If you follow audiophile reviewers, you’ll know that their stock-in trade is a very fancy way of saying absolutely nothing of quantifiable substance about the subject while sounding knowledgeable about imagined differences between devices that are all of superlative quality anyway. If you follow us, we’ll tell you that the only reviews that matter are real-world measurements of audio performance, and blind listening tests. We don’t have to tell you how to listen to music, but perhaps it’s time in our Know Audio series to look at how audio performance is measured.
Before reaching for the bench, it’s first necessary to ask just what we are measuring. What are the properties which matter in an audio chain, or in other words, just what is it that makes an audio device good?
As we’ve traced our no-nonsense path through the world of Hi-Fi audio, we’ve started with the listener, understood the limitations of the human ear, and thence proceeded to the loudspeaker. We’ve learned a bit about speaker cabinets and their design, so it’s time to venture further down the chain to the amplifier that drives those speakers.
The sharp-eyed will be ready to point out that along this path also lies the speaker cables, but since we’ll be looking at interconnects at a later date we’ll be making the dubious and simplistic assumption for now that the wires between speaker and amplifier are ideal conductors that don’t have a bearing on listening quality. We’ll be looking at amplifiers in enough detail to warrant more than one piece on the subject, so today we’ll start by considering in a slightly abstract way what an amplifier does and where it can fall short in its task. We’ll be introducing probably the most important thing to consider in any audio system, namely distortion.
The job of an audio amplifier is to take an audio signal at its input and present the same signal on its output at a greater amplitude. In the case of a preamplifier it will usually be designed to work with high impedances in the order of 50 kΩ at both input and output, while in a power amplifier designed to drive speakers or headphones it will drive a much lower impedance. Commonly this will be 4 Ω or 8 Ω for loudspeakers, and 32 Ω for headphones. Continue reading “Know Audio: Amplifiers And Distortion”→
What do you do with a cool-looking misfit guitar that has non-working built-in effects and some iffy design aspects? Do you try to fix it and keep it original, or do you gut it and strut your stuff with new bits from around the shop? This is the conundrum that [Tim Sway] finds himself in with this late 70s/early 80s Formanta Solo II straight out of the USSR. (Video, embedded below.)
[Tim] likes a lot of things about it (and we do, too), especially the acid green pick guard, the sparkly pickups, and the beefy bridge that lets him set the string spacing individually, on the fly. It even has a built-in phaser and distortion, but those aren’t working and may never have worked that well at all.
The non-working effects guts.
As you can see in the video below, [Tim] has already spent a few hours making it playable and a little more palatable in order to figure out what to do with it electronics-wise. He started by making the 9 V compartment big enough to actually fit a battery inside, and drilled out bigger holes for new tuners.
Interestingly, these guitars had a 5-pin DIN receptacle instead of a 1/4″ jack. [Tim] bought an adapter just in case, but once someone dug up a schematic and sent it over, he decided to rewire it with a 1/4″.
For all of its plus sides, [Tim] doesn’t like the headstock on this thing at all and found the neck to be too chunky for the modern guitarist, so he cut down the headstock, shaved down the neck a bit, and stained it dark. He also made a new nut out of what looks like rosewood. Then it was on to the more standard stuff — file down the frets and polish them, oil the fretboard, and clean up the body.
The point of this exercise is to make a usable guitar for the modern musician. As [Tim] says, this is not a particularly valuable guitar, nor is it rare, and it wasn’t built that well to begin with. One of the issues is the switches — they’re kind of light and cheesy feeling, and one of them is directly in the strum path. Will [Tim] change those out but fix the original effects, or will he make the thing completely his own? We wait with bated breath.
[Gijs Gieskes] is certainly no stranger to hacked cassette players, but his latest triumph may well be the most approachable project for anyone looking to explore the world of unorthodox tape unspooling. By attaching a fairly simple add-on PCB to a modern portable cassette player, the user is able to modify the playback speed of the tape at will. The skillful application of such temporal distortions leads to wonderfully abstract results.
The board that [Gijs] has come up with uses four potentiometers and matching push buttons to allow the user to set different playback speeds that they can engage with the push of the button. There’s also a fifth potentiometer to augment the “global” speed as well as an override switch. During playback, these controls can be used to arbitrarily tweak and augment the sound of samples contained on a the looping cassette.
If that’s a little hard to conceptualize, don’t worry. [Gijs] has provided some examples of how the the rapid adjustment of playback speed offered by this “Zachtkind” can add a fascinating level of complexity to sounds and melodies. The assembled player is available for purchase ready to go, but he also provides kits and a detailed installation guide for those who’d rather build it themselves.
The idea is simple: build a wireless intercom so a group of motor scooter riders can talk in real-time. Yes, such products exist commercially, but that’s no fun at all. With a little ingenuity and a well-stocked parts bin, such a device should be easy to build on the cheap, right?
Apparently not. [GreatScott!] went with an Arduino-based design, partly due to familiarity with the microcontroller but also because it made the RF part of the project seemingly easier due to cheap and easily available nRF24 2.4 GHz audio streaming modules. Everything seems straightforward enough on the breadboard – an op-amp to boost the signal from the condenser mic, a somewhat low but presumably usable 16 kHz sampling rate for the ADC. The radio modules linked up, but the audio quality was heavily distorted.
[GreatScott!] assumed that the rat’s nest of jumpers on the breadboard was to blame, so he jumped right to a PCB build. It’s a logical step, but it seems like it might be where he went wrong, because the PCB version was even worse. We’d perhaps have isolated the issue with the breadboard circuit first; did the distortion come from the audio stage? Or perhaps did the digitization inject some distortion? Or could the distortion be coming from the RF stage? We’d want to answer a few questions like that before jumping to a final design.
It’s one thing to assemble your own circuits from scratch using off the shelf components. It’s quite another to build the components first, and then build the circuit.
That’s the path [Joris Wegner] took with this video distortion effects box, dubbed PHOSPHOR. One might wonder why you’d want a box that makes a video stream look like playback from a 1980s VHS player with tracking problems, but then again, audio distortion for artistic effect is a thing, so why not video? PHOSPHOR is a USB MIDI device, and therein lies the need for custom components. [Joris] had a tough time finding resistive optoisolators, commonly known as Vactrols and which are used to control the distortion effects. He needed something with a wide dynamic range, so he paired up a bright white LED and a cadmium sulfide photoresistor inside a piece of heat shrink tubing. A total of 20 Vactrols were fabricated and installed on a PCB with one of the coolest silkscreens we’ve ever seen, along with the Sparkfun Pro Micro that takes care of MIDI chores. Now, distortions of the video can be saved as presets and played back in sync with music for artistic effects.
When we are concerned with the accurate reproduction of a signal, distortion and noise are the enemy that engineers spend a great deal of time eliminating wherever possible. However, humans being the imperfect creatures that we are, we sometimes desire a little waviness and grain in our media – typically of the analog variety, as the step changes of digital distortion can be quite painful. Tired of Instagram filters and wanting to take a different approach, [Patrick Pedersen] built the OptoGlitch – a hardware solution for analog distortion.
Changing the number of samples per pixel varies the accuracy of reproduction of the original image, left.
The concept of operation is simple – pixel values of a digital image are sent out by varying the intensity of an LED, and are then picked up by a photoresistor and redigitized. The redigitized image then bears a variety of distortion and noise effects due to the imperfect transmission process.
In the OptoGlitch hardware, the LED and photoresistor are intentionally left open to ambient light to further allow noise and distortion to happen during the transmission process. A variety of calibration methods are used to avoid the results being completely unrecognizable, and there are various timing and sampling parameters that can be used to alter the strength of the final effect.
