Documente Academic
Documente Profesional
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11
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Built better.
Performs longer. Costs less.
Wire windings are OUT, conductive plastic is IN for Series 300 is offered in 6 different stroke lengths and
high performance audio controls. With its new Series features longer life of 10 million traverses minimum,
300 SLIDELINETM, Duncan Electronics replaces noisy, infinite resolution and linear, audio and constant im-
rough and "grainy" wire elements with smooth, noise - pedance outputs for every audio need!
free RESOLON® conductive plastic which actually
Dual channels can be contained in a standard single
improves with use!
RESOLON elements and precious matal wipers used
-
housing only 13/16" wide the most compact dual at-
tenuator available to the industry. Two dual units can
in all Series 300 controls bring consistent low -noise be coupled and driven by a common knob to create
operation and superior performance to linear motion 4 channels for master controls or quadrasonics.
faders for broadcast and recording. And, the cost is
less than many high grade wirewcund controls of For complete specifications, call or write for our FREE
the past! brochure.
34 BOOKCASE
35 CLASSIFIED
Robert Bach
Larry Zide
PUBLISHER EDITOR
Bob Laurie John Woram
ART DIRECTOR ASSOCIATE EDITOR
A. F. Gordon Marilyn Gold
CIRCULATION MANAGER COPY EDITOR
ABOUT Eloise Beach
ASST. CIRCULATION MGR.
Richard L. Lerner
ASSISTANT EDITOR
THE COVER GRAPHICS Crescent Art Service
db. the Sound Engineering Magazine is published monthly by Sagamore Publishing Company, Inc. Entire
What could be more appropriate to contents copyright © 1973 by Sagamore Publishing Co.. Inc.. 980 Old Country Road, Plainview, L.1.. N.V.
11803. Telephone (516) 433 6530. db is published for those individuals and firms in professional audio -
Robert C. Ehle's ELECTRONIC Music recording. broadcast, audio -visual. sound reinforcement, consultants. video recording. film sound. etc. Appli-
cation should be made on the subscription form in the rear of each issue. Subscriptions are 56.00 per year
article beginning on page 22? It's a (57.00 per year outside U. S. Possessions, Canada, and Mexico) in U. S. funds. Single copies are 51.00
Moog. each. Controlled Circulation postage paid at Harrisburg, Pa. 17105. Editorial, Publishing, and Sales Offices:
980 Old Country Road. Plainview. New York 11803. Postmaster: Form 3579 should be sent to above address.
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letters
°p
W81CVI$
These are Switzerland's finest quality stop-
The Editor:
We are excited about what is going
on in Indiana and we want everyone
to know about it! In fact, there are
three 1st class 16 -track studios cur-
0 Ó
THE SOUND ENGINEERING MAGAZINE
watches manufactured by Heuer -Leonidas S.A. rently operating within a 50 mile radi-
Heuer has been the leading manufacturer
SALES OFFICES
us and one of them even has a com-
of quality stopwatches for over 100 years. plete system of DBX /Dolby noise re-
New York
Their reliability and design leadership are well duction as well as quadraphonic mix - 980 Old Country Road
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All are fully guaranteed for one year with
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you had one of these new models?
move.
If you are seeking a stopwatch for a special appli- Yet there is another reason that
cation please let us know. Heuer stopwatches are
prompts me to write this letter. For
available for sports, aircraft, automotive, industrial,
years I have had individuals call me Dallas
scientific and many other uses. Roy McDonald Associates, Inc.
and knock on the studio door wanting Semmons Tower West
to know how they can become record- Suite 714
ing engineers or how to start a studio. Dallas, Texas 75207
Model Model
For reasons that are related to the fan- 214-637 -2444
502.401 501.201 tastic growth of the record business/
communications industry, the current
generation is really turned on to the
"recording studio scene." Finally we
offered a course last September in Re-
cording Studio Techniques. Four days Denver
Roy McDonald Associates, Inc.
after I announced the plan we had a 846 Lincoln Street
full house, all of whom were either Denver, Colorado 80203
1/5 second recorder, 1/5 second recorder, students or instructors at Indiana Uni- 303 -825 -3325
central 0 -60 minute central 0 -60 minute
register. crown versity. Outsiders didn't even have a
register. 2 crown 1
functions with time -out function with side - chance to enroll in the first seminar.
and locked return. 7 slide. 7 jewels, shock - Still the phone calls and letters have
jewels, shock -pro- protected. $50.00 continued to come from many miles.
tected. $58.00
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Houston, Texas 77006
713 -529 -6711
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index Roy McDonald
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N. T. State residents add 7% sales tax
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Windjammer 18 415 -397 -5377
www.americanradiohistory.com
If you're seriously into music
sound reinforcement you want more
than ut products can give
OU aq for up to four additional input modules
and other optional accessories
Ou nee
including talkback, remote
you. But full professional stu- transport control, quad pan -
dio gear costs an arm and a ner, and headphone monitor.
leg, and you pay for a lot of things you may not That's what you need and that's what you pay for.
really need. Some things, however, you may or may not need, and
That's why there's a TASCAM Model 10. It's an we leave that choice up to you. For instance, the basic
8 -in, 4 -out mixing console, and it's just $1890. Model 10 is high impedance in and out, but studio line
With the Model 10 you get what you have to have. impedances are available optionally. You'll probably
Without sacrificing a single necessary function. want low impedance mic inputs, but you may not need
Each input module gives you mic and line atten- all low impedance line inputs. So we don't make you
uation, three bands of peak and dip equalization (two pay for them. You can order any combination of high
with frequency selection), pre- and post -echo send and and low input /output impedances according to your
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line fader. Details and specs on the Model 10 are available
Each of the four submasters has a meter control for the asking. At the same time we'll tell you about our
aa
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w
Circle 20 on Reader Service Card
www.americanradiohistory.com
Gilfoy Sound is currently undertak-
PRODUCER'S ing a 2nd seminar. The "Studio Track"
column in the September 13, 1973
ARRANGER'S issue of Billboard was very kind in
STUDIO giving us an accurate spread. Billboard
pointed out that we had gotten con-
Help college
WORKSHOP siderable help and interest within the
A four day workshop from March
29 to April 1
industry. Many individuals in the re-
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help you.
An intense forum -seminar to be that the current crop of students could
.
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distortion Model 203 with relaxed specifications is also
available for $39.00. of Volumes I and 2. Rich brown
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our extra quality needs some you'll find in Maxell mastering tape.
getting used to. To upgrade your original Send in the coupon for documented evi-
recordings, you'll have to adjust your equaliza- dence about Maxell tape performance. Then
tion and bias controls to our specifications. think about the repeat sessions Maxell quality
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Circle 22 on Reader Service Card
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George Alexandrovich of the signal distributed and the sig-
nal coming back from the telephone
THE AUDIO ENGINEER'S line is an important point in a dis-
cussion about sound distribution.
There are many ways distribution
of signal can be accomplished. The
HANDBOOK most simple and straightforward
method using several separate ampli-
Signal distribution methods fiers fed from the same source. This
method offers excellent crosstalk iso-
The output of almost every audio feeding or connected to several cir- lation between the output channels
system, be it a mixing console, tape cuits at once -for example, a cross- and maximum reliability-but also is
machine, cart machine, turntable or bar switcher. The same goes for car- the most expensive.
telephone line inevitably winds up tridge machines and turntables. Tele- The next simplest is the use of
being fed into more than one chan- phone lines have to be treated some- multiple taps of the single amplifier's
nel. Console output usually feeds a what differently because they are not output transformer for connecting
program line monitor circuit patch simply loads for the signal source but several loads. Failure of the amplifier
bay, sometimes transmitter or tele- signal can also be fed back through or a short circuit of a single line re-
phone lines house a p.a. system and the same line -in
this case the line is sults in a shut down of the entire
so on. Tape machines are quite often acting as a signal source. Interaction distribution circuit. In addition isola-
Rs
600
SIGNAL
600
Z .2 ft
600
INSTANT REPLAY
Did you ever wish that you The WRITE (record),
only one 600 ohm line is being fed
and the rest of the lines are bridging
(10 k or higher) the effect of inter-
had a photographic memory READ (playback), and UP- action between the lines is not so
and a hundred pair of hands DATE modes may be set by pronounced -but still exists. If the
to help with your mixdowns? switches on each individual
That's what you get with our fader, or by one master PRE- amplifier has no output transformer
Automated Mixdown System SET switch which sets each but is connected to the load through
...instant replay of what you
did and how you did it. YOU
make the decisions and IT
does the work!
fader to
mode.
a previously se-
lected and stored operation
Master override
switches set all faders to
a decoupling capacitor, several loads
can be connected across the output
providing the total load does not ex-
-
A vital part of this system the record or playback ceed the maximum permissible load
is the Model 940 Automated mode.
Fader, an infinite resolution, When used in conjunction for the amplifier. Additional isolation
self- contained level control with the Model 256 Pro - and safety can be achieved by pro-
module capable of either grammer, electrical perform- viding isolation resistors in series with
manually or automatically ance characteristics are
setting audio levels. It con- compatible with "state of each feed. However, this produces
tains all the electronics, the art" professional studio side effects such as loss of level,
front panel controls and consoles and components.
metering necessary to record, play The Model 940 Automated Fader change in line impedance, and pos-
back, and update channel fader set- fits in the space normally occupied by sible loss of high frequencies.
tings. In addition, it may be used as an a conventional fader so that no addi-
automated master fader, or may be tional console panel area is re- However, lately we have become
externally controlled for gate or mute quired in retro -fit applications. able to design into our systems tran-
functions. An Auto /Manual switch is Mounting dimensions are: 7" high sistorized amplifiers-some of them
provided, which allows the module to x 11/2" wide x 41/4" deep over mating
operate as a normal audio fader by- connector. i.c. type operational amplifiers -which
passing the automation electronics You can automate your studio have an output impedance of several
entirely. The module incorporates the NOW with the Model 256 Programmer, ohms, and in some cases fraction of
Automated Processes Model 2550 the Model 940 Fader Modules, and
VCA, and a conductive plastic slide our other automation controls, or with an ohm. I have run into some engi-
attenuator of the same quality and a pre-wired, ready-to-use 16 or 24 neers who were somewhat confused
reliability that has made our Model channel automation consolette...and by this fact having worked all their
440 and 475 faders so popular. there's more to come!
lives with 600- or 150 -ohm source
impedances. The first thing that comes
-AUTOMATED PROCESSES INC_ to their mind is how do I feed a
80 MARCUS DRNf, MELVILLE, NEW YORK 11745.516- 694 -9212
600-ohm line from the zero impe-
m dance source? In most cases you just
Circle 27 on Reader Service Card
www.americanradiohistory.com
connect it and forget about it. In gearworks. This can be the resistance
some cases you have to think before of the output wire and the ohmic re-
you connect it. If the line can be fed with the printed -circuit layouts I was sistance of the contact (in the case of
from any source impedance-an amp- able to produce not only zero source a plug -in p.c. board). We may adjust
lifier, potentiometer, fader, or trans- impedance but also negative impe- the amplifier impedance to be zero
former -then interconnection is direct. dance so that by connecting the load while the contact resistance may be
If the load is a passive equalizer de- the output of the amplifier went up. 0.1 ohm. In order to achieve 70 dB
signed to work in a 600 -ohm circuit Grounding of the different parts of of isolation, the common point re-
then you have to provide impedance the circuit produced this effect. By sistance should be less than 0.2 ohms.
matching. This can be done simply by allowing different parts of the circuit FIGURE 1and 2 show how a con-
connecting a 600 -ohm resistor between to be grounded at different locations ventional amplifier and a combination
the amplifier and the equalizer. If you or moving the grounding point we can of two such amplifiers can be ar-
feed a telephone line (which is about produce a practical zero source im- ranged in a push -pull circuit produc-
600 ohms) then a build -out resistor dance. ing balanced output without the use
of 600 ohms is needed; and in the But then a few other things may of transformers.
case of a dial line, d.c. decoupling throw a monkey wrench into the In the beginning we were talking
300 300
OUTPUT I
2
300
300
OUTPUT 2
300
300
INPUT 5
OUTPUT 3
Figure. 2. A
balanced output 300
without transform-
ers.
RECALL
are shorted the remaning line will
continue functioning without affecting
the level or the quality of the signal.
Also, if signal is applied to any one If you are thinking about mixdown Infinitely variable stepless con-
of the lines it should not be detected automation ... and you probably trol of mixing parameters, accurate
in the remaining lines. With noise should be... here's something to to within -0.2 dB over the first
levels today being 70 or more dB consider. The programmer is the 40 dB of working range; -±2 dB over
heart of any mixdown memory the first 60 dB.
below program level, it is desirable system, and we have one that Fast scan rate of 800 micro-
that crosstalk between the channels works! It's called the Allison Re- seconds per variable function
be as low as the noise level. Addi- search /Automated Processes Pro- (scans 128 variable functions 10
grammer, Model 256 E /D, with times per second).
tional requirements are that all distri- provision for up to 256 variable
bution channels have constant source dynamic functions. This assures Long term accuracy and system
capacity to provide total automa- to system compatibility with ±1 dB.
impedance.
tion of the entire console...not just Operates on any audio recording
If someone is still thinking in terms level control, but automatic mem- medium with 5 KHz bandwidth and
of electron tubes this is a tall order, ory of the control functions of a 35 dB signal to noise ratio. Data
but if you are with it in transistors panning, equalization, echo sends, recording level non critical.
and operational amplifiers the outlined submasters, masters, switching, Thoroughly protected against
echo returns...the works! THAT'S long or short term dropouts.
requirements are fairly simple to ful- TOTAL RECALL.
fill. Most of the class AB amplifier The programmer is only the begin-
What Else? ning. Contact us for details on the
circuits with large amounts of nega- Capacity for literally thousands Model 256 E/D and other automa-
tive feedback have output impedances of switching functions. tion components and systems.
of less than 1 ohm. This means that
by using a build -out resistor of 600
ohms we are assured of at least 50 -AUTOMATED PROCESSES, INC.
dB of isolation between channels. If BO MARCUS DRIVE, MELVILLE, NEW YORK 11746.516- 694 -9212
source impedance is zero, then isola-
tion will be infinite. In experimenting V
Circle 27 on Reader Service Card
www.americanradiohistory.com
about the drawback of using a single dBm into 600 ohms, when combined ohms is equivalent to 150 six -hundred
amplifier and about the excessive add up to 26 dBm. This very nicely ohm lines) and as a safety feature.
crosstalk that one would get if the compensates for the 6 dB loss we en- Sometimes in a large crossbar a
output impedance of the amplifier counter in the build-out resistors. switcher short may occur flipping all
was anything but almost zero. In FIG- And, as a last bonus we increase relays closed -or wrong patching can
URE 1, I am demonstrating the atten- the reliability of the system because produce shorting of many lines.
uation of the signal to be rejected in even in the event of single amplifier The last consideration in the cir-
order to prevent the crosstalk. By failure the other can continue provid- cuits of FIGURE 1 and 2 is use of
combining two amplifiers a few things ing signal feed -although with 6 dB transformers in addition to the build -
happen. lower level. out resistors. Sometimes, in order to
First we get balanced output. By It is suggested that amplifiers for provide d.c. isolation or change the
adjusting the gains of each amplifier such a distribution system should be output voltage, a transformer may be
accurately we can achieve perfect a.c. small power amplifiers capable of sus- connected after the 600 -ohms resistor.
balance. Secondly, output voltages of taining loads of several ohms without But the combined impedance of the
each amplifier add up, producing 6 losing output voltage. This sort of windings and transformer losses may
dB higher output. This way amplifiers safety is nice to have to be able to make it necessary to change the value
which individually produce about 20 supply many lines (total load of 8 of the build -out resistor until you read
the impedance we were after across
the secondary of the isolation trans-
former.
The circuits described offer several
important advantages: distortion can
be made extremely low ( because no
large power transformers are used),
frequency response can be made ex-
tremely flat for the same reason, and
the noise caused by magnetic fields is
also minimized.
One of the most important things
almost was forgotten-the whole dis-
tribution system can be packaged into
space smaller than a pack of cigar-
ettes. And most of the space will be
occupied by capacitors, resistors, con-
nectors, power supply, switches, con-
trols -and not the amplifiers.
Copies of db
on Microfilm
Copies of all issues of db -The
Sound Engineering Magazine start-
ing with the November 1967 issue
Foot
quickly position himself for an important golf shot. All with just one piece of equip-
ment. The new Telex CS -90 Sportscaster headset lets him broadcast live (fixed station
or mobile) listen to production cues, and monitor his own transmission, all with hands
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He can do all this because Telex has now combined the finest professional microphone
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headphone.
This wide-range, dynamic, boom microphone has a low frequency response to transmit
his voice clearly and crisply, and an omni -directional design to pick up colorful
'n fancy free.That's us. ,j crowd noise. The two channel headphone fits comfortably with a padded headband
and foam filled earcushions to screen out ambient noise. It is adaptable to any appli-
cation or equipment by means of non -terminating cordage and features exclusive
Telex audiometric type driver elements. And both headphone and microphone are
designed to stand up even if the sportscaster has to work in all types of weather
extremes and can't avoid some hard bumps. In fact, if the broadcaster doesn't hold up
as well as the CS -90, there is a "push -to-cough" switch that mutes the mike when
necessary.
Constructed of high- impact ABS plastic
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COMMUNICATIONS DIVISION W
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9600 ALDRICH AVENUE SOUTH
MINNEAPOLIS, MINN. 55420
City._ _Slate
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Phone
CANADA DOUBLE DIAMOND ELECTRONICS LTD
P.O. Box 120, Dept. 970D Miami Beach, Florida 33139 EUROPE ROYAL SOUND COMPANY INC a ,nStreet Freeport
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INTERNATIONAL TELEX EXPORT DEPT 9600AIe,.ce AVe So. M,nneaeon, Minn SSa2o USA CO
www.americanradiohistory.com
0
Mr. Webster enters a new word
Cëtec\se-tek\n: a new word meaning
Electrodyne, Langevin and Gauss.
1 : a manufacturing facility where Electrodyne
and Langevin audio control equipment and
Gauss tape duplicators are designed and built
2 : a company which sells these products
3 : an organization determined to maintain the
traditional quality and technical excellence of
these products.
If you really want to find out all about us,
don't look in the dictionary.
Just call Don McLaughlin, Bart Bingaman
or Phil Hanson at (213) 875 -1900.
www.americanradiohistory.com
Norman H. Crowhurst would use a resistor of 5 to 10 meg
from grid to cathode (FIGURE 2) rely-
THEORY AND PRACTICE ing on grid current biasing. The other
would use a cathode bias resistor
FIGURE 3) .
With either of the latter circuits,
Technologically, we live in a rap- a cathode follower (I almost wrote the cathode follower would provide a
idly changing world. This gets brought emitter follower from force of habit!) very high input impedance, and big
home to me when I get the periodic which serves the dual purpose of step- swing handling capabilty. But, assum-
letter metaphorically out of the past, ping up input impedance and ensuring ing the same cathode load and follow-
from someone who wants something that the input can handle wide swings ing gain control circuit of FIGURE 1
explained about a piece of equipment before the control stage is reached. were used, just changing the bias ar-
made a few years ago. One such letter But let's take a closer look. Did I rangement, what is the working gain
was from a man having problems with say the cathode follower would raise of the cathode follower, by which in-
a tube -operated 'scope amplifier, the the input impedance? As shown, that put impedance gets multiplied?
schematic for which is reproduced at is fixed at 220 k. And as a 12AX7 has The plate load (connected in the
FIGURE 1. a grid base of about 3 volts or so, cathode) will be 22 k in parallel with
He wondered what function the tri- returning the 220 k to ground will 13.5 k, which figures to about 9 k.
ode using pins 6, 7, 8 of the 12AU7 "strangle" the tube, so it operates near Taking 80 k as an appropriate value
served in the circuit. Fairly obviously, cut -off. There were two good ways to of plate resistance, with an amplifica-
the 6, 7, 8 pins of the 12AX7 serve as operate the bias of a 12AX7. One tion factor of 100, this means the
8+
IOOK 47K 5
.5 \L
12Ax7
1-1
22OK
t
22K
1 220
mini
studio. than that. However, it may be that
values are kept low here, to maintain
gain up into the megacycle region (in
those days, no English- speaking de-
studio
To find out more
about our remarkable
signer had heard of megahertz). What
the 3.5 k preset was for is not exactly
obvious, but it could have been a
calibrate control, so the IO k pot indi-
MiniStudio and the cates some definite scale in volts /cm
name of your nearest
participating dealer, on the 'scope face.
call toll free 800/645 -2075. Now we come to the reader's ques-
In New York call collect tion. The 12AU7 triode, as anyone
516/364 -1750. Or write who has designed circuits to use it will
us directly.
know, is quite non -linear, although it
CV
Lg1áBMBOUQMBW
155 Michael Drive, Syosset, New York 11791
11 11
11 11
11 11
11 11
11 11
11
www.americanradiohistory.com
because of the similar swing delivered E+
to pin 7 through the portion of the
SOURCE
500 k. When swing is positive, gain of RESISTANCE
the 6, 7, 8 portion increases, reducing
the effective resistance value presented
by the 500 k to pin 2, thus loading the
signal more, when the gain increases.
When the swing is negative, the re-
verse happens.
Figure 3. An alternative way of biasing By adjusting the setting of the 500 k
the cathode follower. preset, quite good linearity can prob-
ably be obtained -better than likely
Figure 5. A revised form of cathode
by sacrificing an equivalent amount of follower output stages, subject of an
handles the widest swing of any of
gain in linear feedback. earlier patent by the author. This can
that group of tubes. Better tubes came keep distortion low over a wide range
out later, but we will assume the de- Going over this turned my mind
of output loading.
signer was making best use of what back to some work I did almost twenty
was then available. years ago, but my memory of it was a
Here he is faced with a linearity bit vague, so I had to turn up the
problem. Of course, feedback, as a wording on that particular patent to ing gain of the stage drops, so that the
means of improving linearity had been remember just how it worked. The grid circuit values, as loads across the
known long before the 12AU7 tube circuit, shown at FIGURE 5, was de- input source resistance, also drop.
was even designed. So why not use signed to be used as the output stage Thus the diode and its associated re-
the two halves of the tube in cascade for a preamp. sistance produce more offsetting dis-
and use lashings of feedback (e.g. In those days there were two camps: tortion, as the loading is changed so
FIGURE 4)? If you struggle with de- those who used matching transformers that more distortion occurs to be off-
sign details, using a tube with as little to match line impedance (usually 500 set. By proper choice of values, dis-
stage gain as the 12AU7 has, you'll or 600 ohms) up to the plate load tortion can be kept low over a wide
find out. Achieving stability, wide value required by the tube; and those range of load values.
range frequency response, with enough who used cathode -follower outputs. Digging out that patent file brought
feedback to produce satisfactory line- Neither was altogether ideal. The back memories, as I thumbed through
arity is almost impossible. transformer output had frequency re- a whole bunch of documents, till I
So this designer evidently settled for sponse limited by the transformer, found the one I somewhat vaguely re-
using the gain of one half of the which could also change with loading, membered. Each had its own little
12AU7 without feedback, and using if the line impedance was not precisely memory of solving a circuit problem.
the other half to correct the non -line- 500 or 600 ohms, as specified. And the I had not realized there had been so
arity of the first half. From my own cathode follower, loaded with 500 or many, because that part of the file
design experience, I would imagine he 600 ohms, which it matched, produced had become a closed phase in my life.
could do better that way, and cer- distortion. We left tubes behind when we moved
tainly without the stability problems. The function of the circuit in FIG- into solid state.
Reverting to FIGURE 1, to explain URE 5 was to offset the distortion pro- And now we are moving quite a
how it works, the 12AU7 triode ampli- duced by the cathode follower. The way from the early transistor circuits,
fies much more on positive -going grid diode and resistor in series, shunting as computer- designed integrated cir-
signal than on negative-going. The lin- the grid -to- cathode resistor, did the cuits take over more and more of the
earizing part works by feeding back same thing as the other triode (pins work. It's a changing world, indeed.
out-of -phase signal from its plate (pin 6, 7, 8 of the 12AU7) in FIGURE 1. The other side of my present activity
6) to its grid (pin 7). This has the ef- But it has a somewhat more compli- combines with these memories to raise
fect of modifying the apparent value cated function. even larger problems.
of the portion of the 500 k variable If no matching load is connected, In those days, we solved problems
used, as a load at the grid (pin 2) of the cathode follower produces little by applying our ingenuity directly to
the amplifying stage. This loading distortion. Only when a 500 or 600 the physical phenomena and the math-
modifies signal amplitude by virtue of ohm load is connected does the stage ematics that described them. Today,
the source impedance at the plate (pin distort seriously, and more the lower computers do all that, and more. Yet
I) of the 12AX7. the load resistance value. The apparent education, far from moving into step
The loading is also modified during impedance at the grid of the stage with these changed requirements, has
the grid swing at pin 2 of the 12AU7, shown in FIGURE 5 is the impedance the people who design math programs
from grid to cathode, multiplied by getting even further from reality than
the working gain of the stage. they were when I went through
Figure 4. A more obvious way of getting
linearity, using two stages to get more This means that when the gain is school. They seem to have a math
gain, then applying negative feedback. high, because no matching load is world of their own, completely un-
connected, the impedance, of both the connected with the real world.
resistor from grid to cathode, and of They are inventing all kinds of un-
the diode and resistor shunting it, is realistic things for kids to learn, that
multiplied by a large number, and the will never be of any use to them. And
shunting effect on the input source re- because those with practical minds,
sistance (shown as a resistor in FIG- that could become the engineers and
URE 5, but the plate resistance of a inventors of tomorrow, naturally shy
previous stage in a practical circuit) is away from these meaningless bits of
slight. Virtually no offsetting distortion garbage, they drop out, before ever
occurs. they get far enough to think about
As the output is connected to a pro- meeting college entrance requirements.
gressively lower load value, the work- Where's it all going to end.
geta bit more.
472 Functions (Gain, switch and position control)
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ROBERT C. EHLE
BROADLY SPEAKING, e/ectronic music is any music Serious composers have never failed to experiment with
involving electronics in its composition, perform- any new idioms coming to their notice, and so all the
ance or reproducton. Dedicated composers, how- idioms originating in folk music have been explored in
ever, mean anything but this general description serious musical composition. A peculiar result of all this
by the term. They mean, specifically, that particular type is that composers tend to develop trademarks. Scriabin had
of creative composition which they practice and which "his" mystic chord; Liszt liked augmented chords; Tchai-
sounds idiomatically different from any music generated kovsky used sequences. Bela Bartok developed the Hun-
by non -electronic processes. Electronic music is, therefore, garian folk idiom in his music while many American
the modern example of a musical idiom resulting from composers use jazz styles in their music. Each country has
technological progress. its own folk idiom composers and there are peculiar and
distinctive characteristics in each national style. Through-
THE ELECTRONIC IDIOM out the history of music, composers have had their favorite
In music theory we speak of certain periods in musical chords, progressions or tricks which they made sufficiently
history as being primarily contrapuntal (e.g. the sixteenth famous so that anyone using them would be accused of
century and the late Baroque periods), while others are plagiarism. Today, composers seeking new idioms will try
homophonic or primarily chordally oriented (the Classical anything to avoid this accusation. Thus we come to the
era and the Impressionistic periods). Some eras in musical style of electronic music.
history are characterized as modal (the Renaissance and So far, the idiom of electronic music seems to be going
the early twentieth century) while others are of a major - in the direction of new timbre generation and control. This
minor type in that they use the major and minor scales as is perhaps to be expected, since it is in this area that so
the basis for musical composition (the Classical and much new territory exists. Conventional acoustical music
Romantic periods are of this type). The music of some is performed on instruments obeying natural acoustical
nations and ethnic groups is pentatonic, that is, based laws. These laws, having never been broken, are the
upon the five note scale equivalent to the black notes in foundation of conventional music. Now electronic instru-
one octave on the piano, while other nationalities employ ments have been designed which can violate acoustical
six, eight or ten or more notes in their scales. All of these laws and generate sounds never heard in nature. These
characteristics pertain to the idiom of a particular type of sounds are usually unique in their timbre or overtone
music. structure; it is probably for this reason that composers,
seeking the new as they are inclined to do, have made
electronic music an idiom of new timbres. A second aspect
of electronic music is its control of time. This music may
Robert C. Ehle, PhD, is with the School of Music, Uni - be constructed in such a way that it does not depend on a
Ñ versity of Northern Colorado, Greeley, Colorado. performer's sense of time. For this reason, extremely corn-
Serious composers have never tailed to experiment musical terms as crescendo, diminuendo, recapitulation,
with any new idioms coming to their notice... development, sotto voce, pesante, etc., describe situations
in life as well as in music. Electronic music is able to
simulate human emotions in some new ways as well as
those common to conventional music.
plex temporal patterns and rhythms may be generated The musical collage is one result of a new way of dupli-
electronically. cating human emotion. Here scraps and snippets of the
To sum up, the idiom of electronic music, as it is cur- most diverse aural materials are presented in juxtaposition
rently being practiced, is the exploitation of a wide variety in such a way as to make the listener aware of large scale
of new timbres in an extremely elaborate time -sequencing relationships. The materials for such a work may be
arrangement. On the other hand, there is little harmony gathered by tape recorder and assembled through editing
and melody and not a great deal of counterpoint (as one and splicing methods. In musical (or non -musical) mate-
usually defines the term) in the majority of examples. rial recorded live and then altered (often referred to as
EXPRESSION AND INTERPRETATION music concrete), the composer tries to show his virtuosity
in manipulation and in the novel ways in which he ar-
As there is normally no interpreter of an electronic corn - ranges his material. It is important to note that the com-
poser's music this task falls on the composer himself. In poser may seek and achieve negative (usually for the sake
fact, the music which originates in the composer's imagi- of social protest) effects. A listener, not in sympathy with
nation undergoes interpretation as he attempts to generate such a protest, may object and question the validity of
it with his equipment. The power of his music depends such work.
both on the power of his imagination and his skill in gen- In summary, if the primary stylistic idiom of electronic
erating what he wants from his equipment. This is not music is the exploitation of new timbres and rhythmic
to say that he will not be open to suggestion from random patterns, the primary modes of expression derive either
or accidentally generated sounds but, if he is honest with from continuously varying textures with occasional abrupt
himself, he will insist on digesting all such sounds men- changes or from continuous change of the pointillistic type
tally before designing the situation in which they might be with interspersed moments of respite.
used. The electronic music composer is confronted with a
situation where he may control his music to a greater THE APPARATUS
degree than any previous music.
In the matter of expression, each composer finds his
Much of the apparatus used for electronic music is famil-
own aesthetics and techniques. However, because of the iar audio equipment such as amplifiers, tape recorders,
idiom natural to electronic music, certain types of expres- oscillators, speakers, and so forth. On the other hand,
sion are common. In the first place, there are no necessar-
much new and unique apparatus has been devised for
ily discrete instruments in electronic music. Sounds of one
special purposes. One interesting observation is that nearly
color may gradually and continuously be transformed into any electronic technique applied to the generation of
any others with no audible breaks between them. As a audio signals may have strikingly fresh qualities. For ex-
ample, electronic music has employed both frequency and
result, expression in electronic music often is a result of a
series of continuous, overlapping changes and the music amplitude modulation, waveform clipping, single -sideband
resembles a mobile which rotates and changes gradually suppressed- carrier techniques, resonant and non -resonant
but which makes no sudden disruptions of its basic nature. filtering, pulse -width modulation, and a host of others not
so easily described. Some special audio equipment used
With such a context, a sudden and abrupt halt or shift is
a strong dramatic device usable occasionally as an element
includes variable -speed tape recorders, multi- channel am-
of surprise. plifiers and speakers, and a great multitude of filters includ-
ing very narrow-band types and tracking filters. The
A second approach is just the opposite to that described
well -known but little -used theremin employs the principal
above. Here change is abrupt and frequent. This is a style
derived and extended from the serialists and the pointill- of the beat -frequency-oscillator commonly found in com-
ists. If any sound should have any length or continuity to
munications receivers. Reverberation devices are much
it, the effect is a contract to the normally short, frag-
used and many techniques have been devised including the
mented texture. This technique is also characteristic of sheet -metal reverberator, the spring unit, and the new
electronic music particularly because of the ease with electrostatic reverberation unit. Multi- channel tape re-
which it may be assembled through tape splicing and edit- corders, developed for telemetry applications have found
ing techniques. use in systems of up to fourteen channels.
Electronic composers often seem to treat their material THE COMPLEX TONE
as if it were solid, having texture and substance. There is
The concept of the complex tone is an interesting one and
a definite relationship between electronic music and the
is truly a part of the electronic style. It must be under-
various graphic arts which concern themselves with tex-
stood to be distinctly different from the simple tones such
ture, shape, intensity, design, pattern, etc., as the primary as the sine, square, and triangular. It is also different in
elements, as is particularly true of abstract painting and nature from the harmonic tones produced by conventional
decorative sculpture and design. In each case, the object instruments and from combinations of harmonic tones
presented for contemplation is not an easily recognizable
object but a pattern of materials in which the relationship (chords). The sine, square, sawtooth, and other funda-
is all important. Electronic music, of course, has that same
mental tones have a fundamental and, in all cases except
the sine, regular overtone structures; harmonic tones from
characteristic of all music -the temporal distribution of its
elements. Music develops in time, just as do all human
conventional instruments have individual harmonic ar-
rangements (or nearly harmonic, as in the case of the
experiences; this is perhaps one reason why it is capable
of carrying such emotional power. The patterns of music
piano). The nearest thing to the complex tone in conven-
tional music is the type of semi -pitched percussive tone
are able to mock the patterns of human emotion. Such
produced by chimes, tympani, etc. These instruments,
however, normally have attacks and short envelopes in
standard practice. Electronically produced complex tone
may be made to have any envelope.
. electronic instruments have been designed
Basically, the complex tone is a modulation product of
which can violate acoustical laws . . . two or more simple or harmonic tones. Therefore it con-
www.americanradiohistory.com
... there is little harmony and melody and not a music composition teacher's responsibilities.
It is quite possible to compose a piece of music with no
great deal of counterpoint .. .
abrupt breaks of any sort but only linearly varied param-
eters of the sort controllable with the potentiometer. Here
is a style derived directly from the unique capabilities of
electronic techniques.
tains them both and /or sums and differences of both.
The variety of complex tones is extremely wide. No one
has even begun to categorize the various types and the SCALES AND INTONATION
surface has only been scratched in their application in Ever since the dark ages, our western music has made use
electronic music. Certain basic categories may be made of portions of the twelve note chromatic scale or varia-
according to the type of modulator employed in the tions of it with regard to tuning procedures. It has served
generation process: unbalanced, balanced, ring, frequency, us well, for we have had ten plus centuries of music from
amplitude, phase, etc. Other categories may depend on the it. However, is it really the only usable scale? Composers
number of input tones and their individual complexities. have often asked this question and some have gone to the
Although already used on occasion, there is, however, a extremes of building new instruments for experiments with
dimension to the complex tone so far generally overlooked. other scales. Now, with electronic music, every music stu-
This is its continuous variability. The electronically-gen - dent may try the experiments for himself. Every serious
erated complex tone is an array of mathematically related contemporary composer should have the experience of sit-
frequencies in which certain sets of frequencies may be ting down at an instrument tuned in nineteen or thirty-one
varied at will. Thus, chameleon like, the complex tone tone equal temperament, or perhaps a forty -three tone
may be made to shift its structure gradually. This yields non -tempered scale. An hour of improvising at such an
the possibility of a continuous music without breaks or instrument may open his ears, so to speak, and so change
notes but simply a continually changing structure. the course of music. The interested theorist may want to
refer to Joseph Yasser's Theory of Evolving Tonality or
CONTROLS Harry Partch's Genesis of a Music for work involving new
Along with a discussion of the complex tone must go a dis- scales. There are many untried possibilities.
cussion of the method available for controlling a musical New scales and no scale, both are characteristics of the
instrument. Basically, there are four types of controls: the emerging electronic music style. Both need to be studied,
linear access switching array; the random access switching listened to, practiced and taught.
array; linear access linear controllers; and random access
linear controllers. AESTHETIC ORIENTATION OF ELECTRONIC MUSIC
Of the familiar instruments, the piano has a random Music in general may be thought of as a type of interac-
access switching array (the keyboard) for frequency con- tion between musicians, musical instruments, and listeners.
trol; the trombone on the other hand is linear access linear As such, each of these elements will affect the style of the
controlled. Most woodwind instruments are random access resulting music. So far, we have discussed the effects on
switched and, in fact, this has been the most popular style resulting from the first two of these. Finally the effect
method for controlling a musical instrument's pitch or fre- on the style of electronic music due to the listener must be
quency with the linear control approach popular in string taken into account. This means a discussion of the effects
instruments. Linear access controls are those which must on style due to intended applications of music.
be operated in an incremental fashion; that is, the operator Part of the transition from conventional to electronic
must pass through all intervening points when passing music has been, for many composers, the utilization of one
from one point to another. In a random access controller, or more compromises involving mixtures of techniques as
the operator may move directly to any desired point with- previously described. On the other hand, pure and abso-
out passing through other points. In the other aspect of the lute music composed electronically, undeniably, is no com-
controller -type definitions, linear controllers have infinite promise. It is, as we have discussed, unfettered by necessi-
resolution (analog) while switching arrays have prede- ties common in conventional music (although it may
termined steps (digital). introduce new necessities, peculiar to itself). Thus, due to
Although frequency is well controlled in conventional its nature, it is more useful and acceptable in some forms
musical instruments, most of the other parameters of a than others. It seems to be most usable in those forms
musical tone are nearly uncontrollable. Here electronic involving electronic distribution: radio, television, phono-
music shines, for it has controls for every known param- graph records and motion pictures. It is also at home
eter of a musical tone. These controls may be any of the where no visible performer is required to occupy the vis-
above four types but, by far, the most popular is the linear ual attention of the listeners as is the case in ballet, and
access, linear controller better known as the potentiometer theatrical productions. Eventually, we might have fully
or pot. We have pots which vary attack time, decay time, developed electronic concert instruments which overcome
all aspects of tone color, modulation levels, reverberation, the many present limitations, thus allowing electronic con-
and even frequency. This is a very important part of the cert music to become a reality.
current electronic music style simply because this very Today, however, electronic music is a very abstract art;
plentitude of pots for so many functions determines its this is due to two facts: first the general absence of a
basic characteristics. visible performer, and second the newness and unfamiliar
And so the new electronic music composer must learn nature of much of it. Thus, electronic compositions are
that he can vary many parameters; he must listen to the art objects, comprehensible either in themselves or through
effects of such variation and decide what he can do with the words written about them but lacking much of the
these new techniques. If he is left unaware of this area he social conventions of traditional music. In this respect it
will miss an important aspect of electronic music, and he has much in common with art and in particular the ab-
won't gain this knowledge except from electronic music stract art of the twentieth century. I think that composers
composers in the laboratory. This is one of the electronic sense this similarity and respond with a style of composi-
tion noticeably more abstract and complete in itself than
they would employ for traditional music.
This means that electronic music, abstract as it is, must
... Electronic composers often seem to treat their be more complete in itself than conventional music. It
ccu material as if it were solid .. . must be able to explain itself and complete itself. It can-
. the piano has a random access switching array . . .
not depend on successive interpretations or bravura per- Electronic music audiences are small but dedicated.
formances to compensate for intrinsic deficiencies. For They expect serious work and, thanks to the relative eco-
this reason, composers must pay more attention to form nomics of electronic recording and broadcasting tech-
and structure and many are doing so. As a result it may niques, are able to get what they want. Probably ninety -
be more complex; remember, repeated hearings of the nine per cent of the contact between listeners and elec-
works intended and simple by electronic means (this has tronic music is through phonograph records.
not always been the case). Also, electronic music should Electronic music is abstract and relatively "pure" as an
be expected to yield more on repeated hearings and to art form. A comment by the noted conductor Antal Dorati
hold interest for a very long time as a result. on the subject is significant. Mr. Dorati suggested that
To sum up, electronic music is generally abstract and electronic music may be part of "a new art of sound, still
serious in style. It is probably intended more for individu- called music for want of a better term."
als than for the masses and lends itself easily to economi- The significance of this remark is to emphasize the
cal distribution to interested individuals on a widespread difference in all respects excect the use of sound between
basis. conventional and electronic music. Electronic music is not
just a new technique but a new style, and even a new
SUMMARY music.
The style of electronic music is influenced by three fac- Today, electronic music has become a satisfying mode
tors: The capabilities of available instruments; the knowl- of exploration and expression. Its effects are widespread
edge, skill and intentions of the composers; and the in the educational institutions and many newcomers are
intended audience or application and the method of dis- added to its ranks each year for the reasons given previ-
tribution. ously. Although the popularity of electronic music as a
Electronic music instruments are capable of a wide listening entertainment is still low, this is compensated for
range of new tone colors, new scales, and rhythms. They by the large number of practitioners who are able to get
are also capable of many new types of control over con- a creative satisfaction from manipulation of both com-
ventional instruments. mercial and hand -made equipment. In addition, the re-
Electronic music composers are learning of the new search into the physics and psychology of music being
freedoms as well as the new disciplines required of them done makes it a valuable addition to the realm of knowl-
by the medium; they are beginning to be aware of ways edge. Being only about as old as the tape recorder, it is
to teach these things to their students. Much remains to already proving its significance and we can expect much
be done here. in the future as greater skill is gained in its use.
If you
can afford one of the others,
you can afford two of ours
"/on of 36 Grand"
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OWrite or call for the full story on Son of 36 Grand.
auditronics. inc.
P. 0. Box 12637 / Memphis, Tenn. 38112 / 901/276 -6338
Circle 16 on Reader Service Card
www.americanradiohistory.com
WALTER JUNG
Optimizing
Op -Amp Speed
ONE OF THE BIGGEST PROBLEMS associated with inset. Although a complete discussion of frequency corn-
popular general purpose integrated circuit op pensation techniques and stability criteria are beyond the
amps such as the 709, 741, and the 301A has aim of this article, the basic facts should be pointed out.
been their speed (or lack thereof). This may In a feedback amplifier configuration a prerequisite for
not be so obvious the first time you look over a data closed loop stability is the rate of rolloff of the response
sheet, but will quickly hit you right in the face the first curve where it crosses the closed loop gain level. For a
time you try to get a +20 dBm signal at 20 kHz through 20 dB per decade (6 dB per octave) rolloff as shown, the
a 741. There are of course, readily measurable parameters
which determine an op-amp's high frequency behaviour
in some cases these are under our control, in others they
- phase shift associated with this response is 90 degrees
which cannot result in oscillation, even under the worst-
case condition of unity gain. This necessary ingredient
are not. But a sound understanding of the "whys" behind for closed -loop stability in operational amplifier circuitry
all of this is a prerequisite to achieving good high fre- is what led to the general purpose internally compensated
quency performance from the attractively priced i.c. op i.c. op amps such as the 741. In a similar manner the
amps. It can be done, so let's look into how we go about 301A with a 30 pF compensation capacitor will yield
it. identical results, as will the ubiquitous 709 with its three
There are two key parameters which directly affect the compensation components.
usable high- frequency response of an operational ampli- Now the above states what is necessary for stability
fier. They are its slew rate and gain- bandwidth product. under unity -gain closed -loop conditions. Does everyone
Slew rate is the maximum rate of change of the output operate 741's at unity gain? Hardly-and look what a
voltage under large signal conditions. Here large signal penalty you pay in bandwidth and slew rate when you
means a voltage swing at or near the i.c.'s specified maxi- use a 741 or other op -amp compensated for unity gain
mum, generally 20 V p-p or more. It is commonly specified at higher gains.
in volts per microsecond. Slew rate is directly related to This curve we have been discussing is of course, the
the full power bandwidth according to the relationship small signal response of the amplifier. At any closed loop
gain you will get no more bandwidth than there is avail-
Sr =2irEo Fp able from the device at the point where the closed loop
Sr=Slew rate gain intersects the open loop curve. Check a few examples
where Eo= Maximum output before slew rate limiting from curve I of FIGURE 2 to appreciate this. At 20 dB
(peak) gain, bandwidth is 100 kHz -fine. But look at the 40 dB
Fp =Full power bandwidth gain situation. Here you have only 10 kHz of bandwidth,
Graphically, this may be understood by referring to harly hi-fidelity response, and above 5 kHz you have very
FIGURE 1, which is a plot of large signal response versus little feedback to lower distortion and output impedance.
frequency. Note that curve number 1 (which is typical You will be operating essentially open loop at these fre-
for a 741 amplifier) begins to slew rate limit at 10 kHz, quencies, and in essence do not even have a feedback
and at 20 kHz available output is reduced to half of the amplifier at all!
full power available at low frequencies. To deliver a 10 But back up a moment and consider what was said
volt peak signal at 20 kHz we can compute the slew rate about the compensation necessary for a particular gain
required as: level. For stability the open loop rolloff should be 6 dB
Sr= (6.28) (10) (2x104) per octave where it crosses the closed-loop gain level. It
= (1.256x109 (volt) (hertz) or does not matter if it undergoes another phase shift beyond
= 1.256x106 v/s =1.256 V/ps this point, because the additional phase shift cannot cause
This 1.256 volts per microsecond slew rate is a mini- an oscillation because of insufficient gain around the loop
mum requirement. In practice the circuit should have a at this frequency. What does this mean? It means we can
working slew rate in excess of this figure to prevent rise lighten up the compensation for the higher closed -loop
of distortion at the onset of the rate limiting. gains and still have adequate stability. And the biggest
The second key parameter is the circuit's gain -band- thing it buys for us is additional bandwidth and an im-
width products -this is also called the unity gain frequency. proved slew rate.
This is the frequency at which the circuits natural open The bandwidth you may appreciate by regarding curve
loop gain has fallen to 1, or 0 dB. For general purpose 2 of FIGURE 2. This is the open -loop response of a 301A
i.c. op amps (such as the 709, 741, and 301A) compen- or 709 compensated as shown in the corresponding inset.
sated for unity gain, this figure is approximately 1
120
100
80
á 8
a
0 6 z
4
2
,L.-1 60
I I0K IUCK IM 10M
>
FREQUENCY N HERT,
40
CORNER FREQUENCY FOR
Figure 1. Large for 741 and 301A 40dB AMP USING UNITY
signal response of compensated for GAIN COMPENSATION
general purpose unity gain. Curve
op amps with 2 is typical for 20
various compen- 301A compensated CORNER FREQUENCY FOR 40dB AMP
sation conditions. tor 20 dB gain as USING LIGHTER COMPENSATION
Curve 1 is typical in Figure 2, box B.
o
10 100 IK 10K IOOK IM 10M
FREQUENCY IN HERTZ
911
op amps which results in open loop response as shown in
curve number 1.
+LIN
-v
Box B. Externally compensated op amps. Compenated to
produce the open loop response of curve number 2.
FOR 301A:
Ri Cs
C1 301A COMPENSATED FOR
-R 1-R2 20dB MINIMUM GAIN
WHERE Cs = 30pí
-EIN C 30pí = 3pf
- 10
R3
+EIN -EIN
+EIN
-V CI
30pf
-EIN -EIN
R3
3
+EIN
+EIN
-V 200p -V 20pf
N
V
www.americanradiohistory.com
mum use of available amplifier bandwidth, with only one
+V R2 additional component beyond the standard compensation
20 hookup.
-EIN
18
301A
6 It was mentioned that slew rate may also be extended
E0
16
+EIN
R3
by increasing the current available to charge and discharge
14 + 4
C2 the compensation capacitor. This is perhaps the most
I
direct approach to the problem, and when properly exe-
1
12
-v cuted, allows the large signal bandwidth to approach the
10
8
R4 =10K small signal bandwidth. There was a drawback to the
approach however, as it required a redesign of the basic
6
op amp, as the bias current in both the 741 and 301A
4
'-'-`-.............___... op amps is fixed by design. The i.c. which solved the
2 slew rate problem by virtue of a new class B input stage
is the Signetics 5313; a fast slewing general purpose
2K 10K I00K IM
op -amp with small signal and d.c. characteristic similar to
FREQUENCY IN HERTZ
the 741. It also features the same pin arrangement and
Figure 3. Large signal response of a 301A with fast similar d.c. operating characteristics, thus making it an
compensation. (See reference 1.) C1R1 Cs Cs =30 pF; equivalent substitute in other senses. The 531 is capable
R1 +R2; of slew rates of 30 /µsec in the worst -case unity -gain fol-
C2 =10 Cl. Typical va lues: C1 =30 pF, C2 =300 pF. lower condition, and even faster response at higher gains
with appropriately smaller compensation. An additional
There are other approaches to slew -rate improvement, factor of importance in audio use is the improved output
perhaps more sophisticated in concept, but no more stage used which posses a minimum of distortion and a
complicated in practice. wide bandwidth, thus allowing lower distortion at the
The first trick is a two -pole compensation, method used upper end of the audio band where crossover distortion
with the 301A to extend its power bandwidth by a factor often creeps up in earlier op -amp designs when they are
of two or more. This circuit is shown in FIGURE 3 with loaded heavily.
the resultant power bandwidth. It should be noted that An example of a circuit exploiting the 531's capability
this is a general purpose circuit which can be used either is the single ended to push -pull convertor of FIGURE 5.
differentially, as an inverter, or as a follower. It offers Here two 531's are cross -connected as a self -balancing
advantages at lower closed loop gains (between 1 and combination gain stage and phase splitter. Al is a high -
10) where the additional compensation necessary nor- input impedance follower with gain, suitable for bridging
mally limits slew rate. At gains beyond 10, the minimum purposes. With the values shown it operates at a gain of
standard compensation technique is both faster and more 6 dB, by virtue of the 2 to 1 ratio of R1 +R2. R1, which
simple. RI
A big leap forward in slewing rate may be accom- would normally be directly grounded in a stage such as
plished with the 301A by applying feed -forward com- this, feeds the summing junction of A2. The virtual ground
pensation-. This technique, shown in FIGURE 4 with the at A2 pin 2 serves the same purpose as a direct ground
resultant full power response, is the fastest of all the on RI as far as Al is concerned and at the same time also
techniques applicable to the general purpose op -amps. It drives A2 as an inverting stage via the current flow in
extends the unity gain bandwidth to 10 mHz and raises Rl +R2. By making R3 =R1 +R2 the gain of A2 is fixed
slew rate to 10V /0. Its chief disadvantage is that it is at -1, thus creating a mirror image of Al's signal at A2
limited to the inverting configuration as shown. As may (within the tolerance of the resistances, of course). The
be noted from the open -loop gain curve (number 3 of gain at both outputs may be adjusted simultaneously by
FIGURE 2), the circuits prime advantage is a dramatic in- varying the tap on R1 and R2 if desired or by making
crease in available high- frequency gain. Curve 3, the feed- Rl and R2 a pot equal to R3.
forward response provides a bandwidth equivalent to the This circuit configuration can be a very useful one, as
20 dB compensation of curve 2, even though operating at it is a handy complement to the past db article, A DIF-
unity gain. So where an inverting configuration is used FERENTIAL BRIDGING AMPLIFIERS. Where the previous cir-
and good high- frequency response is necessary the feed - cuit converted double -ended signals to single -ended ones,
forward technique is an excellent choice as it makes maxi- this circuit performs the exact opposite; converting single -
ended signals to double -ended ones.
Figure 4. Large signal response of a 301A with feed -forward The circuit shown provides a moderate amount of
compensation as in Reference 2. C2= 1 power ( +14 dBm) with low distortion in the audio band.
27rfo R2 Up at 20 kHz the t.h.d. rises to 0.2 per cent at the +14
where fo =3 MHz. Typical values: R2 =R1 =30 k, C2 =3 pF.
C2
REFERENCES
20 I. R. Dobkin, Fast Compensation Extends Power Bandwidth, Na-
tional Semiconductor Application Note LB -4, April 1969.
18 2. R. Dobkin, Feedforward Compensation Speeds Op -Amp, Na-
w
áI6 RI
tional Semiconductor Application Note LB -2, April 1969.
0114 3. W. E. Hearn, Fast Slewing Monolithic Operational Amplifier,
Rg 301A Ep
+ 4 IEEE Journal of Solid State Circuits, Volume SC -6, no 1, pp
E', 12 20-24, February 1971.
10 -v 4. W. E. Hearn, Application of the SE /NE531 Fast Stewing Op-
erational Amplifier, Signetics Corporation Application Memo 116,
8
CL CI =150pf February 1971.
6 5. W. G. Jung, A Differential Bridging Amplifier, db, pp 21 -27,
0 4 July 1971.
6. W. G. Jung, The Pitfalls of the General Purpose IC Opera-
tional Amplifier as Applied to Audio Signal Processing, presented
10M
to the 43rd AES Convention in September, 1972. AES preprint
20K IOOK IM
#893 (contains a bibliography of twenty -nine references pertinent
FREQUENCY IN HERTZ to i.c.'s in audio applications).
THE
PROBLEM
Say farewell to the grand old DC300, and welcome to
THE PROBLEM SOLVER, the amp that is going to make
SOLVER
model DC300 was a great amp -
your job easier and your customers happier. The original
the first super -power
low distortion amp in the world, when Crown introduced
Gone too is the need to baby the amp by carefully
crown
to the negligible level. It is superior in every way to the
old VI- limiting circuit pioneered by Crown and now
used by most other high power amplifiers, since it intro-
duces no flyback pulses, spikes or thumps into the
output signal, whether operating as a single -or dual -
channel amp. MADE ONLY IN AMERICA
Circle 26 on Reader Service Card
www.americanradiohistory.com
1/2
RESOURCE
300 f2
AA
Corrections to Walter Jung's
R2
I0K
ti previous Automating the Audio
E0
RL Control Function series.
60011
'
RI
IOK R3
20K
f Part 3 (August /September). Errors exist on
schematic of Figure 5 (B), on page 50.
1/2 Pins 2 and 3 of A4 should be interchanged.
RESOURCE R26 and C3 should be connected.
300 f1
Unmarked connection from the DPS to +15V
is pin 9.
R18 should be 470 ohms not 470 k.
In Figure 2 on page 47, C6 connects between
pins 2 and 1 of op -amp 301A.
10K
cunIoIe5 in hours-
in your studio in less than a day.
So you can start using it immedi-
ately. Instead of waiting indefinitely.
duction -
commercial, and motion picture pro-
in 24 countries.
The sound of Neve is world wide.
never be disappointed -
Write for more facts. Now. You'll
with Neve.
Neve
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Rupert Neve, Inc.: Berkshire Industrial Park, Bethel, Conn. 06801. (203) 744 -6230.
Hollywood: Suite 616, 1800 N. Highland Ave., Hollywood, Ca. 90028. (213) 465 -4822.
Rupert Neve & Co., Ltd.: Cambridge House, Melbourn, Royston, Herts, England.
Rupert Neve of Canada, Ltd.: 7528 Bath Rd.. Malton. Toronto, Ontario, Canada. (416) 677 -6611. Write for Bulletin DB -1
o
M
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the band was not crowded. In these days, reception up to console radios of the thirties had large transformers and
half a continent away was a common occurrence on the high -power amplifiers. Some even used special noise lim-
a.m. band. Distance reception seems to have been a favor- iters and so forth. One of the more daring moves must
ite pastime. Many fancy long -wire dipoles were manufac- have been to put a solid wooden back on the traditionally
tured with matching transformers in large tin cans that open- backed cabinet and, perhaps, install a bass reflex
could be strung up between poles or trees. After the a.m. vent or some other sort of resonator plumbing. A few
band reached its state of saturation, interest in distance manufacturers actually did such things, but they were
reception switched to the short -wave bands. It seems that definitely in the minority.
this mode of entertainment was not restricted to the hams So, there is a large amount of novelty in the old radios.
of the era but that at one time most radio listeners en- There is also a certain peculiarity. The aesthetics of the de-
joyed listening to long- distance reception on the short -wave sign of the cases and of the dials is definitely quite differ-
bands. ent from that of modern sets. After all, the really old
Anyone interested in the technology of electronic equip- sets are actually Victorian furniture with all the orna-
ment will find it interesting to explore the circuits used mental frillwork of the period.
in some of these old sets. Today, there are certain tech- Peculiarities in the use of lights is also fascinating. Often
niques which have become so common that they are con- sets would have as many as a half-dozen bulbs, each with
sidered standard. In the days the old sets were manufac- a different colored filter. The bulbs would be switched by
tured these standards did not exist and engineers tried any the bandswitch so that a color would correspond to a
possible method to achieve results. I've already mentioned particular band. Other manufacturers used bulbs to indi-
inductive tuning which became common in automobile cate various things such as tuning (the intensity of the
radios and some military sets but which eventually was re- bulb corresponded to the intensity of the signal) or for
placed by capacitance tuning in console radios. One who settings of various controls (intensity of a bulb indicated
explores these old sets will discover all sorts of novelties the setting of the volume control or of a tone control).
such as peculiar tuning indicators, unusual tubes and appli- This is only a brief listing of the features and peculiari-
cations, different types of bias, etc. If some of these cir- ties to be found in certain of the older sets. The collector
cuits do not work, the modern technician can be quite is certain to discover many more novelties for himself as
confused trying to figure out what they were supposed to each set has some. These things were the edge one manu-
do, not to mention how they work. facturer had over his competitor and each one tried to
Another item of interest is the early attempts to im- capture the public imagination by engineering gimmicks as
prove sound quality. The term high fidelity is not as new well as number of tubes and sensitivity.
as some of us might think. Some manufacturers (RCA in Today, when the vacuum tube itself is a dying thing,
particular) were using the term to describe their products old radios have a particular attractiveness as representa-
in the thirties (in particular, institutional equipment such tives of the past of electronics -an earlier era of our
as classroom phonographs). Some of the more elaborate business hobby.
Where there's
magnetic tape U.S. &
FOREIGN
PATS.
03 0 oE©/K\
20. The Audio Cyclopedia (2nd ed.). Dr. 24. Basic Electronic Instrument Handbook. 40. Radio Transmitters. Gray and Graham.
Howard M. Tremaine. New and updated, Edited by Clyde F. Coombs, Jr. Hewlett - Provides, in a logical, easy -to- understand
here is the complete audio reference li- Packard Co. A basic reference background manner, a working knowledge of radio
brary in a single volume. It provides the for all instruments. Offers saving in time transmitters for quick solution of problems
most comprehensive information on every and effort by having complete information in operation and maintenance. 1961. 462
aspect of the audio art. This new edition in one volume on how to get the most bene- PP. $16.00
includes the latest audio developments in- fit from available devices, how to buy the
cluding the most recent solid -state systems best instrument for specific needs. Reduces
and integrated circuits. It covers all sub- chances of costly errors. Ideal reference 23. Wide Screen Cinema & Stereophonic
jects in the fields of acoustics, recording, book, it is an excellent source for the be- Sound. M.Z. Wystozky. First published in
and reproduction with more than 3400 re- ginner, technician, the non -electrical en- USSR in 1965 this excellent English trans-
lated topics. Each topic can be instantly gineering man, or general non -engineering lation covers wide gauge films, panoramic
located by a unique index and reference scientific and technical personnel. 800 films, circular panoramic cinematography;
system. More than 1600 illustrations and pages. Hardbound. $28.50 technical fundamentals of stero sound re-
schematics help make complicated topics cording for film, as well as details of the
masterpieces of clarity. 1760 pages; 6' x Soviet systems now in use. 284 pages.
9% hardbound. $29.95 25. Operational Amplifiers- Design and $15.00
Applications. Burr -Brown Research Corp. 33. Noise Reduction. Beranek. Designed
A comprehensive new work devoted en-
1. The Technique of the Sound Studio. for the engineer with no special training
Alec Nisbett. This is a handbook on radio
tirely to every aspect of selection, use., and in acoustics, this practical text on noise
design of op amps -from basic theory to control treats the nature of sound and its
and recording techniques, but the princi- specific applications. Circuit design tech-
ples described are equally applicable to measurement, fundamentals of noise con-
film and television sound. 264 pages; 60 niques including i.c. op amps. Applica- trol, criteria, and case histories. Covers
diagrams; glossary; indexed; 51/2 x 81/2; tions cover linear and non -linear circuits, advanced topics in the field. 1960. 752 pp.
A/D conversion techniques, active filters,
clothbound. $14.50
signal generation, modulation and de-
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modulation. Complete test circuits and 27. Noise & Vibration Control. Edit. by
Acoustical Tests and Measurements. methods. 474 pages. $15.00
7. Leo L. Beranek. Practical design and reg-
Don Davis. Provides solid understanding ulatory information; formulas, choice of
of the entire subject of acoustical measure- materials and structures, city codes and
ments; based on actual field test work, 26. The Design of Digital Systems. John hearing protection; indispensable for de-
using commercial equipment. 192 pages; B. Peatman. Textbook for students desiring sign engineers, public officials who prepare
51/2 x 81/2; hardbound. $6.95 to develop a creative approach design capa- regulations for noise control, safety and
bility through digital systems approach. environmental engineers involved in noise
Answers these question: Under what cir- and vibration controls. Covers data analysis,
8. Handbook of Electronic Tables & cumstances it is desirable to implement a transmission of sound, psychophysiological
Formulas, (3rd edition). A one -stop source system digitally? What are some of the design criteria, hearing damage risk, etc:
for all charts, tables, formulas, laws, sym- components available for implementing Wealth of detail, comprehensive index and
bols, and standards used in electronics. In- the system? How do we go about design- concise appendices. 650 pages. $29.50
cludes an 8 -page, full -color fold -out chart ing it? 448 pages. $15.50
showing latest FCC allocations for the en- 28. Environmental Acoustics. Leslie L.
tire frequency spectrum. 232 pages; 51/2 x Doelle. Applied acoustics for those in envi-
81/2; hardbound. $5.50 31. Solid-State Electronics. Hibberd. A ronmental noise control who lack spe-
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Sagamore Publishing Company, Inc. good but general understanding of semi-
980 Old Country Road, plains fundamental concepts; pure theory
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Plainview, N.Y. 11803 and answers, problems to solve. 1968. acoustical properties of materials and con-
169 pp. $10.25
Please send me the books have circled
I
struction listed, actual installations with
below. My full remittance in the amount photos and drawings. Appendixes illustrate
of $ is enclosed. N.Y. State resi- 32. Circuit Design for Audio, AM /FM, and details of 53 wall types and 32 floor plans
dents add 7% sales tax. TV. Texas Instruments. Texas Instruments and other useful data. 246 pgs. $18.50
Electronics Series. Discusses the latest ad-
1 2 3 4 5 6 7 8 9 10 11 vances in design and application which 21. Acoustics -Room Design and Noise
12 13 14 15 16 17 18 19 20 represerit the results of several years re- Control. Michael Rettinger. 1968. The
21 22 23 24 25 26 27 28 29 search and development by TI communica- enormous problems and hazards presented
tions applications engineers. Emphasizes by noise are dealt within an orderly and
30 31 32 33 34 35 36 37 38 time- and cost -saving procedures. 1967. practical manner. With many charts,
39 40 352 pp. $15.00 graphs, and practical examples, the text
covers the physics of sound, room acous-
Name tics, and design, noise and noise reduc-
35. An Alphabetical Guide to Motion
Picture, Television, and Videotape Produc- tion. 392 pages. $17.50
Address tions. Levitan. This all- inclusive, authorita-
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City is a practical source of information about V.S. Mankovsky. Basic theory plus a mass
techniques of all kinds used for making and of design data covers the field with special
State Zip processing film and TV presentations. reference to studios and places of public
Gives full: technical information on mate- performance. For acoustical designers and
Special specialists in sound transmission in cinema
rials and equipment, processes and tech-
Instructions niques, lighting, color balance, special and broadcasting. Features exhaustive
effects, animation procedures, lenses and treatment of studio acoustics by the sta-
filters, high -speed photography, etc: 1970. tistical, geometric and wave methods in
rai Canada and foreign: Add $1.00 per book 480 pp. $24.50 parallel. 416 pgs. $15.00
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Stop i ock
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Electronic StopClock -a compact instrument featuring
an easily-read visual display.
Only 51/8" wide x 31/4" high x 51/2" deep, it uses modern
digital circuitry to provide accuracy of a very high order
with exceptional long term stability. The large 3/8" high,
seven -segment numerals can easily be read from a dis-
tance of more than 15 feet. Maximum count is one hour
(59:59:9).
Three remote -mounted push buttons are used for man-
ual control: START, STOP, and RESET. These buttons
may be placed in a console, operating desk or any con-
venient location. The clock may be remotely located in
the equipment, or on a desk or table. (A mounting flange
is provided.)
TIMEKEEPER Name
www.americanradiohistory.com
Using a Bruel & Kjaer Type 3347 Real -Time 1/3- octave
Analyzer, we plotted room response in some of the busiest
recording studios in the country.
Then we repeated the response measurements
Response: 50- 18,000 Hz. Dispersion: 60° x 120° horn 600 to 15,000 Hz. Sound Pressure Level: 117 dB at 4' on axis, with 50
Dimensions: 27.3/4" w. x 20.5/8" d. x 50.3/4" h. as shown. Weight: 148 lbs. $501.00 suggested professional retail net.
eGulbon
COMPANY
ELECTRO-VOICE, INC., Dept. 131BD, 686 Cecil Street, Buchanan, Michigan 49107
In Canada: EV of Canada, Ltd.. 345 Herbert Street, Gananooue, Ontario
In Europe: Electro.Voice, S.A., Römerstrasse 49, 2560 Nidau, Switzerland
glee.Z7,47eca
Circle 12 on Reader Service Card
www.americanradiohistory.com