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Self contained and mountable on horizontal or vertical axes, the VCS-2020 voice coil stage features a 20-mm diameter aperture and a better than 300-nm positioning resolution. The component measures 117 mm x 75 mm x 81 mm and includes a cross roller stage, actuator, analog position sensor, servo amplifier, and servo controller. The cross roller stage is integral to the C-lens mount and motor coil for tip-/tilt-free motion. Custom lens mounts are available. The motor delivers 17.8N of continuous force and 71.8 N peak for 10s.

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For integration, the VCS-10H provides multiple sets of mounting holes on several surfaces., Sunnyvale, CA. (408) 245-7161.

A current source, by contrast, has an output impedance that is large compared to the load impedance, so that now its output current is largely unaffected by fluctuations in load impedance. This is significant in the context of thermal compression because it is the current through the voice-coil that generates the driver's motive force. If this is unaffected by changes in voice-coil resistance, then thermal compression cannot occur. The trouble is, you can't simply substitute a current-source amplifier for a voltage-source amplifier when the loudspeaker expects to see a voltage source.

The high output impedance of the current source means that any variation in the speaker's input impedance will be reflected in the voltage developed across its terminals, and this will directly affect the speaker's frequency response. ) This hurdle to their wider usage notwithstanding, current-source amplifiers have their protagonists. As is usually the case in audio, the history of current-source amplification probably goes back a long way—longer than I know. My interest in it began with a paper by Malcolm Omar Hawksford and Paul Mills, published in 1989 in the Journal of the Audio Engineering Society, describing research that had been assisted by Celestion (footnote 1). As well as investigating the advantages of current drive—the principal one being the elimination of voice-coil heating as a factor in speaker performance—the paper also considered ways in which current drive might be implemented.

Although the Hawksford-Mills paper did not inspire any sea change in mainstream audio practice, there remains a background level of interest in this means of driving loudspeakers. This has been boosted in recent years by the indefatigable Nelson Pass, whose 'kitchen table' F1 and F2 amplifiers were both (quasi-)current-source designs (the F2 somewhat less so), and who has written on the subject of current drive for audioXpress (footnote 2). When someone with a track record like Pass's becomes interested in an offbeat idea, we should all take notice—the more so as both the F1 and F2 have received enthusiastic reviews (from Art Dudley, for one, in the Stereophile). But it isn't the purpose of this article to consider the merits of current drive, other than to mention its potential to counter thermal compression.

Instead, I want to take a closer look at voice-coil heating as it affects typical domestic speakers playing music at typical domestic listening levels. Much of the literature on thermal compression relates principally to professional public-address applications, where the requirements of high amplifier power and sound-pressure level make it a particular problem (footnotes 3, 4). I have found very little published about the voice-coil temperatures achieved in hi-fi loudspeakers under normal conditions of use. And yet, without this information it isn't possible to make any meaningful assessment of whether thermal compression is a significant or peripheral issue to you and me, and whether the means of obviating it are therefore of any more than academic interest. Finding out To shed some light on this, I would have to perform the necessary measurements myself, and that was going to involve building some bespoke instrumentation—devices for measuring voice-coil resistance in the presence of a music signal are not available off the shelf. For those interested in the details, the circuit I came up with is described in the sidebar, 'Making the Measurements.' Here let's concentrate on the results, which I obtained using a (discontinued) as the subject loudspeaker.