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    The Little Book of Vacuum Tube Pre-Amplifier Projects
    The Little Book of Vacuum Tube Pre-Amplifier Projects
    The Little Book of Vacuum Tube Pre-Amplifier Projects
    Ebook50 pages41 minutes

    The Little Book of Vacuum Tube Pre-Amplifier Projects

    By Kevin Kennedy

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    About this ebook

    Pre-Amplifier project book using commonly available tubes and easily constructed. Designs often feature 0 feedback topologies (some local feedback is used)and tightly regulated supplies. A variety of line stages and phono stages of varying complexity are featured. The more advanced line stages feature front panel switchable output polarity. (Absolute polarity) Phono stages are all passively RIAA equalized with single stage passive equalization networks.
    LanguageEnglish
    PublisherLulu.com
    Release dateMar 29, 2011
    ISBN9781257209361
    The Little Book of Vacuum Tube Pre-Amplifier Projects

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      Book preview

      The Little Book of Vacuum Tube Pre-Amplifier Projects - Kevin Kennedy

      Labs

      Introduction

      After a long delay here is the D.I.Y project book I promised nearly a year ago.. The projects presented within are easy to build, provide good performance, and result in a level of personal satisfaction that will never be experienced by those who cannot or will not wield a solder iron to create their own individual masterpieces.

      These designs are all the result of years of experimentation, construction, testing and listening. My early efforts were mainly derivative rather than original, and invariably yielded disappointing results, and resulted in my re-thinking my entire design process, and the design criteria.

      I came to reject the standard view points then extant in tube audio, and found the sound of many early High End tube products to be euphonic, lacking in detail, strident or all of the above. Instead I tried to find the qualities of a good circuit design that made it musical. In the early days of the resurgent interest in tube audio there was heavy emphasis on classical design rules said to provide the greatest linearity, reliance of high levels of loop feedback, and simplistic power supply design, or conversely unreliable solid supplies.

      Good measured linearity invariably was achieved at the expense of slew rate and bandwidth, which in my estimation may be why the static measurements were so good, and the sound so lifeless…

      Large amounts of global feedback applied around cascaded stages with relatively small bandwidths produced good static measurements, but subjectively lacked detail, and often just sounded slow.

      RIAA correction was often implemented within closed feedback loops, resulting in low frequency errors due to variations in gain as the tubes aged, and a hard closed in sound quality due to the high levels of feedback above a few hundred Hz. (Some designs may have 30dB or more feedback at 1KHz…)

      Many of these older designs had primitive power supplies, allowing line disturbances and noise into the audio path, and were highly dependant on the quality of the capacitors used for their audible qualities.

      I believe in the benefits of 0

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