No references in AoE that I ever found. I've used this circuit and would have been happy to have the above ARRL link. I just mucked around with a simulation until it gave a phase ripple I found acceptable, then built and tested it. The first air wire prototype had a nice tubular shape.
The problem with this circuit is there is no phase reference to the input. (Well not quit true. There is certainly a relation between output and input, but the phase twists around several times, going from the lowest the highest frequencies, and you lose track after the first 360.)
George H.
That's also true of the other analogue type that was being discussed here; the one using two cascades of all-pass sections (e.g.
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The only application I can think of that combines the input signal with something made from the output signals is the 'barber-pole' phasing effect using a 1 Hz (or thereabouts) frequency shift, as used on DSotM and elsewhere - is that what you were creating?
Chris
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Thanks for the link Chris, The all-pass network certainly uses a lot of op-amps. I'm not sure what a DSotM is? But I used the phase sequence filter as part of the phase shifter in this lock-in.
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Only good from 3 Hz to 3kHz.
George H.
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Thanks for the link Chris, The all-pass network certainly uses a lot of op-amps. I'm not sure what a DSotM is? But I used the phase sequence filter as part of the phase shifter in this lock-in.
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Only good from 3 Hz to 3kHz.
George H.
Thanks for your link; interesting.
Dark Side of the Moon: 19th para in
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It was a frequency translator (shifter) with the 'local oscillator' set to about 1 Hz, and the output (shifted) signal mixed with the input signal. Some liken the effect to that of a Leslie speaker (e.g.
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which used to be available as a .pdf), but the latter is a lot more complicated. Harald Bode had at least one patent for a 'barber pole' phasing scheme using the same principle and some have drawn comparisons with the so-called 'Shepard Tone'
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One regular correspondent to this NG is on record as saying 'Some foul noises are possible if you mix the original and the shifted sounds'
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- and as the editor of a popular British magazine has written: one man's ultimate guitar tone is the next man's angle grinder!
As you say, a polyphase network of reasonable complexity is good for 3 octaves, such as the SSB speech band 300 Hz to 2.4 kHz or, at a stretch, up to 4.8 kHz. Some claim to have achieved good sideband suppression even up to
9.6 kHz. The way forward nowadays must surely be DSP, wherein increased complexity becomes little more than duplication, and a simple implementation is described in
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... but that makes me sound like a code writer.
Chris
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Thanks again Chris, I'm afraid I'm not much of an audio guy. Though lots of the circuits I build work in the audio range. I remeber mentioning to a guitar playing friend that I was using a diode ring modulator as part of a capacitance sensor. He started talking about guitar effects and I had no idea what he was refering to. I was born in '58 so DSotM is somting I know.. at the time I had no interest in how it was made...still love'd it.
" > As you say, a polyphase network of reasonable complexity is good for 3
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I must be more lucky than smart. I never tried to push anything in the lockin design. Honestly it was my bosses idea and I never thought it would be a big seller. (not the first time I've been wrong.) IIRC I used eight stages of R/C's. I was more worried about the 3Hz part of the spectrum at the time. The idea was to span both sides of
60Hz. I'm not sure how to measure sideband suppression, but I would think that 30 Hz to 30kHz would be doable. I could reduce either the C or the R. It's interesting that the circuit presents vastly different impedances as a function of frequency to whatever is driving it. I used good polypro capacitors.