Fundamental Amplifier Techniques with Electron Tubes

Want tips on designing electron tube amplifiers? Fundamental Amplifier Techniques with Electron Tubes might be the book for you. The author, Rudolf Moers carefully details the science of hollow-state design as applied to amplifiers and power supplies.

The book is an Elektor group publication. So, I asked tube amp aficionado Richard Honeycutt to provide an unbiased review the book. (I asked him to do this prior to taking him on as a columnist for audioXpress magazine.) He agreed, and here’s the review, which is also available in audioXpress April 2012:

Back in the 1950s and 1960s, if you wanted to learn about vacuum tube amplifiers, you could read the Radiotron Designer’s Handbook, a 1,500-page behemoth that covered all kinds of vacuum tube circuits that were known at the time, and also included abundant information on passive components as well. Or you could use the introductory material and example schematics in the RCA Receiving Tube Manual—much shorter and less expensive, and also far less comprehensive. Of course, it did include data on most tubes then being manufactured by RCA. If you just wanted to build your own amplifiers, but were not interested in designing, there was the Mullard  Circuits for Audio Amplifiers. For a more scholarly approach, you could check out an electrical engineering textbook such as Analysis and Design of Electronic Circuits by Paul Chirlian.

Now, however, things are different. Although some of these references can be found on the Internet, they are no longer up-to-date. Happily, however, Elektor recently published Fundamental Amplifier Techniques with Electron Tubes by Rudolf Moers, which presents a 21st-century perspective on the science of hollow-state design as applied to amplifiers and power supplies. Beginning with the principles of electron emission, the book progresses through standard vacuum tube varieties: diodes, triodes, tetrodes, and pentodes, after which it covers such general principles as frequency dependent behavior, non-linear distortion, noise, and negative feedback. The book concludes with a chapter on the construction of electron tube amplifiers. Unlike many of the earlier authors of books on electron tubes, Moers is not constrained by a need to cover such specialized tubes as pentagrid converters, or circuits specifically used in radio and TV receivers. Instead, he uses his 800 pages to discuss the physics underlying electron tube operation far more comprehensively than did any of his predecessors. He does this in a way that maximizes presentation of principles while minimizing unnecessary mathematics. In many cases, the physical explanations can be skipped over by those whose only interest is design methods. For the reader who does take advantage of the physical explanations, Moers’s inclusion of an eight-page listing/definition of mathematical symbols makes the explanations easy to follow.

The focus is by no means primarily on physics, however. None of the classic texts provides anything like so comprehensive coverage of the design and operation of half- and full-wave rectifier/filter circuits, or vacuum tube phase shifters, to mention a couple of examples.

Moers’s book assumes that the reader is familiar with basic DC and AC circuit theory, and therefore does not undertake the task of educating those who lack this understanding. The book is written from a scientific perspective in that, while mentioning the disconnect between measured and perceptual performance of an amplifier, the author makes no dogmatic claims about the relationship between the two, other than to opine that most of the “tube sound” results from harmonic distortion components that some people find pleasing to the ear. (Having followed this discussion for about four decades, your reviewer partially concurs, but believes that there are other elements involved as well.) The author lightheartedly introduces the quantity “cm2 of gooseskin/watt” as an example of a measurement of perceptual phenomena.

A consequence of Moers’ scientific approach is that specific catch phrases found in many amateur-oriented publications on tube technology are conspicuously absent. For example, it is difficult to read much about tube power amplifiers without noticing mention of the “Williamson amplifier.” This circuit was developed by D. T. N. Williamson and described in articles in Wireless World in April and May, 1947. It was unique in that it applied negative feedback around the entire amplifier, including the output transformer, thus reducing nonlinear distortion. Doing this required very careful design to ensure stability, including the elimination of interstage transformers such as the phase splitter transformer used in many prior designs.

Moers does not mention the Williamson amplifier by name, but the vacuum tube phase splitter design Williamson used is discussed in detail in the book, as is the method of designing a negative feedback loop encompassing the entire amplifier. Moers also gives a unique explanation of another pivotal power amplifier circuit: the ultralinear circuit invented in 1951 by Hafler and Keroes. It’s a case of content versus jargon.

In his otherwise excellent discussion of damping factor, Moers unfortunately makes the all-too-common error of ignoring the effects of voice coil  and lead wire resistance. He gives the common equation for damping factor: DF = (loudspeaker impedance)/(amplifier output impedance). Since the amplifier (modeled as an AC generator or Thevenin source), voice coil resistance, lead wire resistance, voice coil inductance, and reflected mechanical impedance form a series circuit whose actual damping is influenced by all elements, the lead wire resistance and voice coil resistance cannot be ignored. In fact, they can easily swamp the effects of the amplifier output impedance, at least for a pentode stage using negative feedback. However, Moers does not make the further error of insisting that the damping factor be a minimum of 100 as have some earlier authors. Using an 8-Ω speaker having about  6-Ω DC resistance, the effect of a combined output impedance and lead wire resistance less than 0.5 Ω is negligible.

Two shortcomings of Fundamental Amplifier Techniques with Electron Tubes are more or less linguistic. English may well be the only Germanic language in which the verb in a sentence is not at the end of the sentence required to come. Thus syntactical intrusions from the author’s native language sometimes make the text difficult for native English speakers. Also, Moers has chosen to use terminology that is probably not standard in English (at least American English) books on electronics. For example, he uses the term “ anode static steepness” to denote “transconductance” (also commonly called “mutual conductance.”) A common-cathode (or “grounded-cathode”) amplifier stage is called a “basic cathode” stage in Moers’ book.

These three small complaints pale in the face of the outstanding job the author has done in bringing together the theory, design, and practice of vacuum tube amplifiers in a single volume. Anyone who wants to go beyond the Heathkit level of tube amplifier understanding owes it to him/herself to buy and study this excellent volume.

If you’re interested purchasing the book or learning more about it, click here to visit the book’s webpage in the CC Webshop.

Fundamental Amplifier Techniques (by Rudolf Moers), audioXpress, and are Elektor group publications.


Q&A: Per Lundahl (Transformer Design)

Per Lundahl is a multitalented designer who runs one of world’s leading high-performance audio transformer manufacturing outfits, Lundahl Transformers, which is based in Norrtalje, Sweden. After graduating from the School of Physics at the Royal Institute of Technology in Stockholm, he worked as a computer consultant for Ericsson. It wasn’t until he decided to move out of the city that he joined his family’s business, which his parents started in 1958.

Per Lundahl, CEO of Lundahl Transformers

In the April 2012 issue of audioXpress magazine, Lundahl shares stories about the company’s focus and products. He states:

I design all our new transformers. Our audio market is divided into two segments, Pro Audio and Audiophile. The Pro Audio segment includes transformers for microphones, mic pre-amps, splitters, distribution amplifiers, and other studio equipment. The Audiophile segment is transformers for MC phono cartridge step-up and for tube and solid state amplifiers.

Our biggest selling products are two types of transformers for microphone preamplifier inputs. In the Audiophile domain, our tube amplifier interstage and line output transformers are popular.

We constantly develop new transformers based on the requests of our customers. Presently we are developing an auto-transformer for a Chinese company and an interstage/line output transformer for some European customers. The latter will probably be added to our range of standard transformers, available to everyone.

For the very fastidious audiophile, we are also introducing silver wire in some of our transformer types. Initially, the wire will mainly be in our high-end MC transformers, but depending on the response, it is possible that we will extend the silver wire product range.

You can read the entire interview in audioXpressApril, which is currently available on newsstands.

Tube amp transformers

audioXpress is an Elektor group publication.

Weekly Elektor Wrap Up: Laser, Digital Peak Level Meter, & “Wolverine” MCU

It’s Friday, so it’s time for a review of Elektor news and content. Among the numerous interesting things Elektor covered this week were a laser project, a digital peak level meter for audio engineering enthusiasts, and an exciting new ultra-low-power MCU.

Are you an embedded designer who wants to start a laser project? Read about “the world’s smallest laser”:

What is the biggest constraint in creating tiny lasers? Pump power. Yes sir, all lasers require a certain amount of pump power from an outside source to begin emitting a coherent beam of light and the smaller a laser is, the greater the pump power needed to reach this state. The laser cavity consists of a tiny metal rod enclosed by a ring of metal-coated, quantum wells of semiconductor material. A team of researchers from the University of California has developed a technique that uses quantum electrodynamic effects in coaxial nanocavities to lower the amount of pump power needed. This allowed them to build the world’s smallest room-temperature, continuous wave laser. The whole device is only half a micron in diameter (human hair has on average a thickness of 50 micron).

The nanolaser design appears to be scalable – meaning that they could be shrunk to even smaller sizes – an important feature that would make it possible to harvest laser light from even smaller structures. Applications for such lasers could include tiny biochemical sensors or high-resolution displays, but the researchers are still working out the theory behind how these tiny lasers operate. They would also like to find a way to pump the lasers electrically instead of optically.

Be sure to check out Elektor’s laser projection project.

In other news, Elektor reached out to audio engineering-minded audio enthusiasts and presented an interesting project:

Are you an audio amateur hobbyist or professional? Do you try to avoid clipping in your recordings? To help you get your audio levels right, in January 2012 Elektor published a professional-quality peak level meter featuring 2x 40 LEDs, controlled by a powerful digital signal processor (DSP). As part of the eight-lesson course on Audio DSP, all the theory behind the meter was explained, and the accompanying source code was made available as a free download.

The DSP Board has been available for a while, and now we are proud to announce that the Digital Peak Level Meter is available as an Elektor quality kit for you to build. Although the meter was designed as an extension module for the Audio DSP board, it can be used with any microcontroller capable of providing SPI-compatible signals. So get your Peak Level Meter now and add a professional touch to your recording studio!

And lastly, on the MCU front, Elektor ran interesting piece about the Texas Instruments “Wolverine,” which should be available for sampling in June 2012:

Codenamed “Wolverine” for its aggressive power-saving technology, the improved ultra-low-power MSP430 microcontroller platform from Texas Instruments offers at least 50 % less power consumption than any other microcontroller in the industry: 360 nA real-time clock mode and less than 100 µA/MHz active power consumption. Typical battery powered applications spend as much as 99.9 % of their time in standby mode; Wolverine-based devices can consume as little as 360 nA in standby mode, more than doubling battery life.

Wolverine’s low power performance is made possible by using one unified ferromagnetic RAM (FRAM) for code and data instead of traditional Flash and SRAM memories, allowing them to consume 250 times less energy per bit compared to Flash- and EEPROM-based microcontrollers. Power consumption is further reduced thanks to an ultra low leakage  process technology that offers a 10x improvement in leakage and optimized mixed signal capabilities.

MSP430FR58xx microcontrollers based on the Wolverine technology platform will be available for sampling in June 2012.

Circuit Cellar and are part of the Elektor group.


DIY Cap-Touch Amp for Mobile Audio

Why buy an amp for your iPod or MP3 player when you can build your own? With the proper parts and a proven plan of action, you can craft a custom personal audio amp to suit your needs. Plus, hitting the workbench with some chips and PCB is much more exciting than ordering an amp online.

In the April 2012 issue of Circuit Cellar, Coleton Denninger and Jeremy Lichtenfeld write about a capacitive-touch, gain-controlled amplifier while studying at Camosun College in Canada. The design features a Cypress Semiconductor CY8C29466-24PXI PSoC, a Microchip Technology mTouch microcontroller, and a Texas Instruments TPA1517.

Denninger and Lichtenfeld write:

Since every kid and his dog owns an iPod, an MP3 player, or some other type of personal audio device, it made sense to build a personal audio amplifier (see Photo 1). The tough choices were how we were going to make it stand out enough to attract kids who already own high-end electronics and how we were going to do it with a budget of around $40…

The capacitive-touch stage of the personal audio amp (Source: C. Denninger & J. Lichtenfeld)

Our first concern was how we were going to mix and amplify the low-power audio input signals from iPods, microphones, and electric guitars. We decided to have a couple of different inputs, and we wanted stereo and mono outputs. After doing some extensive research, we chose to use the Cypress Semiconductors CY8C29466-24PXI programmable system-on-chip (PSoC). This enabled us to digitally mix and vary the low-power amplification using the programmable gain amplifiers and switched capacitor blocks. It also came in a convenient 28-pin DIP package that followed our design guidelines. Not only was it perfect for our design, but the product and developer online support forums for all of Cypress’s products were very helpful.
Let’s face it: mechanical switches and pots are fast becoming obsolete in the world of consumer electronics (not to mention costly when compared to other alternatives). This is why we decided to use capacitive-touch sensing to control the low-power gain. Why turn a potentiometer or push a switch when your finger comes pre-equipped with conductive electrolytes? We accomplished this capacitive touch using Microchip Technology’s mTouch Sensing Solutions series of 8-bit microcontrollers. …


The audio mixer flowchart

Who doesn’t like a little bit of a light show? We used the same aforementioned PIC, but implemented it as a voltage unit meter. This meter averaged out our output signal level and indicated via LEDs the peaks in the music played. Essentially, while you listen to your favorite beats, the amplifier will beat with you! …
This amp needed to have a bit of kick when it came to the output. We’re not talking about eardrum-bursting power, but we wanted to have decent quality with enough power to fill an average-sized room with sound. We decided to go with a Class AB audio amplifier—the TPA1517 from Texas Instruments (TI) to be exact. The TPA1517 is a stereo audio-power amplifier that contains two identical amplifiers capable of delivering 6 W per channel of continuous average power into a 4-Ω load. This quality chip is easy to implement. And at only a couple of bucks, it’s an affordable choice!


The power amplification stage of the personal audio amp (Souce: C. Denninger & J. Lichtenfeld)

The complete article—with a schematic, diagrams, and code—will appear in Circuit Cellar 261 (April 2012).








Aerial Robot Demonstration Wows at TEDTalk

In a TEDTalk Thursday, engineer Vijay Kumar presented an exciting innovation in the field of unmanned aerial vehicle (UAV) technology. He detailed how a team of UPenn engineers retrofitted compact aerial robots with embedded technologies that enable them to swarm and operate as a team to take on a variety of remarkable tasks. A swarm can complete construction projects, orchestrate a nine-instrument piece of music, and much more.

The 0.1-lb aerial robot Kumar presented on stage—built by UPenn students Alex Kushleyev and Daniel Mellinger—consumed approximately 15 W, he said. The 8-inch design—which can operate outdoors or indoors without GPS—featured onboard accelerometers, gyros, and processors.

“An on-board processor essentially looks at what motions need to be executed, and combines these motions, and figures out what commands to send to the motors 600 times a second,” Kumar said.

Watch the video for the entire talk and demonstration. Nine aerial robots play six instruments at the 14:49 minute mark.

Voice Coil Parts & Production

Voice coils are essential elements in loudspeakers of all sorts. Thus, understanding how a voice coil works is essential for audio engineers and DIYers alike. The main parts the bobbin, the voice coil wire, and the collar. Mike Klasco and Steve Tatarunis of Menlo Scientific provide in-depth information about voice coils in the March 2012 issue of audioXpress magazine.

The parts of a voice coil (Source: Precision Econowind)

Klaso and Tatarunis write:

“The bobbin provides a rigid structure on which the voice coil wire can be wound and the collar can serve several purposes. It secures the coil lead-out wires, reinforces the bobbin, and provides a convenient material for diaphragm attachment … In some cases—headphone speakers, for example—a monolithic (self supporting no bobbin or collar) voice coil may be used. But this article will focus on the more commonly used bobbin, coil, and collar designs.

Loudspeaker voice coils are seldom considered critical elements that contribute to sound quality, and few technical papers have addressed this issue. But when designing a voice coil, the selection and application of materials can have profound effects upon sound quantity, quality, and power handling. The mechanical energy from the winding stack moves by transconduction through the bobbin and collar before reaching the diaphragm. Any non-linearities in this path are superimposed upon the response of the speaker. Intrinsic characteristics of materials such as internal damping and Young’s modulus create specific sonic signatures and contribute to the residual distortion spectrum of the transducer … In selecting a particular material, a coil winder makes important trade-offs on the winding process. Knowledge of these variables can ensure better, more cost-effective coils, avoid conflicts, and improve production yields. Torsional resonances, internal losses, and electrical conductivity of the bobbin materials are some of the factors effecting the distortion, sensitivity, and sound quality of the finished loudspeaker.”

A close-up view of both a good voice coil and a burned voice coil (Source: The Speaker Exchange)

You can read the entire article here. For subscription information, go to

audioXpress magazine, like Circuit Cellar, is an Elektor group publication.


Robot Nav with Acoustic Delay Triangulation

Building a robot is a rite of passage for electronics engineers. And thus this magazine has published dozens of robotics-related articles over the years.

In the March issue, we present a particularly informative article on the topic of robot navigation in particular. Larry Foltzer tackles the topic of robot positioning with acoustic delay triangulation. It’s more of a theoretical piece than a project article. But we’re confident you’ll find it intriguing and useful.

Here’s an excerpt from Foltzer’s article:

“I decided to explore what it takes, algorithmically speaking, to make a robot that is capable of discovering its position on a playing field and figuring out how to maneuver to another position within the defined field of play. Later on I will build a minimalist-like platform to test algorithms performance.

In the interest of hardware simplicity, my goal is to use as few sensors as possible. I will use ultrasonic sensors to determine range to ultrasonic beacons located at the corners of the playing field and wheel-rotation sensors to measure distance traversed, if wheel-rotation rate times time proves to be unreliable.

From a software point of view, the machine must be able to determine robot position on a defined playing field, determine robot position relative to the target’s position, determine robot orientation or heading, calculate robot course change to approach target position, and periodically update current position and distance to the target. Because of my familiarity with Microchip Technology’s 8-bit microcontrollers and instruction sets, the PIC16F627A is my choice for the microcontrollers (mostly because I have them in my inventory).

To this date, the four goals listed—in terms of algorithm development and code—are complete and are the main subjects of this article. Going forward, focus must now shift to the hardware side, including software integration to test beyond pure simulation.

A brief survey of ultrasonic ranging sensors indicates that most commercially available units have a range capability of 20’ or less. This is for a sensor type that detects the echo of its own emission. However, in this case, the robot’s sensor will not have to detect its own echoes, but will instead receive the response to its query from an addressable beacon that acts like an active mirror. For navigation purposes, these mirrors are located at three of the four corners of the playing field. By using active mirrors or beacons, received signal strength will be significantly greater than in the usual echo ranging situation. Further, the use of the active mirror approach to ranging should enable expansion of the effective width of the sensor’s beam to increase the sensor’s effective field of view, reducing cost and complexity.

Taking the former into account, I decided the size of the playing field will be 16’ on a side and subdivided into 3” squares forming an (S × S) = (64 × 64) = (26, 26) unit grid. I selected this size to simplify the binary arithmetic used in the calculations. For the purpose of illustration here, the target is considered to be at the center of the playing field, but it could very well be anywhere within the defined boundaries of the playing field.

Figure 1: Squarae playing field (Source: Larry Foltzer CC260)

Referring to Figure 1, the corners of the square playing field are labeled in clockwise order from A to D. Ultrasonic sonar transceiver beacons/active mirrors are placed at three of the corners of the playing field, at the corners marked A, B, and D.”

The issue in which this article appears will available here in the coming days.

DIY Audio Design with Tymkrs

With the growing popularity of embedded design kits and microcontroller-based platforms for rapid prototyping, it’s now easier and more affordable than ever for engineers, DIYers, musicians, audiophiles, and academics to customize electronics applications of their own. The March 2012 issue of audioXpress magazine will feature an interview with two DIYers—the duo behind—who do just that. “Atdiy” and “Whisker” provide details about, their design interests, and their recent projects. Here are some of their most interesting DIY designs:

  • SidCog Organ: Combine a programmable SID chip from the Commodore 64 and an old Hammond organ
  • Laser Audio Transmitter: Use a laser to transmit audio with a laser transmitter and a solar panel receiver
  • High-Impedance Preamplifier: A preamp designed with a JFET for loud and clean sound

Note: All photos courtesy of Tymkrs. The interview will appear in the March 2012  issue of audioXpress. audioXpress magazine (, like Circuit Cellar, is an Elektor group publication.