="http://es.wikipedia.org/wiki/Etapa_de_potencia"]http://es.wikipedia.org/wiki/Etapa_de_potencia[/url]

NO, no se puede, estás hablando de un amplificador valvular o etapa de potencia, si haces eso al no tener carga (parlantes) puedes tirarte los transformadores de salida, para hacer eso requieres de un pre valvular. [font=sans-serif][size=2]Un preamplificador es un tipo de amplificador electrónico utilizado en la cadena de audio, la finalidad del preamplificador es aumentar el nivel de la señal y, para ello, actúa sobre la tensión de la señal de entrada. Cuando las señales salgan del preamplificador, habrán alcanzado el nivel de entrada, estandarizado en los 0dB. El preamplificador se encarga de nivelar la tensión eléctrica que le llega de las distintas fuentes de audio (cada equipo tiene una tensión de salida diferentes), para luego, una vez igualadas, enviarlas, como señal de entrada, a otro equipo (generalmente, una etapa de potencia. La relación entre nivel de salida y de entrada es la ganancia. Así, la ganancia, expresada en Db, indica el grado de amplificación de una señal. Fuente: wikipedia [url="http://es.wikipedia.org/wiki/Preamplificador"]http://es.wikipedia.org/wiki/Preamplificador[/url] [/size][/font]

[font=Arial, Helvetica, sans-serif][size=2][b]Ampex 6516 rack-mount theater amplifiers c.1955[/b][/size][/font] [font=Arial, Helvetica, sans-serif][size=2][b] [/b][/size][/font] [font=Arial, Helvetica, sans-serif][size=2][b][url="http://www.vintageaudio.net/members/view.php?item=28"]http://www.vintageaudio.net/members/view.php?item=28[/url][/b][/size][/font]

[font=Arial, Helvetica, sans-serif][size=2][b]Altec W5-17 theater amplifier[/b][/size][/font] [font=Arial, Helvetica, sans-serif][size=2][b] [/b][/size][/font] [font="Arial, Helvetica, sans-serif"][size="3"][b][url="http://www.vintageaudio.net/members/view.php?item=4"]http://www.vintageaudio.net/members/view.php?item=4[/url][/b][/size][/font]

[font=Arial, Helvetica, sans-serif][size=2][b]RCA PP 6146 theater power amplifier model MI-12182 (pair)[/b][/size][/font] [font=Arial, Helvetica, sans-serif][size=2][b] [/b][/size][/font] [font=Arial, Helvetica, sans-serif][size=2][b][url="http://www.vintageaudio.net/members/view.php?item=22"]http://www.vintageaudio.net/members/view.php?item=22[/url][/b][/size][/font]

Evolución de los sistemas de altavoces para cine [url="http://filmsound.org/articles/amps/loudspeakers.htm"]http://filmsound.org/articles/amps/loudspeakers.htm[/url]

Klangfilm, excelente sitio [url="http://klangfilm.free.fr/index.php?lng=0&music=&type=0&frame=1&item=&title=&dir=&num="]http://klangfilm.free.fr/index.php?lng=0&music=&type=0&frame=1&item=&title=&dir=&num=[/url]

Lag maneja el tema de amplificadores vintage para cine, estoy hablando de Rca, Western Electric , Ampex, en amplificadores europeos el siemens, klangfilm Iré subiendo distintas alternativas de amplificadores

Estamos hablando de proyectores de 35 mm?

[quote name='MartinV56' date='20 May 2011 - 01:12 PM' timestamp='1305915152' post='62083'] Conseguí una pareja de tetrodos 807, tubos de potencia, la primera pregunta que me hice, single ended o push pull, así las cosas busqué información en la red sobre el tema y encontré este interesante artículo que comparto con ustedes [url="http://homepage.mac.com/tlinespeakers/vaughn/downloads/SE-v-PP-Part1.pdf"]http://homepage.mac....-v-PP-Part1.pdf[/url] Continuación del artículo [url="http://homepage.mac.com/tlinespeakers/vaughn/downloads/SE-v-PP-Part2.pdf"]http://homepage.mac.com/tlinespeakers/vaughn/downloads/SE-v-PP-Part2.pdf[/url] [/quote]

[img]http://img860.imageshack.us/img860/4575/elvis56.jpg[/img]

[img]http://www.hifichile.cl/public/style_emoticons/default/birthday.gif[/img]

Se vendió por 32400 dólares[img]http://www.hifichile.cl/public/style_emoticons/default/rolleyes.gif[/img]

Otro diseño PP 807 ahora con transformadores UL Stancor [url="http://www.technicalaudio.com/pdf/Gordon_Clark_folder/Stancor_Ultra-Linear_Williamson_Amplifier_w_A-8072_xfmr.pdf"]http://www.technicalaudio.com/pdf/Gordon_Clark_folder/Stancor_Ultra-Linear_Williamson_Amplifier_w_A-8072_xfmr.pdf[/url]

Algo más sobre notch distortion, junto con las clases de amplificadores [url="http://www.bcae1.com/ampclass.htm"]http://www.bcae1.com/ampclass.htm[/url]

En ebay en este link de Bob Carver encontré unos comentarios interesantes que me permito transcribir http://img822.imageshack.us/img822/3272/se807sch2.gif [center][center][b][color=black][font=Arial][size=5]Tubular Joe and I finished a brand new amplifier and here it is.[/size][/font][/color][/b][/center][/center] [center][center][b][color=black][font=Arial][size=5][/size][/font][/color][/b] [/center][/center] [center][center][b][color=black][font=Arial][size=5]HOW IT ALL STARTED [/size][/font][/color][/b][font=Arial][size=2][/size][/font][/center][/center] [center][center][font=Arial][size=2] [/size][/font][/center][/center] [color=black][font=Arial][size=2]It was a hot mid-summer's night and I was in Chicago at the consumer electronics show.[/size][/font][/color][font=Arial][size=2] [/size][/font][color=black][font=Arial][size=2]I was in my booth pitching my wares, a new amp and preamp, and it was hot inside. Not the amplifier, but the convention floor, and I was getting thirsty. I wanted something cold to drink, so I decided to sneak away from my booth for a moment to get a coke. As I was sneaking, a colleague happened to walk by and said, " Hey Bob, have you seen Stu Hegeman's new preamp?"[/size][/font][/color][font=Arial][size=2] [/size][/font][color=black][font=Arial][size=2]I found myself getting excited, as Stewart Hegeman, the master designer of so many classic vacuum tube amplifiers and my very own hero, was here! Stu Hegeman was a true genius, having designed the Citation I, II, probably the III and countless other amplifiers for Sidney Harmon and for Lafayette.[/size][/font][/color][font=Arial][size=2][/size][/font] [font=Arial][size=2] [/size][/font] [color=black][font=Arial][size=2] I found him in his booth; we began talking about preamps and amplifiers, ultimately leading to a quiet corner in a close-by restaurant. Very close, as it was part of the convention itself. I finally got my coke. I could not believe I was in the presence of THE Stewart Hegeman, and he was talking to ME! We talked and talked about big solid state amps, tube preamps, solid state preamps, loudspeakers, ionic tweeters, recording lathes and finally tube power amps. And what a scientific talk it was! As the hours went by, he admitted to having been caught up in the ultra-linear fad of his day, that it was the biggest blunder of his career, and he did it only once and would NEVER design an amp with an ultra-linear output stage ever again. [/size][/font][/color][font=Arial][size=2] [/size][/font][color=black][font=Arial][size=2]And he didn't. The Citation V was pure pentode, as was the subsequent Lafayette 550 and everything else he designed from then on. I asked why. He explained that when the plate pulls the top of the output transformer winding towards ground, the ultra-linear tap pushes the screen grid so low that it renders the tube unable to drive difficult loads. In addition, he pointed out that the normal idle potential on the screen grid regularly exceeded a safe voltage, often causing output tubes to blow up. The tube manufacturers hated it, but had to go along or lose market share, and so changed the specification for screen voltage in order to allow ultra-linear output stages. I can’t help but wonder if they REALLY changed the tube design, or simply changed the screen voltage specification. This conversation led to me confessing that I had always wanted to build a big tube amp that was painted the same color as my first car, a '49 metallic burgundy Mercury automobile. So I started on it. And here it is![/size][/font][/color][font=Arial][size=2][/size][/font] [font=Arial][size=2] [/size][/font] [center][center][b][color=black][font=Arial][size=2]A BREND NEW POWER AMPLIFIER, THE SILVER SEVEN NINE HUNDRED[/size][/font][/color][/b][color=black][font=Arial][size=2][/size][/font][/color][/center][/center] [center][center][color=black][font=Arial][size=2] [/size][/font][/color][/center][/center] [color=black][font=Arial][size=2]Several months ago the new Tung-Sol KT120 and new KT 100 mk II vacuum tubes became available, and I just had to try them! I found them to be utterly remarkable, with bandwidth and fidelity as good as anything I have ever experienced. In order to obtain the best from these remarkable new tubes it was necessary to design a new output stage , and what better one to start with than my own Silver Seven vacuum tube amplifier?<br style="mso-special-character: line-break"><br style="mso-special-character: line-break">[/size][/font][/color] [center][center][b][color=black][font=Arial][size=5]Success ![/size][/font][/color][/b][color=black][font=Arial][size=2][/size][/font][/color][/center][/center] [color=black][font=Arial][size=2]I was rewarded with a new and powerful amplifier that sounded as sweet and as expansive as my original Silver Seven, perhaps even better, yet easily outperformed it by delivering substantially more power and with less distortion (not that it needed it) than the original.[/size][/font][/color] [color=black][font=Arial][size=2] [/size][/font][/color][font=Arial][size=2] [/size][/font] [center][center][font=Arial][size=2] [/size][/font][b][color=black][font=Arial][size=2]The Mighty 6550 vs the KT120 and the KT100 mk II[/size][/font][/color][/b][font=Arial][size=2][/size][/font][/center][/center] [color=black][font=Arial][size=2]Back to Stu. Anyway, when I asked him about his favorite output tube, he said the mighty 6550 was the one to use, and when I queried about the "kinkless" tetrodes, (the KT tubes), he held up his little pinkie finger as if to hold a tea-cup and said in a mock British accent. " Brits you know, if you want watered down tea."[/size][/font][/color][font=Arial][size=2] [/size][/font][color=black][font=Arial][size=2]He loved to use wide-band video pentodes in his amp designs, and did so when he could. (Read that as cost-no-object.) They were expensive then. "Why would anyone want to use a triode front-end when they could use a pentode?" he mused. Stu was single handily responsible for one of the worlds great amplifier topologies, the wide-band video pentode design. Never been done before, and it added a new category of stunning topologies to our universe. [/size][/font][/color][font=Arial][size=2] [/size][/font][color=black][font=Arial][size=2]This design uses Stu's front end approach using a 12BY7. For this new Silver Seven I've used the more powerful, lower distortion version, the 12GN7 and I’ve updated and modified this amplifier to represent an expression of my latest thinking regarding power amplifier design. These modifications include a return to a pure pentode output stage, allowing substantially more output drive current than possible with, in (Stu Hegeman's) own words, the devil-begotten ultra-linear output stage. Strong words, but as we shall see, Stu was right. This amp has a DC filament supply, unheard of in power amps, but a necessary feature when using high-bandwidth pentodes in the front-end. This is the lowest noise power amp ever, with an A-weighted signal to noise ratio of minus 120 dB! Power output is hard to believe, and the sound is even more difficult to believe.[/size][/font][/color][font=Arial][size=2][/size][/font] [color=black][font=Arial][size=2] [/size][/font][/color][font=Arial][size=2][/size][/font] [center][center][b][color=black][font=Arial][size=2]THE DESIGN OF THE NEW SILVER SEVEN[/size][/font][/color][/b][b][font=Arial][size=2][/size][/font][/b][/center][/center] [color=black][font=Arial][size=2]I started the design of this new amplifier by changing the color in order to protect the innocent. I changed the color from black to a beautiful strawberry burgundy red with chrome and silver highlights, just like my car. This new Silver Seven has every known de-lux circuit embodiment known to man, woman, or minor gods. As mentioned earlier, I used a 12GN7 vacuum tube for the front-end. I followed that high speed tube with several class-A drivers for the output tube grids. A cascode voltage amp is used for the gain stage that runs the dual regulator tubes, a pair of power output tubes. In the old days, huge amounts of energy storage were not practical. But today, in the vast intervening gulf of years, the technology associated with capacitor energy storage has allowed an increase of approximately ten fold in power supply capacity. This amplifier has had its energy storage increased substantially by the addition of HUGE capacitors that Stu could only dream about. This, combined with the additional DC restorer circuit eliminates every last vestige of “DC bounce” on musical transients. DC bounce and low-frequency stability have always been the result of compromises made by all amplifier designers in order to design an amplifier for the real world, that could be BUILT in the real world. Not any more, thanks to the DC restorer, HUGE capacitors, and my new output transformer which I wound my very own self. Not only that, the DC restorer works by keeping the DC component on each output tube grid the exact correct value through the entire audio signal swing, allowing perfect performance up to and even beyond clipping.[/size][/font][/color][font=Arial][size=2]<br style="mso-special-character: line-break"><br style="mso-special-character: line-break">[/size][/font] [center][center][b][color=black][font=Arial][size=2] The DC Restorer and Super Long-Lasting Output Tubes[/size][/font][/color][/b][font=Arial][size=2][/size][/font][/center][/center] [center][center][font=Arial][size=2] [/size][/font][/center][/center] [color=black][font=Arial][size=2]The DC restorer allows simultaneous low distortion and low idle power, allowing extreme longevity for the output tubes. The final distortion level in this amplifier is so low that I am embarrassed to write it down here, and the output tubes should last 50 years unless they have a catastrophic failure or won't bias up. This amp has a lifetime guarantee. It's my life and as long as I'm alive I will fix it free. I'll replace the output tubes free if they should become defective, even if you drop the amp on them. It's the least I can do. I know they will not become weak in our lifetimes.[/size][/font][/color][font=Arial][size=2][/size][/font] [center][center][font=Arial][size=2] [/size][/font][/center][/center] [center][center][b][color=black][font=Arial][size=2]Features[/size][/font][/color][/b][font=Arial][size=2][/size][/font][/center][/center] [color=black][font=Arial][size=2]Four output terminals; common ground, one, two, four, eight and sixteen ohms. A bias meter and a bias control. It has a volume control and a built-in tube tester for the output tubes. It comes in four chassis; two power supplies and two amplifiers. Built by me and Tubular Joe. Shipping weight is about 325 lbs for all four chassis plus the tubes.[/size][/font][/color][font=Arial][size=2] [/size][/font][color=black][font=Arial][size=2]One more thing: I accept ANY form of rational payment, and the pictures are of me, Bob Carver.[/size][/font][/color] [font="Arial"][size=2] [/size][/font] [font="Arial"][size=2]Sentido homenaje de Carver a [/size][/font][font=Arial][size=2]Stu Hegeman diseñador del Harman Kardon Citation ll[/size][/font] Q: Hi Bob Simple question. Why dont you build a 300b type tube amp with lots of power? In my opinion and many audiophiles the 300b's sound the best compared to el34, kt88/ 6550. I suspect there will and always be debate on this but the KT120's are a new tube that manufacturers are not even using. basically its just a higher output tube and the same as a KT88. Im more concerned why not a 300b tube amp?, more power does not always sound better. A: Hi 'hadriump, That is a great question (I assume you mean an amplifier with a 300b single ended output stage). The answer is that I wanted to build the best amplifier of all time. If I thought for even one femtosecond that a powerful 300b type amplifier would sound better, I would build it. It's true when we say more power does not always make better sound, but in my long experience (I was old when Atlantis sank) more power almost always makes better sound if all else is equal, or if we only want to listen to wind-chimes at realistic levels. It just does! I have explored many, many amplifier topologies over my career, each exploration taking the form of a large series of converging experiments. The results of those experiments have taught me that a WELL DESIGNED push-pull output stage is the best sounding, and as a bonus, very practical as well as being quite energy efficient. Some history: Way back in the beginning of tube amplifiers,(in the 1930's) designers were forced to use class A single ended output stages in order to prevent a severe problem called "notch" distortion. Notch distortion resulted whenever a push-pull output stage was used. Push-pull amplifiers sounded terrible because of that nasty notch, exhibiting a harsh sound whenever the audio signal transitioned from positive to negative. As the years trolled by, many talented designers worked long hours to eliminate that notch (the reward would be huge). It took three men many long years of work to figure it out and get rid of the notch. One, a man named A.N. Williamson (of Williamson amplifier fame), and two others, Gordon Gow and Frank McIntosh. The last two guys started an amplifier company centered on the new technology. The problem was the output transformer, and these guys taught the world how to build output transformers that did not have a notch. And the high-fidelity industry took off. False beliefs often die hard, and the belief that somehow a single ended output ...Oops, I'm out of characters!

Opciones Push Pull Williamson 807 página 8 [url="http://www.clarisonus.com/Archives/Trans/Acro55.pdf"]http://www.clarisonus.com/Archives/Trans/Acro55.pdf[/url] Single Ended RH 807 [img]http://img822.imageshack.us/img822/3272/se807sch2.gif[/img]

Aquí vamos [img]http://img190.imageshack.us/img190/3977/s4010105.jpg[/img] [img]http://img38.imageshack.us/img38/9593/s4010107.jpg[/img]

Conseguí una pareja de tetrodos 807, tubos de potencia, la primera pregunta que me hice, single ended o push pull, así las cosas busqué información en la red sobre el tema y encontré este interesante artículo que comparto con ustedes http://homepage.mac....-v-PP-Part1.pdf http://homepage.mac.com/tlinespeakers/vaughn/downloads/SE-v-PP-Part2.pdf

Bienvenido

http://youtu.be/TS9_ipu9GKw [font=arial, sans-serif] [b][size=2] Have you ever seen the rain?,, me sigue emocionando como la primera vez [/size][/b] [/font] Grande Creedence