Hi all,
Question in the title
https://www.samaraudiodesign.com/categoryTransformers.html
Curious about the LT1/1 and LT1/2 at the bottom of the page
Rauri,
What is your intended application? The transformer has 4 different chambers, so unlike any other topology all the windings are symmetrical (including DCR) and have very close parameters of the windings (unlike if say, we were winding secondary on top of primary). Also, such arrangement has very low winding capacitance. We calculate Pri inductance our transformers with -3dB at 20Hz, however, could customize if needed.
Just like most other transformer manufacturers they wax lyrical about the benefits of their topology and production process but give absolutely zero specifications for their products.
Cheers
Ian
Ian,
“They” (i.e. we) are not a transformer, but first and foremost microphones manufacturer… it is just happened that we make our own transformers and some of them are known as the very best money can buy. Our transformers were used in quite a few High End ribbon and condenser microphones manufacturers (needless to mention, to our knowledge at least two of which have lifted our design and started selling under their own name... at reduced price).
In any case, our belief is the most important part of the transformers is the actual sound and how they are integrated into the circuit, and not how they measure. Moreover, likewise with microphones, the widely accepted characteristics, such as frequency response, distortions, inductance at 1kHz, etc. do not give any representation of the sonics. Moreover, the conditions all those parameters have been achieved are completely different from the ones in the circuit, or certain application.
The most important measurements we believe are vector impedance and phase shift at different frequencies. Unfortunately, not all even professional engineers would know how to interpret those, especially because NONE of the manufacturers post those and there is no point of reference. Those are a good indication of low losses, low winding capacitance, low leakage, low winding DCR, good coupling, and low distortions. Only one thing defines those—winding topology and core used. That’s the main reason why we go into such detailed explanation of the topology--if the special attention put into those areas that would be a very good indication the transformer will have wide bandwidth and excellent sonics. I remember I was posting here about ribbon microphone transformers very detailed message explaining all of those and also about noise consideration in the transformers.
Seems a pricey option, curious as well. Their high end ribbon mics do sound great.
John,
In fact, those prices are some 10 years old. Since then the materials, Nickel and labor prices went up… some of them more than twice, so we need to revise them. But the prices depend on the topology and termination. For example, it is easy just to slap a primary over secondary. The interleaving, or chambering will take much more time… especially, if to combine those together. The termination is also time consuming. The PCB mounted through pins are quite a bit cheaper.
I notice they epound about this '3D sound quality' thing as well ,
A mono sound source has no width , so perhaps 1 dimension , depth ,
Stereo has width and depth , so 2 dimensions ,
Whats the third dimension ?
Marik has been very helpfull here ,taking the time to explain some of the finer point of ribbon mic design .
Tubetec,
We are not discussing here the properties of the mono, or stereo, but rather talking about subjective perception. Say, you can listen to a system and ensemble will sound ‘flat’ (not to confuse with flat response), lifeless, grey, and uninteresting, where all the instruments will be smeared into one big mess. On the other hand, the same recording on a different system can give each instrument its own space, having almost holographic representation of sound stage and image. Hard to put into the words, but once you hear it—you know what it is.
Best, M
