ENCYCLOPEDIA OF RADIO ELECTRONICS AND ELECTRICAL ENGINEERING Thermal distortion in HiFi amplifiers. Encyclopedia of radio electronics and electrical engineering Encyclopedia of radio electronics and electrical engineering / Transistor power amplifiers When the development of HiFi amplifiers began several decades ago, electronics as a science was still very poorly developed. However, despite this, the results were very good (to date). Over the past 30 ... 40 years, light has been shed on many more or less significant issues, but the results of this development have in no way (or almost nothing) affected HiFi technology. Readers interested in this area observe with great amazement that there is no progress in HiFi technology, and on the contrary, sometimes retreats are observed (for example, digital, TV with its specific sound quality). Several decades have passed since the first landing on the moon, and sound engineering still remains somewhere in the era of "horse-carriages". Let's get acquainted with such physical phenomena, which are rarely discussed even in the specialized HiFi literature. And meanwhile, in reality, this is the very "Columbus egg" ... Preamplifiers, HiFi power amplifiers and other audio devices are known to be double-checked. On the one hand, specialists in electronics and acoustics subject any device to strict control using measuring instruments, both in the process of assembling it and in assembled form. On the other hand, each amplifier is also characterized by people with good hearing - not necessarily specialists (for example, they can be musicians or music lovers). Listening to the sound of music without any devices, they attribute the amplifier to one class or another. The peculiarity of the emerging situation is that in practice the results of these two checks very often contradict each other. It happens that despite good measurement results, the sound quality does not seem very good to the ear, and vice versa. For example, several decades ago, the author built his first HiFi semiconductor amplifier, which had very good characteristics obtained using the measurement methods that existed at that time. But the amplifier had such a killer "fresh" sound that it was a pity for the time and work spent, and I enjoyed the beautiful sound of the vacuum tube amplifier for a long time afterwards. Over the past years, more and more electrical testing procedures have been developed by specialists, amplifiers with ever higher electrical characteristics are being born, and the sound quality, as determined by listening, still leaves much to be desired. Specialists (now even non-professionals) are especially annoyed by the fact that a device classified in terms of electrical characteristics to a high class, when used as an amplifier, gives an unpleasant (sometimes unbearable) sound. Many of my friends who are passionate about electronics and familiar with HiFi, after lively discussions, began feverishly redesigning measuring instruments, developing new ones, inventing ingenious ways of measuring, spending months on it and then getting angry that all this does not lead to truly convincing results. Electrical characteristics and listening scores very rarely correlate with each other. The fact that somewhere between known things some "muck" might be hidden, the author first noticed when, having modified the method of measuring intermodulation distortion using two signals, he applied (purely by chance) a third one (which turned out to be at hand - a slow signal with a frequency of about 0,1 Hz, approximately triangular in shape). The result, controlled by an oscilloscope, turned out to be very peculiar. Until now, the amplifier, which had passed the "exam" quite well, now at certain points in time began to introduce various gross distortions, undoubtedly associated with the presence of a third signal. And at the same time, the amplifier was undoubtedly in nominal mode during the test, well below the overload limit. The nature of the distortions was rather bizarre and capricious: at some moments of time they looked like an "amplitude cutoff", giving either the second or the third harmonic. Using an oscilloscope to observe the entire "repertoire" was difficult, it was impossible to accurately assess these distortions. and it was not clear what to do with "it". When the frequency of the slow signal in the infrasound range changed, the nature and magnitude of the distortion changed somewhat. An amplifier of another type, which immediately, "in hot pursuit", was "subjected to the same tests, similar distortion was less. Despite fairly good measurement results (spectrum analysis showed less than 6,1% harmonic distortion), both Amplifiers were perceived equally poorly by ear. The author has long classified amplifiers as devices "dangerous for the nervous system." And the whole series of measurements was taken due to the fact that the standard measured parameters looked stereotyped and annoyingly beautiful, which cannot be said about the listening results. All this seemed illogical and incomprehensible. Since it was not possible to evaluate the detected distortions, the measurements were interrupted, although during the discussion of the problem with acquaintances, some excellent hypotheses were successfully tested. And only a few years later the problem accidentally found its solution. You need to proceed from the fact that most electrical methods of measurement and listening differ from each other in one seemingly insignificant, but very important point. How are measurements taken? We first apply signals from some generator to the input of the amplifier and only then control the output signal. The whole measurement method itself is a stationary process: the signal has been in the amplifier for quite some time before being subjected to Fine Analysis. The measurement process is quite long (for example, it takes several seconds or even minutes), and its results refer to the steady state and characterize the continuous presence of a standard, well-defined measuring signal at the input. What happens when listening, and what is the difference here? The musical input produced, for example, by a violinist chaotically plucking a bow across the strings of a violin, or a guitarist plucking the strings of a guitar ferociously, or a drummer pounding a drum frantically, or an inspired singer singing, can be anything but standard. signal at 1 kHz. It (the input signal) varies pseudo-randomly in amplitude, frequency, spectral composition and stereo characteristics. And the ears and the brain perfectly analyze the acoustic quality of such a signal and infallibly evaluate the impressions of additional sound signals that appeared in addition to (instead of) the original sound melody. which, although somehow connected with this music, has nothing to do with it. All sound transmission systems introduce certain distortions. And this applies not only to any "noisy" music with its wide range, but also to narrow-band speech, for example, to any lecture, in a "wooden" language. The main question is how to measure these distortions and how to classify amplifiers. The experience of past years shows that the control carried out so far was not correct enough and did not provide a reliable foothold for such a classification. In industrial electronics (measuring technology, automatic regulation and control technology, instrumentation), professionals have accumulated a huge number of observations, developed and widely used measurement methods that (due to their high cost and highly specialized nature) can be mastered and used only by a small group of specialists . If it were possible to invest the same amount of money and intellectual energy in the development of HiFi technology, then, without a doubt, we would not be where we are now. What has not yet been sufficiently controlled by specialists in acoustics and electronics is the rather rapid thermal changes in regimes and the sometimes very significant transient distortions caused by them. These distortions are not detected by any of the currently existing measurement methods, since, in essence, they are all stationary. These distortions could only be captured with a dynamic test signal and a fast distortion meter (spectrum analyzer). Most readers, of course, know that when the external temperature and the temperature of the semiconductor crystal change, the entire set of parameters of the semiconductor changes: Therefore, it is hardly possible to obtain an improvement in sound engineering parameters without taking into account thermal processes. And all this is so simple that, probably, that is why it has been overlooked until now. Author: S.GYULA; Publication: N. Bolshakov, rf.atnn.ru See other articles Section Transistor power amplifiers. Read and write useful comments on this article. Latest news of science and technology, new electronics: Machine for thinning flowers in gardens
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