Session warm lamp "magic" exposing
Despite the somewhat lessened interest of many audiophiles and music lovers in tube amplifiers, the debate about the advantages / disadvantages of these archaic long-livers does not abate to this day. Conditionally arguing about TLZ can be divided into two camps. The first is the proponents of progress, who believe that lamp technology is a place in the dustbin of history or, at best, in some technical museum. The second is ardent supporters of warm luminosity, who see , hear in tube UMZCH (certainly single-ended, without OOS, A class) the opportunity to receive "spiritual revelation" and "really" beautiful (TRUE, air, etc.) sound.
Fierce battles between lovers and lamp haters lead to bouts of controversial hypersalivation, failure of keyboards, and violent torrent in appropriate forums. In addition to these warring parties, people who are not debating about him are interested in the topic of UMZCH tube: radio amateurs, creating these amplifiers and “not true” audiophiles, who are satisfied with the features of the existing technology outside the search paradigm for uncompromising sound.
')
I doubt that my post will put a fat point in the debate on TLZ, but I will try to shed a ray of light on the “mysterious”, “metaphysical” “phenomenon” of a “living” TLZ.
I am neither an ardent haiter, nor an ardent supporter of uncompromising warm lamp-light, but as a listener I often feel a significant difference between the paths with transistor / integral and tube amplification. The question of the origin of this difference is really interesting to me. Semi-metaphysical and marketing explanations suit me a little, therefore I decided to state in a structured way all that I managed to find about the so-called TLZ in one small post.
From the moment of the origin and mass distribution of the transistor technology, the notion of a "dead", "cold" transistor sound appeared, the details of which causes can be found here .
Transistor amplifiers have gone far ahead since its inception, and, thanks to improved circuit design, the phenomenon of "transistor sound" has ceased to exist.
At the same time, many interested people noted that all other things being equal (SOI, frequency response, source, path, etc.) is the same work, when played on lamp and transistor UMZCH sounds differently. This difference, as well as the somewhat tarnished reputation of the transistor devices, were the reasons for the idea of ​​the superiority of lamps, the formation of the concept of a TLZ, as well as numerous speculations on the lamp theme.
The growth of mass production of low-cost integrated amplifiers and AV-receivers, while reducing their cost (and accordingly the quality of the element base), strengthened the opinion of some audiophiles about the unsuitability of transistor systems. This phenomenon became known as the renaissance of lamp technology in the late 90s - the beginning of zero.
Manufacturers did not stand still, the quality of transistor and digital solutions grew, while the prices for warm lamps were biting with the frenzy of American bulldogs. The latter circumstance made the lamps interesting only to a narrow circle of fanatically minded seekers of impeccable sound, very rich people and amateur radio enthusiasts.
Psychoacoustics TLZ
When we talk about TLZ, we mean the tonal features of the reproduced sound, i.e. the so-called "coloring". In essence, “coloring” is nothing more than harmonic distortion + the characteristic features of the frequency response graph. Completely get rid of the distortion can not be, but you can reduce their presence in the spectrum to the minimum values ​​at which a person will not perceive them.
In the case of tube amplifiers, these are mostly even harmonics. It is known that a person perceives even harmonics as more harmonious (pleasing to the ear) distortion. At the same time, in a transistor amplifier, SOI is usually much lower, which indicates a higher fidelity of reproduction.
Due to the large number of even harmonics in the spectrum, tube amplification is actively used for guitar equipment. There, the distortion allows you to create the necessary sound (i.e., in fact, the amplifier is part of the instrument). At the same time, their presence in sound-reproducing equipment is considered a disadvantage by many, since the equipment must reproduce the recorded as accurately as possible, and not distort (embellish, change). Others, on the contrary, consider this effect to be an advantage, in view of the harmoniousness of such distortions.
It should also be noted that human hearing perceives different harmonics of different order in different ways. Scott Frankland, Irina Aldoshina, Alexander Voishvillo and other wonderful people who conducted research on this topic write that the higher the harmonic, the more noticeable it affects perception and the subjectively worse a person evaluates sound. For example, even professional experts will not be able to hear 1% of the second harmonic, and most people are able to detect the second harmonic in the 1.8-3.5% range. In this case, the tenth notice already in the presence of 0.1%.
Psychoacoustic studies have revealed that:
“The noticeable sound of any harmonic is directly proportional to the square of its number”
Characteristic feature: in the signal spectrum of lamp amplifiers of harmonic components of not more than five, which is significantly less than in the spectrum of transistor devices (where the 9th, 11th, etc. high harmonics often leak into it).
It was also found that the presence of some harmonics can mask others. For example, the presence of the second harmonic hides from the third perception. These studies led to the conclusion that the most harmonic for human hearing is a combination of harmonics gradually decreasing in level (the second is large, the third is less than the second, the fourth is less than the third, etc.). This is the case with harmonics when using UMZCH tube.
Brief information about TLZ circuitry
“Magically” correct from the point of view of circuit design, are odnotaktniki without OOS. Linear characteristics of lamps, better than the characteristics of semiconductors. The absence of environmental protection prevents the occurrence of a significant amount of intermodulation distortion. With the same purpose, in tube amplifiers created within the framework of this philosophy (otherwise you will not name it), they refuse to install pulsed power supplies (according to a number of authors, the use of impulse leads to an increase in IMD and background appearance). In most cases, another means of changing (euphonical distortion) is powerful output transformers, which, not infrequently, reduce the linearity of the frequency response, emphasizing the average frequencies.
But this is in theory, but in practice ... “thanks to” these solutions, many HI End lampoviki go on sale with an IMD level of more than 7-10%, and a SOI (harmonic factor) can reach 3-5%, which does not even correspond to the classical Hi- Fi standard. Enough has been written about the typical disadvantages of single-ended schemes and the lack of environmental protection: efficiency, heat generation (in the literal sense), power consumption, high mass, low power - these are “sacral” sacrifices to the “divine sound”.
It turns out that the lamp sounds “ennobled”, as it were, but does so at the expense of the spectral composition and features of harmonic distortion, as well as controversial circuit solutions that change the frequency response and timbral features. Those. in fact, it turns out that for the user of a “warm lamp”, besides other sound properties, it is important not the fidelity of reproduction, but the presence of harmonious distortion. This is a stumbling block in disputes about such UMZCH.
In the bottom line, it turns out that the legendary TLZ is:
That's all the magic. And yes, this is really beautiful sound, if this word is applicable to sound-reproducing equipment ... Beautiful, “warm”, but for the most part, less accurate.
The essence of TLZ is in quite specific, typical features of the change (processing, distortion) of the signal. Criticism of transistor amplifiers should remain in the distant seventies, since the high-quality samples of this technology are in no way inferior to lamps, and sometimes significantly surpass (at the same cost), since the stones have been working for more than 40 years.
Lamp UMZCH archaic, in terms of circuit design and philosophy of HI-FI, but are of high subjective value for people with certain taste preferences. Lamps do not go to the landfill, because, despite the possibility of a full digital emulation of the effects of TLZ (proven with guitar instruments), manufacturers rely on the production of a TRUE LUMZCH , guessing the expectations of traditionalists from audio. In addition, the lamp - the subject of interesting experiments and experiments of radio amateurs, creating sound equipment.
Which amplifier to choose, everyone decides for himself, and the last word is always left to the subjective perception.
I will be glad to lively and correct discussion on the topic.
Fierce battles between lovers and lamp haters lead to bouts of controversial hypersalivation, failure of keyboards, and violent torrent in appropriate forums. In addition to these warring parties, people who are not debating about him are interested in the topic of UMZCH tube: radio amateurs, creating these amplifiers and “not true” audiophiles, who are satisfied with the features of the existing technology outside the search paradigm for uncompromising sound.
')
I doubt that my post will put a fat point in the debate on TLZ, but I will try to shed a ray of light on the “mysterious”, “metaphysical” “phenomenon” of a “living” TLZ.
I am neither an ardent haiter, nor an ardent supporter of uncompromising warm lamp-light, but as a listener I often feel a significant difference between the paths with transistor / integral and tube amplification. The question of the origin of this difference is really interesting to me. Semi-metaphysical and marketing explanations suit me a little, therefore I decided to state in a structured way all that I managed to find about the so-called TLZ in one small post.
The story of the lamp "magic"
From the moment of the origin and mass distribution of the transistor technology, the notion of a "dead", "cold" transistor sound appeared, the details of which causes can be found here .
Transistor amplifiers have gone far ahead since its inception, and, thanks to improved circuit design, the phenomenon of "transistor sound" has ceased to exist.
At the same time, many interested people noted that all other things being equal (SOI, frequency response, source, path, etc.) is the same work, when played on lamp and transistor UMZCH sounds differently. This difference, as well as the somewhat tarnished reputation of the transistor devices, were the reasons for the idea of ​​the superiority of lamps, the formation of the concept of a TLZ, as well as numerous speculations on the lamp theme.
The growth of mass production of low-cost integrated amplifiers and AV-receivers, while reducing their cost (and accordingly the quality of the element base), strengthened the opinion of some audiophiles about the unsuitability of transistor systems. This phenomenon became known as the renaissance of lamp technology in the late 90s - the beginning of zero.
Manufacturers did not stand still, the quality of transistor and digital solutions grew, while the prices for warm lamps were biting with the frenzy of American bulldogs. The latter circumstance made the lamps interesting only to a narrow circle of fanatically minded seekers of impeccable sound, very rich people and amateur radio enthusiasts.
Lamp "magic" in psychoacoustics and circuitry
Psychoacoustics TLZ
When we talk about TLZ, we mean the tonal features of the reproduced sound, i.e. the so-called "coloring". In essence, “coloring” is nothing more than harmonic distortion + the characteristic features of the frequency response graph. Completely get rid of the distortion can not be, but you can reduce their presence in the spectrum to the minimum values ​​at which a person will not perceive them.
In the case of tube amplifiers, these are mostly even harmonics. It is known that a person perceives even harmonics as more harmonious (pleasing to the ear) distortion. At the same time, in a transistor amplifier, SOI is usually much lower, which indicates a higher fidelity of reproduction.
Due to the large number of even harmonics in the spectrum, tube amplification is actively used for guitar equipment. There, the distortion allows you to create the necessary sound (i.e., in fact, the amplifier is part of the instrument). At the same time, their presence in sound-reproducing equipment is considered a disadvantage by many, since the equipment must reproduce the recorded as accurately as possible, and not distort (embellish, change). Others, on the contrary, consider this effect to be an advantage, in view of the harmoniousness of such distortions.
It should also be noted that human hearing perceives different harmonics of different order in different ways. Scott Frankland, Irina Aldoshina, Alexander Voishvillo and other wonderful people who conducted research on this topic write that the higher the harmonic, the more noticeable it affects perception and the subjectively worse a person evaluates sound. For example, even professional experts will not be able to hear 1% of the second harmonic, and most people are able to detect the second harmonic in the 1.8-3.5% range. In this case, the tenth notice already in the presence of 0.1%.
Psychoacoustic studies have revealed that:
“The noticeable sound of any harmonic is directly proportional to the square of its number”
Characteristic feature: in the signal spectrum of lamp amplifiers of harmonic components of not more than five, which is significantly less than in the spectrum of transistor devices (where the 9th, 11th, etc. high harmonics often leak into it).
It was also found that the presence of some harmonics can mask others. For example, the presence of the second harmonic hides from the third perception. These studies led to the conclusion that the most harmonic for human hearing is a combination of harmonics gradually decreasing in level (the second is large, the third is less than the second, the fourth is less than the third, etc.). This is the case with harmonics when using UMZCH tube.
Brief information about TLZ circuitry
“Magically” correct from the point of view of circuit design, are odnotaktniki without OOS. Linear characteristics of lamps, better than the characteristics of semiconductors. The absence of environmental protection prevents the occurrence of a significant amount of intermodulation distortion. With the same purpose, in tube amplifiers created within the framework of this philosophy (otherwise you will not name it), they refuse to install pulsed power supplies (according to a number of authors, the use of impulse leads to an increase in IMD and background appearance). In most cases, another means of changing (euphonical distortion) is powerful output transformers, which, not infrequently, reduce the linearity of the frequency response, emphasizing the average frequencies.
But this is in theory, but in practice ... “thanks to” these solutions, many HI End lampoviki go on sale with an IMD level of more than 7-10%, and a SOI (harmonic factor) can reach 3-5%, which does not even correspond to the classical Hi- Fi standard. Enough has been written about the typical disadvantages of single-ended schemes and the lack of environmental protection: efficiency, heat generation (in the literal sense), power consumption, high mass, low power - these are “sacral” sacrifices to the “divine sound”.
It turns out that the lamp sounds “ennobled”, as it were, but does so at the expense of the spectral composition and features of harmonic distortion, as well as controversial circuit solutions that change the frequency response and timbral features. Those. in fact, it turns out that for the user of a “warm lamp”, besides other sound properties, it is important not the fidelity of reproduction, but the presence of harmonious distortion. This is a stumbling block in disputes about such UMZCH.
In the bottom line, it turns out that the legendary TLZ is:
- Sound saturation with even harmonics;
- The limited order of harmonics of the fifth;
- Gradual decrease of the level in the spectral combination of harmonics (the greater the order of the harmonic, the lower the level)
- The presence of characteristic features of the frequency response due to the use of the output transformer;
That's all the magic. And yes, this is really beautiful sound, if this word is applicable to sound-reproducing equipment ... Beautiful, “warm”, but for the most part, less accurate.
Total
The essence of TLZ is in quite specific, typical features of the change (processing, distortion) of the signal. Criticism of transistor amplifiers should remain in the distant seventies, since the high-quality samples of this technology are in no way inferior to lamps, and sometimes significantly surpass (at the same cost), since the stones have been working for more than 40 years.
Lamp UMZCH archaic, in terms of circuit design and philosophy of HI-FI, but are of high subjective value for people with certain taste preferences. Lamps do not go to the landfill, because, despite the possibility of a full digital emulation of the effects of TLZ (proven with guitar instruments), manufacturers rely on the production of a TRUE LUMZCH , guessing the expectations of traditionalists from audio. In addition, the lamp - the subject of interesting experiments and experiments of radio amateurs, creating sound equipment.
Which amplifier to choose, everyone decides for himself, and the last word is always left to the subjective perception.
I will be glad to lively and correct discussion on the topic.
Source: https://habr.com/ru/post/370475/
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