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Audio Power Amplifier Design Handbook 5th Edition by Douglas Self | PDF Free Download.
You will have noted from the increased weight of this book that it has been significantly expanded. The text has increased in size by more than 50%, and there are a hundred new illustrations.
There is a completely new chapter on the Class-XD system that I recently introduced at Cambridge Audio; an amplifier utilizing this system won an Innovation award at Chicago CES, January 2008.
There is also a big new chapter on balanced line inputs and balanced interconnections in general. These are becoming more and more common in the hi-fi field and have always been of prime importance in professional amplifier systems.
This is a vital topic as without good interconnection technology the signal quality is irrevocably compromised before it gets anywhere near the actual power amplifier stage. This chapter also includes a lot of new material on ultra-low-noise design.
There is also a wholly new chapter on amplifier subsystems such as signal activation, 12 V trigger, level indication, and more. Amplifi er input stages and voltage-amplifier stages now have separate chapters of their own.
I have added lots of new material on four-stage amplifier architectures, current-mirrors, power transistors with internal sensing diodes, amplifier bridging, distortion mechanisms, input stage common-mode distortion, double input stages, amplifier stability, output stages with gain, transformers and their hum fields, inrush current suppression,
DC servo design, thermal protection, the subtleties of cooling fan control, line input stages, low-noise design, high- and low-pass filtering, testing and safety, infrared control, and much more.
There is significantly more material on professional power amplifiers as used in sound reinforcement and PA applications.
I am aware there is still very little material on power MOSFETs in this book, as I still hold to the view that they are inevitably more nonlinear and harder to work with than bipolar transistors.
I know that some people – including some I have much respect for – do not agree, but I find the evidence in both theory and practice to be convincing. There has been some rearrangement to get a more logical layout of the subject matter.
Your favorite topic has not been removed, but it might well have been moved. As you will have gathered, I am still fascinated by the apparently simple but actually fiendishly complex business of making small signals bigger and applying them to a loudspeaker.
An amplifier performs one of the simplest possible mathematical operations on a signal – multiplication by a constant. It is fascinating to see how much more complicated things get after that.
Part of the lure of electronics as a pursuit is the speed with which ideas can be turned into physical reality. In audio amplifier design, you very often need just a handful of components, a piece of prototype board, and a few minutes to see if the latest notion really is correct.
If you come up with a brilliant new way of designing large concrete dams then it is going to take more than an afternoon to prove that it works.
You will also see, in Chapter 1, that in the last few years I have found no reason to alter my views on the pernicious irrationality of subjectivism.
In that period I have repeatedly been involved in double-blind listening tests using experienced subjects and proper statistical analysis, which confirmed every time that if you cannot measure it you cannot hear it.
Nevertheless, the controversy rumbles on, although in a more logical world it would have been regarded as settled in the 1970s. I get a steady flow of emails supporting my position on this issue, but I fear I am still regarded in some quarters as the Gregor Eisenhorn of amplifier design.
There is in this book a certain emphasis on commercial manufacture, which I hope does not offend those purely interested in amateur construction or intellectual inquiry.
In a commercial environment, if you want to sell something (for more than a very short time) it has to work – and keep working.
This is still a valuable discipline if you are making a one-off design to test some new ideas; if the design is not reliable then it must be unsound in some way that may have more impact on what is going on than you think.
In a changing world, one of the many things that have changed is the nature of discussion on audio technologies. For many years Wireless World – later Electronics World – was a major forum for this, and I contributed many articles to it over 30 years; it has, however, now changed its emphasis. Elektor since its beginning has hosted serious audio articles and still does.
The biggest change is, of course, the arrival of the Internet, which allows debate to proceed at a lightning pace compared with the old method of writing a letter and waiting for a month or two to see it published.
Currently the only bulletin-board I frequent is DIYaudio.com; I personally think it is one of the best. In producing this edition of the book it struck me frequently and forcibly how much has had to be omitted for reasons of space, despite the generous increase in its size.
Audio power amplifier design, even if confined to solid-state amplifiers, and even if further confined to those with bipolar output stages, is already too big a field for one person to know everything. I certainly don’t think I do.
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