The Speaker Itself

11 Guitar Loudspeakers poteg-11-loudspeakers

11.1 Construction and function poteg-11-1-construction-and-function

11.2 Electrical two-pole characteristic poteg-11-2-two-pole-characteristic

11.3 Frequency response poteg-11-3-frequency-response

11.4 Directional characteristic poteg-11-4-directionality

11.5 Efficiency and maximum sound pressure poteg-11-5-efficiency-maximum-SPL

11.6 Nonlinear distortions poteg-11-6-non-linear-distortion

11.7 Alnico- vs. ferrite magnet poteg-11-7-magnets-alnico-vs-ceramic

Where the Muscle resides: what PotEG has to say about the power stage and the output transformer

10.5 The power stage poteg-10-05-0-power-stage

10.5.1 Class-A, tetrode, pentode poteg-10-05-1-class-a-single-ended

10.5.2 Class-A push pull poteg-10-05-2-class-a-push-pull

10.5.3 Class-B poteg-10-05-3-class-b-push-pull

10.5.4 Class-AB, class-D poteg-10-05-4-class-ab-push-pull

10.5.5 The impedance paradox poteg-10-05-5-impedance-paradox

10.5.6 Negative feedback poteg-10-05-6-negative-feedback

10.5.7 The source resistance of the power stage poteg-10-05-7-output-impedance

10.5.8 Biasing the power stage poteg-10-05-8-bias

10.5.9 Stress and aging poteg-10-05-9-tube-strain-aging

10.5.10 The magic sound of a 6L6 poteg-10-05-10-6l6-sound

10.5.11 Match Point poteg-10-05-11-matching

10.5.11.1 Selecting, matching (and leg pulling)

10.5.11.2 Tube testing

10.5.12 Selected tube circuits VOX, Marshall, Fender poteg-10-05-12-vox-marshall-fender

10.5.13 Comparing analysis: Power tubes poteg-10-05-13-tube-comparison

10.5.14 Pentode / triode / ultralinear poteg-10-05-14-triode-pentode-ul

10.5.15 A word of caution poteg-10-05-15-current-flows

10.6 The output transformer poteg-11-6-output-transformer

10.6.1 The linear model poteg-10-6-1-linear-model

10.6.2 Impedance matching poteg-10-6-2-impedance-matching

10.6.3 Winding capacitance poteg-10-6-3-winding-capacitance

10.6.4 The nonlinear model poteg-11-6-4-nonlinear-model

10.6.5 Comparing analyses poteg-11-6-5-transformer-comparison