Driving hard (Part I)

Introduction

I’m a firm believer that if you don’t share, you don’t get back and learn. What the point of not sharing what you’ve learned? I asked myself the question again yesterday, just to push me a bit further. Joys of Easter break is that I have the time to sit down and write. At least for a little bit.

Here is the result of my quest of the years to find the best drivers for a SE amplifier. I’d been looking and experimenting with them in terms of best linearity at large volt swings (I mean large when I say 200Vpp), harmonic profile and most importantly the sound contribution.

Why should you bother? Well if you are in the DHT space (otherwise don’t bother reading further) and, unless you are building a 4P1L amplifier, the majority of the output valves require large volt swing. You also need good headroom. Therefore if the driver is clumsy, it will ruin your expensive project. Again, one of the reasons why people claim that their 300B sound bad. Achieving a driver which can perform 200Vpp effectively with minimal distortion and a decaying harmonic content isn’t a simple task.

In one of my recent post, I blogged an example of the GM70 amplifier. Look at the curves below and the demand to get all of the juice:

Yes, you can load it with a steeper load and use a 6KΩ instead of 10KΩ to get more power, but you still need the same volts to get the full swing.

The Driver Topology

I tried it (mostly) all over the years. Transformer coupled, choke loaded, resistor loaded. However, in my experience the best is the gyrator load. You may have a different view,  and so you may: well, it’s a free world and I’m not expecting you to agree with me. If you are prepared to accept my point for view, then you can continue reading this post 🙂

The hybrid mu-follower (aka gyrator load) is a very effective topology for a driver. You need sufficient volts at the supply, but that’s not generally a problem. You will need at least 25-50V more than the largest voltage swing. Most of the valves I will review below have a good compromise operating point at about 200V. For a 200Vpp or 250Vpp headroom, this means you need 200V+250V/2+50V = 375V. MOSFETs can work at this level and providing you put them the right heatsink size we’re on business!

Initially some years ago I explored the use of LEDs, diodes and particularly SiC diodes to bias the valves. However, I found later that a bit of cathode degeneration by placing and (unbypassed) resistor was a good choice. This linearise the valve a bit and won’t impact the output impedance of the driver. However, if the resistor is within a reasonable value (smaller than 300R I found in practice), the impact on the Frequency Response (FR) is manageable and also the reduction in gain of the stage.

I will present in this post my favourite contenders for the best drivers. These are:

  1. 6e6p-dr: the brother of the famous 6e5p, but a real performer on his own
  2. 6z49p-dr: an amazing pentode.
  3. 6z52p: high-gm and mu pentode. A replacement for the E810F or D3a for some. This is a pentode that works brilliantly on all fronts. Even at low voltages (thanks JC Labs)
  4. 6C45p: this little triode monkey oscillates widely, but can be tamed and works well, so don’t be afraid.
  5. 6e5p:  this famous Russian beauty doesn’t need introduction
  6. 12HL7: the sleeper and best discovery last year.

In all cases I found the sweet spot with fixed bias which allows me to dial-in the right operating point in conjunction with the gyrator setting point. Once the best performance was measured (and listened) it was replaced with an equivalent resistor and re-tested. A tedious job, but worth the efforts.

A note on oscillation

These valves have mostly high gm and gain. You’ve been warned. Don’t even attempt to build with them without special attention on the building aspects. It will oscillate, believe me. You should add grid, anode and screen stoppers. I prefer nice ferrite beads added straight to the socket pins. Continue reading “Driving hard (Part I)”

Tracing (MOS)FETs to be used in the gyrator PCB

I took out the Locky Tracer and remove some dust, it was about time. One of the most popular lower FETs I use in the gyrator PCB is the now obsolete BF862. Here is the tracing output:

Continue reading “Tracing (MOS)FETs to be used in the gyrator PCB”

EML-20A DHT Preamp

Recently I posted about this amazing DHT. Although my original intent was to use them as part of my Parafeed headphone project, I decided to try them as first stage on my system. I have been playing lately with mid-mu DHTs with great success, and this valve didn’t let me down at all.

Continue reading “EML-20A DHT Preamp”

ELROG ER801-A Review

I’ve been listening for over a week the Elrog ER801a prototypes. I can say that I’m very please with them. Before I make any further impressions about their sound, let me start from the beginning.

I purchased last year from ELROG (now Deutsche Elektronenröhren Manufaktur GmbH.) a pair of these valves to be used on my VT25/10Y preamp.  I do not own any 801a, but have a good stash of NOS VT25 and 10Y valves. I love this preamp, probably my favourite with the 01a.

Thomas Mayer offered me to send me a preliminary set of prototype valves in advance so I can submit them to the mercy of my tests. That sounded like really good fun and also I thought that the folks out there would be very keen to see the results.

Continue reading “ELROG ER801-A Review”

GM-70 SE Amplifier

I keep getting requests about SE amp designs using the 6SF5 driver. Here is what I have come up with for the 6SF5 driving the GM-70. With only one stage you can drive the GM-70 to full power and get 18W out of this lovely transmitting valve: Continue reading “GM-70 SE Amplifier”

John Cale and the LCO @ Barbican, London

Not many times I write about music, probably I should do it more often. In the end, everything I do here is around and about music, so why not?

I don’t consider myself a music critic, and want to be far from that. Anyhow, I wanted to just share my experience at the Barbican Centre in London this weekend. You may probably know, John Cale played 2 nights with the London Contemporary Orchestra. Cale is one of my favorite musicians. I discovered him back in my youth days when I was a big fan of the Velvet Underground. However, his solo career surprised me and captured me even more. He’s one of the few who continued to evolve, surprise and transform his music over the years. Not an easy thing to do when the majority of the musicians at some point run out of steam in their creativeness and end up in a vicious circle of repeating themselves when they are looking to create something new.

When my wife and I moved to London about 12 years ago, we followed Cale playing around the country. I remember once when we took the train down to Reading. We stopped at a nice pub and managed to get a lovely Mead (which isn’t usual at all) before getting into the concert place. Every time I went to see Cale, he always surprised me in some way.

This time was no different. I went to the Barbican with no real expectation. I said to myself, he’s 76, he may have ran out of steam, as many other ones of his time. However, I was completely wrong and great thing I was! From the first song, I was completely magnetized. Cale dismantled and reassembled the classic songs like never before. Each song was played at different tempo, arrangement and overall song was morphed into something new. Beautiful, not a single miss. The stage was blended with a curious projection of videos on the back of the artists, very well achieved.

I’m not going to mention any of his songs in particular, you can google for the reviews and all the details you want. Just wanted to share what music produces to ourselves when we get close and tuned to the artists. What a night, I went back home with a smile in my face.

Thank you John Cale, Mr. Reed should be very proud of his friend….

Ale