Autoformers, The Benefits in matching amp to speaker



There has been a great deal of conversation about Autotransformers in this forum. Many think they are similar to the output transformers we use on Tube Amplifiers. They are not for some very important reasons. They are not wound the same way, they have no High Voltage insulation, they are wound with heavy low resistance wire and all the winding is used all the time. In addidtion part of the signal current is direct and part is transformed. 

  • THE WINDING.  When we make a traditional output transformer we have to insulate the primary from the secondary for over 1000 volts. This insulation takes up space and winding space is most dear to the designer as we want as much copper in there as possible. We then have to section the windings and interleave them. An interleave of 5 is good and some think 7 or 9 or even 11 is better but that raises the capacitance of the transformer and is hard on the tubes at high frequencies. An autotransformer has no DC voltage in the windings and thus can be bifilar wound (taking 2 or 3 or more wires at once). This increases the coupling and extends the high frequency response by a factor of 2 or more. My ouput transformers are good to 65 KHz and the Autofomer is good to 140 KHz. 

  • THE CORE: As to the core, an EI core is preferable over a torroid as the torroid will have saturation problems if connected to an amplifier that has a DC offset. An offest as low as 20 mV can swing the core in one direction toward saturation. An EI core has a very small air gap that will allow it to ignore rather large offesets. 

  • IN THE AMPLIFIER: Here's where the difference is between a conventional output transformer and a Autoformer occurrs. This is why Wiggins at Electro Voice created the CIrclotron circuit. In a conventional tube amplifier. for most of the signal, only one half of the output transformer is active. It is very difficult to make the two halves of a push pull transformer identical above 20 KHz where the feedback really cares about phase shift. Even the taps on an Ultralinear transformer can go out of phase at high frequencies. This causes the amplifier to ring on one half of the square wave. Though not widely talked about, we who design amplifiers are very familair with this problem. Wiggins realized that if he put the transformer in a bridge circuit that the primary would act as a whole and this problem would go away. That is the essence of the WIggins Circlotron. Because he wanted to keep the ampifier efficient he did use a high ratio transformer with conventional taps. BTW, we do not put taps on an amplifier to "match" the impedance of the speaker as we know it varies. We put them on there to deliver the proper ratio of voltage and current to make the amplifier happy. You can always use a lower tap and enjoy lower distortion, better damping, lower noise and extended tube life. You also extend the class A region. The only reason to use a higher or matched tap is to get the most power out of the amplifier if you play it loud. In the RM-4 manual I suggest this strongly and have termed it "Light Loading"

Now, what is an Autoformer going to do for you? If you have an OTL amplifier you should know that the power is greatly reduced into low impedance loads. Even worse is that low impedance loads will overheat the tubes at high power levels as most of the power supply voltage is being dropped across the tube not the load. So low impedance loads are hard on the tubes and cause higher distortortion All of these ills can be solved by the use of a proper Autoformer.
  
For OTL amplifiers that have high output impedance and produce their best performance into 16-32 ohms one needs a 6 or 8 to one step down ratio. This will make the speaker and amplifier very happy and still preserve the qualities of the OTL. A 4 to 1 is not enough. This is no problem to make and I have been using mine for many years.

An Autoformer can also be used in reverse if one has a low voltage, high current amplifier like an ML-2 which is 25 watts into 8 ohms but 100 into 2. Again a 4 to one will get you 100 watts and and an 8 to one even more. Remember the impedance ratio is the turns squared. So an even a 9 to 1 impedance is only 3 to 1 turns and 1/3 of the signal is direct through the primary.

I hope this clears up the differences in these two very different types of transformers and we can stop considering them as the same. While some may consider a transformer a band-aid, I consider it a device that makes the problem go away.

Please feel free to ask your questions.
128x128ramtubes
Then I somehow learned that Roger would perform "triode mods" on the RM-9. This consisted on adding a switch for each output tube socket, permitting it to be switched to triode at the cost of 1/2 power. I had this done, switched all those sockets to triode, and went straight to heaven. That made a great-sounding amp into something really special, and the Vandy's fully conveyed that triode magic.

Triodes have inherently low output impedance which allows one to use little or no feedback. DIstortion is also lower. The industry only went to beam tubes and pentodes to get the most power, and it appears people still buy power as evidenced by the rediculously high power SS amps out there. There is no benefit in using an amp at 1% of its power level and many people are. 

Many people are suprised how loud they can play their speakers with the dimunitive RM-10 which I routinely pick up with one hand by grabboing the transformer cover. 

I will make triode amps all day long when people come to realize that many of them don't need 100 Watts. One really needs to look into that with something as simple as an AC voltmeter.

@georgehifi - The damping factor on the RM-10 is 12.5. You can read more about it here:

http://www.ramlabs-musicreference.com/rm10mk2.html

You might also be interested in the design philosophy, particularly how much power Roger gets out of the EL-84 versus what is typically the norm we see from other designs.

http://www.ramlabs-musicreference.com/rm10design.html

I have owned my RM-10 for about 12 years now.  It has always been one of my favorites. Several push pull amps have come and gone in my system (VAC and Cary being a couple of the bigger names) but this one has always survived. It is a lot of amp for the money. It is also a perfect match for the Lightspeed, as Paul (Pubul57) and I quickly found out.
I was following your thread  and saw your comment on electronic crossovers. I agree with you on the advantage an electronic crossover has H\however I am having a hard time finding a crossover that sounds as good as the passive on my system. I have tried a crown vfx-2a, audio control, ace, an old ESS from my super quads, and an Audio Research tubed unit. All of them work but I hear a lot more detail passive. The closest so far has been the AR. Can you recommend a good crossover? What do you use?

@partroysound---ESS Super Quads! I have the Transtatics, which has the same KEF B139 woofers in transmissionline enclosures and RTR ESL tweeters as does the Super Quad. For the Super Quad, ESS used the Quad ESL in place of the KEF B110 5" midrange driver used in the Transtatic. 

I have a real nice little active electronic crossover, the First Watt B4, designed and made by Nelson Pass of course. It has unfortunately been recently discontinued (Nelson sold them all, and decided to not do another run), but had a list price of $1500. Give him a ring, he may know of someone who has one to sell. Nelson built it with all discrete components---no Opamps, no IC's. It provides 1st-2nd-3rd-4th order filters (6-12-18-24dB/octave), in 25Hz increments from 25Hz to 3200Hz. He has a much more expensive model available in his Pass line-up. REAL nice, but too much moola for me.

@bdp24--- That sounds exactly what I am looking for and at a price I could handle. When you say give him a ring do you mean call Pass Labs?