Exploring the monster (trafoless mic pre input)

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Side note: the resistor will always be quieter than the transistor-voltage ref-resistor current source, for the same available supply voltage. If this noise source is insignificant then not to worry---maybe the enhanced common-mode rejection is something you need and justifies the complexity and higher noise. But as PRR points out you may do just fine with little CMR.

But the noise analysis and straightforward measurements are perilous: the well-balanced diff stage will tend to make your zero-signal noise low, as it rejects the noise in the tail current. But at non-zero signal, the diff pair is perforce unbalanced and a variable fraction of the tail current noise gets through. So your noise is modulated by your signal. This is rarely accounted for and most often ignored, although it could in principle be decoded from THD+N sweeps with AP's and their ilk.

Another way to clean up currents is to use an inductor (the other white meat ;-) as part of the circuit...something rarely done for reasons of size, weight, parasitics, limited frequency range, potentially damaging transients, sensitivity to external fields, and cost, but still an option.

I did a preamp design once where, in order to minimize the first stage noise, I ran the current source load from a few hundred volts so the resistor to the transistor source could be large, and the transistor's voltage noise be negligible. That was wretched excess, although it worked well after one problem was finally solved. I learned my lesson about designing for low mains voltage the hard way, as the HV supply began to have onset of dropout and hence hum at very low line voltage, producing mysterious quasi-periodic spikes in the detector readout. Many long faces or worse at the telescope, while being reminded how many astronomers wanted the time we were using troubleshooting the instrument. This took months to understand and correct, and of course was obvious once understood.
 
So the more I dig, and the more I mess with this, the closer I get to something looking like:

http://www.forsselltech.com/schematics/Class%20A%20JFet%20Opamp.PDF

I feel like I've spent a bunch of time on this, have learned some things, only to find something that's done the work already ( not that this makes me feel bad :grin: )

ju
 
OK. You have an opamp. How are you going to use this as mic preamp?

There seems to be a nearly unresolvable problem where balancing requires symmetry, but symmetry cancels 2nd order distortion we are so fond of.

The more I think about this problem the more I gravitate toward a solution that is not a mic pre in the traditional sense. It is more of an effect unit to be used with a mic pre. Of course you still need a clean sounding mic pre, but those are easy to come by (for example: Green Pre).
 
Yes, agreed. A clean differential input( easily obtained), followed by a circuit of color, is more where we were headed.

Allright, losing forest for trees, I'll get back to the original idea, and see if I can cobble it together ( which will require some confirmation from parties involved here)

ju
 
OK, for starters, to make sure I get what Winston is saying, here's a drawing, please comment, and I'll update until correct.

http://www.shinybox.com/diy/oboogie.png

I left this as a link due to the wierd size

ju
 
[quote author="fum"]So the more I dig, and the more I mess with this, the closer I get to something looking like:

http://www.forsselltech.com/schematics/Class%20A%20JFet%20Opamp.PDF
[/quote]

I use them for almost two years and they sound great:
DSCF3140-08.jpg


chrissugar
 
Winston, talk Marquette out of tha AM-16 Sowter Iron.
Brad, what telescope was this? Just curious.

These fet designs are interesting. What kind of headroom does a fet input have? I mean, will it go from a 57 to a U67 without crying uncle, or do you have to use something on the front?

What would be a cool x-former ratio to use with this fet stuff, because if it ain't got iron, it ain't a preamp. (oooppps, just built that Valley People that sounds killer. :oops: )



Ignore all my posts til the meds get here.
 
Heheh...how much headroom do you want? I'm designing for 0dBu at this point, with a bit of margin.

The telescope was the biggest available to the UC astronomers at the time, the 120" (or now more often called the 3 meter) at Lick Observatory, on Mt. Hamilton, above San Jose.

Those were some fun times.
 
Holy Cow Brad, I almost took a tech job there, but having ridin my bike up that 19 mile wagon train road, I thought, "Jeez, what a commute!" Astronmy is a lonely profesion. Being stuck on that hill can be depressing, eh? Did you ever get any scope time? I always wanted to look thru that Yerkes refractor. That old bag that gave the tours gave me the willys. Lick is burried underneath that thing. I wonder where his scope is pointing?

We had a scope at UC Davis, but everybody used it for looking into the girl's dorms, so not many new galaxies discovered. :razz: I did see a black hole once! :grin:
 
I'll bet you did :evil:

The slightly disappointing thing about big telecopes is you almost never look through them. The TV guiding system is the closest you get to an image (except for CCD cameras doing areal work, in which case you see the readout after the end of a lengthy exposure). And that in a warm lighted readout room.

But the thrill of having an instrument I designed on a big telescope was unlike any I've had otherwise. I wish more people had done some science with it, although we got some out of it. Later on I took it to a smaller scope that belonged to JPL and did a bunch of observing with it.

When the 8" floppies began to crap out the thing got mothballed. I suspect it's in a basement at UCLA now.
 
> a nearly unresolvable problem where balancing requires symmetry, but symmetry cancels 2nd order distortion we are so fond of.

Not at all true. I posted an unbalanced differential-input plan here some months back, and I plagiarized the idea from a 1967 book (and it was not new then).
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> I gravitate toward a solution that is not a mic pre in the traditional sense. It is more of an effect unit to be used with a mic pre.

How stunningly obvious. Amplification and flavoring are two different things. Just because certain flavor-boxes happen to be old (and abused) mike preamps does not mean that is the only way to do it. Or the best way. With recorders, you can add distortion any time; why would you even consider trying to add the right amount of spice in the heat of performance?
 
[quote author="CJ"]I always wanted to look thru that Yerkes refractor. That old bag that gave the tours gave me the willys. [/quote]

I got to look through the Yerkes refractor when I was about nine years old; we used to vacation in Lake Geneva, Wisc.., and every couple of weeks they'd have a public viewing night. I know I looked at Saturn and I'm pretty sure I looked at Jupiter and its moons. Also our moon. All awesome.

Peace,
Paul
 
[quote author="PRR"]> a nearly unresolvable problem where balancing requires symmetry, but symmetry cancels 2nd order distortion we are so fond of.

Not at all true. I posted an unbalanced differential-input plan here some months back, and I plagiarized the idea from a 1967 book (and it was not new then).
Stack1.gif
[/quote]

Thank You for the reminder. I forgot about that one completely. I will re-read that thread today.

[quote author="PRR"]How stunningly obvious. [/quote]

I will change my account name to Captain Obvious and start wearing a cape with a large "O" on the back. I will be stating things like: "The sky IS blue" or "Some diodes ARE small".
 
Ok, next go round:
trafoless.png

Questions:
Best way to implement gain control?

What impedence does the mic connected to this see at present?

I hope you guys don't mind my pace, but in a way I'm treating this as a chance to ask questions and learn as I'm going(this could probably get done in about 5 minutes in person), in hopes that this will be beneficial to others.

I'm intentionally leaving out the values for now, because that will lead to a new line of questioning =).

Regards

ju
 
Ju,

Consider PRR's circuit instead of the somewhat incomplete front end you have drawn:
http://www.groupdiy.com/FORUM/viewtopic.php?t=4510&start=0&sid=864c761a4cd4e0a4bbd0c708264fea5b

I would take the signal off the emitter of Q3 and AC couple to your monster stage. Drop everything right of Q9 qnd Q10 of PRRs circuit. Drop the diodes, but connect R11 to the emitter of Q3.
Now you have a differential input with gain control and according to PRR it does not cancel 2nd harmonics.
Add a power follower output buffer using a couple of DN2540 depletion modfets. You will have more fuzz than Aunt Larry's legs.
You could wire a rotary switch so that at low gains, up to about 35dB, the amp uses the first stage connected to the output buffer. Gains above that would insert the monster stage and restart stepping gain on the first stage. The first problem with my train of thought is the noise from the first stage in high gain configuration and the headroom required from the second stage.

Oh, well...

There is always the possibility of wiring one deck of the rotary so it acts as an attenuator between stages one and two when needed. This is the case in the Hamptone amp as an example (uses potentiometer for that). It works, but there is excess gain most of the time along with excess noise.

Any of the guru's have a good suggestion on making gain adjustable in the monster stage without global feedback or an attenuator?

Thanks,
Tamas
 

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