Welcome! Need support, you got it. Or share your ideas and experiences.
Return to Planar Speaker Asylum
after my Donizetti's have been burned in, all the sonic parameters
i reported a few days ago have been gradually improving, so
passive biamping IS THE WAY if you want to know everything
about that what your 1.6 have really to offer; in particular, overall
musicality, well formed soundstage and huge reduction in the
usual congestion with grand orquestra recordings may be mentioned
as the main improvementsnow i've just connected this very simple circuit with minute
resistors and caps between pre & amps to dispense with my
beloved northcreek coil & jensen/ansar caps (thanks Davey!!):high pass: 5.49k ser - 4.53k par - 2.2nF ser
low pass: 5.11k ser - 68nF par - 49.9k ser - 22nF par
i've used CRAP components (just $3 as a whole), but
i'm planning replacing them by much better ones (thanks
Arbelos!!)at the moment all i can say is that nothing bad happened when
i connected the circuits, one to each maggie (i was really chickening out to see
no protection at all between my amps outputs & my 1.6 drivers),
so the system is playing music!! give me time & i'll report backbest, paco
Follow Ups:
Paco, after reading your description of your high/low-pass networks I'm a little confused with the notation you're using.high pass: 5.49k ser - 4.53k par - 2.2nF ser
How is that to be interpreted? The "ser" and "par" I'd assume mean series and parallel. To me, it looks like you're saying the 5.49k Ohm resistor is in series with the output from your pre-amp. There is a 4.53k Ohm res in parallel with that resistor. And a 2.2nF capacitor in series with the resistors.
It seems like everyone has had positive experiences with passive bi-amping, that may be my next project after I replace the binding posts on my 1.6s. Thanks.
Chia-Hao
This is it. Paco used a couple of resistors instead of the pot.http://indy.kpt.arl.psu.edu/daver/passive line level crossover.htm
Davey.
Now that I see the original circuit diagram, it makes a lot more sense. But, brings up a few more questions.As stated elsewhere in this thread, this circuit should be placed immediately before the amps. But, how should the amps be connected to the MG1.6s? It seems to me that if you have this xo between pre-amp and amps, and the amps connected to the stock tweeter and woofer connections, you'd have two "identical" xo's in the signal path. If you still have the stock crossovers in the 1.6s, you'd have redundant xo's, correct? Would I need to by-pass the stock crossovers to use the passive line xo?
Also, how would I scale the values of the caps/resistors to match amps with 100k input impedance? Is there a formula for this? Thanks again.
Chia-Hao
> Also, how would I scale the values of the caps/resistors to match amps with 100k input impedance? Is there a formula for this?
The formula is:
1
r = --------
2*pi*f*c
Let me double check some values.
r here is the input impedance of the amp, correct?
f is the crossover point: 600Hz for lowpass and 1600Hz for highpass (are these the correct values?)
c is the needed cap value.So, the formulas simplify down to:
1
c(lowpass) = -------------
3768 * R(amp)and
1
c(highpass) = --------------
10048 * R(amp)With 100k input impedance these evaluate out to
c(lowpass) = 2.7E-9F = 2.7nF
c(highpass) = 9.9E-10F = 0.9nFThe value for the highpass doesn't seem too far off, but lowpass seems out of whack. I think I'm missing something here. One of my assumptions or calculations must be wrong, and after looking over it I can't figure it out. Any ideas what's going on?
Thanks for your patience.
Chia-Hao
Another fellow has asked about recomputing for a 100k input impedance. I'll do that and update the page, and put up a little spreadsheet that will calculate for other values.Anything under about 50K and the insertion loss and other drawbacks make the circuit unsuitable in my view. I much prefer the active version myself.
http://indy.kpt.arl.psu.edu/daver/Active Xover for MG16.htm
Regards.
Davey.
NT
The first requisite to low-level biamp (electronically or passively) is to remove the existing high-level XO from the 1.6QR. Both Paco and I did this long ago.
NT
hi Davey!your circuit works very well so far (i already sent you an email with
some comments), yet i noticed this:- the overall sound seems to me a little bit dark; this is nice
to my ears, as any trace of the typical 1.6 brightness is gone,
but i wonder if my cheap resistors & caps may be doing some harm
to the higher highs- there is a small hum/buzz on the panels, especially on the
tweeters, so they are no longer dead silent, as before; the buzz
is not annoying with the music, and it doesn't depend upon
the line xo, as it continues with the preamp turned off, but
i wonder if it may be due to the fact that there isn't anything
between the amps outputs and the driverscomments about your experience? thanks in advance!
best, paco
I absolutely agree with Arbelos. Move the crossovers closer to the amps and not the preamp.Regards.
Davey.
Listen for the hum/buzz with everything disconnected from your amplifiers inputs. If it goes away then you've most likely got some kind of wiring problem with your line level crossover. If the hum is still there then you're hearing low frequency noise from your power amp that was there all the time. (You don't have a series capacitor between the amp and your QR panel now to attenuate it.)WORDS OF CAUTION: Don't turn on/off your preamp or fiddle with any connections while the power amps are on. Give it a minute or so to make absolutely sure the power supply capacitors are discharged. Also keep in mind that any turn on/off transients from the power amps are now being felt directly by the QR panels. This is assuming your amps don't have some kind of mute during turn on/off. BE CAREFUL.
Regards
Davey.
hi Davey,thanks again for your help!
now it's noon and not very quiet, but i disconnected the
tweeter amp inputs and it seems to me that the buzz is gone,
yet i'll repeat the test tonight to make sure; in view of
this so you think there may be a "wiring problem", but please
what sort of problem do you have in mind?as for caution, i'll follow your directions, so i'll make
changes, connections & the like only after turning my
Donizetti's off (well, they have a "stand by" mode which
disconnects the amps from the speakers--as for manual,
so i think this should be preferable to make a true turning off?)did you notice the somewhat "dark" character of the music
when using your passive line xo?best, paco
Hi Paco!The slight buzz comes from the bits of unscreened cable after the now higher impedance in the XO - tweeter amp connection. The attenuator increases impedance and stray fielfs are more easily induced, and before you had the low preamp output impedance soaking up any stray fields.
A very slight attenuation comes from the 100 pF input capacitance of the amp, which forms a capacitive attenuator with the series 2.2nF capacitance, but the resistive divider plays a bigger role. You'll have to play a bit with the values. Therefore a pot isn't too bad an idea to fiddle first and then select one to three optimal divider values.
Generally, very often an increase in resolution and reduction in distortion and grain makes the sound less bright, sometimes up to an irritating degree, in the first moment. If you eliminate diffraction you get a similar feeling: The definition isn't anymore where you expect it: In hyped harmonic or etched isolated 'details'. It is rather back there where it was first: In subtle shadings of timbre, natural and more expressive micro-dynamics and in a general feeling of 'breath', often accompanied by an extension in lower range soliidity and extension.
hi Arbelos!your diagnosis of the problem seems plausible to me, especially because
i decided to locate the small networks on the preamp side, so
there are long runs of wire after them to the amps; do you think
the problem might be softened if i take the reverse path and
locate the networks on the amps side? or maybe i could separate
the tweeter network from the woofer ones and locate the first
on the amps side and the latter on the preamp side?adding a pot is beyond my skills at the moment, but you can suggest
small changes to me, or even include some change in the networks
with your welwyn resistors... that would be really great and i'd
let you know what i hear in comparisonyour description of the audible effects of raising amps resolution
is extremely interesting to me, as it seems to exactly coincide
with what i'm hearing now; it's certainly irritating at times,
as i've been playing just with the caps brands after the amps, but for the first
time i can listen now to the pure amps, with nothing in between;
now increasing the vol no longer increases the brightness!!!yesterday night i listened to Klemperer's EMI version of Beet's 3rd
and the transients/dynamics of the first movement was almost
real for the first time in my life, while the deep tension and
emotion of the funeral march was absolutely thrilling; also,
the low level detail in my dearest piano & guitar recordings
have clearly increased, but in a NEW way, as i'm hearing not only more harmonics,
but also they are related more correctly to each other in a
much more convincing cohesive wholenow my 1.6 continues to be extremely revealing speakers, but
the kind of the whole "revelation" has deeply changed: it seems
to me as if the sort of musical whole message belongs to another
more natural & relaxed leaguebest, paco
wherever you introduce a higher impedance, you should keep the higher impedance signal path as short as possible. Ie. you should preferably put both XOs close to the amp. The tweeter amp will be more susceptible because the mains harmonics will go unattenuated to the tweeter, whereaes the music signal is attenuated. So you you are reducing signal to noise ration in a major way, when you allow mains induced noises. BTW i don't like screening either, so really keep the high impedance connections very, very short, and you might get away with a simple non-metal box solution and unscreened cables, which is IMO the most easy and cheap way for excellent sound.Which mastering of the Klemperer Beethoven 3d do you have? This recording is one of my very few desert island recordings, and the funeral by Klemperer is so hair-raisingly beautiful! But EMI has IMO done mostly disastrous jobs on their remasterings (and a very mediocre one on many new recordings) The analogue recordings were very mediocre too. I have a japanese one which was quite good. I'd like to hear of a good new one on CD...
Isn't the effect of the improved sonics similar to a better photo film emulsion: The gradations of the three coolour layers track much better, so the colours stay balanced and coherent over a much wider range of dynamics (maximal and minimal differenciable light intensities)?
thanks Arbelos!i'm very nervous, just home and all the time from the system
to the computer, then back again, trying to understand what
is going on with the buzz and with the very unusual kind of
improvement which has took place after the line xo thingi'll reverse the connections on the line networks for them
to be placed very close to the amps, then i'll post back, but
in the meantime: is there any DANGER with my present setup?
the buzz is not annoying, but i'd like to make sure it's not
dangerous either!Klemperer's 3rd: recorded STEREO in 1959 with the Philarmonia Orq.,
Abbey Road Studios; dig remast 1990 by EMI (CDM 7 63356 2);
this is one my desert island recordings too, and i always use
it to test everything: it's not the quality of the sound which
matters here, but if the thing to be tested is able to convey
the tension/emotion which i know there is on it!!best, paco
There's no danger IMO. It's just an annoying sound, which needs to be reduced.Power supply buzzes and internal noise is passed to the drivers also unattenuated, and this might increase with a higher impedance too, evewn if you put the XO close to the amp. Hope that's not the case. You'd need then a good buffer to eliminate it (again). This is one of the very few drawbacks of active or passive/active solutions.
You said something about somebody from NZ telling you that this XO wan't work. What were the arguments?
OK, i'll deal with the new connections soon, but now i'm
more relaxed by knowing there is no danger... :)Paoletti, the designer of the Donizetti's says these amps
are very silent, with just some mechanical noise from the
transformer, so he thinks the cause should be looked for
somewhere elseyes, the NZ guy says he did a simulation with Calsod (?) and
according to his model the xover points are wrong; you can read
the details of his arguments by opening the long attachment
enclosed in my message; also, i sent a copy to Daveyi've just tested for transients/dynamics: boy oh boy!! this may well be
the department where more spectacular improvements can be found;
for fast transients my favourite work in Walton symph 1, 2nd
movement (Rattle good, Daniel even better, though a little forward),
and for brutal dynamics Penderecki's Symph 3, 2nd mov (Witt);
after listening to them i now see that the magnepan panels need
much more control that the one which can be got through the coils;
this is what Davey predicted and he was absolutely right!!!best, paco
Calsod is a professional computer program for speaker modeling, crossover design, and crossover optimization. It has been around for years and is still one of the best on the market.Frank
> > How is that to be interpreted? The "ser" and "par" I'd assume mean series and parallel.that's right!
> > To me, it looks like you're saying the 5.49k Ohm resistor is in series with the output from your pre-amp. There is a 4.53k Ohm res in parallel with that resistor. And a 2.2nF capacitor in series with the resistors.
well, rather this: the 5.49k resistor and the 2.2nF cap in series,
the 4.53k in parallel IN BETWEEN the former resistor and cap
(in series with signal, in parallel from signal to ground)> > It seems like everyone has had positive experiences with passive bi-amping, that may be my next project after I replace the binding posts on my 1.6s. Thanks.
yes, in biamping you get more from your 1.6, especially resolving
power, then musicalitybest, paco
Paco, am I correct in assuming that your Donizetti's has single-ended inputs? My configuration is balanced so I need a network on each leg.
Mike, i don't think that you need the set twice, you'll only need the serial parts twice, the parallel ones can go from + to - direct. But it has to be re-scaled (i'd say half the parallel cap values, and double the parallel R values, parts *very* closely matched).
Thanks Arbelos!
http://www.audioasylum.com/forums/mug/messages/11052.html ?as to your hybrid passive /active bi-amping experiences.
Yes . Thank you!
yes, i'm working single-ended (fortunately!); you can always
start by using an adapter, then add more networks later onmake sure about the input impedance of your amps and be
ready to raise the vol of your preamp quite a lot after
inserting the line xoi've listened a few hours today and still don't understand how
$3 in cheap line components can overcome the more than $200
of my coils & caps after my amps; more precise info tomorrowbest, paco
the above networks are OK just for amps with 39k input impedance;
you should adapt them otherwise
best, paco
This post is made possible by the generous support of people like you and our sponsors: