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In the previous article, I told
It's time to show the manufactured transformers for lamp technology. The first was the output transformer for the JCM800 guitar combo amp. I got a good iron 0.35 mm on the collapse. Good section 12.5 cm2 He began to wind on his machine. I was not particularly in a hurry, for 2-3 hours one winding per day. Each layer was impregnated with wax with the help of a building hair dryer and a candle, so that later the entire transformer would not be boiled in paraffin.
The result is such a coil, the winding scheme: 1/4 - I, II - with taps for 4, 8, 16 Ohms, 1/2 - I with a lead from the middle of the winding, II - with taps for 4, 8, 16 Ohms, 1 /4 - I.

Shoulder symmetry primary winding the resistance was good.

And here he is the first-born mounted on the chassis. It turned out to be an excellent transformer, it gives good tight bass and good sharpness at high tones.

The process of winding two more transformers for the fender 5E3, unfortunately, was not filmed, but the semi-finished products are already wound on the photo. Already wound power and output transformers.

Here I decided to go further in terms of aesthetics. I saw that on all branded amplifiers the windings are closed with metal covers. If we take "our" trances into rewind, then there are not only no covers, but also iron is not always without corrosion. This circumstance, of course, does not really interfere, but provides additional insulation of the plates. So I began to make covers myself from galvanized sheet with a polyester coating. From this tin, ebbs are bent on the windows. It is white or brown on one side and gray on the other. We draw a pattern on a piece of tin.

The manufacturing process and the sequence of cutting are painted in the picture. The shaded parts, indicated by the number 3 when folded, are tucked under part 4. After the cover is bent along all lines, we put it on the transformer, note what needs to be cut off and cut off. We give the desired shape with the help of clamps and drill holes for the tightening bolts. If there is a long drill, we drill directly in place through the holes in the gland of the assembled transformer. The edges of the cover, which were marked along the width of the iron, can be measured 2-3 mm more, so that after tightening the transformer, these edges are bent around the perimeter with a mallet. This will be more aesthetic. The next stage is painting the lid and iron from the ends. We get something like this.

The next two output and power transformers, again for another JMC800, I already wound on my transwinder.

The outlet was impregnated with paraffin as described above. It is not necessary to subject this procedure to force. The result was such brothers.

Medium throttle doesn't count. An excellent choke from daylight fixtures that does not require further development.

On the new transwinder, the winding process has become much more fun.
In general, for me, the myth about the horrors of winding transformers has been dispelled.

Usage: in radio engineering, in particular in transformers audio frequency. Essence: the transformer has a core made of two parts: ferrite 9 and steel 10. Primary winding with pins 1, 2 and secondary with pins 3,4,5,6,7,8 are distributed on the rods of these two cores. The ferrite part of the core 9 works well on the HF sound range and therefore, in the winding with leads 7.8, sound frequencies are induced from HF to LF, including midrange, since the winding is located on the ferrite 9 and steel 10 halves. The steel part of the core works well at the low frequencies of the audio range. 3 ill.

The present invention relates to radio engineering, to ULF transformers. An audio frequency transformer is known, consisting of a steel core with a primary, secondary winding ("Handbook of a radio amateur" GEI, 1963, p. 148, p. 8-19b. The disadvantage of a steel core is an increase in losses with increasing frequency - this is perceived as a weakening of reproduction high frequencies. Known transformer with a core of two halves of high-frequency ferrite material (see Japanese magazine "Fujitsi selintifie techicde journal" 3.1975 g (prototype). This transformer operates at high frequencies. The purpose of the present invention is to expand the frequency band of the transformer. This goal is achieved the fact that the transformer core is made of two halves - ferrite and steel, the primary winding is located on two halves, and the secondary winding is divided into several coils, some of which are located on different halves of the cores, one is located on two parts of the cores at the same time. in Fig. 1-3. th frequency (see fig. 1) contains a core of two halves: ferrite 9 and steel 10, assembled end-to-end. The primary winding with leads 1, 2 is located on the ferrite 9 and steel 10 halves of the core. The secondary winding with terminals 3, 4 is located on the ferrite half 9, the secondary winding with terminals 5, 6 is located on the steel half 10. The secondary winding with terminals 7, 8 is simultaneously on the ferrite 9 and steel 10 halves of the transformer core. In FIG. 2 is a transformer device, the halves of which are made of O-shaped halves, in contrast to the W-shaped ones of FIG. 1. In FIG. 3 shows an image of a transformer on circuit diagram: the ferrite half 9 is shown as a dotted line, the steel half 10 is shown as a solid line. The primary winding with terminals 1, 2 and the secondary winding with terminals 7, 8 are located with their edges to the ferrite 9 and steel 10 halves, the secondary winding with terminals 3, 4 is located on ferrite 9, and the winding with terminals 5, 6, on steel 10. When applying an audio frequency voltage to the primary winding with leads 1, 2, it excites both halves of the core: ferrite 9 and steel 10 (see Fig. 1, Fig. 3). The steel half 10 works well at the low frequencies of the audio range, therefore, in the secondary winding with terminals 5, 6, the voltage of low audio frequencies and medium frequencies is induced and the high frequencies are poorly induced. The ferrite half 9 works well in the HF audio range and therefore, in the winding with pins 3, 4, the audio frequencies of the upper part of the range are induced. In the winding with terminals 7, 8, the entire frequency band from HF to LF is induced, including the midrange, since the winding is located on the ferrite 9 and steel 10 halves. The transformer of Fig. 2, the halves of which are O-shaped. When assembling the halves in an overlap, the transformer turns out to be broadband (according to Fig. 1). The use of this transformer allows you to expand the band of reproducible frequencies. (56) Handbook of the radio amateur. Gosenergoizdat, 1963, p. 148, fig. 8-29b. Fujitsu scientific technical journal, march 1975, p. 65-71.

Claim

The new is the well-forgotten old.
Proverb

Twenty years ago, like many radio amateurs interested in sound equipment, I read the Radio magazine and its younger brother, the collection Help for the Radio Amateur. With my friends, I vigorously discussed the required number of zeros after the decimal point in the coefficient of non-linear distortion of the "ideal" amplifier and its slew rate rushing into space. Then, after all, they did not so much listen to the sound as they admired the technical characteristics. Unfortunately, many people still suffer from this disease.

Once, around 1980, at the then banned radio market near the Young Technician store in Avtovo, I saw a young man selling Sennheiser headphones. On his chest, on a paper clip, hung a piece of paper with the inscription: R = 600 ohms, DF = 40 Hz - 18 kHz. I already knew something about this firm, although it was a rarity for Leningrad. The features surprised me. How so? All headphones of that time did not write a frequency range less than 20 Hz - 20 kHz. Even the Hong Kong ones. To my surprised question, the guy replied: "And you listen to them." And he gave advice: do not believe your eyes, but believe your ears.

We met. It was the famous "lampmaker" Sergei Yegorov. He invited me to his house, and I ended up in the room of a true professional fan - in the "sound" paradise. A skyscraper of dozens of classrooms rose in a semicircle on the desktop. measuring instruments, boxes with lamps, capacitors, transformers were piled around, there were piles of cases for amplifiers, "Kinap" speakers, etc. Plywood, wooden blocks were stacked against the wall and there were several pairs of one and a half meter horn acoustic systems. I have never seen this.

Sergey showed me several Japanese radio engineering magazines that were filled with tube circuits. My bewilderment grew: the whole world is inundated with Japanese transistor technology; for yourself, means lamps, and for other countries - transistors? Why?

Finally, I was amazed by the natural and lively sound of the tube amplifier and the fact that, as Sergey said, it has a non-linear distortion factor of as much as 1%. Everything was mixed up in my head.

Years passed. My interest in sound engineering and sound increased. Deciding to combine a profession and a hobby, I went to work at the Radio House. But there the issue of sound quality and its improvement was far from in the first place. For example, the sound engineer doesn't like the sound; technicians roll a robot-like multi-measurement complex on wheels, test the path and say that the parameters are normal and no complaints are accepted. But radio enthusiasts have always preferred to use transformers in the audio path, especially at the input and output of mixing consoles, microphone amplifiers and at the output of microphones. With undisguised nostalgia, old sound engineers recalled the transparent dynamic sound of professional tube amplifiers with high sensitivity acoustic systems on large paper diffusers. And the ears didn’t get tired of them during the work shift, they added.

By the beginning of 1995, Yegorov's followers had gathered together. It seemed that now you can quickly solve all the problems of sound quality. We are closely engaged in the study of the influence on the sound of individual radio components (resistors, capacitors, lamps, wires, etc.); began to determine the patterns of sound changes when using various circuit solutions, combinations of elements and installation methods; they began to simplify signal circuits, reduce the number of elements used, and shorten the signal path. After each change, the sound path was carefully listened to. Having abandoned the "circular path" - OOS, we began to abandon all kinds of "parallel paths". Moreover, it turned out that these "circular" and "parallel" paths are everywhere and it is not so easy to identify them. But, if you manage to do this, how much the sound improves! For example, eliminating the "parallel paths" in the power supply improves the sound by an order of magnitude more than replacing the interconnect cable or speaker cable, even if it is very expensive. Although this does not mean at all that you need to forget about the influence of the design and material of the wires on the sound quality.

After the circuits we developed with galvanic interstage connections left one output (or separating) capacitor, the question arose: is it possible to get rid of it? At one time, the founder of Audio Note, Hiroyashi Kondo, said: "If the number of elements in the circuit is reduced by at least one, then one more source of mechanical sound will be eliminated." And I think many people know how detrimental capacitors are to sound.

We began to look for a new solution, which turned out to be very old. According to the magazine "Sound Practices", back in 1912, the first sound amplifier "Audion" was created, which did not have any coupling capacitors at all; all interstage connections in it were built on transformers (but the first resistive-capacitive circuits, according to the same magazine, appeared only in 1916). So, using transformers, you can completely get rid of isolation capacitors in the audio path, and taking into account modern developments- and from resistors. Only lamps and transformers will remain! And that's it!

What is the situation in this area today? Two years ago, Marantz released the flagship Project T1 amplifier with transformer-coupled filament tubes. For many years, the well-known developer of the company "Yoshiki Industrial Co., Ltd" Shishido has been using transformers throughout the entire path in his models, and Kondo-san himself has recently been increasingly using interstage transformers in his designs. And finally, from the "Internet" we learned that in Japan there is a famous audiophile Sakuma, who has been developing various amplifying devices based on the equally famous Tamura input, interstage and output transformers for 20 years.

What is so attractive (was and has become again) transformer connection? It is known from theory that the transformer cascade (Fig. 1, a) differs from the resistive-capacitive one (Fig. 1, b) in the following features:

The disadvantages of transformer stages are increased weight and size parameters (which is not so important in lamp designs) and not very good amplitude and phase-frequency characteristics. However, the latter can be improved by improving the quality of the transformer, which, however, is not easy and expensive.

Let's check (for those who like to count everything) the first, least obvious advantage of the transformer stage over the resistive-capacitive one. Take, for example, a 6S45P-E lamp, which has a high gain μ≈50, low internal resistance at the operating point R i = 1.25 kOhm, and a low level of intrinsic noise. We select the operating point: the anode voltage U a \u003d 150 V, the quiescent current I 0 \u003d 35 mA, while the power dissipated on the anode will be P a \u003d U a I a \u003d 5.25 W. In order to reduce non-linear distortions, we take the load factor α = 3.76, then the resistance of the anode load according to alternating current will be R a \u003d αR i \u003d 4.7 kOhm. Let AC voltage at the output of both stages will be U n \u003d 60 V, and the load is the resistor R n \u003d 47 kOhm (input resistance of the next stage). Let's take a transformer with efficiency η tr = 0.9 (which is real) and primary winding resistance R t = 200 Ohm. In this case, the transformation ratio K t \u003d √ (R n / R a) \u003d √10.

An important conclusion follows from this: in the transformer stage, 9/10 of the signal power reaches the load, and in the resistive-capacitive stage, only 1/11 part (the remaining 10/11 are wasted on the anode resistor!).

Well, all right, numbers are numbers, but what about the most important thing - sound? We already knew how different transformers of different companies can sound - input (MC) and output. We calculated and improved our output transformers many times, taking into account only the parameters. How contagious is the virus of technocracy! True, experimenting with the sound of output transformers is an extremely laborious work, and this is not very correct, because we had several non-transformer cascades in front of the transformer. I had to go from simple to complex. We decided to work out the sound of only one linear transformer stage.

We came across an old output push-pull transformer from the Symphony radiogram. Without touching the windings and reassembling the core iron with a gap, we made a standard transformer cascade. When connected to a power source and measuring the parameters, poor characteristics were obtained, in particular, a frequency response of 90–11000 Hz (at a level of -3 dB). And how was it heard? Despite the clearly audible limitations of the frequency range, the sound turned out to be fast, energetic, with great dynamic contrasts. At the same time, there was so much music in it that we were simply amazed. Traditional resistive-capacitive circuits did not give such an effect. Galvanic circuits did not help either (a special case of resistive-capacitive).

Based on the accumulated non-technocratic experience, a thorough analysis of the transformer design was made and a stumbling block was found. By removing this "stone", we were able to achieve the desired sound. At the same time, the technical characteristics clearly deteriorated: frequency response 22–24500 Hz (-0.5 dB), Kni = 0.12% (50–12500 Hz, U out = 1 V). Once again, we were convinced that the connection between the technical parameters at our disposal and the sound quality is far from unambiguous.

The resulting transformer for the output stage of a linear device turned out to be quite versatile: it can be successfully used in a linear preamplifier, an amplifier for phones, an output stage of a CD player, an RIAA corrector, or a digital-to-analog converter. On the this moment two versions of the transformer have been developed and put into production: "TL 45" for lamps 6S45P-E and "TL 4C" for lamps 2A3, 6V4G, 6S4C, connected according to the circuit shown in fig. 2. This circuit is a further development of the "transformer idea" in the output linear stages.

The fourth property of transformer stages (see above) makes it very attractive to use them in pre-power (driver) circuits operating on powerful output triodes of the 300V, VV30B, 211, 845, GM70, SV572, etc. types. In this case, the transformer allows you to get a huge amplitude of the output voltage (100 V and above) with low non-linear distortion (0.2–0.4%), as well as low output resistance, which is necessary for the terminal lamp to operate with grid currents.

Work in this direction led to the creation of a driver interstage transformer TI300B for lamps 300B, 2A3, 6B4G, etc. It is used in the driver stage of the "SPb Sound T70SE" amplifier on a 6B4G lamp to "drive" the GM70 (Fig. 3). This stage provides an alternating voltage of 100 V at a load of 12 kOhm at Kni values ​​\u200b\u200bof 0.3% (60 Hz), 0.22% (1 kHz), 0.45% (12.5 kHz); Frequency response: 17.5-22000 Hz (-0.5 dB), 7-65000 Hz (-3 dB); gain 4.5.

Rice. 2

A similar circuit solution is also used in single ended amplifiers"CAD 805" by "Cary", "Ankoru" (by "Audio Note") and some others.

Rice. 3

Using the fifth advantage of the transformer stage turned out to be the most difficult, and it took a very long time. But how simplified the circuit of a push-pull amplifier (Fig. 4)! The number of lamps was reduced to three due to total absence resistors and capacitors in the signal circuit. The resulting push-pull interstage transformer TI300PP has the following parameters: asymmetry ± 0.02 dB (18–16000 Hz), with Uout = 40 V and Kni values ​​\u200b\u200bof 0.65% (60 Hz), 0.55% (1 kHz), 0, 46% (10 kHz); Frequency response: 26-16000 Hz (±0.5 dB), 18-20000 Hz (±1 dB).

Rice. four

At the recent "Hi-Fi Show'98" exhibition in Moscow, the chief developer of "Audio Note UK" Peter Quartrup was asked about the advisability of using transformer coupling in tube amplifiers. The answer was unequivocal: transformer cascades actually significantly improve the sound, but this is beneficial for the production of amplifiers only in high price categories, since a good transformer is very expensive.