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Yamaha Hyperbolic Conversion Amplification (HCA)

amr2

Well-Known Member
From Audio power amplifier design. Douglas Self, Sixth Edition
To whom it may concern...

Yamaha non-switching

Yamaha did not want to be left out of the non-switching business. Their version was called Hyperbolic Conversion Amplification (HCA). The implication seems to be that two hyperbolic curves can be combined to give a straight line; this is not true mathematically as far as I am aware, though certainly two parabolas (square law curves) can be combined to result in a straight line. The relevant patent appears to be 4,803,441 by Noro,47 which references an earlier patent by Yamaguchi, 48 and confirms that HCA is based on square law characteristics. More hyperbole than hyperbolic, I feel. HCA was applied to the Yamaha MX-1000 amplifier in 1989; it was also applied to the MX-2000 (1988) though the details of the circuitry are rather different. A simplified version of the MX-1000 application is shown in Figure 4.22. A and B are sub-rails which are driven up and down with the output by C2 and C3. Biasing diodes D1, D2 set up a constant current in the current-mirror Q9, Q7, while D3, D4 do the same for current-mirror Q10, Q8. The signal is applied through the voltage amplifier, which has a low output impedance, and is converted from voltage to current by R15, which sees a low impedance at the emitters of Q7 and Q8. The output current from mirror Q9, Q7 is bounced off the upper sub-rail A by mirror Q5. Q3, and likewise the output of mirror Q10, Q8 is bounced off the lower sub-rail B by mirror Q6, Q4. The output current from Q3 is fed to amplifier Q1, which is also fed with a version of the output signal, and Q1 controls driver Q11. Likewise for the lower half of the circuit. The output stage itself is a conventional Type II emitterfollower configuration. The fundamental principle is that the product (not the sum) of the output currents from Q7 and Q8 is constant. Therefore, no matter how hard the circuit is driven, the smaller current never reaches zero, and therefore the output devices never turn off.

Audio Power Amplifier Design.jpg

Some of the Yamaha amplifiers with discrete HCA circuitry were the MX-630, MX-800, and MX 1000. The MX-1000 (260 W/8U) also had what Yamaha called Advanced Power Supply Circuitry (APS), which as far as I can tell from the schematic was a form of Class-G. Later the HCA circuitry was incorporated in an IC called the BA3122 N, being applied to the MX-1 and MX-2 in 1993. The service manuals for these amplifiers give the internal circuit of the IC, revealing that it has four linked current-mirrors as shown in Figure 4.22, but offer no component values. The Yamaha AX-730, AX-930, AX-1050, and AX-1070 used the BA3122 N HCA IC and it is believed it was used in the AX-1090, but this is not so far confirmed.

Non-switching Conclusions

The fact that that non-switching technology quietly faded away after a few years, despite what was clearly a major effort by several manufacturers, seems to indicate that it was not satisfactory in practice. It is notable that in all the promotional literature, emphasis is laid on how it prevents switching distortion, i.e., that caused at HF by output devices turning off slowly, rather than on how crossover distortion in general is reduced. For the latter to be true, the nonswitching action would have to make the two halves of Class-B conduction splice together in a better way than occurs with a fixed bias voltage, and I have yet to see any evidence that was achieved.
 
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I'm all for keeping a design simple. To my thinking all of that fancy stuff doesn't translate to a big sonic improvement to my ears. What it does translate to is a PITA when it fails and needs fixing ... :)
 
Far as I know sliding Class A bias methods are still in use. Krell used it a lot and still does use some version of it.
 
According to deep discussion about HCA on diy-audio, the MX-10000 is the best implementation of the HCA design, while the MX-2000 / 1000 / 800 etc are different (lesser?) implementations. Being Yamaha, I'm sure the latter are still excellent power amps, but for anyone interested the posts are below:

http://www.diyaudio.com/forums/soli...-amplification-hca-circuit-8.html#post2943180
http://www.diyaudio.com/forums/soli...-amplification-hca-circuit-9.html#post3081244
http://www.diyaudio.com/forums/soli...-amplification-hca-circuit-6.html#post1943257
 
I'm all for keeping a design simple. To my thinking all of that fancy stuff doesn't translate to a big sonic improvement to my ears. What it does translate to is a PITA when it fails and needs fixing ... :)


There are sonic improvements. I used to have mx1000. It souds very good at low volume and stays cold. This circuit allows lower global feedback and still have low distortion. Actually IC implementation is better than discrete- very tight matching between transistors is required and that is easily achieved on a single piece of silicon.
 
There are sonic improvements. I used to have mx1000. It souds very good at low volume and stays cold. This circuit allows lower global feedback and still have low distortion. Actually IC implementation is better than discrete- very tight matching between transistors is required and that is easily achieved on a single piece of silicon.
To me the MX - 1000 sounds good at all volumes and has no audible distortion all the way to max volume. Staying cool is also a plus.
Not sure what the author meant by
"It is notable that in all the promotional literature, emphasis is laid on how it prevents switching distortion, i.e., that caused at HF by output devices turning off slowly, rather than on how crossover distortion in general is reduced. For the latter to be true, the nonswitching action would have to make the two halves of Class-B conduction splice together in a better way than occurs with a fixed bias voltage, and I have yet to see any evidence that was achieved."

As far as I know, Yamaha was able to produce some of the lowest distortion amplifiers without compromising the sound quality. The MX -1000 is not popular just for its looks. To my ears it sounds very good ( once restored). I can only imagine what it's big brother sounds like.
BTW, isn't the MX 10000 revered as one of the best sounding amps of all times that just happens to have one of the lowest THD as well?
 
I'm all for keeping a design simple. To my thinking all of that fancy stuff doesn't translate to a big sonic improvement to my ears. What it does translate to is a PITA when it fails and needs fixing ... :)
Agreed, but I would take fixing an MX -1000 any day over fixing the B's or other Yamaha upper end gear
 
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