Modern tube amplifier construction

What is worth to do, and what is overkill these days in tube amplifiers.


No. 1, which i do not like in modern amplifier, is the vacuum rectifier. GZ34, 5Y3, EZ81..you name it. Makes your power trasformer hotter, internal resistance is high (it makes supply "soggy"), and you MUST make power supply design compromises. If you don´t, then reduced life or damage is possible. In some cases, higher requirements of amplifier will prohibit to use vaccum rectifiers.
Notable exception are gas rectifiers, like 816/866A, 3B28, 394A, CK1006... These don´t have that nasty high resistance, voltage drop <20V is constant. No matter what current you will load them. Plasma inside acts as approximate supply current load display, and you will see the amplifier is turned on.

No. 2, use good quality transformers. If you go with cheap units, dissatisfaction is quite possible.
Examples are-less iron laminations used (bass distortion due to not high enough inductance); muffled treble (too high parasitic inductance due to low quality/bad design windings) or stability problems due to high values of parasitic components.
 Of course you can fight against them with feedbacks, but with low quality transformers you´ll need use more..(stability problems, see previous article)

No. 3, "silicon phobia" in tube amplifiers is not necessary, if implemented correctly. Good examples are MOSFET CCS in cathode phase splitters (improving symmetry), or gyrator instead of anode resistors (more horizontal loadline for tubes-less distortion and output impedance).
MOSFET is cheaper than a good expensive choke, a cheaper way to improve amplifier.

No. 4, audiophile components. To me it does not make sense, to buy a 1000$ capacitors; when a much cheaper teflon or polypropylene capacitors will do same or better job! Use common sense, avoid overpriced "snake oil"

No. 5, simulate or at least verify design´s working points, you are using. Maybe it´s not optimized properly - you would get worse distortion. Tube amplifier schematics are simple, with minimum number of components. Optimal working points is what matters most. Setting up a proper working points is much harder, than draw some schematics.

No. 6, look at schematic blocks the complex way. Think also about powersupply impedance (ideally zero) across frequency spectrum it works in. Maybe you are thinking that a huge electrolytic capacitor will save you, but this in not the case. Thankfully I have access to expensive LC Bridge, and I was shocked to see, how electrolytic capacitors quickly loose their capacity with increasing frequency. Any manufacturer and even lowESR types behave more like coils above 10-20kHz. Around 1kHz many lose half of their rated capacity.
Foil/paper/mica capacitors have quite stable value with increasing frequency. Paralleling electrolytic capacitor with foil capacitor is a must have!
One reason why semiconductor amplifiers does sound bad, is because of high impedance of power supplies. (PSRR decreases with increasing frequency, seen that in many datasheets)

No. 7, tube amplifiers with external bias (-) lacking a voltage stabilisation is not very wise, and can be also a hazard. Bias voltage must come up first, and should be stable much as possible. Typical steepness value of commonly used tubes is in range 3000-10000µmhos.
Yes, that means if bias changes by 1V, quiescent current will change by 3-10mA. Value will shift further with increasing power-tube temperature. Used tubes does shift more.

Simple high voltage drivers for STAX amplifier

This one can be an affordable ticket to STAX club. Thankfully found this high voltage OpAmp from APEX TECHNOLOGIES. 


You will need to add own input circuit, which also does regulate volume and phase shifting (180°, each channel outer stators).
Second schematic is standalone, Lundahl transformer does the job, you can choose other types too. In this schematic a four row volume potentiometer is needed (ALPS). Drawback is limited output, only 142Vrms is possible. But should be plenty for normal volume listening (Stax sensitivities range ~100V/100dB).  
These OpAmps on ebay are about ~50$/pc; you will need four of them (4 Stax stators). Still way cheaper than original Stax amp unit.

Balanced STAX amplifier "Eris 6V6/PP" (FSDD)

During development of cheap Stax amplifier, got a idea about hi-end symmetrical model. 

Sort of cheaper version of WooAudio WES (5000$)


The components selected to best linearity and low distortion.
Endstage can give ~325Vrms, choke max 390Vrms. That's enough to damage ears, and maybe destroy the headphones.
Input full sensitivity is <1Vrms; for 100dB out it should be ~0,2Vrms.
For example to decrease input sensitivity,  different input transformer should be used (LL1922 8:1+1 or  4:1+1)
Due to lower demands of Stax, and  PP mode; stages run in narrow ranges of working points.
Therefore very small distortion is made, also no feedback used here. (bonus)
Second harmonic is canceled due to  PP mode, the 3rd is about 0.05%, the 4th is ~0,003%.
Inductors with a mid tap, is good way to improve symmetry of PP stages and distortion.
800H is a huge number, about XL = 5megohms @ 1kHz .. (This gives horizontal loadline => very low distortion)
Next upgrade would be amorphous core or even a silver windings model (~2000€/choke)..
Lundahl does not make PP chokes, therefore a 5 mA model used.

DHT SE, holy grail of amplification?

Amplifiers are discussed about which design and topology is the best.
Often people do care only about numbers in specs sheets, but is that enough?


Transistors or tubes all are nonlinear devices, some more or some less. Distortion happens, when signal is amplified by nonlinear device, (it has nonlinear gain).
Square law is closest to perfect amplifying characteristics. (device with straight lines was not made yet and probably never will)  Similarity between square law graph and directly heated triode: 
   
Harmonic distortion and intermodulation distortion are related to nonlinear gain in devices.  HD is measured by single test tone, IMD is measured with two tones, or more. Negative feedbacks are used to improve bandwidth, stabilize the gain and lower the distortion and decrease output impedance. It looks nicely on paper to use much as possible negative feedback. But really is it that simple?  When signal passes a nonlinear device, damage to signal is done forever, not possible to take changes back. Negative feedback does REDUCE distortion, but it does not restore output to original shape.  
Harmonic distortion- mainly even order 2nd, 4th are not much disturbing to human ears; It has been measured that it is hard to detect by ears a high amount of 2nd HD.   3rd HD in low amounts has a low deformation effect on sinewaves, therefore it is also tolerated by ears a little.  Combination of 2nd,3rd,4th distortion is what makes amplifiers sound warm, raw etc. (sonic character)
Odd order distortion- 5th,7th, 9th,.. ears are very sensitive to these, because they are dissonant -not a even multiples of fundamental frequency.
Some people prefer DHT SE amps with no feedbacks (count me in). DHT´s have very good linearity,  compared to other devices. With high quality components, is possible to avoid feedbacks. Other group of people believes in modern-more efficient amplification, with strong feedbacks. Very often spec sheet numbers on such amplifiers are looking much better than Single Ended amps (x% THD).

While negative feedback looks like miracle, it does not behave like that. When feedback is increased, it improves low order distortion. But at the same time, it creates new HIGHER order distortion.(!)  (distortion complexity increases, distortion peaks much higher than average value)  It was proven by simulations and measurements years ago.
Now when you created new, higher order distortion, its destructive effect gets increased with intermodulation distortion, creating a "noise floor" which sucks music details out..   The end result is boring, or unpleasant to listen. With simple music it will be not so obvious.(less signals to interact with each other)
But when you listen to complex (chamber) music, it will sound bad.

This detail-masking effect increases with each additional amplifier stages.
If you realize, how many stages a typical modern amplifier has, it gets mindblowing.
Precious details from music are washed out.
Big question is, how to measure this effect, measurement setup needs to be very complex and expensive. More than 10 ultra low distortion signal generators feeding together tested amplifier.  All generators frequency spreaded across HIFI range, each one´s amplitude adjusted to typical energy present in music genres. 
Last generator would be used for injecting a weak test signal, and measuring it´s properties at the amplifier´s output.

With global FB, phase is not always linear with frequency.  Therefore it´s strenght or effects will vary, which can cause oscillations or ringing. Therefore avoid global feedback, use instead local feedbacks (if possible).
Semiconductors guys are not entirely doomed, just use audio rated transistors, which have more linear gains. That way, a lower FB is enough. Avoid transistors for switching use, in amplifiers.

Quo Vadis, SIT?


Static Induction Transistor, known years ago, fell into oblivion. Similar curves like vacuum triodes, internal feedback within channel. Very unfortunate that they are not manufactured today.  Several audio amplifiers (often from Japan) were made with those SITs. When device has good linearity, aggressive global feedbacks can be minimized or avoided. I think this tech should be kept alive. The internal structure is resembles triode too. Commercial example: http://www.digital-do-main.com/ja/ 

833A, best transmitter tube for audio duty?

Few schematics are using this transmitter triode with 1500....2400V plate voltage.
Used with approx.100mA current, in class A1 with 6-10k primary OPT´s.   833A pdf
I was curious, why this tube has so much attention.  I can fully agree with amplifier builders. If you give it A2 drive, 1500V on plate, then you can get 75W with low distortion. On a 5k load (affordable Hammond 1642SE comes to mind)
Very interesting and dangerous amplifier, with nice sound.
(left: class A1@15W   right: class A2@75W or more) Distortion is surprisingly small.