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by Douglas Self, Doug Self
Self on Audio, 2nd Edition
Cover image
Title page
Table of Contents
Copyright page
Introduction
Preamplifiers and related matters
1: Advanced preamplifier design
Audio circuitry
Level detection circuitry
Noise gate
2: High-performance preamplifier
Disc input stage
Construction
3: Precision preamplifier
Architecture
Subsonic filter
High-impedance buffer
Tone-control stage
Active gain-control stage
Power supply
Construction
4: Design of moving-coil head amplifiers
Design problems
A new approach
The final circuit
Comparing performance parameters
Practice
5: Precision preamplifier ’96, Part I
The evolution of preamplifiers
Design philosophy
The preamp gain structure
Disc input
Moving-coil input criteria
The moving-magnet input stage
In search of accurate RIAA
Noise considerations
Circuit details
6: Precision preamplifier ’96, Part II
Line input criteria
Line input buffering
Controlling tone
Bass and treble
Turnover
Active gain stage
Output muting and relay control
DC blocking and additional details
Supplying power
Choosing the right op-amps
The performance
The preamplifier in perspective
7: Overload matters
8: A balanced view, Part I
Electronic versus transformer balancing
Balancing basics
Electrical noise
Line outputs
9: A balanced view, Part II
Balanced input technologies
Input/output combinations
Wiring philosophies
10: High-quality compressor/limiter
Components list
11: Inside mixers
Microphone inputs
Equalisation
Auxiliary sends: foldback and effects
Panpot
Summing
Solid-state switching
Performance factors
Appendix the technique of multitrack recording
12: Electronic analogue switching, Part I: CMOS gates
Electronic switching
Part 1: analogue gates
CMOS gates in voltage mode
CMOS gates in current mode
Series-shunt current mode
Control voltage feedthrough in CMOS gates
13: Electronic analogue switching, Part II: discrete FETs
Discrete FET switching
Discrete FETs in voltage mode: the series JFET switch
The shunt JFET switch
Discrete FETs in current mode
Soft changeover circuit
Control voltage feedthrough in JFETs
Power Amplifiers
14: Sound mosfet design
Design fundamentals
Determining performance
Reducing costs
Reducing distortion
15: FETs versus BJTs: the linearity competition
Class A stage
16: Distortion in power amplifiers, Part I: the sources of distortion
How an amplifier (really) works
The seven distortions
The performance
Determining open-loop linearity
Direct open-loop gain measurement
Model amplifiers
17: Distortion in power amplifiers, Part II: the input stage
Vive la differential
Input stage in isolation
Input stage balance
The joy of current mirrors
Improving linearity
Other considerations
18: Distortion in power amplifiers, Part III: the voltage-amplifier stage
Examining the mechanism
Stage distortion
Voltage stage enhancements
Benefits of voltage drive
Balanced voltage amplifier stage
Open loop bandwidth
19: Distortion in power amplifiers, Part IV: the power amplifier stages
The class war
Distortions of the output
The emitter follower output
Complementary feedback output
Quasicomplementary outputs
Triples
Power FET outputs
20: Distortion in power amplifiers, Part V: output stages
Large-signal distortion
Improving large signal linearity
Crossover distortion
Switching distortion
Selecting an output stage
Closing the loop
Conclusions
21: Distortion in power amplifiers, Part VI: the remaining distortions
Distortion 3: quiescent current control
Emitter follower outputs
The CFP output
Distortion 4: nonlinear loading of the voltage amplifier stage by the nonlinear impedance of the output stage
Distortion 5: supply ground loops
Power supply rejection
Distortion 6: induced output current coupling
Distortion 7: nonlinearity from incorrect NFB connection point
22: Distortion in power amplifiers, Part VII: frequency compensation and real designs
Making a pole dominant
Including the output stage
Nested feedback loops
Two pole compensation
Design example: a 50 W class B amplifier
Quiescent current stability
Output stage
23: Distortion in power amplifiers, Part VIII: Class A amplifiers
The art of compromise
The class A output stage
Quiescent control systems
A new class A design
Performance
And finally
24: Power amplifier input currents and their troubles
Conclusions
25: Diagnosing distortions
Making distortion measurements
Two technical challenges
Crossover distortion
Classes B and AB
Large-signal non-linearity
Other distortions
Diagnosis
26: Trimodal audio power, Part I
The power and the glory
Health and efficiency
Improving noise performance
27: Trimodal audio power, Part II
Test mode
Thermal design
The complete circuit
Performance
28: Load-invariant audio power
Output loading and distortion
The load-invariant concept
Large signal nonlinearity
Doubled output devices
Better output devices
Feeding forward
The trouble with triples
Loads below 4 Ω
Improved 8 Ω performance
Implementing the load-invariant concept
A point of departure
In summary
29: Common-emitter power amplifiers: a different perception?
Topology to the test
Adding Spice to the investigation
Squaring the circle
30: Few compliments for non-complements
An alternative architecture
Fewer stages, more complexity?
Devices and desires
Output considerations
31: Loudspeaker undercurrents
Speaker model
Simulating the effects
And with multiple speakers?
32: Class distinction
Class structure
Combinations of classes
Parallel or series connection
Series connection category
In summary
33: Muting relays
Protection circuit operation
Relay-on timing
Off timing criteria
AC loss detection
Preamp enhancement
Other relay functions
Power amplifier relay control
Efficiency circuit
34: Cool audio power
The mathematical approach
Simulating dissipation
Power-partition diagrams
Effects of increased bias
Class-B and reactive loads
35: Audio power analysis
The probability density function
The cumulative distribution function
Some probability density functions
Measuring probability density functions
Probability density functions via DSP
Deriving actual power
Reactive loads
In summary
Index
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