среда, 27 июня 2018 г.

aikido_hund

Aikido hund

Aikido Cathode Follower [ACF]

Born from the rib of the two-stage Aikido amplifier topology, the ACF is basically the last half of the Aikido amplifier, which uses a modified cathode follower circuit to provide unity gain and a low output impedance. Much as in the Aikido, this modified cathode follower scrubs away the power-supply noise from its output and provides a complementarily non-linear load for the top triode’s cathode. In addition, the Aikido cathode follower produces lower distortion by using the triode’s own nonlinearity against itself.

Click on image to see enlargement

So what is required to make a good tube-based unity-gain buffer? For most tube fanciers, the immediate answer is to use a cathode follower. This solution makes a lot of sense, as the cathode follower offers a gain close to unity and a low output impedance. The cathode follower isn't the only circuit that will work as a buffer; for example, the plate follower and White cathode follower also provide unity-gain, a low output impedance and low distortion figure. The cathode follower, however is the most popular buffer, as it is the simplest. So simple in fact that a cathode follower can be made from just three resistors and one coupling capacitor as supporting parts. Several modifications to this simple circuit are possible. For example, the cathode resistor can be replaced by a choke, which will function as a constant-current source in AC terms. Another possibility is to replace the cathode resistor with a constant-current source circuit. A discrete constant-current source can be made from triodes, pentodes, FETs, MOSFETs, transistors, or ICs. (In fact, a fairly good constant-current source can be made from just one IXCY 10M45S current regulator and a resistor.)

Cathode Follower Vs Aikido Cathode Follower

Unlike the grounded-cathode amplifier, whose PSRR improves by the replacement of the plate resistor with a constant-current source, the cathode follower's PSRR worsens with the replacement of its cathode resistor by a constant-current source. Why? In the grounded-cathode amplifier circuit, the constant-current source shields the plate from the noise source; but in the cathode follower circuit, the triode shields the constant current source from the power-supply noise. With no external load impedance and a true constant-current source, the cathode follower's PSRR falls to 1/mu; thus the higher the mu, the smaller the percentage of power-supply noise making to the output.

The triode is not as linear as a resistor so, ideally, it should not see a linear load, but a corresponding, complementary, balancing non-linear load. An analogy is found in someone needing eyeglasses; if the eyes were perfect, then perfectly flat (perfectly linear) lenses would be needed, whereas imperfect eyes need counterbalancing lenses (non-linear lenses) to see clearly. Now, loading a triode with the same triode—under the same cathode-to-plate voltage and idle current and with the same cathode resistor—works well to flatten the transfer curve out of that triode. Since the cathode follower already enjoys 100% degeneration at its cathode, the slight reduction in distortion by using the triode-based load is not as marked as in is in a grounded-cathode amplifier, but it is a worthwhile modification. In addition, the active load allows us to anticipate the power-supply noise that would normally appear at the output and counter the noise before it can appear.

Imagine that the output coupling capacitor was infinitely large in value and that the load impedance was zero ohms and that the input was grounded. No power-supply noise could make it to the follower's output. Now imagine no power-supply noise at the output, but with no coupling capacitor or external load, with only the bottom triode providing a current path into the top triode and the B+ connection. In both scenarios, only the top triode sees the power-supply noise at its plate. Thus, any signal (power-supply noise) on the top triode’s plate will impose a current conduction variation in the top triode equal to Vnoise / (rp + [mu + 1]Rk). Since the both tubes are in series, the bottom triode must match this current variation to null the noise at the follower’s output. So, in the ideal setup, the top triode sees a fixed cathode and grid voltage, while its plate varies with the power-supply noise; and the bottom triode sees a fixed plate voltage, while its grid's voltage is varied to provoke a matching variation in current conduction.

A triode's a grid is—by definition—mu times more effective than the plate in controlling triode's current conduction; thus, the bottom triode’s grid must see the power supply noise dived by the mu of the triode used. For example, a 6GC7 (with a mu of 20) will need to see 1/20th of the power supply noise at its grid; a 12AX7 (with a mu of 100), 1/100th of the power supply noise at its grid. Therefore, the voltage divider resistors must conform to the following ratios:

R9/R8 = mu-1 and R9 = R8(mu-1) and R8 = R9/(mu-1)

For example, with a 12AU7 (with a mu of 17), R9 would equal 17 x R8; with a 12AX7 (with a mu of 100), R9 equals 99 x R8. The coupling capacitor feeds the two-resistor voltage divider and it needs to big enough in value to ensure enough low-frequency bandwidth . Thus,

C6 = 159155/(R9 + R8)/F,

where F = frequency (say 10Hz) and the result is in μF; typical values fall between 0.047µF to 1μF.

No Gain, No Pain; No Hummer, No Bummer

Tube-based buffer line stages that provide no voltage gain are, surprisingly enough, rare. As far as I know, no commercially-offered, unity-gain, tube-based line-stage buffer exists. This is an odd situation, as passive line-stages are popular, which proves that extra signal gain isn’t always required. Additionally, the passive line- stage does not require plugging into the wall and it adds no extra active devices into signal path. It is the purest of the pure.

Yet passive line stages often prove inadequate, incapable of adequately driving high-capacitance cables or low-input impedances. Moreover, most active line-stage amplifiers can often impart the missing heft and solidity that are missing in many passive setups, even when the load is wimpy, but at the cost of greatly increased complexity and cost—and with some added noise and distortion.

The Aikido cathode follower PCB/kit, in contrast, is a modest affair, consisting of one tube per channel (two triodes per tube envelope) and a handful of capacitors and resistors. This unity-gain buffer, using a modified cathode follower, offers a high input impedance, a low output impedance, low distortion, and a great PSRR figure. In addition, the ACF does not invert the phase. The ACF use is not limited to line-stages, as the ACF can be used in creating an active crossover or even a headphone driver, if the headphone's impedance is high enough. This new PCB is something I wanted to create for a long time now. In fact, I made the PCBs back in 2009, but I have been slow to release them. Why? The little that cannot be accounted for due to laziness can be ascribed to lack of time.

The irony is that I long ago built up an ACF and I am quite pleased with its performance. I began with a good-sounding, passive line-stage preamp that used a fine 20k stepped attenuator (filled with carbon-film resistors) that sounded fuller than other passive line stages that I have constructed before. (Many metal-film resistor-based attenuators sound cold and brittle.) My fear was that adding the ACF to the signal path could only subtract, not add to the signal purity. I was, however, quite pleasantly surprised, as the now-active line stage seemed only to gain and lose nothing to the pure passive setup. Where the passive line stage offered great clarity but still somewhat thin sonic presentation, the ACF setup restored the weight and solidity to the music that the purely passive setup failed to impart. (Mahler on a diet sounds as bad as most diet food tastes.) My good friend Glenn described his own passive line stage as sounding a tad ghostly, whereas the addition of an ACF to his setup added needed solidity.

I plan on adding an ACF to my Logitech Squeezebox Duet soon. (The ACF's high input impedance will greatly unload the Duet's output circuitry, thereby improving the sound.) And if I ever build the balanced setup that I have been planning on building, I will use one ACF per channel of my DacMagic's balanced outs. Remember, you effectively get +6dB more gain from balanced outputs.

Suitable tubes for the ACF are the 6AQ8, 6CG7, 6DJ8/6922A, 6H30, 12AU7, 12AT7, 12BH7, 5963, 5965, and ECC99. A PS-3 or PS-4 power supply would be perfect mate for the ACF.

Aikido CF PCBs and kits are available now at the GlassWare-Yahoo store. Be sure to download the user guide PDF by clicking on the user guide image on the right.

The Triadtron circuit exploits a feature of transistors: a well-defined and abrupt base-to-emitter voltage. Unlike triodes and pentodes, transistors exhibit a sharp turn-on voltage, as shown in the graph below.

2N2222 NPN transistor Vbe vs collector current graph

Below 700mV, nothing; above 700mV, conduction. You can see why transistors are such a good fit for digital computers; when they are off, they are off; when they are on, they are on.

The Triadtron uses the consistent and sharp turn-on voltage as a free voltage reference, using the reference establish a fixed voltage drop across the current-sensing 14-ohm collector resistor, which, in turn, implies a fixed current through the two output transistors, MJE15032 & MJE15033. For if the 14-ohm resistor experienced a larger voltage drop, the PNP MJE350 transistor would greatly increase its conduction, which would pull up the voltage on the 2.4k resistor, which would then turn off both output transistors. Conversely, if the 14-ohm resistor saw a smaller voltage drop, the PNP MJE350 transistor would sharply decrease its conduction, which would collapse the voltage on the 2.4k resistor, which would then turn on both output transistors. In other words, DC feedback. The PNP MJE350 strives to maintain a fixed Vbe voltage drop across the 14-ohm resistor and constant current flow through the top output transistor. With no external load resistance to drive, the Triadtron would draw a constant current through its output stage, no matter what the input signal.

With an external load, however, the bottom output transistor, the MJE15033, draws a varying current, while the top transistor, the MJE15032, draws a fixed current. In many ways, the top transistor, the MJE15032, can be seen as functioning like an inductive load in an SE power amplifier. In fact, much like an SE power amplifier, the Triadtron maximum symmetrical current output is set by the idle current through the output stage. So, yes, the Triadtron runs in class-A. But we can add diode to the circuit to allow the Triadtron to function in an asymmetric class-A/AB mode.

Note which transistors get a heatsink, as the 2N3053 is no longer an output transistor, although it does lend its small idle current (about 70mA) to the effort, which can come close to 3A with the 48V B+ voltage. In other words, the 2N3053 contributes a mighty 196mW to the 36W output. That's small change that you can believe in. Imagine a marketing guru grabbing hold of this circuit: "Forget about class-A/AB; this baby is class-A, single-ended all the way."

The topmost MJ15002 will start driving the external load when the topmost MUR420 rectifier begins to conduct, otherwise it has no current path into the load.

Now imagine if the the small 2N3053 were replaced by a big TO-247 or To-3 power transistor such as the MJ15001 and if the idle current was raised to 1A. Such an amplifier would run in class-A up to 4W of output, before moving into class-AB. Or we might try something along the following lines:

One of the rectifiers has been replaced by an NPN output transistor, which should result in more stable idle current, as the MJE350's Vbe voltage should remain more constant, relieved of driving the external load resistance.

Moving in another direction, we can create a current-to-voltage converter out of a Triadtron by placing a resistor in series with the two output transistors.

This I-to-V converter uses a 2k resistor to establish the current-to-voltage conversion ratio, wherein 1mA in equals 2V out. The OpAmp-based DC servo keeps the input at 0V and transistor Q2 does its job of of maintaining a constant current following through Q1 by varying the voltage preset at Q3's base.

"Where are the dang tubes?" I can hear many readers thinking. Well, here is a hybrid Triadtron I-to-V converter.

The actors and set have changed, but it's the same play. To keep the tubes in their linear region, the idle current has been increased to 10mA and the power supply voltages have been increased for the same reason. The same 2k I-to-V resistor is used and the MJE350 performs the same tasks, albeit in a different fashion. If the PNP transistor's collector had attached to the bottom triode's grid, the phase would be off, as an increase in the MJE350's conduction must result in a decrease in the bottom triode's conduction. Attaching the collector to the cathode restores the correct phasing of conductions. Note how the the PNP transistor and the triodes all conduct the same idle current. The transistor must at least match the triode current conduction, if it is going to obtain the largest symmetrical voltage swings at the output.

By the way, we can use the same basic topology to create a hybrid unity-gain buffer.

This hybrid circuit functions much the same as its all-solid-state cousin. The top triode will draw a near constant current, while the bottom triode will see all the current variations required to drive the external load. In fact, we might try an Aikido version of this topology.

The added resistors and capacitor allow us to inject some of the B+ noise into the bottom triode's grid, which will then work to null the PS noise at the output.

Speaking of hybrid Triadtron circuits, we can use the same Triadtron Vbe reflecting trick to create a voltage amplifier, rather than a unity-gain buffer.

Here the current sensing resistor has been moved to the cathode and the bottom NPN transistor controls the top transistor. When I first sketched this circuit, my guess was that this circuit would realize a gain equal to the mu of the triode used, as cathode resistor was effectively bypassed by the bottom transistor. In fact, the circuit develops only about 70% of the mu. Nonetheless, it offers low distortion and low output impedance; moreover, it runs on a relatively low B+ voltage. The PSRR is good, but not great. Making it great requires an Aikido-like technique: the addition of resistor, Raikido.

Once you have grokked this topology fully, you can move on to seeing how it works with just N-type devices, the triode and the two NPN transistors. Well, if it only uses N-types, why not replace the transistors with triodes?

The big problem we face with the all-tube version is the relatively low-gain the triodes offer. Thus, triode T3 should be either a high-mu triode, such as the 12AX7, or a pentode. Triodes, T1 and T2, should be low-rp types, such as the 6DJ8 or 6H30 or 12BH7, although I bet that 6SN7s or 12AU7s would work just fine. I used a 3V battery in the above schematic to bias triode T3, so as to impress the need for a low impedance and fixed voltage. The fixed voltage probably is not as important as the low-impedance feature. The following design example would be a good place to start experimenting.

I have many, many more variations on the Triadtron. And expect news about other new PCBs.

Kit User Guide PDFs

Click image to download

E-mail from GlassWare Customers

I received the Aikido PCB today - thank you for the first rate shipping speed.

Wanted to let you know that this is simply the best PCB I have had in my hands, bar none. The quality is fabulous, and your documentation is superb. I know you do this because you love audio, but I think your price of $39 is a bit of a giveaway! I'm sure you could charge double and still have happy customers.

Looking forward to building the Aikido, will send some comments when I'm done!

Thank you, regards

I bought an Aikido stereo linestage kit from you some days ago, and I received it just this Monday. I have a few things to say about it. Firstly, I'm extremely impressed at the quality of what I've been sent. In fact, this is the highest quality kit I've seen anywhere, of anything. I have no idea how you managed to fit all this stuff in under what I paid for it. Second, your shipping was lightning-quick. Just more satisfaction in the bag, there. I wish everyone did business like you.

9-Pin & Octal PCBs

High-quality, double-sided, extra thick, 2-oz traces, plated-through holes, dual sets of resistor pads and pads for two coupling capacitors. Stereo and mono, octal and 9-pin printed circuit boards available.

Aikido PCBs for as little as $24

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Aikido-und-zen-frankfurt.de Schule für Aikido und Zen Frankfurt | Lettigkautweg 8 (Mühlbergschule).

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    • User data by location
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Aikido-und-zen-frankfurt.de Schule für Aikido und Zen Frankfurt | Lettigkautweg 8 (Mühlbergschule).

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Hung Gar

Hung Gar (洪家Hung Ga, 洪拳Hung Kuen, or 洪家拳Hung Ga Kuen) is a member of the family of kung fu styles known as Southern Shaolin Kung Fu. The art was founded in the early Qing Dynasty in Fujian Province, China, by the tea merchant 洪熙官Hung Hei Kwun (Mandarin Hong Xiguan), a lay student of the Fukien Shaolin Temple under the teaching of the Shaolin Abbot and one of the legendary Five Elders, Gee Sin Sim Si (至善禅師 Chan Master Zhishan). Though Hung Hei Kwun originated Hung Ga, it was made the way it is today by his junior disciple and student 陸阿采Luk Ah Choi, the only Manchurian taught Shaolin, that would teach two generations of the Wong Family of martial artists and doctors 黄泰Wong Tai,黄麒英 Wong Keiying, and Keiying would ultimately train his son, the famous Chinese Hero 黄飛鸿 Wong Feihung

Style Edit

The hallmarks of Hung Ga are deep low stances, notably its "sei ping ma" horse stance, and strong hand techniques, notably the bridge hand and the versatile tiger claw.

The student traditionally spends anywhere from months to three years in stance training, often sitting only in horse stance between a half-hour to several hours at one time, before learning any forms. Each form then might take a year or so to learn, with weapons learned last. However, in modernity, this mode of instruction is deemed economically unfeasible and impractical for students, who have other concerns beyond practicing kung fu.

Hung Ga is sometimes mis-characterized as solely external; that is, reliant on brute physical force rather than the cultivation of qi; even though the student advances progressively towards an internal focus.

The Hung Ga of Wong Fei-Hung (黃飛鴻) Edit

Wong Fei Hung is visibly the most famous Hung Ga practitioner of modern times. As such his branch/lineage has received the most attention and as such recorded in various documents.

The Original Hung Ga curriculum that Wong Fei-Hung learned from his father comprised the sets :

  • Dan Gung Kuen; Single Hard Fist (單弓拳),
  • Seung Gong Kuen; Double Hard Fist (雙弓拳),
  • Fok Fu Kuen; Taming the Tiger Fist (伏虎拳),
  • Mang Fu Kuen; Angry Tiger Fist (猛虎拳),
  • Hak Fu Kuen; Black Tiger Fist (黑虎拳)
  • Si Bo Seung; Do Mother & Son Butterfly Swords (子母雙刀),
  • Ng Lang Pak Kua Gwan; Fifth Brother Eight Trigram Pole (五郎八卦棍),
  • Flying Hook.

Wong distilled his father's empty-hand material along with the material he learned from other masters into the "pillars" of Hung Ga, four empty-hand routines that constitute the core of the Wong Fei-Hung lineage:

Gong Character Taming the Tiger Fist 工字伏虎拳 Edit

pinyin: gōng zì fú hǔ quán; Yale Cantonese: gung ji fuk fu kyun

The long routine Taming the Tiger trains the student in the basic techniques of Hung Ga while building endurance. It is said to go at least as far back as Jee Sin, who is said to have taught Taming the Tiger—or at least an early version of it—to both Hung Hei-Gun and Luk Ah-Choi. The "工" Character Taming the Tiger Fist is so called because its footwork traces a path resembling the character "工".

虎鸖双形拳Tiger Crane Double Form Fist Edit

pinyin: hǔ hè shuāng xíng quán; Yale Cantonese: fu hok seung ying keun

Tiger Crane builds on Taming the Tiger, adding "vocabulary" to the Hung Ga practitioner's repertoire. Wong Fei-Hung choreographed the version of Tiger Crane handed down in the lineages that descend from him. He is said to have added to Tiger Crane the bridge hand techniques and rooting of the master Tit Kiu Saam as well as long arm techniques, attributed variously to the Fat Ga, Lo Hon, and Lama styles. Tiger Crane Paired Form routines from outside Wong Fei-Hung Hung Gar still exist.

五形拳 Five Form Fist Edit

Pinyin: Wu Xing Quan; Yale Cantonese: Ng Ying Kyun Edit

These routines serve as a bridge between the external force of Tiger Crane and the Internal focus of Iron Wire. "Five Animal Fist (literally Five Forms Fist) refers to the characteristic Five Animals of the Southern Chinese Martial Arts:

  • 蛇形 She xing/ Se Ying-Snake
  • 鸖形He Xing /Hok Ying- Crane
  • 虎形 Hu Xing/Fu Ying- Tiger
  • 豹形Bao Xing/Pao Ying- Leopard
  • 龍形 Long Xing /Lung Ying- Dragon

Ten Form Fist 十形拳 Edit

pinyin: Shi Xing Quan; Yale Cantonese: Sap Ying Kyun "Five Elements" refers to the five classical Chinese elements: Metal, Wood, Water, Fire and Earth. The Hung Ga Five Animal Fist was choreographed by Wong Fei Hung and expanded by Lam Sai Wing (林世榮), a senior student and teaching assistant of Wong Fei Hung, into the Five Animal Five Element Fist (also called the "Ten Form Fist"). In the Lam Sai Wing branch of Hung Ga, the Ten Form Fist has largely, but not entirely, superseded the Five Animal Fist, which has become associated with Tang Fong and others who were no longer students when the Ten Form Fist was created.

Iron Wire Fist 鐵線拳 Edit

pinyin: tiě xiàn quán; Yale Cantonese: tit sin kyun

Iron Wire builds internal power and is attributed to the martial arts master Tit Kiu Saam (鐵橋三). Like Wong Fei Hung's father Wong Kei-Ying, Tit Kiu Saam was one of the Ten Tigers of Canton. As a teenager, Wong Fei Hung learned Iron Wire from Lam Fuk-Sing (林福成), a student of Tit Kiu Saam. The Iron Wire form is essentially a combination of qigong (or meditative breathing) with isometric exercise particularly dynamic tension although weights were also used in traditional practice in the form of iron rings worn on the wrists. If properly practiced it can increase strength considerably and promote a stable root. However as with both most forms of qigong and most forms of isometric exercise it must be practiced regularly or the benefits are quickly lost. Wong Fei Hung was known for his Fifth Brother Eight Trigram Pole (五郎八卦棍), which can be found in the curricula of both the Lam Sai Wing and Tang Fong branches of Hung Ga, two of the major branches of the Wong Fei-Hung lineage, as can the Spring & Autumn Guandao (春秋大刀), and the Yu Family Tiger Fork (瑤家大扒). Both branches also train the broadsword (刀), the butterfly swords (雙刀), the spear (槍), and even the fan (扇), but use different routines to do so. Mother & Son Butterfly Swords (子母雙刀) can still be found in the curriculum of the Tang Fong branch.

Branches of Hung Kuen Edit

Beyond that, the curricula of different branches of Hung Ga differ tremendously with regard to routines and the selection of weapons, even within the Wong Fei Hung lineage. Just as those branches that do not descend from Lam Sai Wing do not practice the Five Animal Five Element Fist, those branches that do not descend from Wong Fei Hung sometimes called "old" or "village" Hung Kuen, do not practice the routines he choreographed, nor do the branches that do not descend from Tit Kiu Saam practice Iron Wire. Conversely, the curricula of some branches have grown through the addition of further routines by creation or acquisition.

Nonetheless, the various branches of the Wong Fei Hung lineage still share the Hung Ga foundation he systematized. Lacking such a common point of reference, "village" styles of Hung Kuen show even greater variation.

The curriculum that Jee Sin taught Hung Hei-Gun is said to have comprised Tiger style, Luohan style, and Taming the Tiger routine. Exchanging material with other martial artists allowed Hung to develop or acquire Tiger Crane Paired Form routine, a combination animal routine, Southern Flower Fist, and several weapons.

According to Hung Ga tradition, the martial arts that Jee Sin originally taught Hung Hei Gun were short range and the more active footwork, wider stances, and long range techniques commonly associated with Hung Ga were added later. It is said to have featured "a two-foot horse," that is, narrow stances, and routines whose footwork typically took up no more than four tiles' worth of space.

Ha Sei Fu Hung Ga 下四虎洪家 Edit

The Ha Sei Fu (下四虎) is said to fit this description, though the implied link to the legendary Jee Sin is more speculative than most because of its poorly documented genealogy. Ha Sei Fu Hung Ga of Leung Wah Chew is a Five Animal style with a separate routine for each animal. Other Branches of Ha Sei Fu Hung Ga also contain combined animal sets like tiger & Crane, Dragon & Leopard, etc.

Five-Pattern Hung Kuen 五形洪拳 Edit

Like Ha Sei Fu Hung Ga, the Ng Ying Hung Kuen (五形洪拳) fits the description of Jee Sin's martial arts, but traces its ancestry to Ng Mui and Miu Hin (苗顯) who, like Jee Sin, were both survivors of the destruction of the Shaolin Monastery. From Miu Hin, the Five-Pattern Hung Kuen passed to his daughter Miu Tsui Fa (苗筴花), and from his daughter to his grandson Fong Sai-Yuk (方世玉), both Chinese folk heroes like Jee Sin, Ng Mui, and their forebear Miu Hin. Yuen Yik Kai's Books introduced this branch to the Western/European venue. while conventionally translated as "Five-Pattern Hung Fist" rather than "Five Animal Hung Fist", it is a Five Animal style, one with a single routine for all Five Animals but also has other sets as well.

Tiger Crane Paired Form 虎鶴雙形 Edit

The Tiger-Crane Combination style has been found in almost every Hung Style. While not as long as the Wong Fei Hung version that is typically seen as containing 108 movements/techniques.

Ang Lian-Huat attributes the art to Hung Hei Gun's combination of the Tiger style he learned from Jee Sin with the Crane style he learned from his wife, whose name is given in Hokkien as Tee Eng-Choon. Like other martial arts that trace their origins to Fujian (e.g. Fujian White Crane, Five Ancestors), this style uses San Chian as its foundation.

Wong Kiew Kit trace their version of The Tiger Crane routine not to Hung Hei Gun or Luk Ah Choi but to their senior classmate Harng Yein.

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