Featured
Latest
Ceramic / magnetic ...
 
Share:
Notifications
Clear all

Forum 135

Audio & Hi-Fi Ceramic / magnetic compatible preamp circuit

18 Posts
5 Users
5 Reactions
342 Views
Forum 136
(@irob2345)
Posts: 610
Honorable Member Registered
Topic starter
 

Replacing the original Sonotone 9TA in my Oz HMV Y2-D3 3 in 1, with a magnetic cart.

The Gram section of this unit (late '60s vintage) is based on the very common TA solid state chassis that HMV used in most grams at the time.

So I had a look at the service data for the TA, which is normally used with a couple of different ceramic carts, and discovered that some models had a magnetic cart option.

So how does this work? The service data contains no reference to changing the preamp. And the circuit has more in it than would be needed for just a ceramic cart input.

Here is the preamp circuit:

Thinking this might be an example of Gupta's Law, I modeled the circuit in LTSpice using the Shure Analog for the magnetic cartridge and the generally accepted model for a ceramic which is a voltage source in series with 800pF.

And it works! From 100Hz to 5kHz the two carts track each other. Outside that there are differences that nevertheless don't exceed 6dB.

Anyone ever seen this arrangement before? It's really quite elegant and it works very well with either type of cart.

TA gram preamp

 

 
Posted : 08/01/2024 8:43 am
Nuvistor
(@nuvistor)
Posts: 4633
Famed Member Registered
 

@irob2345 When you say track each other is that frequency response or output voltage from the preamp, or perhaps both?

Frank

 
Posted : 08/01/2024 11:15 am
Cathovisor
(@cathovisor)
Posts: 6526
Famed Member Registered
 

Here in the UK the Thorn '74' Chassis - used in many a unit audio and a stereogram - was configurable to work with either ceramic cartridges like the Sonotone 3559 or with magnetic cartridges such as the Goldring G850. From what I can remember, it too involved a two-transistor pre-amp and the PCBs were already capable of taking the extra components for the magnetic cartridge.

 
Posted : 08/01/2024 12:49 pm
Doz
 Doz
(@doz)
Posts: 1535
Prominent Member Registered
 

I knocked up a tiny MM amp, based around the 5532... kicad bits and the gerbers are here : https://github.com/andydoswell/Micro-phono

 
Posted : 08/01/2024 12:54 pm
Cathovisor
(@cathovisor)
Posts: 6526
Famed Member Registered
 

Here I have a Portogram portable record player with a Goldring GL72 in it, fitted with a Sanyo ceramic cartridge. I plan to bin that and fit a stereo magnetic to it, to wit a Goldring G850 as I have both microgroove and 78rpm styli for it. I modified it a few years ago when I transcribed some Berliner discs for a former colleague to have a buffered output directly from the cartridge for recording purposes, rather than the potted-down output from the loudspeaker amplifier. However, the plan now is to make use of the 'stabilised' (read: zener) 24V supply to power an old warhorse in the shape of an LM381 RIAA pre-amp, which was designed for single-rail operation: this will then feed a TL074 used as both a stereo buffer and a virtual earth mixer to mono in 'M3' mode so that will feed the internal amplifier, which is about 20W RMS.

In case you're wondering why the amplifier has such a high output, it's because Portogram record players found a niche in teaching dance classes - the variable-speed Goldring being ideal for teaching steps at a slower pace until the students got the hang of it, whereupon the speed could be increased to the correct tempo. The 'gram is designed to feed external loudspeakers, hence the high output: there is an internal speaker but it is only a 'pilot' device and so is heavily attenuated and has its own on/off switch.

 
Posted : 08/01/2024 4:16 pm
Alex728 reacted
Nuvistor
(@nuvistor)
Posts: 4633
Famed Member Registered
 

@cathovisor You may find the G850 with 78rpm records may overload the input stage of the preamp. 
I had this 50 odd years ago when a customer bought a music system, Hacker or Dynatron with a G850 cartridge. He had many 78 records, shelves full of them. The Deck had a plug-in head shell so I fitted another G850 into a new head shell and potted down the output within the head shell. He just swopped head shells for the different formats. The 78’s were unusable until I potted down the output.

Frank

 
Posted : 08/01/2024 10:52 pm
Cathovisor reacted
Forum 136
(@irob2345)
Posts: 610
Honorable Member Registered
Topic starter
 

Yes when I said they track each other, the preamp gives the same output for mag or ceramic cart, correctly compensated too.

It's a very clever circuit. I wonder did Neville Thiele have something to do with it? He worked at EMI Australia for a time.

Note the 1m resistor connected between the L and R input. You would think that it would degrade channel crosstalk performance but it actually improves perceived channel separation on a typical stereo ceramic cart. (I tried removing it, back in the day to check). Anyone know why?

 
Posted : 09/01/2024 7:47 am
Cathovisor
(@cathovisor)
Posts: 6526
Famed Member Registered
 

When the 9TA/HC was new, Sonotone produced what they called a "velocity compensator" which allowed it to be connected into the magnetic pickup input of a pre-amp. ISTR that if you connected the 9TA into a low load (e.g. 47k) it behaved like a magnetic pickup in terms of frequency response.

 
Posted : 09/01/2024 8:19 am
Alex728 and Nuvistor reacted
Nuvistor
(@nuvistor)
Posts: 4633
Famed Member Registered
 

@irob2345 For what little they are my engineering skills can’t help, still trying to work out how the circuit behaves for both types of cartridge.

Frank

 
Posted : 09/01/2024 8:36 am
Forum 136
(@irob2345)
Posts: 610
Honorable Member Registered
Topic starter
 

It uses shunt current feedback. With shunt current feedback, if the source looks like a high impedance, the feedback reduces the gain to (in this case) near unity. With a low source impedance, more gain results. The two time constants in the feedback path set the compensation for each mode. As I said the circuit looks like Neville Theile's work, mystifying at first until you discover the brilliance.

In case you've never heard of him, he's the "Theile" in the Theile-Small parameters on which any worthwhile speaker design is based. He pioneered mathematical modeling for speaker enclosure design. (And the speakers in my Y2 sound very nice for what they are.)

Do you use LTSpice? I can post the schematic / model file (I think) that I used to verify that the preamp works the way it should for both carts. I drew this up because I was curious.

I'm itching to test my new mag cart on it but the Garrard 2025's headshell (such as it is) won't take it, it's designed specifically for the 9TA and is too narrow. I picked up a couple of screws at work today that will allow me to complete the modification / butchery of the headshell to take a half-inch standard mount cart.

Pity the headshell isn't unplug-able, it's truly painful to work on..

I hope to finish it tonight. Let you know how it goes.

 
Posted : 10/01/2024 7:51 am
Nuvistor
(@nuvistor)
Posts: 4633
Famed Member Registered
 

@irob2345

Thanks for the explanation, at least it makes sense now. I enjoy being part of the forum, and comment if I think I appropriate but I have no involvement in electronics either job or hobby. My interests are more arts these days, something different from a lifetime of fixing things.

The 2025 fixed head shell was designed for the 9TA as you know, a really good cartridge in its day. Is there enough counter balance to compensate for the heavier mag cartridge?

Frank

 
Posted : 10/01/2024 8:34 am
Forum 136
(@irob2345)
Posts: 610
Honorable Member Registered
Topic starter
 

I wish this TT had a counterweight! No, just a spring that you hook into different holes under the arm.

I can get it down to 6g.

I see electronics as art, so I can appreciate where you are coming from.

Re the 9TA, in the late 60s and early 70s I was a field service tech. We'd carry 9TAs in van stock for service replacement purposes. I always enjoyed it when the customer could hear the improvement over those horrid grey BSR things. The 9TA was far and away the best sounding ceramic back then.

Now of course my hearing is 12db down at 8kHz and my S/N is degraded by tinnitus that's around 14kHz and never goes away.

 
Posted : 10/01/2024 11:55 am
Cathovisor
(@cathovisor)
Posts: 6526
Famed Member Registered
 

Unfortunately the 2025TC also got used with inappropriate cartridges.

My first stereo record player was a Bush SRP58: a portable unit with optional dust cover, it used a very simple four-transistor amplifier powered by the motor and a right nail of a cartridge in the shape of the Sonotone 2509, a high output/low compliance stereo crystal. In the mid-70s, as recording techniques changed I found my record player had a problem - it would 'jump'. I took records back to the shop I bought them from, but they always played perfectly.

The issue was the arm: it was designed for high-compliance cartridges, as I discovered when I fitted a 9TA/HC from a scrapped radiogram. Low output, but the records played fine.

In later years, I learned that Garrard and Bush had had so many complaints about this that they took the step of replacing the plastic 'headshell' with a die-cast one and fitting an uprated spring to reset the tracking weight for the cartridges affected. Because the effective mass of the arm was now higher, the jumping problem went away.

I'm sure @irob2345 is aware, but many contemporary decks made by Garrard all shared the same motor board cutout so a more upmarket changer from that era could be fitted without any modification to the cabinet.

 
Posted : 10/01/2024 1:38 pm
Forum 136
(@irob2345)
Posts: 610
Honorable Member Registered
Topic starter
 

Yes my collector friend Pete is digging out an AT6 for me.

In many ways this very expensive (in '69) high-end unit was spoiled by low-end fitments. Could have been worse I suppose, the TT could have been a BSR! And the TA series gram chassis was just HMV's standard unit that they used in low and mid-range models.

The TV chassis, although it performs well, is really a 2nd-tier design. It should have had the PU5 hybrid chassis rather than the tail-end-of-production all valve hand wired chassis it has. At least it has stabilised scan.

 
Posted : 11/01/2024 7:40 am
Cathovisor
(@cathovisor)
Posts: 6526
Famed Member Registered
 

Posted by: @irob2345

Yes my collector friend Pete is digging out an AT6 for me.

The AT6 is probably my favourite middling autochanger - whilst early SP25s are very obviously cut-down versions of it, the higher-quality motor and above-deck components on the AT6 conceal that the auto-changing mechanism is derived from the somewhat nasty "Autoslim" deck.

As for BSR - well, during the 60s BSR produced a heavily-modified version of the Loewy-designed UA16 for Pye that could track at 2g: this was so Pye could use the CBS-designed "Butterfly" pickup cartridge. It had a counterweight extension at the rear of the arm. Although the "Butterfly" was best known here for its use in the "Achoic" stereo record player (complete with the most bizarre stereo circuitry known to man), it was also used in a high-end Pye stereogram - my grandmother had one.

Did you get the "Butterfly" in .au?

 

 
Posted : 11/01/2024 2:01 pm
Synchrodyne
(@synchrodyne)
Posts: 521
Honorable Member Registered
 
 
Re the circuit at interest, it may be noted that shunt feedback is a rather noisy way of doing RIAA equalization for magnetic cartridges.  H.P. Walker did the calculations back in 1971, and showed that with perfect devices and passive components, a typical magnetic cartridge and a 50k input load, then the signal to noise ratios relative to a 2 mV input were 72 dB for the series feedback case, and 58.5 dB for the shunt feedback case – a big difference.  See WW 1972 May p.233ff.  There was an interesting follow up sequence of “Letters to the Editor”, in which J. Linsley Hood, who had use a shunt feedback circuit in his 1969 modular preamp design, attempted to challenge Walker’s findings.
 
Ceramic cartridge loading an equalization/compensation turns out to be quite complex.  The basics were set out in a series of articles by B.J.C. Burrows in WW during 1970-71.  (See below for details.)  In summary, the requirements vary according to whether the cartridge is self-equalized (mechanically) for the RIAA curve (the majority) or not (the minority)
 
For self-equalized cartridges, the options are:
 
1. Load with a sufficiently high impedance (say 2M) that the turnover frequency occasioned by the cartridge self-capacitance interacting with the load resistance/impedance is below the AF band, say below 50 Hz anyway.  Then no equalization or compensation is required.
 
2. Load with a low-to-moderate impedance. say 100 to 200k, and compensate for the bass roll off.  The actual compensation (not RIAA equalization) required will depend upon both the cartridge self-capacitance and the amplifier input impedance.  Typical would be matching for around 600 pF cartridge capacitance.  This was the method used by Burrows, and also by H.P. Walker, and by Quad in the 33 control unit.  It allows the use of the same preamplifier for magnetic and ceramic cartridges, albeit with gain and equalization/compensation switching.
 
3. Use an intervening “de-equalizing” network (as usually defined by the cartridge makers) and feed into a standard 47k, RIAA equalized magnetic cartridge input.  The de-equalizing network effectively puts a 12.5 dB upstep in the frequency response between 500 and 2120 Hz.  Beyond that though, it provides attenuation, and also ensures a net loading that puts the turnover frequency (as mentioned in item (1)) above the AF band.  That way the overall upsloping (6 dB/8ve) cartridge output, combined with the 12.5 dB step, is the mirror image, more-or-less, of the RIAA equalization curve.  The Sonotone “Velocitone” plug-in adaptors fell into this category.
 
For the fewer non-self-equalized cartridges, the usual approach is to load low, say 100k or less, so that the turnover frequency is above the AF band, and then feed into an RIAA-equalized input, with attenuation if needed.  This works because the slope across the AF band occasioned by low loading converts the amplitude output to a velocity output, and there is no self-equalization to confound the process.  Loading high and RIAA-equalizing on an amplitude basis (12.5 dB step) is also possible, and Linsley Hood included such a circuit in his 1969 design.
 
 
The pertinent WW articles by B.J.C. Burrows are:
 
WW 1969 February p.56ff:  Ceramic Pickups and Transistor Pre-Amplifiers – Are they incompatible?
 
WW 1971 July p.321ff:  Ceramic Pickup Equalisation – 1. Myths against maths and measurement
 
WW 1971 August p.379ff:  Ceramic Pickup Equalisation 2. Practical low-impedance circuits
 
Towards the end of this article was shown the Bailey pre-amplifier modified to include the Burrows circuitry for ceramic cartridge loading and equalization.
 
All are well worth reading.  (And I like the subtitle of the 1971 July article!)
 
Burrows addressed the low impedance option.  Linsley Hood provided some useful comment on the high impedance option in this WW article:
 
WW 1969 July p.306ff:  Modular Pre-Amp Design
 
The Burrows-Bailey-Quilter (BBQ) control unit (offered as a kitset by Hart Electronics from c.1972-73) was the Burrows-Bailey circuit with the Quilter tone control modification (WW 1971 April p.199ff.)
 
H.P. Walker’s Stereo Mixer (WW 1971 May p.221ff and 1971 June p. 295ff) also used the Burrows ceramic cartridge circuit (and the Quilter tone control).  An earlier application was the Quad 33 (C1 ceramic position of the disc input board), which also used the Quilter-type tone control circuit (before it was invented?)
 
By the way, there is a concurrent thread on a similar topic in UKVRR, https://www.vintage-radio.net/forum/showthread.php?t=206831.
 
 
Cheers,
 
Steve
 
 
Posted : 11/01/2024 10:51 pm
Forum 136
(@irob2345)
Posts: 610
Honorable Member Registered
Topic starter
 

Thank you both for your thoughtful and informative responses. Although I'm a design engineer I've had little experience with gram related issues, last time I worked with them is when I was in the service industry back before the flood!

Interested to hear about the shunt vs series feedback S/N question.

"There was an interesting follow up sequence of “Letters to the Editor”, in which J. Linsley Hood, who had use a shunt feedback circuit in his 1969 modular preamp design, attempted to challenge Walker’s findings."

Did he succeed with his challenge? I would have expected the lower impedance of a shunt topology to result in lower noise, all other things being equal. To claim otherwise is surprising and counter-intuitive.

You don't by any chance have a link to those articles?

 
Posted : 12/01/2024 7:36 am
Synchrodyne
(@synchrodyne)
Posts: 521
Honorable Member Registered
 
 
I’d say that Walker won that debate.  Linsley Hood was perhaps a little out of his depth.
 
The difficulty with shunt feedback in the equalized disc input stage is that the cartridge load resistor, typically 47k, is in series with the source, and so is a significant noise generator when one gets down to input levels of around 2 mV.
 
In the valve era though, when typical cartridge outputs were 5 mV and often higher, shunt feedback around an EF86 was a typical approach.  Also back then, the typical magnetic cartridge load was 68k.  A typical noise specification was:  “-80 dB or where applicable, the equivalent noise of the pick-up load impedance at the input”.  Thus, the limitation was not the pentode valve so much as the cartridge load resistor.
 
If better noise performance, possibly along with improved sensitivity was required, then a double triode with series feedback was necessary, although in that case, DC heating of at least the first triode was needed to avoid hum transfer.  Using a cascode with shunt feedback, as some makers did, would not have helped because it did not dispose of the series input resistor problem.  Still, that a cascode is in and of itself quieter than a pentode made a nice brochure claim.  And to be fair, such amplifiers usually also had a low impedance microphone or tape head input that would benefit from the cascode, so there was some factual support.
 
The general arrival of transistor-based amplifiers more-or-less coincided with the reduction in typical magnetic cartridge outputs, the latter perhaps being a consequence of the drive for better overall performance.  Thus, the series feedback circuit became the norm for disc input stages.  The Dinsdale 1965 circuit is generally regarded as a significant marker.  There is something like the valve cascode vs. pentode story here as well.  As H.P. Walker demonstrated, a close approach to the theoretical noise floor could be obtained with appropriate NPN transistors.  Some makers though used a PNP first transistor on the basis that it was lower noise than an NPN type.  Broadly, that was true, and it would have applied to any low impedance sources that used the same input, but not to the magnetic cartridge case.  But again, it made a nice general claim.  In his mixer design, Walker used PNP input transistors where appropriate, but not for the disc input stage.
 
In due course, ICs superseded transistors.  The arrival of the TDA1034/NE5534 represented a plateau as far as magnetic cartridge disc input stages went.  Whether later, ostensibly quieter ICs produced worthwhile improvements could be debatable.  If you can get to say -71 dB noise against 2 mV with 47k, then any improvements beyond that are in that final 1 dB window.  Perhaps the early 1970s LM381 would not be far off a NE5534 in overall performance, but that seems to have been forgotten, or perhaps dismissed because it predated the arrival of audio-oriented opamps proper.
 
You can find those WW articles here:
 
 
But it might be easier if you simply send me a PM with your email address, and I’ll send them to you in .pdf form.  I have them, along with the follow-up letters, etc., on file, so it is easy from this end.
 
 
Cheers,
 
Steve
 
 
Posted : 12/01/2024 9:08 pm
Nuvistor reacted
Share: