The Modulus-286 is the middle child of the Modulus family of amplifiers. It is perfect for those who want a high-performance amplifier that delivers more than 100 W into 4 Ω. Thanks to the Neurochrome Modulus error correction circuit topology, the Modulus-286 provides 125 W into 4 Ω at vanishingly low distortion levels.
- Key Features
- Error Correction
- Balanced Input (which can also be used with unbalanced sources)
- Recommended Power Supply & Heat Sink
- Performance Graphs
- Modulus-286 Stereo Amplifier Kit
- Mono construction.
- 65/125 W into 8/4 Ω, respectively @ THD < -120 dBc.
- Tested for stability with reactive loads up to 1.0 µF || 8 Ω.
- Multi-tone IMD residual: < -127 dB ref. 65 W (8 Ω).
- Damping factor: 540 @ 1 kHz; 220 @ 20 kHz (8 Ω).
- Integrated noise (20 Hz – 20 kHz): 17 µV (A-weighted); 22 µV (unweighted) @ 20 dB gain.
- Integrated noise (20 Hz – 20 kHz): 23.0 µV (A-weighted); 28.5 µV (unweighted) @ 26 dB gain.
- Balanced input (can be connected to unbalanced sources as well).
- Default gain: 26 dB for ease of use with other HiFi components. 20 dB available upon request. Higher gain possible by a simple resistor swap.
- Four-layer PCB, fully optimized for the highest performance.
- Designed, manufactured, and assembled in Canada. All components sourced from reputable distributors (Mouser, Digikey, et al.)
The Neurochrome Modulus composite amplifier topology uses a precision amplifier to perform error correction on a less precise power amplifier. The Modulus-286 is a composite amplifier, which uses an LME49720 to perform error correction on two LM3886 power amplifier ICs operating in parallel. This results in an amplifier which has the precision of the LME49720 and the power of the LM3886es. This error correction is the central point of the Neurochrome Modulus composite architecture. The composite design will correct for many types of error, including distortion and power supply induced errors.
The error correction circuit in the Modulus-286 has its own regulated power supply. Consequently, the power supply for the error correction circuit is clean and free of ripple, even if there is some ripple voltage on the power supply to the board. In addition, the error correction circuit (LME49720 and associated components) has its own power supply rejection (the PSRR of the LME49720 due to its design and architecture). The end result is that the error correction circuit will correct for any distortion and supply-induced errors by the LM3886es. This is done without introducing any errors of its own, while staying within the performance limitations of the LME49720. The end result is a powerful amplifier with vanishingly low distortion.
As mentioned, the error correction circuit also corrects for power supply induced errors in the power amplifier. This makes the Modulus-286 indifferent to the type of power supply used. When operated at levels below clipping, the Modulus-286 performs as well on a well regulated switching supply as it does on an unregulated power supply.
As mentioned in the Key Features, the Modulus-286 has a differential (balanced, XLR) input. There are two reasons for this:
- Differential signalling sounds better.
- Differential signalling measures better as it rejects hum.
Using differential signalling moves the ground connection between the various pieces of equipment out of the signal path. This results in a reduction in mains hum of about 90 dB (31,600×), which is nearly as good as you would get from an input transformer (but without the distortion of the transformer). Thus, I recommend using a differential connection to the Modulus-286. Sadly, many consumer and prosumer sources do not feature differential outputs. In those cases, I suggest using a pseudo-differential cable between the single-ended (unbalanced, RCA) source and the differential (balanced, XLR) input on the Modulus-286. These cables can easily be made by the savvy DIYer. They are also available commercially.
The recommended power supply for the Modulus-286 is ±36 V with at least 6.5 A (RMS) available per channel. Thus, for a traditional unregulated power supply, I recommend a Power-86 or Power-686 with a 2×25 VAC, 100 VA power transformer per channel. Thus, a stereo build requires a 2×25 VAC, 200 VA power transformer and the Antek AS-2225 would be a good choice here. An alternative would be the 2×24 VAC, 500 VA Hammond 1182S24. At 500 VA, it is a bit overkill, but unfortunately Hammond does not make a smaller 2×24 VAC or 2×25 VAC transformer. Several additional choices are listed in the Modulus-286 Design Documentation.
The Modulus-286 is a Class-AB amplifier, thus dissipates some amount of heat. It will therefore need to be fitted with a sizeable heat sink. The recommended heat sinks are tabulated below. These recommendations are based on an ambient temperature of 25 ºC and a maximum heat sink temperature of 60 ºC.
|Supply Voltage||Load Impedance||Crest Factor||Thermal Resistance|
|±36 V||8 Ω||14 dB (music)||1.53 K/W|
|±36 V||4 Ω||14 dB (music)||0.88 K/W|
|±36 V||8 Ω||3 dB (sine wave)||1.10 K/W|
|±36 V||4 Ω||3 dB (sine wave)||0.60 K/W|
Thankfully most of us listen to music rather than sine waves, so the 0.88 K/W figure is a reasonable target and many of the commercially available chassis options feature suitable heat sinks. For example, the 2U/300 size ModuShop Dissipante chassis offers heat sinks with a thermal resistance of 0.45 K/W, thus is very well suited for a stereo (or even quad) build of the Modulus-286, assuming a maximum of two Modulus-286 modules per heat sink.
The specifications for the Modulus-286 are tabulated below. These were measurements of the prototype build shown above.
|Output Power||65 W||8 Ω, < 0.01 % THD+N|
|1 W, 8 Ω, 1 kHz|
|THD||TBD||65 W, 8 Ω, 1 kHz|
|65 W, 8 Ω, 1 kHz|
|Output Power||125 W||4 Ω, < 0.01 % THD+N|
|THD||TBD||125 W, 4 Ω, 1 kHz|
|30 W, 4 Ω, 1 kHz|
|IMD: SMPTE 60 Hz + 7 kHz @ 4:1||-95 dB||65 W, 8 Ω|
|IMD: DFD 18 kHz + 19 kHz @ 1:1||-111 dB||65 W, 8 Ω|
|IMD: DFD 917 Hz + 5.5 kHz @ 1:1||-95 dB||1 W, 8 Ω|
|Multi-Tone IMD Residual||< -127 dB|
Ref.: 65 W
|AP 32-tone, 65 W, 8 Ω|
|Gain||26 dB||Resistor programmable. +20 dB min.|
|Input Sensitivity||1.15 V RMS||65 W, 8 Ω|
|Input Impedance||48 kΩ|
|Bandwidth||< 1 Hz – 76 kHz||1 W, -3 dB|
|Slew Rate||15.9 V/µs||8 Ω || 1 nF load|
|Total Integrated Noise and Residual Mains Hum||23.0 µV RMS||20 Hz – 20 kHz, A-weighted|
|Total Integrated Noise and Residual Mains Hum||28.5 µV RMS||20 Hz – 20 kHz, Unweighted|
|Output DC Offset Voltage||< 2.0 mV||Typical performance|
|Residual Mains Hum||< -130 dBV|
|Dynamic Range||120 dB||1 kHz, A-weighted|
|Common-Mode Rejection Ratio||85 dB||1 kHz|
|Common-Mode Rejection Ratio||75 dB||20 kHz|
|Damping Factor||540||1 kHz, 8 Ω|
|Damping Factor||220||20 kHz, 8 Ω|
|All parameters are measured at a supply voltage of ±36 V unless otherwise noted.|
The gain of the Modulus-286 can be changed by changing one resistor. Lowering the gain lowers the noise floor of the Modulus-286. The lowest gain supported is 20 dB and the performance improvements at this gain setting are listed below. The remaining performance parameters of the Modulus-286 are unaffected by the gain change.
|Gain||20 dB||R11 = DNP|
|Input Sensitivity||2.3 V RMS||65 W, 8 Ω|
|Total Integrated Noise and Residual Mains Hum||17.0 µV RMS||20 Hz – 20 kHz, A-weighted|
|Total Integrated Noise and Residual Mains Hum||22.0 µV RMS||20 Hz – 20 kHz, Unweighted|
|Dynamic Range||123 dB||1 kHz, A-weighted|
|All parameters are measured at a supply voltage of ±36 V unless otherwise noted.|
The performance of the Modulus-286 exceeds that of my Audio Precision APx525 audio analyzer. Thus, the THD+N graphs show mostly the noise of the APx525 source and the noise floor of the Modulus-286. Similarly, the THD+N vs frequency is mostly dominated by the noise of the measurement gear, which is all state of the art. The biggest take-home message here is that the Modulus-286 contributes only a minuscule amount of distortion, intermodulation, and noise to the input signal. It is as close to a straight wire with gain as you can get, and the measurements below confirm this claim. Terms like “transparent” or “wire with gain” are overused, but those really are the best descriptors for the Modulus-286. It is difficult to describe what “The Source Material, Amplified” sounds like. Open and natural, I guess. But those words are overused too… Rather than devolving into marketing babble, I’ll let the performance measurements speak for themselves. Click on the graphs for a larger view.
The graph below shows the THD+N vs output power for 8 Ω load. The amplifier delivers 65 W at the onset of clipping and nearly 70 W when the THD+N crosses 0.01 %. Note that the sharp jumps (aside from when the amplifier clips) are caused by range switching in the APx525. The THD+N vs output power plots basically show the THD+N floor of the measurement system.
Repeating the measurement with a 4 Ω load reveals:
Soft clipping starts at about 110 W and 0.1 % THD+N is reached at a hair over 125 W.
In most settings, the amplifier will deliver relatively low output power most of the time, hence, many argue that the THD at 1.0 W is more indicative of the quality of the amplifier. Thus, I measured the THD at 1.0 W into 8 Ω. The THD of the Modulus-286 is below that of the APx525 signal source, hence, I used a precision oscillator. Unfortunately, this oscillator adds a bit of mains hum, but the harmonic distortion components of the 1 kHz test tone are now clearly visible.
The THD+N vs frequency plot for 65 W into 8 Ω and 100 W into 4 Ω, respectively, are shown below. Note that the measurement bandwidth was changed to 60 kHz to capture at least three harmonics of 20 kHz. This also increases the noise bandwidth, hence the THD+N, of the measurement.
The Modulus-286 operates in Class AB, so the plot below may appear a bit out of place as it shows the THD+N vs output power and frequency measurement commonly found in data sheets for Class D amplifiers. I am including it here to showcase that the Modulus-286 performs significantly better than the vast majority Class D amplifiers.
Siegfried Linkwitz argues that the 1 kHz + 5.5 kHz intermodulation distortion (IMD) measurement is one of the measurements which is more indicative of the perceived sound quality. He bases this argument on the fact that IMD products in this measurement fall in the frequency range where the ear is the most sensitive (see the Fletcher-Munson curves for more detail). I think this argument carries a good amount of weight, so I measured the Modulus-286 accordingly. The measurement is shown below. Note that due to a limitation in the DFD IMD source of the APx525, the frequencies used must be an integer multiple of each other. Thus, I measured at 917 Hz (5500/6) + 5.5 kHz. I performed this measurement at 1.0 W, similar to the measurements on Linkwitz’s site. The three results are shown below. Note that the performance of the Modulus-286 is 10–20 dB better than the performance of any of the amps shown on Linkwitz’s site.
The more conventional IMD measurements are shown below. The two plots show the SMPTE (60 Hz + 7 kHz @ 4:1) IMD and DFD (18 kHz + 19 kHz @ 1:1) IMD, respectively. Poor SMPTE IMD is often indicative of thermal issues or power supply issues in the amp. The 18k+19k IMD is indicative of the loop gain available in the amp near the end of the audible spectrum, which can be telling of an amplifier’s sound quality. The Modulus-286 provides world class performance on both of these measurements.
Audio Precision has developed a multi-tone test signal, which contains 32 tones from 15 Hz to 20 kHz, logarithmically spaced in frequency. This test signal sounds a bit like an out-of-tune pipe organ. It is basically the closest I can get to music with a deterministic test signal. Thus, I argue that this multi-tone signal should be used in an IMD test for the best correlation between measurements and perceived sound quality.
I run this test at levels just below clipping. The 0 dB reference is set at the clipping level. Note that even the tallest IMD components are 127 dB below the clipping level. This is likely why the Modulus-286 sounds transparent. This measurement shows that it does not add anything (or at least extremely little) to the source signal, even at levels just below clipping where the amplifier is working the hardest.
The Modulus-286 shows only a minuscule amount of residual mains hum. Note that this measurement was taken with the amplifier board sitting unshielded on a lab bench, thus, actual performance once enclosed in a metal chassis is likely to be even better.
As mentioned in the Key Features, the Modulus-286 features a differential input. The common-mode rejection of this input is shown below.
Finally, the output impedance and resulting damping factor for 8 Ω load are shown below.
Needless to say, the Modulus-286 is a truly world class amplifier.
Feel free to join the discussion of the Modulus-286 on DIY Audio: Modulus-286 (DIY Audio).
Modulus-286 Stereo Amplifier Kit
For many DIY audio enthusiasts, the mechanical work related to the design and fabrication of the amplifier chassis is a major challenge. Even those who excel in the machine shop would often rather have the work done by someone else. This is where the Modulus-286 Kit comes in.
The Modulus-286 Kit consists of a ModuShop Mini Dissipante (2U x 230 x 200 mm) chassis, Connex Electronic SMPS300RE power supply, and two Modulus-286 modules along with all the necessary hardware, wiring harnesses, connectors, etc. This makes for a super compact high-performance amplifier kit. You can read more about the Modulus-286 Kit here: Modulus-286 Kit page.
In addition to the silver (clear anodized) version shown above, the Modulus-286 Kit is also available in black:
You can skip directly to the Modulus-286 Kit product page by clicking the button below.