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Universal Volume Control Application and Instructions

article

Universal Volume Control Application and Instructions

for DIY and assembled units 

8/13/2009 


Contents:
The Audio Matrix PCB
The Control Matrix PCB
1.1 Mounting the Control Matrix
1.2 – Power Supply Wiring
1.3 – Connecting the Ribbon Cables
3.11 – Connecting the Direct Output to RCA Output Connectors
3.12 – Connecting the Direct Output to an active Linestage
3.2 – Connecting the Buffered Output
The RC-5 Remote Control Protocol
Features, Technical Data and Application Examples
–Features
Specifications
–Passive operation standard mode
–Passive operation 100k shunt mode (option)
–Passive operation all modes
–Audio module with LSK389 buffers fitted
Application Examples
The UVC based 2 Channel buffered passive Linestage
The UVC/UTS based 2 Channel active Linestage
Backplate Mounting of Power Switch
Optional Side Plate Mounting of power Switch
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Crescendo Horn Ribbon Speaker Manual

 

Crescendo Introduction

High  Efficiency in a reasonable size,  with good bandwidth  and rich sound. SET friendly.

Unfortunately  horns  with  any  bandwidth  are  the  size  of  a fridge.  So we have developed a horn ribbon based system which achieves our goals. The  wide band horn ribbon  covers from about 600hz to 23khz. The special carbon fiber reinforced paper cone cast frame 8” Driver  covers below that, using 1st order (phase-coherent) crossovers.

The  600Hz  Crossovers  uses  extreme quality parts:  all film caps, oil paper and copper foil inductors, Silver Wire, Kiwame Resistors etc.

The  Systems  sensitivity  is  an  honest 98db/w (100db in room as specified by many  speaker  manufacturers),  nominally 8 ohms. The box is 30L and covers from about 60hz to 23khz in room. The Crescendo  can  be  used  with  many commercial  Subwoofers  to  extend  the low frequency response.

The  -6dB  coverage  angle  for  the Crescendo  HF  50  degrees  horizontal and 30 degrees vertical. Such controlled dispersion over such a wide frequency range ensures that even in acoustically difficult rooms  and  the  midrange  and  treble  remain  from  excessive reflections and room reverb.



Crescendo Low Frequency Driver

Diameter:
Cone Material:
Impedance:
Power Handling:Xmax:
Re:
Moving Mass:
Fs:
Qts:
Spl (2.83V/1m):Rec. Enclosure:
8″(210mm) to basket rim edge.
Aluminium Alloy
6Ohm
50W continous
100W programme
3mm peak-peak
5.2 Ohm
19.5 gramm
90Hz
0.45
98db
30 Liter Net Volume
70 Hz Port Tuning
(110cm2 port crossection,
13cm port length)

Crescendo High Frequency Driver

Dimensions:
Waveguide Material:
Diaphragm Material:
Ribbon Surface:
Fs:
Impedance:
Power Handling:Spl (2.83V/1m):
220mm X 275mm
Aluminium Alloy
Kapton
91cm2
480Hz
6Ohm
60W continous
120W programme
102db

Crescendo Enclosure Designs

The Enclosure for the Crescendo System can be arranged quite wide arrangements as long as the volume and tuning is preserved.Here the design we use and recommend. It uses a simple box with a large cross-section port, to avoid compression and port noise.The  material  should  be  void-free  plywood, 18mm  thick.  Of  course,  Corian  or  Natural stone  or  solid  stave-glued  hardwood,  or bamboo may also be used.Glue  with  good  filling  properties  is recommended for any of the wood materials, Grip-Fill  (the  professional  version  of  liquid nails) or similar work well, as can resin based glues. Stone requires special glues.The Back Panel is kept removable to allow the low frequency drivers to be mounted from behind. Unless you wish to use an external enclosure for your crossover building it on the removable back panel allows easy access for modification.We suggest to first try the box without any stuffing  or  damping  material.  All  the resonance modes caused by the enclosure dimensions are high enough in frequency to not appear within the operating bandwidth of the low frequency driver, mainly due to the low crossover point

Crescendo Crossover

The 3 x 100uF/400v caps and the parallel resistors from LF driver (-) to the binding post are optional.


Assembly Photos


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Universal Tube Output Stage Installation Manual

Universal Tube Output Stage Installation Manual

Table of Contents

Specifications

1 – Power Supply Wiring

Muting

2 – Output Connector Wiring

Stereo Single Ended Connection

Stereo Balanced Connection

3 – Input Wiring and Module Configuration

3.01 / 3.02 – Settings and Input wiring for current output DAC, stereo, single ended, 0V reference voltage, 1mA / 2mA full scale current

3.03 / 3.04 – Settings and Input wiring for current output DAC, dual mono, single ended, 0V reference voltage, 1mA / 2mA full scale current

3.05 / 3.06 – Settings and Input wiring for current output DAC, balanced mono DAC’s, balanced output, 0V reference voltage, 1mA / 2mA full scale current

3.07 – Settings and Input wiring for current output DAC, stereo, single ended, 1mA full scale current, ~2.5V reference voltage

3.08 – Settings and Input wiring for current output DAC, balanced Stereo DAC’s, balanced output, 1mA full scale current, 2.5V reference voltage

3.09 / 3.10 – Settings and Input wiring for current output DAC, balanced Stereo DAC’s, balanced output, 4mA full scale current, 2.5V / 0V reference voltage

3.11 / 3.12 – Settings and Input wiring for voltage output DAC, stereo, single ended, 1…1.5 VRMS full scale output voltage, 0V / 2.5 Vreference voltage

3.13 – Settings and Input wiring for voltage output DAC, stereo, balanced output, 2…3 VRMS full scale output voltage, 2.5V reference voltage

3.14 – Settings and Input wiring for single ended stereo output from voltage output DAC, stereo, balanced output, 2..3 VRMS full scale output voltage, 2.5V reference voltage

4 – Other applications of the Universal Tube Output Stage

Settings and Input wiring for use as SE Linestage 6db Gain

Settings and Input wiring for use as SE Linestage 12db Gain

Settings and Input wiring for use as Balanced Linestage 6db Gain

Settings and Input wiring for use as Balanced Linestage 12db Gain

Settings and Input wiring for use as simple single ended stereo RIAA equalisation preamplifier

Alternate 12db Gain Stage in Shunt mode

Pro-Audio Project

Introduction and Overview

The Universal Tube Output Stage has been designed to offer a State of the Art tube amplification stage, mainly intended to be applied to CD-Players, DVD-Players and DA-Convertors to completely replace the original solid state analouge circuit

Additional applications include the use as Line Preamplifier with 6dB or 12dB gain.

The module can also be used as low noise, high gain (gain appx. 30db) amplification block for low level applications such as RIAA pre-amplification stages and as microphone or instrument amplifier.

Using one module we have either a stereo single-ended input and output (two independent channels) or a mono balanced input and output (single balanced channel). If a stereo balanced input and output are required two modules must be used.

Each configuration can be used either as single ended in/out stereo for one PCB or as balanced in/out per PCB.

If using a balanced output DAC with a single ended input Tube output an additional resistor or resistor/capacitor needs to be added externally to the tube PCB.

All DAC types listed below names the most commonly encountered types, but is by no means exhaustive.
Some examples:

1) Analog stage for current output DAC – 2V out for 0dbfs with 1mA or 2mA full scale current, can be configured for DAC’s having their output referenced to either ground (TDA1541, PCM56/63/1702/1704, AD1856/1862/1865) or an arbitrary reference voltage of 2 – 3V (TDA1543/1545, PCM1738,AD1853 and many others) , < 100R output impedance.

2)Analog stage for voltage output DAC – 2V out for 0dbfs with 1V or 0.5V full scale voltage, can be configured for DAC’s having their output referenced to either ground (CS4328) or an arbitrary reference voltage of 2 – 3V (CS4329/9X; PCM1716/1728/1732/1741; AKM4393/4394/4395; AD1852/1854/1855; NPC SM5872/5865/5866 et al) , < 100R output impedance.

3)General high level gainstage – 6db gain, inverting output, >400KOhm input Impedance, < 100R output impedance

4)General high level gainstage – 12db gain, inverting output, >200KOhm input Impedance, < 100R output impedance

5)General low level gainstage (Microphone, Phono, Tapehead etc.) with around 30db gain and > 40KOhm input impedance, < 100R output impedance

Some possible applications past the use as line stage (obvious) or DAC output stage
(equally obvious):

Single Ended MM Phono Stage – 2 Modules, add a RIAA EQ of 10K or higher impedance at low frequencies (calculator @ http://kabusa.com/riaa.htm) or 10K RLC EQ… (add pre-pre or MC stepup TX for MC)
Balanced MM Phono Stage – 4 Modules, add a balanced RIAA EQ of 10K or higher impedance at low frequencies (calculator @ http://kabusa.com/riaa.htm) or 10K RLC EQ… (add pre-pre or MC stepup TX for MC)

Single Ended Tape Head Stage – 2 Modules, add a NAB etc. EQ of 10K or higher impedance at low frequencies (calculator @ http://kabusa.com/riaa.htm) or 10K RLC EQ…

Balanced Tape Head Stage – 4 Modules, add a balanced NABetc. EQ of 10K or higher impedance at low frequencies (calculator @ http://kabusa.com/riaa.htm) or 10K RLC EQ…

Classic high gain 1-Channel transformer coupled Microphone Preamplifier using 1:4/5 input transformer and 5/4:1 transformer balanced output with level control between stages – 1 Modules – maximum gain ~60db.

Classic high gain 2-Channel transformer coupled Microphone Preamplifier using 1:4/5 input transformer and 5/4:1 transformer balanced output with level control between stages – 2 Modules – maximum gain ~60db.

Classic low gain 2-Channel transformer coupled Microphone Preamplifier using 1:4/5 input transformer and transformerless balanced output (10K load) – 2 Modules – maximum gain ~40db.

Classic high gain 2-Channel transformer coupled Microphone Preamplifier using 1:4/5 input transformer and transformerless balanced output (10K load) with level control between stages – 4 Modules – maximum gain ~72…75db.

Input and Summing Amplifier in a classic tube mixer, for example, a 6 – 2 mixer could be build using 6 Microphone transformers(plus instrument input jacks), 3 tube stage modules for inputs, suitable volume and pan control faders/potentiometers per chnnel and one tube output module with 4/5:1 stepdown output transformers fo balanced output… Maximum gain in to out using 1:4/4:1 transformers is around 60db.

For ease of application all connections on the Universal Tube Output Stage are provided as screw terminals and all configurations are handled by gold-plated jumpers, so no soldering is required on the actual Universal Tube Output Stage Module.

For those desiring soldered connections instead we recommend to either unsolder the screw terminals and solder the wires in the holes thus available or to simply solder the wires to the solder pads below the PCB.

Equally, for those wishing a soldered configuration instead of jumpers simple solder bridges can be soldered across the jumper pins below the PCB.

In the following Manual the application of the Universal Tube Output Stage is broken down into three distinct sections.

Section one covers the connections of the included power supply transformer while section two covers the connections of the output sockets to the module.

Section three covers the different arrangements of the Input connections and the jumper configuration to suit the various available DAC Chips and the other applications.

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Projekt-Universal Tube Output EZ Linestage Manual

Projekt-Universal Tube Output EZ Linestage Manual

 

Table of Contents
Projekt-Universal Tube Output EZ Linestage Manual
Electrical Performance

 

Introduction and Overview
The diyhifisupply® Universal Tube Output Stage has been designed to offer a State of the Art tube amplification stage, mainly intended to be applied to CD-Players, DVD-Players and DA-Convertors to completely replace the original solid state analogue circuit.

 

Additional applications include the use as Line Preamplifier with 6dB or 12dB gain. This manual will focus on that. For other applications request the UTS application pdf (also accessible from our home page: www.diyhifisupply.com)

 

For ease of application all connections on the Universal Tube Output Stage are provided as screw terminals and all configurations are handled by gold-plated jumpers, so no soldering is required on the actual Universal Tube Output Stage Module. For those desiring soldered connections instead we recommend to either unsolder the screw terminals and solder the wires in the holes thus available or to simply solder the wires to the solder pads below the PCB.

 

Equally, for those wishing a soldered configuration instead of jumpers simple solder bridges can be soldered across the jumper pins below the PCB.

 

Electrical Performance: 
(example only as will vary by implementation):
measurements Iout DAC Mode (=30db gain)
referenced to 2V RMS, Saratov (Reflector/Sovtek) 6N23 fitted
Measurements vary with different tubes fitted
Specifications:
  • S/N- > 100dbA (approx 5nv/hz).
  • THD- <0.15% (<0.1% typical); <1%THD (10Vout, 100K load)
  • 20Hz – 20KHz (< -0.5db with IHF 10K/1nf load)
  • Output Impedance <100 Ohm
  • Can use 6cg7, 6N11,ECC 88, 6DJ8, 6922, 6H1 only