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The Voice DC30 has a separate brilliant channel. This has been achieved by adding a gain stage and a "cathode follower" stage, thereby dropping the impedance and bringing up the current and adding Bass/Treble controls to this channel.
I've been doing some research into creating a DIY audio amplifier from line-level inputs to speaker level power. I found a guide centered around the LM386 Low Voltage Audio Power Amplifier on YouTube here.
I have a fairly large collection of DIP package TTL logic and alike that I inherited from my father, which I am hoping to make use of in this project. I did some research, and it appears that the LM386 is just a specialized op-amp with desirable characteristics for audio signal amplification.
The first clue about the LM324N comes from the datasheet title where it says "Low Power" in it. Your second clue about the LM324N is that it is a quad provided in a 14-pin TSSOP and plastic DIP. This will be a thermal resistance of about \$90-100\:\frac^\circ\textCW\$. Even if there was only \$250\:\textmW\$ dissipation per section, the part would be very hot. (Granted, the LM380 also comes in a 14-pin plastic DIP with similar thermal resistance. So it is only a clue. But also note there is only one section in the LM380.)
Here, you can see it only sinks or sources perhaps a few dozens of milliamps. This pretty much eliminates any idea that this is, or can be used as, an audio amplifier of any kind. (Note that the microamps shown in that snapshot from the datasheet you provided, as a sinking current compliance, is likely an error in the datasheet as glen_geek points out in a comment below this answer.)
The schematic itself on first blush might not be as clear, since it has a lot of the elements of a power amplifier. However, it also provides some added clues. Let's look at it in a side by side comparison with the LM380:
On the right side, you can spot a few clues about it NOT being a general purpose opamp. \$R_4\$ and \$R_5\$ would be "parasitic" for the normal use of an opamp. You can see that they are not present on the left side, where the differential amplifier pair (Darlington structured) directly expose their bases to the (+) and (-) input pins. But they are added in the LM380 to provide some built-in DC path to ground and biasing. But most importantly, you can see \$R_2\$ providing direct negative feedback (NFB) from the output backwards to the input stage, where \$R_3\$ plays an additional role, as well. You don't build NFB like this into a general purpose opamp. You expect a designer to do that, externally. So you leave that option open to the designer in those cases. But for an audio amplifier IC? There, you can provide NFB -- especially in this case where the gain is fixed at \$34\:\textdB\$!
Of course, the LM324 can be used as part of a larger external circuit that may be a useful audio amplifier. But it will at the very least require some kind of external output stage added to it in order to provide much higher output currents. Still, even then this particular LM324 opamp type has such small current sink compliances that I'd be very careful to only use it in a design where the sourcing capacity was in active use and where the sinking capacity isn't important (since it effectively has no ability to sink current.)
There are similar substructures in the above schematics, though. So it's not always entirely obvious at a single glance. But if you see NFB in the schematic, that's one thing that's almost always a give-away. Of course, you could also just read the text in the schematic. If it is designed for audio, it's likely to specify operation into an \$8\:\Omega\$ load somewhere and to discuss "power" and likely even to have some discussion about how to design the "copper pour" that will help handle dissipated power from the IC. And general purpose opamps rarely specify an output current compliance much higher than about \$25-35\:\textmA\$. It's just not usually needed for general purpose use and the focus is often more on other important benefits.
After reviewing the TIDAL Audio Prisma preamplifier in 2020 (linked here) and hearing Doug White (of The Voice That Is) do his jaw-dropping TIDAL Audio system demos at two Capital Audiofests, I jumped at the opportunity to review their new entry-level Intra amplifier. I also knew that describing the sound of the TIDAL Audio Intra amplifier would be tricky, but I like to be challenged. So grab a beverage and your favorite comfy chair, and come along as I probe the mysteries of the Intra power amplifier.
When I checked out the website for some additional info on the TIDAL Audio Intra there was little other than basic stuff. Hmmm. I did find out that the Intra contains four separate amplifiers and can be configured in several ways.
On the back, there are 4 balanced XLR inputs and four pairs of speaker cable terminals. There are a few mini toggle switches and an ethernet input for use with TIDAL preamps as a control signal for powering on and off. The toggle switches enable the user to select different operating modes: two-channel, four-channel, and a high power two-channel setting for use with subwoofers or extremely power-hungry speakers. The four-channel setting may be used in two ways: 1) in an AV multi-channel setup or 2) passively bi-amp speakers with bi-wired connections or even actively bi-amp when using an external, active crossover. I used the regular two-channel mode and never lacked for power.
There was a noticeable increase in smoothness and far less edge and grain than before. This compelled me to play a lot more digital than usual. Yes, the vinyl I played sounded amazing, but my first thought that the cleanliness of the TIDAL Audio Intra would need some analog sauce to make my system come alive was not the case.
Hey, is it suitable to post here? I wanted a small yet robust amp for practicing while I travel. I wanted something that would fit in my pocket yet still be loud enough to hear.
Presented here is a amplifier based upon the LM386 Audio Amplifier.
Refer the the circuit shown from the datasheet and the datasheet for the LM386. The basic circuit only has the volume control while the datasheet shows how to add a gain control across pins 1 and 8 of the amplifier.
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These experiences certainly made me think though. Bandwidth, power, speed and any number of distortion measurement might have improved but these yardsticks are difficult to use as anything other than an academic argument when the music sounds so good. And of course, the qualities that made good, musical amplifiers 30 years ago are actually the same I listen for now.
Then, before Christmas, with the world now in a different place, the Moonriver Model 404 amplifier arrived and after very little listening I realised that here was an amplifier that plugs straight into those same values in the way it opens an engaging window onto your music. A completely new name for me, Moonriver has an interesting back story. It is designed by Mr George Polychronidis in Malmö, Sweden where he and a small band of dedicated individuals really do hand-build each and every amplifier. There are two models currently in the range. The Model 404, under consideration here is the standard version while there is also a Model 404 Reference amplifier built around the same platform but with improvements through the design yet still bearing the same musical DNA. And, if you are wondering whether the name of the company has anything to do with the old romantic ballad of the same name, then the answer is apparently yes.
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