By Douglas Self
ISBN-10: 0750656360
ISBN-13: 9780750656368
Douglas Self has known as upon his years of expertise on the leading edge of audio layout to collect this instruction manual for execs and scholars. The publication offers a transparent and useful consultant to the cutting-edge, and contains designated layout and development details.
This new version is extra entire than ever, with a brand new bankruptcy on classification G amplifiers and additional new fabric on output coils, thermal distortion, relay distortion, floor loops, triple EF output phases and convection cooling.
Douglas Self has committed himself to demystifying amplifier layout and constructing empirical layout options in keeping with digital layout ideas and experimental info. His rigorous and carefully sensible technique has proven him as a number one authority on amplifier layout, specially during the pages of Electronics global the place he's a standard contributor.
* detect the secrets and techniques of state-of-the-art audio design
* The definitive expert instruction manual for amplifier designers
* features a new bankruptcy on type G amplifiers
Read or Download Audio Power Amplifier Design Handbook (3rd edition) PDF
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Additional resources for Audio Power Amplifier Design Handbook (3rd edition)
Sample text
Current-dumping amplifiers can be regarded as combining Class-A (the correcting amplifier) with Class-C (the current-dumping devices); however it is hard to visualise how an audio amplifier using devices in Class-C only could be built. Class-D These amplifiers continuously switch the output from one rail to the other at a supersonic frequency, controlling the mark/space ratio to give an average representing the instantaneous level of the audio signal; this is alternatively called Pulse Width Modulation (PWM).
Proposed standards for the maintenance of absolute phase have just begun to appear [31], and the implication for amplifier designers is clear; whether absolute phase really matters or not, it is simple to maintain phase in a power amplifier (compare a complex mixing console, where correct phase is vital, and there are hundreds of inputs and outputs, all of which must be in phase in every possible configuration of every control) and so it should be done. In fact, it probably already has been done, even if the designer hasn’t given absolute phase a thought, because almost all amplifiers use series negative feedback, and this must be non-inverting.
Dis. Monogr. Suppl. 11, pp. 1–63. 5. Moore, B C J Relation between the critical bandwidth k the frequencydifference limen Journ. Acoust. Soc. Am. 55, p. 359. 6. Moir, J Just Detectable Distortion Levels Wireless World, February 1981, pp. 32–34. 7. Hawksford, M The Essex Echo Hi-fi News & RR, May 1986, p. 53. 8. Self, D Ultra-Low-Noise Amplifiers & Granularity Distortion Journ. Audio Eng. , November 1987, pp. 907–915. 9. Harwood & Shorter Stereophony and The effect of crosstalk between left and right channels BBC Engineering Monograph No 52.
Audio Power Amplifier Design Handbook (3rd edition) by Douglas Self
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