inguz amplifier
2005-10-06 2005-10-03 2005-09-29 2005-09-27 highZ/lowZ output taps tweak component values for 4 and more gain; add rear photo add background and references and finish photos first version; rough exterior & some internals pictures
This is a high-performance audio power amplifier using the LM3886. Its home is to bi-amp my Linn Keosa floorstanding loudspeakers (using their passive crossover, but separate amplifier channels for top and mid/bass) with SqueezeBox2 as source. Theres no preamp; volume control is digital, internal to the SB2. The high output impedance means this amplifier should work really well with single-driver full-range speakers too. Input: 2 channels. Output: 4 channels (Left-A, Left-B, Right-A, Right-B) >25 watts per channel. Gain: 21dB into 4 ohms. Enclosure: approx 8 x 11 x 3 inches, copper, brass, acrylic and mahogany. Weight: approx 40lbs.
inguz amplifier 2005 not for commercial use

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Background
In the couple of months since I bought a Squeezebox, my previous system Linn Axis, Rega Planet, Nakamichi DR3, Rega Brio have been largely unused. So they need to move upstairs, and the Brio be replaced with a simple power amplifier. A friend introduced me to DIYAudio.com, and things kinda snowballed from there. Hours and hours of reading and learning. Its been a slippery slope, as you will see by the References section at the end of this document. The end result: I wanted to build an amplifier. It ought to have some of the arts and crafts aesthetic, be built fairly easily with my very limited skills and resources, and sound great. So, the inguz amplifier. Total cost: somewhere below $150, plus many hours uncounted. It looks good and sounds good; if I can resist the temptation to keep tweaking, it should last for years.

Amplifier

The amplifier is a single stage; the only active element is the LM3886 chip. LM3886 is configured in a modified (unbalanced) Howland current pump to provide output impedance approximating 4 ohms, with the output impedance being reasonably constant across the audio range (primarily resistive). Using an unbalanced bridge achieves good stability with easily available components; theres no need for closely-matched resistors beyond 1% tolerance. One interesting feature of this circuit is that you can take a choice of two outputs: a high output impedance (similar to many tube amplifiers) or a near-zero output impedance (voltage drive, much more typical of solid-state amplifiers). Currently Im experimenting with both: high-Z to drive the top end of my loudspeakers, and low-Z to drive the bass/mid. Theres plenty of room for experimentation. The sense component is fine with 10% tolerance; it consists of a power resistor and handwound air-core inductor. The inductor keeps output impedance up at high frequencies as the open-loop gain of the LM3886 decreases. It also helps roll off HF gain slightly, although the other compensation components are more important for loop stability. To roll your own inductor: 13 turns, over a 6mm diameter nylon tube, then wrapped with heat-shrink. Input impedance may drop somewhat if load impedance is high. Preferably the source should be capable of driving low impedance (<1K), especially if you leave some of the channels outputs disconnected. A buffer stage before the main amplifier would be useful if your source cant meet this requirement. Bridging connecting A and B channel outputs directly together for increased power should be naturally supported with a high-output-impedance design. I include a small series resistance for additional reliability (but mostly just because I had these gold-cased Dales sitting around, and they look mighty fine); 0.02 ohms is probably too low, try 0.1 instead. If you hear a rushing noise with bridged channels, it means one or both the channels are oscillating! Do NOT bridge the low-Z output taps!

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Stability should be OK with the components below. If you have oscillation, try adding a small capacitor (10pF or so) across R2.
Note that output impedance of your source should be included in the R1 value when making calculations (see spreadsheet at http://www.cabezal.com/~inguz/amp/inguz_amplifier.xls). Component values in the diagram give output impedance 4 ohms and gain 21dB at the Out_HighZ tap, when driven from a source with output impedance 200 ohms (the Squeezebox). The Out_LowZ tap gives near zero output impedance and 26dB gain; to reduce gain in voltage mode to 21db, add 4k7 in series with the 29100 feedback resistor. I built this amp with point-to-point wiring, but a PCB would have been easier (and doubtless more forgiving of missteps from fat fingers and hot irons).

Power supply

The power supply uses a large (approx 500VA) toroidal transformer with 20-0-20 volt secondary windings at 120v input, a single high-current bridge rectifier, and 30000uF filter capacitance per rail. The single positive and negative rails drive all four amplifier channels; this is not a monobloc power supply. Components were chosen simply due to availability. Mains fuse is 3A slow-blow. (Theres quite a large current inrush at switch-on). I didnt include fast-blow fuses on the DC rails; the LM3886 chip includes some protection, so DC fuses will probably only save your transformer if you have a short somewhere in the wiring. A C-L-C filter would have been nice, but my enclosure is quite crowded already, so theres no room for large choke inductances. Instead I use a C-R-C design compromise, which provides reasonably good ripple rejection. Somehow I squeezed in four 15000uF/63v caps; it would have been easier if the chips were chassis-mounted, but that would have disrupted the clean sides of the enclosure. (Next time, Id try to parallel several low-profile 4700uF/63v capacitors instead of the larger 15000uF/63v here).

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Additionally, each chip has local decoupling of 100uF electrolytic || (680nF polyester + 1R) || 100nF ceramic, per rail to ground and 100nF from V+ to V-. Dont skimp on the decoupling capacitors, and put the ceramics as close to the pins as possible. Since I had a nice green/orange dual LED to hand, I wired it so the green shows power and the orange should light up if too much current is being drawn (overload, or something badly wrong in the internals).

Enclosure

The enclosure has five sides of copper, with the back (connector panel) being acrylic. The corner supports are mahogany. Materials were chosen for aesthetics and availability. Base and top: 8 x 11 x 0.1875 copper plate. Front and sides: 2 x 0.25 copper bar. Rear: acrylic solid surface. Copper is a beautiful metal, although very expensive a local source supplied cheap offcuts at approximately $3 per pound weight. It is fairly easy to drill and cut, and conducts heat extremely well (there is no need for separate heatsink). Copper is heavy; the case alone provides most of this amplifiers weight. Clean copper tarnishes quickly in air, so a protective coating of polyurethane rub-on varnish is applied. Caution: copper is very malleable, and will bend and dent if dropped or banged. A slice of mahogany was available, so I used it. (Dont buy mahogany instead, rescue it from antique furniture!). Other hardwoods are readily available. Oak would be nice. Surface treatment is Danish oil. (In the end I cheated, so as not to stress the wood: the legs dont actually hold the amp, in the pix you can see rubber feet underneath too.)

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Acrylic solid surface (Staron, available from kitchen/bathroom suppliers) is very strong, quite heat resistant, and easily worked; it can be drilled, sawn and sanded with woodworking tools. Besides use for the back panel, I also use it for insulating supports inside the amplifier. A half-inch panel thickness does require recesses for mounting most panel connectors. Again, suitable stock was already to hand. Fixings use brass 6x32 and 8x32 bolts. Insulating supports use nylon 6x32 bolts. Sides are joined using x 3/8 copper bar, drilled and tapped 8/32.

References

For build quality, I was definitely inspired by Peter Daniels work, and the wonderful GainClone assortment in BrianGTs gallery.
http://www.6moons.com/audioreviews/audiosector/patek.html http://www.briangt.com/gallery/nigc
On the subject of amplifier output impedance: although current-driven amplifiers (Hawksford, Pass) are interesting, I dont think theyre practical in my environment. Instead I became convinced that non-zero but non-reactive ZOut should make for a good loudspeaker interface. Theres a giant DIYAudio thread covering many aspects of this and the back-EMF issue. Alan Blumleins ancient patent 421546 on power supply design was an interesting perspective (since I think the same concerns apply to audio amplifiers), as well as another Blumlein patent 425553 on the control of output impedance through feedback. Both these are completely readable and relevant seventy years on.

http://www.essex.ac.uk/ese/research/audio_lab/malcolmspubdocs/J12%20Distortion%20reduction%2 0MC%20current%20drive.pdf http://www.diyaudio.com/forums/showthread.php?s=&threadid=57995 http://www.6moons.com/audioreviews/firstwatt/firstwatt.html http://www.doramusic.com/patents/421546.htm http://www.doramusic.com/patents/425553.htm
Mauro Penasas MyRef design amazed me; although I didnt really understand his circuit, it provided the motivation to create an interesting chip-amp. Also, this was my introduction to the Improved Howland Current Pump.
http://www.diyaudio.com/forums/showthread.php?s=&threadid=54571
My final circuit is similar to this line-driver from Jerry Steele, with his compensation and gain calculations too:
http://www.elecdesign.com/Articles/Print.cfm?AD=1&ArticleID=4529 http://eportal.apexmicrotech.com/mainsite/pdf/apex_10_92.pdf
Error correction fascinates me, from the Quad 405 (sitting in my basement still, waiting for a day in the light, but now transformerless), through Malcolm Hawksfords voluminous contributions, to Aubrey Sandmans strange solution of simply doubling open-loop gain. But having chosen a Howland-based circuit, and not wanting to include a simple buffer nor the complexity of an error-correcting bridge, I settled on a single-chip amplifier.
http://home.jps.net/~shiloh/currentdumping.pdf http://www.essex.ac.uk/ese/research/audio_lab/malcolmspubdocs/J4%20Distortion%20correction%2 0circuits.pdf http://www.lsionline.co.uk/lsi/features/techfocus/article.asp?ID=-I9LOCH

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What next? A super-symmetry version of the current circuit? A Class H chipamp? A spirally-loaded loudspeaker? Who knows
http://www.passdiy.com/pdf/zen-v6.pdf http://www.diyaudio.com/forums/showthread.php?s=&threadid=36398 http://www3.ocn.ne.jp/~hanbei/eng-whyspiral.html http://www.6moons.com/audioreviews/cornu/cornu.html

Pictures

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The internals:

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Preservation Technologies, L.P. c/o Bob Strauss, VP of Marketing 111 Thomson Park Dr. Cranberry Township, PA 16066 800.416.2665 (Voice) strauss@ptlp.com (Email) www.ptlp.com (Web) (Equipment and Supplies) Preservation Technologies offers deacidification products and services for books and paper-based documents. Charles A. Richardson Richardson Records 1938 Baltimore Annapolis Blvd. Annapolis, MD 21401-6248 410.757.3733 (Voice) charlesrichardson@comcast.net (Email) (Preservation Transfer; Restoration; Equipment and Supplies) Safe Sound Archive c/o George Blood 21 West Highland Avenue Philadelphia, PA 19118-3309 215.248.2100 (Voice) 215.242.2177 (FAX) georgeblood@safesoundarchive.com (Email) http://www.safesoundarchive.com/ (Web) Safe Sound Archive is a leading provider of archival audio services with locations in Philadelphia and New York City. Services include preservation transfer, restoration, storage, and consulting. Jon Samuels 422 West 147th St. New York, NY 10031-4801 212.234.8704 (Voice) recordedlegacy@yahoo.com (Email) (Preservation Transfer; Restoration; Consulting and Training) Specializing in transfer of discs up to 16 inches recorded at any speed, with any playback curve, including vertical cut discs and metal parts. Able to transfer -inch open reel tapes, 1 and 2 tracks; inch open reel tapes, 3 and 4 tracks, recorded at any speed, any playback curve. Able to transfer Dolby A and DBX 150 encoded tapes, cassettes 1 7/8 thru 3 3/4 ips, Dolby B and C encoded tapes, DAT, CDR, 1630 and DVD-R. Available for consulting.
Seth B. Winner Sound Studios, Inc. c/o Seth B. Winner 2055 Whalen Ave. Merrick, NY 11566-5320 516.771.0028 (Voice) 516.771.0031 (FAX) SethBWinner@optonline.net (Email) (Preservation Transfer; Restoration; Equipment and Supplies; Consulting and Training; Disaster Recovery) Recording engineer specializing in preservation and restoration of historic and unique live recordings. Equipped to manage -inch reel-to-reel tapes recorded from 1 7/8 ips to 30 ips; lateral and vertical cut lacquer discs and pressings up to 20-inches; metal parts and molds. U.S. representative for the Keith Monks record cleaning machine. Clients include BMG, Sony, Pavilion, Metropolitan Opera, N.Y. Philharmonic Opera, Minnesota Orchestra. Consulting services available upon request. Sirensound Digital c/o Paul Turney Somerford House 22 Somerford Road Cirencester Gloucestershire GL7 1TW England, United Kingdom (0044) (Voice) paul@sirensound.com (Email) http://www.sirensound.com/ (Web) (Preservation Transfer; Restoration; Consulting and Training) Smolian Sound Studios c/o Steve Smolian 1 Wormans Mill Ct. Ste. 4 Frederick, MD 21701-3020 301.694.5134 (Voice) 301.694.5179 (FAX) smolians@erols.com (Email) www.soundsaver.com (Web) (Preservation Transfer; Restoration; Consulting and Training) Specializing in preservation and restoration of recordings on discs, dictation belts, wires, analog tapes, and other formats. Available for consultation on preservation projects, studio design and technician training.

Michael N. Stosich Esoteric Sound 4813 Wallbank Ave. Downers Grove, IL 60515-3405 630.865.5403 (Voice) 630.960.9137 (FAX) esoterictt@aol.com (Email) www.esotericsound.com (Web) (Equipment and Supplies) Specializing in audio products for archival sound reproduction, including Rek-O-Kut turntables, Esoteric Sound electronics and noise reduction equipment, phono cartridges and custom styli, and record cleaning supplies. Gene Tognacci 11535 Meadow Lake Drive Houston, TX 77077 281.496.2358 (Voice) 218.597.8018 (FAX) gtognacci@houston.rr.com (Email) (Preservation Transfer) Specializing in low cost transfer of vintage home recordings to compact disc. Able to transfer all discs up to and including 16-inch transcription discs recorded at 33 1/3, 45, and 78 rpm. Also able to transfer 1/4-inch magnetic tape on up to 10-inch reels, as well as cassettes and mini-cassettes of all speeds, recorded in 1/4 track and 1/2 track format. Tom Fine Custom Recording c/o Tom Fine 158 Overlook Drive Brewster, NY 10509 914.588.9551 (Voice) tom.fine@gmail.com (Email) (Preservation Transfer; Restoration) I specialize in magnetic and grooved-disk analog media, transferring to digital with high-resolution PCM capabilities. Every task is done by me personally so I can assure consistent and excellent quality. With plenty of experience working for institutional and archival clients, I understand your needs, deadlines and funding pressures. Formats handled: analog reel tape (1/2" and 1/4"; speeds from 30 IPS down and all common track configurations); cassette and microcassette tape; all grooved-disk formats; DATs; Sony PCM-F1 (EIAJ) digital. Call or e-mail and we can discuss your project.
Tuscan Corporation Luann Schneider 888.457.5811 (Voice) 847.458.7281 (FAX) info@tuscancorp.com (Email) www.tuscancorp.com (Web) (Equipment and Supplies) Tuscan Corporation manufactures ProVent Audio containers for -inch tape. Our containers are molded from inert polypropylene and vented for archival storage. They are available in two sizes to accommodate 5-inch and 7-inch reels. Please feel free to contact me directly or visit our website for more information. Vox Melba Mastering Labs t/a Fifth Continent Australia Pty Ltd. 594 Blende Street Broken Hill NSW 2880 Australia 61.08.8088.7366 (Voice) 61.08.8088.7388 (FAX) vox_melba@yahoo.com.au (Email) www.voxmelbamastering.com.au (Web) (Preservation Transfer; Restoration) Vox Melba Mastering Labs is the only Australian company specializing in the preservation transfer and sonic restoration of audio recordings. We are equipped to transfer and manage the following formats: cassettes, R-DAT, 1/4-inch 2-track and 4track (3-3/4-, 7-1/2-, 15-ips), 35mm full-coat magnetic films (for Cinerama, CineMiracle and Kinopanorama widescreen formats), flat discs (all speeds and sizes up to 16-inches) and cylinders (celluloid 2- and 4-minute; wax cylinders at a later date). Our equipment includes the ELP Laser Turntable and modified Edison multi-speed cylinder player with Stanton 500-AL MK II and handpolished stylii. Restoration software includes DC-6 and Protools, with Cedar to be added in 2007. J S R Lasher, the co-owner, has over 3-decades experience behind him as a record label executive and producer. Clients include Didgeridoo Records and Intrada Records. ***** This directory was compiled by the ARSC Technical Committee and Nathan Georgitis for information purposes only. No endorsements are intended or implied. Corrections, additions or deletions should be addressed to: Nathan Georgitis 1299 University of Oregon Eugene, OR 97403 (or) Nathan_Georgitis@hotmail.com

GEOGRAPHICAL INDEX Australia Vox Melba Mastering Labs California Adolph Thal Audio Engineering (ATAE) The Audio Archive, Inc. Bill Elledge Encore Consultants Donald H. Holmes Michael F. Khanchalian Millennia Music and Media Systems Canada Gary Barclay Richard L. Hess Graham Newton Colorado Airshow Mastering Connecticut Kevin L. Mack Europe George Brock-Nannestad Cube-Tec International GmbH Historic Masters, Ltd. MemNor Audio Archiving Services Georgia Osiris Studio Illinois Michael N. Stosich Indiana Mahern Archival Preservation Louisiana MasterDigital Corporation Maryland The Cutting Corporation Charles A. Richardson, Richardson Records Smolian Sound Studios Massachusetts Creative Audio Works Clark Johnsen Media Sciences, Inc. Michigan James R. Powell, Jr., Gramophone Adventures Missouri H. Duane Goldman
New York AudioVisual Preservation Solutions Adrian G. Cosentini Peter Dilg Ira H. Kemp, Cylinder Systems, Inc. Patrych Sound Studios Douglas Pomeroy Jon Samuels Tom Fine Custom Recording Seth B. Winner Sound Studios, Inc. North Carolina Bluefield Mastering, Inc. Ohio Bruce Leslie, Pro Recording Service Pennsylvania ATR Services, Inc. Mark Obert-Thorn Preservation Technologies, L.P. Safe Sound Archive Tennessee BMS/Chace, LLC Texas Karl F. Miller Kurt R. and Diane Nauck III, Naucks Vintage Records Joe Salerno Gene Tognacci Virginia Airshow Mastering GOODS AND SERVICES INDEX Preservation Transfer Airshow Mastering The Audio Archive, Inc. AudioVisual Preservation Solutions Gary Barclay Bluefield Mastering, Inc. BMS/Chace, LLC George Brock-Nannestad Creative Audio Works The Cutting Corporation Adrian G. Cosentini Peter Dilg Bill Elledge Encore Consultants Richard L. Hess Historic Masters, Ltd. Donald H. Holmes Ira H. Kemp Michael F. Khanchalian Bruce Leslie Kevin L. Mack Mahern Archival Preservation MasterDigital Corporation
The MediaPreserve Media Sciences, Inc. MemNor Audio Archiving Services Karl F. Miller Graham Newton Mark Obert-Thorn Osiris Studio Patrych Sound Studios Douglas Pomeroy James R. Powell, Jr. Charles A. Richardson Safe Sound Archive Joe Salerno Jon Samuels Seth B. Winner Sound Studios, Inc. Smolian Sound Studios Gene Tognacci Vox Melba Mastering Labs Restoration Airshow Mastering The Audio Archive, Inc. AudioVisual Preservation Solutions Bluefield Mastering, Inc. BMS/Chace, LLC Creative Audio Works George Brock-Nannestad The Cutting Corporation Adrian G. Cosentini Peter Dilg Bill Elledge Encore Consultants Richard L. Hess Historic Masters, Ltd. Clark Johnsen Ira H. Kemp Michael F. Khanchalian Donald H. Holmes Bruce Leslie Kevin L. Mack Mahern Archival Preservation MasterDigital Corporation The MediaPreserve MemNor Audio Archiving Services Graham Newton Mark Obert-Thorn Osiris Studio Patrych Sound Studios James R. Powell, Jr. Charles A. Richardson Safe Sound Archive Jon Samuels Seth B. Winner Sound Studios, Inc. Smolian Sound Studios Tom Fine Custom Recording Vox Melba Mastering Labs

Disaster Recovery The Audio Archive, Inc. George Brock-Nannestad Richard L. Hess Osiris Studio Safe Sound Archive Seth B. Winner Sound Studios, Inc. Equipment and Supplies Adolph Thal Audio Engineering (ATAE) ATR Services, Inc. Cube-Tec International GmbH George Brock-Nannestad Peter Dilg H. Duane Goldman Kevin L. Mack Millennia Music and Media Systems Kurt R. and Diane Nauck III Preservation Technologies, L.P. Charles A. Richardson Seth B. Winner Sound Studios, Inc. Michael N. Stosich Tuscan Corporation Consulting and Training Adolph Thal Audio Engineering (ATAE) Airshow Mastering ATR Services, Inc. The Audio Archive, Inc. AudioVisual Preservation Solutions Bluefield Mastering, Inc. BMS/Chace, LLC George Brock-Nannestad The Cutting Corporation Encore Consultants Richard L. Hess Donald H. Holmes Clark Johnsen Ira H. Kemp Mahern Archival Preservation Media Sciences, Inc. MemNor Audio Archiving Services Graham Newton Mark Obert-Thorn Osiris Studio Safe Sound Archive Jon Samuels Seth B. Winner Sound Studios, Inc. Smolian Sound Studios Tom Fine Custom Recording