Stereo amplifier uses a National LM3871C
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| Stereo amplifier uses a National LM3871C |
4/08/2015
4/07/2015
Audio Power 60W Bass Control Amplifier Circuit diagram
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| 60W Bass Control Audio Power Amplifier Circuit diagram |
Audio Power 60W Bass Control Amplifier Circuit description
This design adopts a well established circuit topology for the power amplifier, using a single-rail supply of about 60V and capacitor-coupling for the speaker(s). The advantages for a guitar amplifier are the very simple circuitry, even for comparatively high power outputs, and a certain built-in degree of loudspeaker protection, due to capacitor C8, preventing the voltage supply to be conveyed into loudspeakers in case of output transistors' failure.
The preamp is powered by the same 60V rails as the power amplifier, allowing to implement a two-transistors gain-block capable of delivering about 20V RMS output. This provides a very high input overload capability.
Audio Power 60W Bass Control Amplifier Circuit Technical data:
Sensitivity:
70mV input for 40W 8 Ohm output
63mV input for 60W 4 Ohm output
Frequency response:
50Hz to 20KHz -0.5dB; -1.5dB @ 40Hz; -3.5dB @ 30Hz
Total harmonic distortion @ 1KHz and 8 Ohm load:
Below 0.1% up to 10W; 0.2% @ 30W
Total harmonic distortion @ 10KHz and 8 Ohm load:
Below 0.15% up to 10W; 0.3% @ 30W
Total harmonic distortion @ 1KHz and 4 Ohm load:
Below 0.18% up to 10W; 0.4% @ 60W
Total harmonic distortion @ 10KHz and 4 Ohm load:
Below 0.3% up to 10W; 0.6% @ 60W
Bass control:
Fully clockwise = +13.7dB @ 100Hz; -23dB @ 10KHz
Center position = -4.5dB @ 100Hz
Fully counterclockwise = -12.5dB @ 100Hz; +0.7dB @ 1KHz and 10KHz
Low-cut switch:
-1.5dB @ 300Hz; -2.5dB @ 200Hz; -4.4dB @ 100Hz; -10dB @ 50Hz
Notes:
The value listed for C8 is the minimum suggested value. A 3300µF capacitor or two 2200µF capacitors wired in parallel would be a better choice.
The Darlington transistor types listed could be too oversized for such a design. You can substitute them with MJ11014 (Q3) and MJ11013 (Q4) or TIP142 (Q3) and TIP147 (Q4).
T1 transformer can be also a 24 + 24V or 25 + 25V type (i.e. 48V or 50V center tapped). Obviously, the center-tap must be left unconnected.
SW1 switch inserts the Low-cut feature when open.
In all cases where Darlington transistors are used as the output devices it is essential that the sensing transistor (Q2) should be in as close thermal contact with the output transistors as possible. Therefore a TO126-case transistor type was chosen for easy bolting on the heatsink, very close to the output pair.
R9 must be trimmed in order to measure about half the voltage supply from the positive lead of C7 and ground. A better setting can be done using an oscilloscope, in order to obtain a symmetrical clipping of the output waveform at maximum output power.
To set quiescent current, remove temporarily the Fuse F1 and insert the probes of an Avo-meter in the two leads of the fuse holder.
Set the volume control to the minimum and Trimmer R3 to its minimum resistance.
Power-on the circuit and adjust R3 to read a current drawing of about 30 to 35mA.
Wait about 15 minutes, watch if the current is varying and readjust if necessary.
Power Amplifier 60 Watt supply voltage 30 - 60 Volts
This is a simple and low cost 60W power amplifier. The optimal supply voltage is around 50V, but this amp can work from 30 to 60V. The maximum input voltage is around 0.8 - 1V. As you can see, in this design the components have a big tolerance, so you can build it with almost any components that you can find at home. The output power transistors can be any NPN types, but do not use Darlington types.
Capacitor C1 regulates the low frequencies (bass), as the capacitance grows, the low frequencies are getting louder. Capacitor C2 regulates the higher frequencies (treble), as the capacitance grows, the higher frequencies are getting quieter.
This is a class B amplifier, this means, that a current must flow through the end transistors, even if there is no signal on the input. This current can be regulated with the 500 Ohm trimmer resistor. As this current increases, the sound of the amplifier is better, but output transistors are dispatching more heat. If the current is decreased, the transistors are dispatching less heat, but the sound quality is decreased.
4/05/2015
Wireless am microphone
Transistor Ql and its associated components comprise a tuneable rf oscillator. The rf signal is fed to transistor Q2, the modulator. Operational amplifier ICl increases the audio signal and applies it through resistor R4 to the base of Q2. Tune an Wireless am microphone AM radio to an unused frequency between 800 to 1600 kHz. Tune Ll for a change in the audio level coming from the radio. Peak the output by adjusting L2 If Ll is disturbed, it may be necessary to readjust L2 for peak performance. Depending on the impedance of the microphone audio sensitivity can be increased by decreasing the value of RIO and vice versa. Wireless am microphone.
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| Wireless am microphone |
Pulse-Frequency Modulated Receiver
This receiver uses an IR-sensitive phototransistor (Clairex, HP, etc.) mounted in a light-tight enclosure with an aperture for the incoming IR beam. An optical system can be used with this receiver for increased range. A 741 amplifies the pulsed IR signal and a 565 PLL FM demodulator recovers the audio, which drives an LM386 audio amplifier and speaker.
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| Pulse-Frequency Modulated Receiver |
AM Radio Circuits
AM radio began with the first, experimental broadcast on Christmas Eve of 1906 by Canadian experimenter Reginald Fessenden, and was used for small-scale voice and music broadcasts up until World War I. AM radio technology is simpler than Frequency Modulated (FM) radio, Digital Audio Broadcast (DAB), Satellite Radio or HD (digital) Radio. An AM receiver detects amplitude variations in the radio waves at a particular frequency. It then amplifies changes in the signal voltage to drive a loudspeaker or earphones.
The earliest crystal radio receivers used a crystal diode detector with no a
mplification. As a result, many broadcast stations are required as a condition of license to reduce their broadcasting power significantly (or use directional antennas) after sunset, or even to suspend broadcasting entirely during nighttime hours. Medium-wave and short-wave radio signals act differently during daytime and nighttime. However, in the late 1960s and 1970s, top 40 rock and roll stations in the US and Canada such as WABC and CHUM transmitted highly processed and extended audio to 11 kHz, successfully attracting huge audiences. Early experiments with stereo AM radio involved two separate stations (both AM or sometimes one AM and one FM) broadcasting the left and right audio channels.
Because of its susceptibility to atmospheric and electrical interference, AM broadcasting now attracts mainly talk radio and news programming, while music radio and public radio mostly shifted to FM broadcasting in the late 1970s. This system was not very practical, as it required the listener to use two separate radios. Synchronization was problematic, often resulting in "ping-pong" effects between the two channels. Reception was also likely to be different between the two stations, and many listeners used mismatching models of receivers.
2/15/2015
What’s more, unpredictable feedback may cause damage to the speakers and is very unpleasant on the ear. This cheap little easy-to-build project can help solve these technical problems.
How many amateur music groups sing through an amp borrowed from a guitarist or bass player? These days, music is a major hobby for the young and not-so-young. Lots of people enjoy making music, and more and more dream of showing off their talents on stage. But one of the major problems often encountered is the cost of musical equipment. A guitar (or bass guitar) amplifier is designed first and foremost to reproduce the sound of the guitar or bass as faithfully as possible. This is where the technical problems arise not in terms of the .25” (6.3 mm) jack, but in terms of the sound quality (the words are barely understandable) and volume (the amp seems to produce fewer decibels than for a guitar). That’s just what this circuit attempts to do. The frequency response of the amp doesn’t need to be as wide or as flat as in hi-fi (particularly at the high end), and so this sort of amplifier won’t permit faithful reproduction of the voice. If you build an adaptor to compensate for the amp’s limited frequency response by amplifying in advance the frequencies that are then attenuated by the amp, it’s possible to improve the quality of the vocal sound.
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| Guitar vocal adaptor amp |
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