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RE: Where does the current come from?


All of your post makes sense.

I have tried setting L1 at L-Critical, and then selecting L2 as the fast-response and low-DCR item that the power using circuit wants to see.

In this regard, after that experiment was run-- selecting different values for both L2 and C2-- but leaving the L1-C1 combo at L-Critical, or better, the amplifier was a bit quieter-- actually very little quieter, but the ability to track musical dynamics accurately remained compromised regardless of cap values chosen.

Then, L1 was reset at the same value as L2, and caps were chosen according to observed performance while driving a speaker-- that is, not necessarily acccording to theory. This set a Benchmark of outstanding performance overall.

Next, L1 was left the same-- Sub-Critical. L2 was experimented with-- using L-Critical values to begin with, and then lowering the L value in steps-- each case getting an array of different cap values to allow the best performance from each chosen L2 value. (Each L2 value's caps were re-optimized within the P.S.).

In the end, it was found that when L1 and L2 are completely identical-- music assumed a "rightness"-- a dead-on, dead-right musical tracking accuracy that simply couldn't be even approached when L2 was in any way, shape, or form-- different from L1.

I found out that capacitors could be different and of different values as long as the two chokes were identical. In fact, C1 and C2 worked best when each one was optimized by trying different values. The values of C1 and C2 ended up different-- when best overall performance was reached.

In this application, the C2 point ran the final amp stage, but a shunt regulator consisting only of resistors, chokes and caps was also connected at the C2 point. This additional shunt-filter set was used to run the input stage B+ of the amp. That system secondarily works as additional filtering at C2.... as far as the output stage sees it, and that is mostly why C2's value is different from C1's..

While mathematics may appear to correctly dictate the values of components used in an amplifier power supply-- the actual use of that amplifier into an actual speaker will change what the ideal values really are.

An additional thought is to consider part and system symmetry. A system sounds more "together" and "real"-- lifelike, and present-- when as many of the parts influencing the sound as is practical-- are all identical.

---Dennis---







This post is made possible by the generous support of people like you and our sponsors:
  Atma-Sphere Music Systems, Inc.  


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