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By Kevin O'Connor, ©1997,
ISBN 0-9698-6083-8
252
pages, 8½" x 11", spiral bound with clear protective covers;
283 figures (schematic diagrams)
View
the Table of Contents
Read
a magazine review of the TUT series
"All the world's a stage," so everywhere you play you need
the best tone possible!
Despite
its subtitle, this volume is very popular with all players
and hobbyists, from on-stage music pros to basement tinkerers.
And there's quite a lots of information here, so get your
coffee before you read the description below!
TUT2
builds upon the formidable knowledge base of TUT,
adding new depth to previously explored topics while introducing
completely new subjects. Harmony within the player is emphasized
as the foundation of harmony within a band and on stage.
The role of the sound man is explored with an eye to the
evolution of PA and monitoring systems. Modular monitoring
systems and local vocal PAs are also examined, allowing
the singer to explore the use of tube equipment and effects.
The
extensive "Power Supply Tricks" chapter explores concepts
of power. Transformers, rectifiers, capacitive and choke
filters are studied, and the issues of regulation are detailed.
Inherent regulation of transformers and active tube, mosfet
and bipolar regulators are discussed. Variable, tracking,
fixed and proportional regulators are explained, along with
the consequences of their use in "live" situations, comparing
AC and DC controlled circuitry. Variacs, boost/buck transformer
connections, zener diode and variable impedance rectification
are presented, with their impact on performance and tone.
This
volume illustrates and explains bias supplies of all types.
The three common bias procedures are thoroughly discussed
with all relevant issues exposed and diffused. Bias "fixes"
for many popular amplifier models are provided. The book
highlights the importance of screen supplies and stand-bys,
and a variety of DC heater circuits are presented to bring
to light both old and new ideas.
Where
the first volume of TUT approached tube power amplifiers
assuming that the reader already had one and wanted to understand
its operation and modify it, TUT2 is aimed at those
who want to build an amp from scratch. Design rules are
given for the five output stage topologies, with pointers
regarding power output and tone. Cathode-bias to fixed-bias
switching options are presented, along with less well-known
power amp master volume circuits. Kevin O'Connor also discusses
opening up feedback loops, single-ended to push-pull panning,
and solutions to "re-issue" amp model problems.
Many
players use solid-state power amps in both elaborate and
simple instrument systems. The design of these amps is presented
in a simplified fashion to highlight the ease of their assembly,
the range of their tone and the almost limitless circuit
options including: push-pull, mosfet, BJT, SRPP, cascode,
multi-tier, bridges (grounded-floating-balanced), and non-feedback.
Reliability is emphasized without detriment to tone. Thermal
design and the solid-state power amplifier's intimate relationship
to the power supply are clearly explained. Design examples
from 20W to 1,250W are given.
Hybrid
power amplifiers incorporating both tube and solid-state
elements provide options of tone, size and economy. The
Nelson Pass Zen amp and John Linsley-Hood's simple class-A
amp are presented along with alternative amps such as the
circlotron, OTL and SRPP. Also covered are true triodes,
which are becoming popular in both single-ended and push-pull
formats.
Triode
and pentode gain stages are explored, with the use of power
tubes and large-geometry tube types for voltage amplification.
High-gain preamps, split-rail designs, passive EQ and frequency
shaping are discussed. Multi-band EQ with active tube stages
and tube cross-over units are highlighted. Mono and stereo
reverb using tubes are integrated into the music system.
Various tremolo circuits with bias- and audio-modulators
are given; compressor circuits using both tube and solid-state
approaches are offered in low-distortion balanced and toneful
unbalanced formats. Line and direct outs are also highlighted.
Speaker selection, design and enhancement are explained.
Acoustic
instrument considerations are exposed and simplified, as
are the specific adaptations for tube vocal preamps and
monitor systems, and the evolution of tubed bass amplification.
Simple switching techniques are given for both low-level
and speaker control, demonstrating the capabilities of modern
devices.
Sounds
like a lot of information? Well, we often described TUT
as "the tip of the iceberg" of state-of-the-art tube amp
understanding, and TUT2 is another "big chunk" of
knowledge! Many of the "Glass Shards" tips in Glass
Audio magazine have come from TUT2.
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