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Amplifier Denon PMA-720 vs Brig-001?
https://www.google.com/search?q=%D0%B0%D0%BC%D1%84%D0%B8%D1%82%D0%BE%D0%BD+102+%D1%83&oq= %D0%B0%D0%BC%D1%84%D0%B8%D1%82%D0%BE%D0%BD+102+%D1%83&aqs=chrome..69i57j0.4400j0j1&sourceid=chrome&ie=UTF-8
Google has never seen anything like this, not me. But I saw 101 from a friend and I have 50 from 202.
This Amphiton managed to reproduce metallics like Pugachev's (which was funny).
Yes, I heard... On its 50 it has 202. It doesn’t have enough speed. Maybe there’s still a limit, of course, I didn’t go into too much detail, but by method of elimination, I don’t have an external limit, unless I use an adjustable output from a cassette player. In terms of speed, again, the original '78 circuit is completely different in sound. In terms of bass, maybe his ace is a little tight. on 35 ac 130 amf, 101 still reproduced the bass that was needed. But on the imported 8 ohm Sony bookshelf speakers there was almost no bass, maybe it didn’t have enough power, or maybe they don’t know how to pump bass..
And as for the “Chinese parts”, everything works. And there are a minimum of them, and not like some Yamaha Tueva is crammed with a bunch of everything, that’s what it is... It doesn’t sound)))
It depends on what kind of Yamaha we’re talking about) If we’re talking about the initial ones, there’s nothing very tricky there, yes, his mental circuitry is somewhat more complicated, and there’s more detail in it. But the rest is stuck - input selector, built-in FC, prev. The latter is most likely the weakest link there. There are only 2 channels: mind and feed, of course the ditalek is smaller. Somehow I overlooked whether there was a protection unit, although there is a condenser at the output, which means the protection unit is not particularly needed. You really need to differentiate - replicas of parts from their originals are still not the same - 3 transistors for 300 rubles, and the same one for 1000. From my experience, I don’t want to check the quality of these parts in the amplifier; I’ve already seen enough in my comrades’ homemade products. And for those who are seriously involved in repairs, I have seen Chinese analogues of scarce field-effect transistors in Japanese vintage VUS. To say that these details were completely different - in reality the Chinese did not quite understand what they were doing. Then I had to order a scarce original for money, from eBay. It wouldn't work otherwise.
Yamaha most likely has a jamb, like many modern usas, - the quality of the variables. At least in the budget segment. But the remaining parts should be of very good quality.
The Chinese, by the way, are extremely minimalistic: they manage to fit into a small body what the “company” would put into a body twice as large.
Pfff. In reality, the mind has 2 important parts, the dimensions of which can hardly be reduced in any way - the radiator and the transformer. The area of the first depends on how much power it needs to dissipate. For a transformer - the dimensions of its magnetic circuit - it must be designed for the maximum permissible power consumed by the amplifier. If you pay attention to the density of installation in factory products, then sometimes they really bother with this. And the most budget Yamaha is packed with much more digital components than this case. And for all branded amplifiers, the dimensions are at least standardized in width - 43 cm. That’s where they cram as much as they can fit.
Soviet HI-FI and its creators: the voyage of the “Brig” of “Captain” Likhnitsky
This post is a pilot in a series of publications about iconic equipment in Soviet audio technology. We promised this cycle relatively long ago, but somehow “didn’t get around to it.” The series of articles will include several UMZCHs, vinyl players, and high-fidelity acoustic systems. In other words, I will write about devices that left a mark on the history of the USSR, and for many became symbols of the era. I will try not to ignore the history of the creation of these devices, as well as some significant moments in the biography of their creators.
I believe it would be fair to dedicate the first publication to the Brig amplifier and its creators Anatoly Likhnitsky and Alla Kalyaeva, as pioneers of serial HI-FI in the USSR. I admit that I often sneer at Likhnitsky’s marginal views on sound and some aspects of circuitry, about which this man wrote a lot at the end of his life, which in no way detracts from his merits as an engineer and organizer of work on the creation of the first Soviet HI-FI UMZCH. It should also be noted the significant contribution to the creation of the amplifier by engineer Nikolai Slesarev and designer Vladimir Rataev.
Freedom of creativity for an engineer as a perceived need for a HI-FI amplifier
Before talking about the creation of the Brig, it makes sense to talk about the time when it was created and describe some of the features of the Soviet audio equipment market. To many, especially those who do not remember the “scoop,” it may seem that I am exaggerating, however, I dare to assure you that this is not at all the case.
In the 70s, the so-called period of “Brezhnev stagnation”, the USSR was a country with an amazing scientific and technological base, the country was constantly carrying out promising advanced developments in a variety of fields... But, unfortunately, almost all of these areas were united by their attitude either to aerospace industry, or to the military-industrial complex. At the same time, almost everything related to equipment for everyday life, in particular audio, was considered deeply secondary and was done very poorly, or at least tolerably.
The most common arguments of those who at that time considered it impossible to produce high-quality sound-reproducing equipment in the USSR were the following:
- The high-quality elements that exist in the USSR are used only for the defense industry; everything that goes into consumer goods is inferior in quality;
- For a Soviet person, what he has is enough, but aesthetic music lovers with amateur radio experience are soldering so-so, and in general, this is all a luxury from the evil one for the damned capitalists in the decaying West;
- In the USSR they don’t know how to do anything, and all the valuable personnel who would be capable of this work for the defense industry or emigrated to Israel abroad;
- It takes decades to overcome the gap between the USSR and the West in terms of circuitry, design ideas and the design of high-quality equipment.
Electron-20: a typical Soviet amplifier
As a result of the prevailing misconceptions and lack of motivation among the relevant branches of the Soviet government, the creation of high-fidelity equipment became the lot of enthusiasts. One of these people was Anatoly Likhnitsky, who in 1970 had the idea of creating an ideal amplifier. In fact, Likhnitsky even aimed not at HI-FI, but at the Hiend concept.
He himself wrote about it this way:
“It started when my mechanic friend B. Strakhov and I wanted to create (for ourselves, of course) a super-system for playing stereophonic records. We agreed to make two samples of it to the limit of our capabilities, without limiting their cost and dimensions. My task was to design the system, make drawings, mount and configure the manufactured samples. Strakhov undertook to get everything and produce individual parts and components in production.”
Things got going, and medical technology engineer Anatoly Likhnitsky and mechanic Strakhov created a system with characteristics unattainable by Soviet production models. The amplifier of this system would later be turned into a serial “Brig”.
“The most successful part of the stereo system turned out to be a transistor amplifier with fantastic parameters for those times: power 50 W/channel, nonlinear distortion 0.1%, frequency band 5-50,000 Hz, but what’s surprising is that this amplifier sounded not bad at all.” From the memoirs of Likhnitsky
It was the circuitry of this amplifier, created using a symmetrical quasi-complementary output stage, that became the basis of the future “Brig”. According to Likhnitsky, his brainchild “outplayed” both his own tube designs on the 6C4C and one of the legendary Dynaco tube amplifiers.
The party said it is necessary, the Komsomol answered yes
In the early 70s, all amplifiers available to Soviet citizens, such as the “Electronics B1-01” (as well as their counterparts built into the bodies of record players and reel-to-reel tape recorders), were not only inferior to their Western counterparts, but were worse in literally every objective way and subjective parameters. It is not surprising that the idea of the appearance of high-quality audio equipment by 1975 was realized by the ruling minority.
Electronics B1-01 - an amplifier that was particularly criticized by Likhnitsky
The heads of industry departments of the USSR understood that the low level of quality of consumer goods was fraught with receiving a sensitive kick from the Politburo for lagging behind the West - this fully applied to audio equipment.
In addition to the objective necessity, there was a provoking initiative from below. Basically, the Soviet HI-FI was advocated by enthusiastic engineers, who understood more than others that the capabilities of the technological and production base made it possible to produce it. The key decision to create the “Brig” was made by the head of the 10th Main Directorate of the Ministry of Shipbuilding Industry N. Sviridov. It was this man, a former employee of the Leningrad radio, known for reporting from a burning tank during the siege of Leningrad, who oversaw the Okeanpribor association. Among other things, Sviridov was a passionate audiophile and music lover and attended parties where he had the opportunity to evaluate the quality of cool Western equipment. Realizing the need for analogues of bourgeois wonders in the country of the Soviets, the official created a direction for the development and production of high-quality equipment.
The matter was complicated by the fact that in 1971 the Leningrad Regional Party Committee decided: “the Okeanpribor engineering instrument-making complex, in its free time from the defense industry, will create dishes for Soviet housewives.” Fortunately, later in 1973, under pressure from Sviridov, the regional committee changed the decision to: “catch up and overtake the West by launching a series of cool Soviet UMZCH.”
The party said that the amplifier must be made by 1975.
The development was entrusted to the department of consumer goods (we read between the letters “HI-FI equipment”), which was structurally part of the Oceanpribor division with the no less nautical name of the Research Institute “Morphyspribor”. The head of the department was Candidate of Sciences Alla Kalyaeva. According to rumors, it was this influential woman, well-known among St. Petersburg philophonists, who “pushed” the boss (Sviridov) to create a HI-FI direction. Sviridov and Kalyaeva, who knew Likhnitsky from music lovers’ drinking sessions and closed meetings for a narrow circle with listening to equipment, invited the talented engineer to participate in the project.
“Listening to avant-garde jazz and Bach’s Passions, as well as interesting meetings and large amounts of alcohol constituted the main content of our parties at that time. Alla was the soul and organizer of such parties.” Likhnitsky
Likhnitsky, who worked in the field of medical equipment that was of no interest to him, happily agreed. As soon as the discussion broke out about what could be quickly designed and put into production, Anatoly Likhnitsky said that the best option was his amplifier mod. 1970 The proposal was accepted, after 3 months the first prototype was released, and after 2 years of torment the Brig appeared.
Through thorns to sound
During the development process, a group of engineers, and primarily Likhnitsky and Kalyaeva, faced a number of serious technical, production and, as often happened in the Soviet Union, organizational problems.
During the development phase, the main problem was transistors. The Likhnitsky amplifier had germanium ones, the use of which was not intended in the new product. The transition to silicon implied a change in the output stage circuit. The problem was solved by reworking the original quasi-complementary version.
It served as the basis for the creation of a voltage amplifier, which was included in the serial “Brig” circuit. The processing made it possible to use low-voltage silicon transistors KT 808A in the terminal. As Likhnitsky later noted, the solution for the output stage was close to Peter Volker's circuit used in the Quad 303.
One of the interesting engineering solutions that was borrowed for other Soviet HI-FI amplifiers was discrete tone switches with 24 positions. The design was simply copied from German samples that the author of “Brig” discovered at home. By the way, Anatoly Likhnitsky was a great connoisseur of German audio of the 30s and 40s.
At the initial stage of development, it was not possible to avoid organizational difficulties. According to Likhnitsky, it was he who was the informal leader of the group that developed the Brig. However, his position in the department structure seemed precarious to him.
The department consisted of 3 sectors:
• Development sector; • Design sector; • Design team.
Kalyaeva is the head of the topic, Likhnitsky is the head of the main areas of research.
Anatoly Likhnitsky
Later, by chance, Anatoly will take the place of head of the development sector (which for the non-partisan Likhnitsky is an impressive career growth), whose duties he partially performed before. Having received legitimate power in the sector, the engineer structures the division entrusted to him and creates several groups. The “resource group” occupied a special place. Likhnitsky himself wrote about this best in his memoirs:
“This sign always attracted the attention of the officials who inspected us, and I had to frankly explain that the leader of this group, armed with cognac and chocolates, can get any components and materials in urgent shortage... within a week, and not in a year, as is done officially ..."
At the stage of production of the first serial "Brigs" there were also problems. Mass production of the amplifier was to take place at the Vodtranspribor plant. The assemblers, tuners and other skilled proletariat of the plant were not too keen on exchanging prestigious grain-producing special equipment for the Brig, which had no prospects in terms of salary. The first mass-produced amplifiers began to burn during setup. They tried to accuse Likhnitsky and Kalyaeva of creating “a sample not suitable for serial production,” and, as Likhnitsky put it, “clouds gathered over the heads of the developers.” Later, the cunningly planned sabotage was discovered and the amplifiers stopped burning.
Triumph of the Brig
The presentation of the first brigs took place even before the official release and even before the appearance of serial amplifiers. In 1974, prototypes were ready. After proper testing, Sviridov, Kalyaeva and Likhnitsky decided to demonstrate the hope of Soviet music lovers to the Minister of Shipbuilding Industry Butome.
Butoma Boris Evstakhievich - the minister who gave the go-ahead for the "Brig"
Impressed by the newborn Soviet high-fi, the Minister invited the main party audiophile, deputy chairman of the Military-Industrial Commission under the CPSU Central Committee, Leonid Gorshkov, to the presentation.
social hero
labor and audiophile - Leonid Ivanovich Gorshkov Gorshkov's reaction was enthusiastic. The only question the official asked was what transistors are used in the amplifier. The result of the presentation was the possibility of using tantalum capacitors and other scarce elements for production samples of the Brig, which had previously been used only in the defense industry, as well as an impressive cash bonus for developers. It is also known that after the “show” in Botuma’s office, Gorshkov gave a dressing down to the controlled VNIIRPA (whose leaders unsuccessfully tried to force him to take up high-fi), where, as a result of the showdown that followed the dressing down, the head of the amplifier laboratory died of a heart attack.
"Brig 001" - early version
After the long-suffering serial "Brig" went on sale, an unprecedented rush began. It was possible to get an amplifier only thanks to surprisingly good connections and with an additional payment of at least 25 Soviet rubles (a quarter of an engineer’s monthly salary).
The amplifier received a gold medal at the Leipzig fair. By 1977, the Brig was actively exported to the UK, France and Australia. Specialists from the British company that exported the Brig recognized that the amplifier fully complied with the HI-FI standard and all the requirements of the Western market.
The serial “Brig” had characteristics that were in many ways superior to more expensive and, most importantly, Western components “not available” in the USSR:
• output rated power: 2 × 50 W (with a load of 4 Ohms); • nominal range of reproduced frequencies with frequency response unevenness ± 0.7 dB: 20…25,000 Hz; • harmonic distortion in the frequency range 40…16,000 Hz: 0.1%; • intermodulation distortion coefficient: 0.15%; • transition attenuation between channels in the range of 250-10000 Hz: 40 dB; • signal/weighted noise ratio relative to rated output power for line input: 86 dB; • power consumption: 150 W; • overall dimensions: 452 × 372 × 118 mm; • weight: 15 kg; • retail price in the USSR: 625 rubles; • UK retail price: £300 pounds in 1976 (currently £1,500).
Bottom line
“Brig” became, if not the first, then one of the first HI-FI devices in the USSR, in many ways setting a high bar and predetermining the development of other high-fidelity amplifiers. The experience of its developers was useful to many who created HI-FI equipment in subsequent years. The circuitry and design solutions created for the Brig predetermined the development of such amplifiers as Amphiton 002, Odyssey 010 and Pulsar.
Anatoly Likhnitsky
Despite my ironic attitude towards some of Likhnitsky’s views and his outright pseudoscientific nonsense generation on the Internet (although there is also an opinion that this was subtle banter), I believe that he was one of those who formed the ideology of high fidelity of reproduction in the Country Soviets made a significant contribution to the creation of equipment within the framework of this ideology. Moreover, it was he, Kalyaeva and everyone who worked on the Brig who proved the possibility of creating mass-produced high-quality audio equipment in the USSR. "Brig" became one of the best devices of its time in terms of price/quality ratio (characteristics); its capabilities still surpass many modern models. Production of the amplifier continued until 1989. Anatoly Markovich Likhnitsky died in 2013.
Schematic diagram
Location of the main elements and boards of the BRIG-U-001 amplifier.
US matching amplifier.
Powerful rectifier VM.
Stabilized rectifier (VS) of the amplifier BRIG-U-001.
Blocking relay RB.
Circuit diagram of the power amplifier (PA) of the BRIG-U-001 amplifier.
UT tone amplifier.
The voltages shown in the diagram were measured with a high-resistance voltmeter. Permissible deviations +/-10%.
Parts Notes:
- The terminals of KR574UD1A, PGM, P2K, PKn41, SP3-1a, SP3 – 9a, SP3-12g, SPZ – 38v are designated conventionally.
Changes made to the BRIG-U-001 amplifier circuit:
- RB – R2 33 Ohm, R19 and R11 1.6 kOhm – R6 and R17 4.3 kOhm – 1.3 k Ohm are removed.
- UM - C6 and C8 3.9nF - removed, C37 and C38 22nF - 3.9nF, R19 and R20 1.3 kOhm - 4, ZkOhm, ?T14 and ?T16 KT361V - KT361G, R14 and R17 2.8kOhm - 2, 49kOhm.
- BS – R5 and R8 220 Ohm – 160 Ohm, R6 and R7 270 Ohm – 510 Ohm.
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