Hi mah,Originally Posted by mah
Seems like you are still hung up over L1/C1 whereas I have told you we must consider the entire filter to the Finals L1/C1/L2/C2, and the power transformer and rectifiers too !!
Fred Terman and the Aussie who wrote RDH4 have been around forever, what, about 70 years ?? People have been building tube amp power supplies this way all that time. It is really a shame, because none of those books' supplies work well in tube audio. The supplies ( in both quoted references ) are only OK for industrial applications, or maybe for an amplifier to call the pigs at the State Fair. To honor the music in my living room, frankly, those ideas don't work well at all.
Guess what, we found a much better way to do it. It has only been publicly disclosed for about 5 years, where I wrote about it on the Tube DIY Asylum, with great controversy from some EEs who were narrowly educated and unable to think in an open manner.
You seem to want to only see a certain type of material, from your stipulation
"as long as it is published in a professional journal and is peer reviewed".
Well mah, this is new and none of it is published in any such stipulated journal!!!! Sorry sir. :-)
What I can send you is a series of chronological postings by two EEs, ( who also happen to be VERY SHARP audiophiles ), that have built and experimented with this new approach I introduced, and posted their findings, engineering explanations, and listening experiences.
These two well-known and well-respected EEs are John Swenson and John L. Hasquin, and I would liken them on the AA Forum, or on any horn speaker design forum, to be somewhat like GM is here on the Altec Forum. ( well, no one is quite like GM, GM is very special !! )
Anyway, IF you are open to learn something new, you, or really any other Altec Forum member may send me a private email address, and their "moniker" here, so I know who has responded. I will promptly send back via email attachments a Word and/or PDF file, of their complied chronological postings on the subject.
Besides the postings of Swenson and Hasquin, one of my chief protagonists, Henry Pasternak, ( who I believe is a college EE professor ), was able to come up with a proper explanation of the " sub-critical L1, small C1 combination", in his case, 35 mHY and 20 uF . He later went on to post his measuring experiments of it on AA. He showed us all it produced a better result than a conventional L-Critical L1 as espoused by the two references you elected to post. Unfortunately for Henry, he never has heard the circuit, he just showed us his proof of concept. Poor guy, IMHO, he missed the best thing, not the reason "why", nor the numbers on his DMM, but hearing WHAT it does !!
So its up to you, or any one else. If you want to learn about this, just contact me with a send-to address and your moniker. I am drlowmu AT gee male dottie commie. I personally feel that this is the biggest advance in tube audio design I have ever experienced in my lifetime. I have no real financial interest in this. I am happy to share it as an amateur, with others. I KNOW it will transform a low powered tube amp into an instrument that will play the Altec speakers with great bass, ultra wide dynamic contrasts, and unprecedented speed. Just the things that most low powered single ended amps today don't do !!
BTW, off subject, I am a big fan of no loop feedback amps, for correct timing of music playback. That is heavenly on any high efficiency speaker. Write to me and I will respond.
LowOhms
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