Phase vs Polarity

I know that language evolves. I know that a dictionary is a record of how we use words; not an arbiter of how words should be used. However, I also believe very firmly that if you don’t use words correctly, then you won’t be saying what you mean, and therefore you can be misconstrued.

One of the more common phrases that you’ll hear audio people use is “out of phase” when they mean “180º out of phase” or possibly even “opposite polarity”. I recently heard someone I work with say “out of phase” and I corrected them and said “you mean ‘opposite polarity'” and so a discussion began around the question of whether “180º out of phase” and “opposite polarity” can possibly result in two different things, or whether they’re interchangeable.

Let’s start by talking about what “phase” is. When you look at a sine wave, you’re essentially looking at a two-dimensional view of a three-dimensional shape. I’ve talked about this a lot in two other postings: this one and this one. However, the short form goes something like “Look at a coil spring from the side and it will look like a sine wave.” A coil is a two-dimensional circle that has been stretched in the third dimension so that when you rotate 360º, you wind up back where you started in the first two dimensions, but not the third. When you look at that coil from the side, the circular rotation (say, in degrees) looks like a change in height.

Figure 1
Figure 2

Notice in the two photos above how the rotation of the circle, when viewed from the side, looks only like a change in height related to the rotation in degrees.

Figure 3

The figure above is a classic representation of a sine wave with a peak amplitude of 1, and as you can see there, it’s essentially the same as the photo of the Slinky. In fact, you get used to seeing sine waves as springs-viewed-from-the-side if you force yourself to think of it that way.

Now let’s look at the same sine wave, but we’ll start at a different place in the rotation.

Figure 4

The figure above shows a sine wave whose rotation has been delayed by some number of degrees (22.5º, to be precisely accurate).

If I delay the start of the sine wave by 180 degrees instead, it looks like Figure 5..

Figure 5

However, if I take the sine wave and multiply each value by -1 (inverting the polarity) then it looks like this:

Figure 6

As you can probably see, the plots in Figure 5 and 6 are identical. Therefore, in the case of a sine wave, shifting the phase of the signal by 180 degrees has the same result at inverting the polarity.

What happens when you have a signal that is the sum of multiple sine waves? Let’s look at a simple example below.

Figure 7

The top plot above shows two sine waves, one with a frequency of three times the other, and with 1/3 the amplitude. If I add these two together, the result is the red curve in the lower plot. There are two ways to think of this addition: You can add each amplitude, degree by degree to get the red curve. You can also think of the slopes adding. At the 180º mark, the two downward-going slopes of the two sine waves cause the steeper slope in the red curve.

If we shift the phase of each of the two sine wave components, then the result looks like the plots below.

Figure 8

As you can see in the plots above, shifting the phases of the sine waves is the same as inverting their polarities, and so the resulting total sum (the red curve) is the same as if we had inverted the polarity of the previous total sum.

So, so far, we can conclude that shifting the phase by 180º gives the same result as inverting the polarity.

In the April, 1946 edition of Wireless World magazine, C.E. Cooper wrote an article called “Phase Relationships: ‘180 Degrees Out of Phase’ or ‘Reversed Polarity’?” (I’m not the first one to have this debate…) In this article, it’s states that there is a difference between “phase” and “polarity” with the example shown below.

Figure 9

There is a problem with the illustration in Figure 9, which is the fact that you cannot say that the middle plot has been shifted in phase by 180 degrees because that waveform doesn’t have a “phase”. If you decomposed it to its constituent sines/cosines and shifted each of those by 180º, then the result would look like (c) instead of (b). Instead, this signal has had a delay of 1/2 of a period applied to it – which is a different thing, since it’s delaying in time instead of shifting in phase.

However, there is a hint here of a correct answer… If we think of the black and blue sine waves in the 2-part plots above as sine waves with frequencies 1 Hz and 3 Hz, we can add another “sine wave” with a frequency of 0 Hz, or DC, as shown in Figure 10, below.

Figure 10

In the plot above, the top plot has a DC component (the blue line) that is added to the sine component (the black curve) resulting in a sine wave with a DC offset (the red curve).

If we invert the polarity of this signal, then the result is as shown in Figure 11.

Figure 11

However, if we delay the components by 180º, the result is different, as shown in Figure 12:

Figure 12

The hint from the 1946 article was the addition of a DC offset to the signal. If we think of that as a sine wave with a frequency of 0 Hz, then it can be “phase-shifted” by 180º which results in the same value instead of inverting polarity.

However, to be fair, most of the time, shifting the phase by 180º gives the same result as inverting the polarity. However, I still don’t like it when people say “flip the phase”…

Sharp EL-805M

I found this at a flea market yesterday and I couldn’t resist buying it. It’s a Sharp EL-805M “pocket” calculator that was released for sale in 1973 and discontinued in 1974.

This would have been a time when a Liquid Crystal display was a feature worth advertising on the front panel of the calculator (since this was the first calculator with an LCD).

Sharp was one of the pioneers of calculators using the DSM (Dynamic Scattering Mode) LCD (Liquid Crystal Display).  These DSM LCDs have the now unusual feature of silver-like reflective digits on a dark background, rather than the now common black digits on a light background.

http://www.vintagecalculators.com/html/facit_1106-sharp_el-805s.html

It was also from a time when instructions were included on how to use it. Notice the instructions for calculating 25 x 36, for example…

Undoubtably, the best 20 DKK I spent all weekend, given that the original price in 1973 was 110 USD.

For a peek inside, this site has some good shots, but it seems that it proves to be a challenge for automatic translators. There’s also a good history here.

Beograms side-by-side

#85 in a series of articles about the technology behind Bang & Olufsen

On the left: a “Stereopladespiller” (Stereo Gramophone) Type 42 VF.
On the right, a Beogram 1000 V Type 5203 Series 33, modified with a built-in RIAA preamp (making it a Beogram 1000 VF)

Some history today – without much tech-talk. I just finished restoring my 42VF and I thought I’d spend an hour or two taking some photos next to my BG1000.

According to the beoworld.org website, the Stereopladespiller was in production from 1960 to 1976. Although Bang & Olufsen made many gramophones before 1960, they were all monophonic, for 1-channel audio. This one was originally made to support the 2-channel “SP1 / SP2” pickup developed by Erik Rørbæk Madsen after having heard 2-channel stereo on a visit to the USA in the mid-1950s (and returned to Denmark with a test record).

Sidebar: The “V” means that the players are powered from the AC mains voltage (220 V AC, 50 Hz here in Denmark). The “F” stands for “Forforstærker” or “Preamplifier”, meaning that it has a built-in RIAA preamp with a line-level output.

Internally, the SP1 and SP2 are identical. The only difference is the mounting bracket to accommodate the B&O “ST-” series tonearms and standard tonearms.

There were 4 variants in the ST-series of tonearms:

[table]

Name, Pivot – Platter Centre, Pivot – Stylus, Pickup

ST/M,190 mm, 205 mm, SP2

ST/L, 209.5 mm, 223.5 mm, SP2

ST/P, 310 mm, 320 mm, SP2

ST/A, 209.5 mm, 223.5 mm, SP1

[/table]

(I’ll do another, more detailed posting about the tonearms at a later date…)

Again, according to the beoworld.org website, the Beogram 1000 was in production from 1965 to 1973. (The overlap and the later EoP date of the former makes me a little suspicious. If I get better information, I’ll update this posting.)

The tonearm seen here on the Stereopladespiller is the ST/L model with a Type PL tonearm lifter.

Looking not-very-carefully at the photos below, you can see that the two tonearms have a significant difference – the angle of the pickup relative to the surface of the vinyl. The ST/L has a 25º angle whereas the tonearm on the Beogram 1000 has a 15º angle. This means that the two pickups are mutually incompatible. The pickup shown on the Beogram 1000 is an SP14.

This, in turn, means that the vertical pivot points for the two tonearms are different, as can be seen below.

The heights of both tonearms at the pivot are adjustable by moving a collar around the post and fixing its position with a small set screw. A nut under the top plate (inside the turntable) locks it in position.

The position of the counterbalance on the older tonearm can be adjusted with the large setscrew seen in the photo above. The tonearm on the Beogram 1000 gently “locks” into the correct position using a small spring-loaded ball that sets into a hole at the end of the tonearm tube, and so it’s not designed to have the same adjustability.

Both tonearms use a spring attached to a plastic collar with an adjustable position for fine-tuning the tracking force. At the end of this posting, you can see that I’ve measured its accuracy.

The Micro Moving Cross (MMC) principle of the SP1/2 pickup can easily be seen in the photo above (a New-Old-Stock pickup that I stumbled across at a flea market). For more information about the MMC design, see this posting. In later versions of the pickup, such as the SP14, seen below, the stylus and MMC assembly were attached to the external housing instead.

A couple of later SP-series pickups in considerably worse shape. These are also flea-market finds, but neither of them is behaving very well due to bent cantilevers.

This construction made it easier to replace the stylus, although it was also possible to do so with the SP1-2 using a replacement such as the one shown below.

A replacement stylus for the SP1/2 shown on the bremdal-radio.dk website.

Just to satisfy my own curiosity, I measured the tracking force at the stylus with a number of different adjustments on the collar. The results are shown below.

Tracking force on the Stereopladespiller with the collar aligned to each side of the gradations on the tonearm. Right-click on the photo and open it in a new window or tab to zoom in for more details.
Tracking force on the Beogram 1000 with the collar aligned to each side of the gradations on the tonearm. Right-click on the photo and open it in a new window or tab to zoom in for more details.

As you can see there, the accuracy is reasonably good. This is not really surprising, since the tracking force is applied by a spring. So, as long as the spring constant hasn’t changed over the years, which it shouldn’t have unless it got stretched for some reason (say, when I was rebuilding the pivot on the tonearm, for example…) it should behave as it always did.

Heavy Metal Analogue

In order to explain the significance of the following story, some prequels are required.

Prequel #1: I’m one of those people who enjoys an addiction to collecting what other people call “junk” – things you find in flea markets, estate sales, and the like. Normally I only come home with old fountain pens that need to be restored, however, occasionally, I stumble across other things.

Prequel #2: Many people have vinyl records lying around, but not many people know how they’re made. The LP that you put on your turntable was pressed from a glob of molten polyvinyl-chloride (PVC), pressed between two circular metal plates called “stampers” that had ridges in them instead of grooves. Easy of those stampers was made by depositing layers of (probably) nickel on another plate called a “metal mother” which is essentially a metal version of your LP. That metal mother was made by putting layers on a “metal master” (also with ridges instead of grooves) which was probably a lamination of tin, silver, and nickel that was deposited in layers on an acetate lacquer disc, which is the original, cut on a lathe. (Yes, there are variations on this process, I know…) The thing to remember in this process is

  • there are three “playable” versions of the disc in this manufacturing process: your LP, the metal mother, and the original acetate that was cut on the lathe
  • there are two other non-playable versions that are the mirror images of the disc: the metal master and the stamper(s).

(If you’d like to watch this process, check out this video.)

Prequel #3: One of my recurring tasks in my day-job at Bang & Olufsen is to do the final measurements and approvals for the Beogram 4000c turntables. These are individually restored by hand. It’s not a production-line – it really is a restoration process. Each turntable has different issues that need to be addressed and fixed. The measurements that I do include:

  • verification of the gain and response of the two channels in the newly-built RIAA preamplifier
    (this is done electrically, by connecting the output of my sound card into the input of the RIAA instead of using a signal from the pickup)
  • checking the sensitivity and response of the two channels from vinyl to output
  • checking the wow and flutter of the drive mechanism
  • checking the channel crosstalk as well as the rumble

The last three of these are done by playing specific test tracks off an LP with signals on it, specifically designed for this purpose. There are sine wave sweeps, sine waves at different signal levels, a long-term sine wave at a high-ish frequency (for W&F measurements), and tracks with silence. (In addition, each turntable is actually tested twice for Wow and Flutter, since I test the platter and bearing before it’s assembled in the turntable itself…)

Prequel #4: Once-upon-a-time, Bang & Olufsen made their own pickup cartridges (actually, it goes back to steel needles). Initially the SP series, and then the MMC series of cartridges. Those were made in the same building that I work in every day – about 50 m from where I’m sitting right now. B&O doesn’t make the cartridges any more – but back when they did, each one was tested using a special LP with those same test tracks that I mentioned above. In fact, the album that they used once-upon-a-time is the same album that I use today for testing the Beogram 4000c. The analysis equipment has changed (I wrote my own Matlab code to do this rather than to dust off the old B&K measurement gear and the B&O Wow and Flutter meter…)

If you’ve read those four pieces of information, you’ll understand why I was recently excited to stumble across a stamper of the Bang & Olufsen test LP, with a date on the sleeve reading 21 March, 1974. It’s funny that, although the sleeve only says that it’s a Bang & Olufsen disc, I recognise it because of the pattern in the grooves (which should give you an indication of how many times I’ve tested the turntables) – even if they’re the mirror image of the vinyl disc.

Below, you can see my latest treasure, pictured with an example of the B&O test disc that I use. It hasn’t “come home” – but at least it’s moved in next-door.

P.S. Since a couple of people have already asked, the short answer is “no”. The long answers are:

  • No, the test disc is no longer available – it never was outside of the B&O production area. However, if you can find a copy of the Brüel and Kjær QR 2010 disc, it’s exactly the same. I suspect that the two companies got together to produce the test disc in the 70s. However, there were also some publicly-available discs by B&O that included some test tones. These weren’t as comprehensive as the “real” test discs like the ones accompanying the DIN standards, or the ones from CBS and JVC.
  • No, the metal master is no longer in good enough shape to use to make a new set of metal mothers and stampers. Too bad… :-(

P.P.S. If you’re interested in the details of how the tests are done on the Beogram 4000c turntables, I’ve explained it in the Technical Sound Guide, which can be downloaded using the link at the bottom of this page. That document also has a comprehensive reading list if you’re REALLY interested or REALLY having trouble sleeping.