Preamps

Information is sometimes requested concerning stereo

preamps. Since interest revolves around the
reproduction of 12" vinyl (or acetate) a few AC-coupled,
single supply designs from the sixties and seventies are
covered here. Any criticisms voiced are in no way
intended to detract from the designer's efforts. For
example, that for the Dinsdale Mk II broke ground and
identified the fundamental structure that would be
followed thereafter.

An input selector feeds a signal conditioner which is

followed by tone controls, filter, balance, volume and a
channel selector that would best be placed before the
balance control. It must be borne in mind that although
a tape input was accommodated, no provision for a tape
output was made. This would be best taken from the
input to the tone controls.

The unavoidable use of, usually silver-plated brass,

switch contacts to achieve a flexible, multi-functional
aspect can only lead to noise when dirty or worn,
especially if used in signal and feedback paths.
Momentary open circuits as the function is switched
could give rise to startling sound effects. The main
source of noise in this format, usually followed by the
supply. Some much later designs, like B&O, would
include a PA mute operated by a switch ganged with the
selector bank.
John Linsley Hood built his 1969 modular preamp 'with
the separate units laid out in mirror image form, as a
stereo pair on a single 4in X 4in s.r.b.p. pin board'.
This was usually matched with the class A amplifier of
the same year.

Using the presets before the selector, the user could set
the levels of the inputs to match those of the quietest.
Annoying differences in conventions (DIN/RCA) or
nonstandard inputs could then be accommodated. Note
how unused switch arms are grounded to reduce
crosstalk. To avoid distortion the signal at the tone
controls is some 60-100mV (2Vrms output available,
<0.03%THD). The tape output should be taken from
before the tone controls. The low-pass filter gives a rolloff (with the values given) of 12dB/octave @ 18kHz,
increasing to 18dB/octave with it's input RC network.
Residual noise from the preamp would be reduced if the
volume control was placed on the output.

JLH modded the RIAA, which was built into the recorddeck; 'These changes maintain the velocity response flat
down to 25Hz, with rapid attenuation below this
frequency. [Acknowledging the rumble inherent in many
decks. PK] Unfortunately the mid point gain of the
circuit is reduced to 5, and some additional amplification
is therefore needed if it is desired to avoid working with
the tone control circuit at the 20mV level. The simple
floating emitter collector-follower circuit (below) is
therefore interposed, without coupling capacitors,
between the output series resistor and the collector of
Tr3. The distortion contributed by this is less than
0.05%.'

Ceramic cartridges could be accommodated with

additional input and feedback network changes to the
RIAA stage or an impedance converter stage could be
used.
This design (as did the later ones shown below, bar the
Radford) used the DIN connector convention whose lowvoltage, high impedance characteristic was often a
cause of poor signal-to-noise ratios (later JLH preamp
designs). Care was taken over reducing supply noise,
the supply rail being zener stabilised with each stage
decoupled by it's own RC network, giving each stage an
operating differential of about 15V. Relatively simple
techniques can be used to dramatically improve supply
noise and crosstalk and are recommended. The 75W
Powertran kit used a 'Liniac' preamp with a 'mode'
switch and switched range tone control with variable
slope filter (PDF available). It must be understood that a
mono switch will negate the action of any balance
control that precedes it.

RF breakthrough on an input can be reduced if the earth

side of each socket is grounded directly to chassis via a
low value (10nF) ceramic capacitor.
Gibb's and Shaw's 1970/1 PE Gemini caught the eye,
being compared favourably with the Quad 33 and 303,
of about the same date.

Personal preference here would move the tape output to

the other side of the treble filter coil, and the volume
control to the output. A PCB redesign could have
accommodated the controls, thus reducing the
extensive wiring that many amplifiers entailed.
Below is the preamp suggested in a SL403A IC
application which must represent one of the earliest
examples of IC op-amps being used in a 'hi-fi' preamp.

Notable is the additional switch wafer, compared to

other approaches. Specs were surprisingly good and
would withstand comparison today.

The use of IC opamps considerably reduces the

component count. The NE5534 has been a personal
favourite for audio over many years and On
Semiconductor's AND8177/D application note gives a
good range of designs, although be mindful of the
numerous errors that it (Rev. 0) contains (some RIAA
and equalisation solutions).
H. P. Walker's 'Stereo Mixer' modules (WW, May 1971)
and 'Low-noise Audio Amplifiers' (WW, May 1972)
produced a number of useful designs and are
recommended.
Quad represented quality design and construction.
However, an overcomplex design can increase the

component count that there is to fail, or the number of

dry joints if soldering quality (a vital component) is not
good.

Note reliance on large number of switch contacts (note

dissimilarities on switches serving L1 and L2, and the
interesting transistor designations!) and
interconnections. Although the later 34 preamp was nice
to look at, one never quite understood why the mono
switch, despite convention and previous designs, was
moved to the middle of both slope filters, after the
volume, tone, balance controls and filters.
To reduce switch contact noise diode-switching was
introduced by some manufacturers. Considered
innovative at the time, this was only really useful for
DIN signal levels and was unable to cope with larger
voltages whose noise floor was comparatively much
lower. With damped switching, like that shown below,
sources would cross fade as the diode voltages
changed providing a more pleasant and less abrupt
change, particularly if the newly selected input was
comparatively loud.

The Lecson AC1 (usually matched to the AP3 MkII

power amplifier) truly landed from another planet in
that

virtually all signal and conditioning paths were switched

by FETs and amplification/eq was confined to a single
double-sided board. Internally, the AC1 remained
unchanged most of it's life. The first batch had tops
made from strips of thin glass. Attractive but
impractical, the glass was quickly replaced by a one
piece acrylic top which was screen-printed. Minor
changes and component variations were made but
essentially it performed well apart from the rather poor
headroom of the phono cartridge input. It is said that
the two production managers both hated the product
because it was hard to manufacture needing selection of
FETs and tantalum capacitors; a lot of mechanical
adjustment (switches were reed types actuated by
magnets) and with acrylic tops that marked easily so
that there were too many rejects.
The Radford HD250 and ZD22, whilst claiming
otherwise, unfortunately offered poor performance for
the effort that had gone into the design which contained
a number of flaws, and the bane of the audio
enthusiast, mechanical contacts. Lots of them. The RCA
phono connector convention, however, was supported.

Slider controls were fashionable, but ingress of dust

could cause problems. Rotary controls are seen as
ergonomically pleasing and easier to use, thus the
slider's decline.

Curtis' P60 offered another 'quality' approach which

many owner-users reported returning to when
dissatisfied with more modern offerings.

Note how inputs were shorted to ground as with the JLH

above. All coupling capacitors were tied to ground, prior
to switching, to reduce transients arising from leakage.
The large PCB reduced wiring considerably, the standard
of finish was high and innovative additions were made,
especially in respect of protection.
The facility to use more than one (3) tape deck was
useful. Later designs would include separate (pre-filter)
record selector switching so that recordings could be
made from sources other than those being listened to,
eg; tape-to-tape, a long overdue improvement from a
tape enthusiast's view.

There is an argument for using a separate buffer stage

to supply signals to tape outputs since a low
(comparatively speaking) load can adversely affect, say,
an RIAA stage's output filter.
At the design stage, consideration can be given to
running one or more pairs of headphones, always useful
if one wants to listen to music without the main PA.
A rarely seen, but useful facility on an integrated
amplifier is a break-jack between the preamp proper
and the power amp. This enabled, say, a graphic
equaliser to be inserted, or an electronic crossover

added, with additional amplifiers and speakers

increasing flexibility, as in the Hitachi HA-7700, the
extensive Sony TA-8650 or the less complex Technics
SA-700 (below).

A much earlier design noted for it's flexibility by

enthusiasts was the Trio/Kenwood KA4002 despite the
limitations of it's output stages and again the many
mechanical contacts involved.
Stan Curtis' System A (copies of scans of original article
available on request) used a modular approach to meet
individual needs and 'discrete component operational
amplifier's using selected devices. A tape output
selector switch can offer flexibility and a conventional
balance control with fixed output stage gains will reduce
problems with a noisy pot.
For most needs there is nothing wrong, today, with an
arrangement of the LM381, a veteran preamp IC, such
'building blocks' reducing component count and thus
complexity. Cross-talk issues can be resolved by using
one IC per channel. A buffer can then drive a passive
tone/volume network and a gain block is available either

for another buffer or for EQ, say (B&O RIAA

application). Run at a well regulated and smoothed 30V.
As noted above, flexibility and therefore usefulness is
enhanced with extended and considered switching
arrangements. Multiple variable inputs can be useful.

Bass will be extended if the 22F cap in the feedback

loop is increased, but with values given should meet
most rumble and speaker needs. The LM382 reduces
component count with on-chip resistors and the LM387
offers a smaller package (8 dil) with reduced spec and
can only be used in differential mode without external
compensation.
The respected HA12017 was used in the Armstrong 730
which is worth a look. Other types like the TDA3410 can
be useful. This was intended for tape decks and has two
channels each consisting of a 30dB gain block (2Vpk-pk
max out) with dual input switching followed by an
opamp. Used as a 60dB gain stage this IC can deliver a
0.5dB response from 25Hz to 20kHz with <0.05% THD
with a signal-to-noise ratio better than 65dB.
A simple voltage/resistance-controlled electronic
attenuator can be provided by the MC3340P but
distortion can rise to 3% at maximum attenuation
levels. The NE570/1 dual channel compander can
provide a gain of between +6dB and -80db with a 12V
control voltage.
A couple of suggestions for electronic control can be
found here. In response to requests for guitar preamps,
a couple of scans of (elektor) self-build projects are

available on request. Alternatively, "Solid-state guitar

amplifiers" by Teemu Kyttala is an excellent source.
equalisation | sundry styli interfaces | electronic
switching
Contact me at paulkemble@hotmail.com
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