model 4010 – operation - Tdl-tech.com

MODEL 4010 – OPERATION
Connect the stereo input from your turntable to the Stereo Input connectors on the 4010 rear panel
using a suitable length stereo cable. A good quality cable will help to minimize hum and noise
pickup. Connect the Mono output to your sound system or computer sound card input using a stereo
cable. It is better to listen and record in stereo even though both channels are the same.
In general, if you are going to use the External Processor connectors on the rear panel, you will need
a “flat” stereo preamplifier to drive the external processor. We are writing an Application Note with
some specific information on this subject. If the External Processor connectors are not used, make
sure the Enable - Disable front panel switch is set to Disable.
The factory gain setting is 52 dB which should be sufficient for listening and for many sound cards.
If you happen to have a sound card with low sensitivity, the gain can be increased to either 56 or 60
dB by changing the jumpers on the main circuit board. There is a page in this Guide that shows the
gain vs. the jumper setting. This diagram is also on the underside of the top cover.
To turn on the 4010, just flip the POWER ON switch to its up position. The red power-on indicator
will light.
MODE SWITCH
Adjust the mode switch to get the best sounding speech or music. This will often be the “L+R” or
Mono setting or “L-R” for vertical-cut (or hill-and-dale) recordings. But don’t be afraid to
experiment by using just the Left or Right channel or the Blend control.
TURNOVER
The Turnover frequency is part of the equalization setting that de-emphasizes the emphasis that was
used when the recording was made. There is an extensive Table in this Guide that shows many
record brands and suggests a Turnover setting. You can see from the size of this Table that there was
much variation because there was no universal recording standard prior to 1955 when the Recording
Industry Association of America (RIAA) standard was generally adopted by recording
manufacturers. To make matters worse, many recording engineers liked to experiment and didn’t
even follow their “company’s standard.” Hence, the Table is just a suggestion for a starting setting.
Please experiment until you are satisfied with the sound quality – you can’t damage anything.
ROLLOFF
The Rolloff attenuation is the other part of the equalization setting and suggested starting numbers
are also in the Table. Again, please experiment until you are satisfied with the sound quality.
RUMBLE FILTER
The Rumble Filter was originally included in phonograph preamplifiers to minimize low-frequency
“rumble” in the playback turntable. But this filter can also be used as part of the equalization
process. If you are hearing too much bass, you may be able to get a better overall sound balance by
increasing the filter frequency.

HF FILTER
It is usually best to start a listening session or a restoration project with this filter set to its highest
setting: 24 kHz. Listen to the speech or music and lower the filter setting until you begin to hear a
loss of high frequencies (treble notes), then increase the filter setting by one switch position. If you
are doing a restoration, your computer recording software probably has a built-in spectrum analyzer
[1]. You can use it to verify your filter setting choice by turning on the analyzer. Reset the filter to
24 kHz and then turn it to lower steps as you watch the analysis display. Stop when you start to see
a loss of high frequencies. Used properly, the HF Filter can remove much of the high frequency
noise inherent to cylinders and 78 RPM recordings. It would not be uncommon to find a setting of
8 to 12 kHz suitable for early 78s.
VOLUME CONTROL
Set the Volume control as needed. If you are recording to a computer through a sound card, watch
the record level display and set the Volume for maximum peaks in the -3 to -1 dB range. It is
preferable to record in this range as it maximizes the signal-to-noise ratio.
NOTES:
1. Software such as Cool Edit Pro, Adobe Audition, Diamond Cut 6 or 7, Wavelab and others have
spectrum analyzers. Consult your program documentation to find out how to start the analyzer.
In the rare instance your software doesn’t have an analyzer, there are stand-alone programs such as
Spectrogram which can be downloaded from: www.visualizationsoftware.com/gram.html

CIRCUIT BOARD TOP VIEW
PLACE JUMPERS
HERE FOR
52 dB GAIN
PLACE JUMPERS
HERE FOR
56 dB GAIN
PLACE JUMPERS
HERE FOR
60 dB GAIN
SET BOTH JUMPERS THE SAME OR THE
EQUALIZATION WILL BE INCORRECT.

FREQUENTLY ASKED QUESTIONS
Mr. Tipton:
I have been using the 4010 for playback of 78s for about a year and thought
I'd offer a couple of comments and questions. I am generally pleased with
the unit's performance; the greater number of settings offers more flexibility
in playback than did the Owl One that I was using previously and makes
easier the playback of oddball records, such as early Emersons with "45-
degree" grooves. However, I would say that the one thing missing is a good,
effective high frequency filter for playback of 78s. The existing filter on the
unit, when playing back 78s (which generally have significant surface noise),
appears to have negligible effect. I do use my old Owl multifilter (with three
notch filters of varying bandwidth) in conjunction with the 4010, but really
miss that high frequency notch filter that was part of the Owl One and
seemed particularly suited to playback of 78s.
One question concerning using the turnover control, which theoretically
compensates for the bass attenuation among the various record labels. What
I don't understand is, when selecting turnover downwards to progressively
lower levels (e.g., 250, 200, 150 Hz), I notice a corresponding significant
boost in the midrange frequencies - something I didn't hear with the Owl.
This effect is very obvious when playing back acoustically recorded discs.
Should adjusting the bass turnover "point" really affect the midranges
Cheers,
Hello,
All designs involve some compromises and the 4010 is no exception. Our goal in designing the 4010
was to create a tool for archivists and others who are interested in digitally restoring vintage analog
records as accurately as possible.
One of our design maxims was, to borrow a phrase, “First do no harm.” That’s why we decided to
use a 2-pole Butterworth lowpass filter (-12 dB/octave) HF filter instead of aggressive notch filters
like those used in the Owl One which create too many issues in terms of frequency and phase
distortion.
Subjectively, our HF filter will have the most effect with a flat turnover and rolloff. The audible
effect will become less as the rolloff frequency is decreased because the rolloff filter is providing
a lot of high frequency attenuation. We feel that after creating as good a hard-disk image as possible,

other clean-up is better done in software. And the results can be more easily undone, if desired.
Other users have commented on the apparent boost in midrange response when the turnover control
is set to lower frequencies. Unlike other processors such as the Owl One and the Re-equalizer, the
4010 uses a fixed-gain turnover amplifier in order to minimize phase and frequency distortions. This
may have the appearance of boost in the midrange but it’s really a matter of volume. That is, the
whole curve moves up or down (in gain) with the volume setting. This is illustrated in the graph on
the following page. The five curves from upper to lower correspond to turnover frequencies of 150
Hz to 400 Hz with the rolloff constant at -9 dB.
Comparisons to the Owl One and the Re-equalizer show identical frequency response curves at the
various turnover/rolloff settings. Rest assured that the 4010 turnover and rolloff controls provide
accurate playback response, although the process of choosing the correct turnover setting is
subjectively a somewhat different experience. One reviewer noted that, in his opinion, the 4010
made it easier to dial in the best turnover setting.
Ron
The Re-equalizer is available from Esoteric Sound, www.esotericsound.com.
The Owl One is not in production but may be available as “pre-owned equipment.”

MODEL 4010 – CIRCUIT DESCRIPTION
Figure 1 shows the model 4010 block diagram. Operational amplifier (opamp) U1 is a stereo buffer,
that is, it has unity gain. It sends the stereo signal to either an external processor or to the stereo-tomono
converter, U2. (Because U1 has unity gain, in general a “flat” stereo preamplifier must be used
to properly drive an external processor.)
The U2 output goes to the Mode switch which lets you select Left, Right, L+R (mono), L-R
(vertical-cut) or the LR Blend. The amount of blend, from full Left to full Right, is set by the Blend
control. The Mode switch output goes to the line of four filters or response-shaping networks and
the Volume control. These filters will be described in more detail in the following paragraphs.
In Figure 3, the low-noise opamps U4 and U5 provide all of the preamp’s gain and frequency
response shaping with the switch-selectable RC networks. Because of the circuit design, the gain
and frequency response of each stage (U4 and U5) are independent. The DC and low frequency gain
is set by:
A = (1 + (R23 / Ra)) * (1 + (R38 / Rb))
where both Ra and Rb can be jumper selected to set the maximum gain to 52, 56 or 60 dB. Both
jumpers should be set the same or the overall equalization response will not be correct.
Response shaping is done by the RC networks with rotary switch S2 controlling the Turnover
frequency and S3 controlling the Rolloff frequency. The 4010 front panel Rollfoff switch is labeled
in dB of attenuation at 10 kHz but you may find equalization information that lists the Rolloff
frequency so the correspondence between frequency and attenuation is included in the Table in this
Guide.
We wrote two computer programs to calculate the network values. PZNET calculates the series RC
values for the Turnover network given the Pole Frequency (50 Hz in all cases), the Zero Frequency
and a value for the common input resistor, R27. RCNET calculates the capacitor values for the
Rolloff network given the Frequency and the common series resistor value, R42. Both of these
programs can be freely downloaded from our website.
Figure 4 shows the Rumble Filter, Volume control and output lowpass filter (HF Filter). The Rumble
Filter is a 3-pole Butterworth highpass and the HF Filter is a 2-pole Butterworth lowpass.
Component values were calculated with FilterLab version 2.0, a free download from
Microchip.com.
The 24 volts from the wall-wart power supply is very noisy so it enters the model 4010 into a
shielded enclosure within the rack-mount cabinet.The PWR4010 circuit board has additional 24 volt
filtering, a voltage “splitter” and the voltage regulators. This is shown in Figure 5. By first regulating
to ±9 volts and then to ±6 volts, the hum and noise is reduced to a level that is as quiet as battery
operation.

PHONOGRAPH EQUALIZATION SETTINGS
The following TABLE provides suggested starting values for playback equalization of mono
recordings. Don’t be afraid to experiment as even this extensive table may be incorrect.
This information was taken from several sources: The Operating Manual for the Rek-O-Kut Re-
Equalizer, the Dial Your Discs chart which appeared in High Fidelity magazine in the early 1950s,
the chart provided by OWL Electronics, the chart compiled by James R. Powell, Jr. and published
in the ARSC Journal, and the jackets of early LPs. In addition, equalization data was found on the
web sites listed in the NOTES section.
When a recording is mastered (recorded) the amplitudes of the bass frequencies are reduced for
primarily mechanical reasons. When the recording is played, these low frequencies amplitudes must
be increased. The TURNOVER is the frequency below which the amplitude must be increased
during playback.
ROLLOFF is the amount of treble (high frequency) attenuation (cut) at 10 kHz required during
playback to compensate for the treble boost used during mastering. Some charts list Rolloff as a
frequency instead of an attenuation so a correspondence list is included at the end of this Table.
MATRIX is a “number” (may be a combination of numbers and letters) molded into the record just
outside the center label. This number is the “matrix” or mold identifier used to press the record. It
can be used to determine, at lease approximately, when the record was manufactured. In some cases,
the two sides of a record can have very different matrix numbers which means the two side may
need different equalization settings.
Remember, there was no equalization standard before 1955 so this table is a list of suggestions!
Increase the Turnover if the bass sounds too thin. Increase the Rolloff if the treble sounds too strong.
Manufacturer Speed Turnover Rolloff
Acoustic Records ALL 300 FLAT
Acoustic Records – alternate 78 FLAT FLAT
AFRS Transcriptions 33 RIAA FLAT
1944 some or if NAB specified RIAA -16
12 inch transcriptions 629 FLAT
Allegro 33 LP -16
Allied 33 RIAA -16
American Recording Society 33 RIAA -12
Angel 33 RIAA FLAT
Angel – alternate 33 RIAA -12

Arizona (until 1955) 33 400 -12
Artist 78 RIAA -16
Atlantic 33 RIAA -16
Audiophile 33 RIAA -12
78 400 FLAT
Autograph (Marsh Electrical) 78 1000 FLAT
Audio Fidelity (901 - 903) 33 RIAA -16
Bach Guild (501 - 529) 33 LP -16
Bach Guild – alternate 33 RIAA -16
Balkan 78 RIAA -5
Banner (up to 10002) 33 LP -16
Bartok 33 LP -16
(301 - 307, 309, 906 - 920) 33 629 -16
Berliner 71.29 300 FLAT
BBC Transcriptions (1930 - 1949) (70000) ALL 300 -9
(“P” matrix) (1954 - 1956) 33 400 -10
(“R” matrix) (

(1001 - 1022) 33 629 -16
Canyon (up to C6160) 33 400 -12
Capitol (4095 / E2KP > 9607) 33 RIAA RIAA
Contemporary 33 400 -12
(3501, 2501/2/5/7, 2001/2) 33 400 -12
(2504) 33 RIAA -16
(after AP121) 33 RIAA RIAA
Cook 33 RIAA -12
(binaural - inside band) 33 RIAA FLAT
Coral (1946 - 1954) 78 629 -12
(Up to MG4400) (with raised matrix) 33 800 -8

Cylinder records ALL FLAT FLAT
Decca (US) (pre 1946) 78 300 FLAT
(1946 - 1954) 78 629 -12
(Up to MG4400) (with raised matrix) 33 800 -8
Decca – alternate 33 400 -12
(1951) 33 300 -14
(1953) 33 LP -11
(Until Nov 1955) 33 RIAA -16
Decca (1934) – alternate 78 400 -12
(1949) 78 250 -5
Decca (English) 78 300 FLAT
FFRR (1944) (ARL1186 - 1B) 33 RIAA -10
(>ARL2530 - 2A) 33 RIAA RIAA
DGG (Deutsche Grammophone) 33 LP -10
78 300 -5
Dial 33 LP -16
45/78 LP -16
Ducretet-Thomson 33 LP -11
Edison 80 FLAT FLAT
Early 78s (Mid 1930s) 78 RIAA FLAT
Electra (2 - 15, 18 - 20, 24 - 26) 33 629 -16
(17, 22) 33 400 -12
(16, 21, 23, 24) 33 RIAA RIAA
Electrical 78's (1925 - 1938) 78 300 FLAT
(1932 - 1938) 78 300/RIAA FLAT
(1938 - 1946) 78 300/RIAA FLAT, -5
(1947 - 1954) 78 300/RIAA -16
Electrola 78 800 -10
EMI (1931 - 1953) 78 300 FLAT
(1949-53) (2XEA213-392/XAX561-817)(1N,2N) 33/45 RIAA FLAT
(July 17, 1953) 33/78 RIAA FLAT
EMS 33 400 -12

Epic 33 LP -16
Epic – alternate (Until 1954) 33 RIAA -16
Esoteric (ES500, 517, EST5, 6) 33 400 -12
(E2KP to 9607) RIAA -12
European 78s (General) 78 300 -5
Festival 33 LP -16
Folkways 33 LP -16
Fraternity Records (Up to F-1013) 33 RIAA FLAT
Good Time Jazz (3, 9 - 19) 33 400 -12
(1, 5 - 8) 33 RIAA -16
Gramophone Company 78 300 FLAT
Handel Society 33 LP -16
Haydn Society (

London (Pre 1944) 78 300 FLAT
FFRR (1944) (ARL1186-1B) 33 RIAA -10
(>ARL2530-2A) 33 RIAA RIAA
London (Up to LL-846) – alternate 33 450 -11
London International 33 450 -11
Lyricord (Before 1953) (E0 - E3 matrix) 33 400 -12
(XTV matrix) 33 LP -16
(If “629" listed on jacket) 33 629 -16
Majestic 78 RIAA -16
Marsh Laboratories (Electrical) 78 1000 FLAT
Mercury (MG10000 series, approximate fit) 33 RIAA -10
(Through Oct 1954,

Overtone – alternate 33 RIAA -16
Oxford 33 LP -16
Pacific Jazz (1 - 13) 33 400 -12
Parlophone
1925 - 1953 78 300 FLAT
1949 - 1953 33 RIAA FLAT
Parlophone – alternate 78 RIAA FLAT
Period (Up to 576) 33 RIAA -16
Philharmonia 33 400 -12
Polydor 33/78 300 -10
Polymusic 33 RIAA -16
Binaural – inside band 33 RIAA FLAT
Rachmaninoff Society 33 LP -16
RCA-Victor
Early Acoustics 71.29 300 FLAT
Later Acoustics 76.59-78 300 FLAT
1925 78 300 FLAT
1931 (Program transcriptions) 33 800 FLAT
1935 78 300/RIAA -5
1938 - 1954 78 RIAA -8
1954 (New Ortho only) 78 RIAA RIAA
1930 - 1950 (European) 78 300 FLAT
1949 (D9 to E0LRC3980) 33/45 800 -8
1950 - 8/1952 (>E0LRC3981) 33/45 RIAA -12
8/1952 (New Orthophonic) (>E2RP4094) 33/45/78 RIAA RIAA
Remington (Up to 199-135) 33 RIAA -16
Riverside 33 400 -12
Renaissance 33 LP -12
Stradivari 33 LP -16
Supraphone 78 400 FLAT
Technicord 78 800 -12

Telefunken 78 400 -5
Tempo 33 RIAA -16
Transcriptions (Many pre-WWII) 33/78 RIAA FLAT
(Old vertical-cut) 33 300 -5
(NAB vertical-cut) 33 400 -16
Transradio 33 LP -16
Ultraphone 33/78 400 FLAT
Urania (Old - up to XTV20383) 33 RIAA -16
Later (E2KP9607) 33 RIAA RIAA
Urania – alternate 33 400 -12
Vangard (411 - 422, 6000 - 6018, 7001 - 7011,
8000 - 8004, up to XTV20383) 33 LP -16
Vangard (411 - 422, 6000 - 6018) – alternate 33 RIAA -16
Vox (Up to XTV20386, PL8400) 33 RIAA -16
War Department - Special Services 12 inch 33 800 -5
Westminster (E0 matrix) 33 800 -8
(Up to E2PK9607) 33 RIAA -12
(Up to XTV20383) 33 LP -16
Westminster (Before 1956) – alternate 33 400 -12
Westrex (English Western Electric) 78 200 FLAT
Victor ALL See RCA-Victor
Vitaphone (motion picture) 33 300 FLAT
Vocalion (Electrical) 78 300 FLAT
Western Electric (Early transcription) 33 300 FLAT
Zonophone 78 300 FLAT
(Early) 71.29 300 FLAT

A TABLE OF CORRESPONDENCES
TURNOVER
FLAT
150 Hz
200 Hz
250 Hz = FFRR (1949)
300 Hz = FFRR (1951)
400 Hz = AES
450 Hz = LP = FFRR (1953)
500 Hz = RIAA = NAB
629 Hz = “629"
800 Hz
1000 Hz
ROLLOFF
FLAT 0 dB
6500 Hz -5 dB = FFRR (1949)
5500 Hz -6 dB
4800 Hz -7 dB
4300 Hz -8 dB
3800 Hz -9 dB
3300 Hz -10 dB
3000 Hz -11 dB = FFRR (1953)
2500 Hz -12 dB = AES
2122 Hz -13.8 dB = RIAA = FFRR (1951)
1600 Hz -16 dB = NAB
NOTES:
These web sites deal primarily with 78 RPM information and equalization:
http://www.sound.westhost.com/project91.htm
http://www.shellac.org/slumber/equal.html
http://www.rfwilmut.clara.net/repro78/repro.html

EXTERNAL PROCESSOR
OUT IN
L R R L
L
STEREO
IN
R
R3
47K
U1
BUFFER
both
100
ohms
U2
STEREO
TO
MONO
L
S1
MODE
R
L+R
L-R
BLEND
U4
TURNOVER
MONO
U5
ROLLOFF
U6
RUMBLE
FILTER
R58
VOLUME
CONTROL
U7
HF FILTER
MONO
OUT
R1
47K
S6
ENABLE / DISABLE
U3
LR BLEND
GAIN
SET
S2
11 POSITIONS
GAIN
SET
S3
11 POSITIONS
S4
5 POSITIONS
S5
11 POSITIONS
R19
BLEND
Gain can be set to 52, 56 or 60 dB.
Both jumpers must be set the same or the
equalization will be incorrect.
Fig. 1 -- Model 4010 Block Diagram

+6V
U1 OPA2227
R1
47K
C1 +
470 uF
R2 10K 5
6
+
-
8
7
RIGHT
C2
100 nF
+6V
C5
100 nF
R19
BLEND
dual 5K linear
CW
CCW
RIGHT
IN
J1
H1
S6
DPDT
J5
P10
P9
H10
H9
R82 100
R5 10K
R6 10K
R7 4990
6
5
-
+
7
-R-L
R9 10K
2
3
-
+
R10 10K
1
RIGHT
FROM U1
H2
CCW
R20
10K
R21
10K
CW
3
2
+
-
+6V
7
4
6
C7
100 nF
R84
10K
LEFT
IN
J9
J2
CASE
J6
J7
J8
CASE
R3
47K
R4 10K 3
2
C3
470 uF
+
-
+
R83 100
LEFT
1
4
C4
100 nF
R12 10K
9
-
10
+
R13 10K
8
U2 OPA4227
-L
R15 10K
R16 10K
13
12
-
+
R17 4990
14
LEFT
FROM U1
-R+L
C6
100 nF
R
L
L+R (MONO)
L-R (VERT)
RL BLEND
S1
MODE
-6V
C8
100 nF
U3 OPA227
TO TURNOVER
SELECTION
-6V
-6V
Fig. 2 -- Model 4010 input amp, mode switch and blend control

FROM
FIG 1
R22 10K
3
+
2
-
R23
200K
+6V
7
4
-6V
6
C9
100 nF
R27 10K
S2
1
R85
C10 4640
100 nF
S2-1 FLAT
S2-2 150 Hz, R28 = 4990, C11 = 212 nF
S2-3 200 Hz, R29 = 3320, C12 = 239 nF
S2-4 250 Hz, R30 = 2490, C13 = 255 nF
S2-5 300 Hz, R31 = 2000, C14 = 265 nF
S2-6 400 Hz, R32 = 1430, C15 = 279 nF
S2-7 450 Hz, R33 = 1240, C16 = 283 nF
S2-8 500 Hz, R34 = 1100, C17 = 286 nF
S2-9 629 Hz, R35 = 866, C18 = 293 nF
S2-10 800 Hz, R36 = 665, C19 = 298 nF
S2-11 1000 Hz, R37 = 523, C20 = 302 nF
R28
2 3 4 5
TURNOVER
(H3 NOT SHOWN FOR CLARITY)
6 7 8 9 10 11
R37
C20
3
2
+
-
R38
200K
+6V
7
4
6
C21
100nF
C22
100nF
R42 1000
S3-1 FLAT
S2-2 6500 Hz (-5dB), C23 = 24n5 F
S3-3 5500 Hz (-6dB), C24 = 29 nF
S3-4 4800 Hz (-7dB), C25 = 33 nF
S3-5 4300 Hz (-8dB), C26 = 37 nF
S3-6 3800 Hz (-9dB), C27 = 42 nF
S3-7 3300 Hz (-10 dB), C28 = 48 nF
S3-8 3000 Hz (-11dB), C29 = 54 nF
S3-9 2500 Hz (-12dB), C30 = 62 nF
S3-10 2122 Hz (-14dB), C31 = 77 nF
S3-11 1600 Hz (-16dB), C32 = 100 nF
ROLLOFF
1 2 3 4 5 6 7 8 9 10 11
S3
C23
(H4 NOT SHOWN FOR CLARITY)
C32
TO
RUMBLE
FILTER
JB1
R24
10K5
R26
6490
U4 OPA227
C11
JB2
R39
10K5
-6V
R41
6490
U5 OPA227
52dB
60dB
52dB
60dB
56dB
R25
8250
56dB
R40
8250
Fig. 3 -- Model 4010 Turnover and rolloff frequency selection
(Revised April 14, 2008)

+6V
5
6
+
-
C33
820 nF [1]
7 10
9
+
-
4
8
C36
100 nF
U6 OPA4227
C34
820 nF
[2]
C35
820 nF
[3]
12
C37
100 nF
+
13 -
11
[4]
14
(H5 - H7 and P5 - P7 NOT SHOWN)
VOLUME
R58
5KA
[3]
5000 Hz
6000 Hz
S5
R59 12K4
R60 10K2
[2]
R70 24K9
R71 21K
C38
2n7 F
C39
1n2 F
[1]
3
2
+
-
1
R43
88.7K
S4
R48
44K2
BYPASS
(2 Hz)
-6V
R53
178K
7000 Hz
8000 Hz
R61 8870
R62 7680
R72 17K8
R73 15K8
R81
49R9
H5
[1]
[2]
[3]
[4]
[5]
R44
4870
R45
2050
R46
1020
R47
1780
[5]
R49
2430
R50
1020
R51
511
R52
887
20 Hz
40 Hz
70 Hz
110 Hz
R54
9760
R55
4120
R56
2050
R57
3570
[5]
10 kHz
12 kHz
15 kHz
17 kHz
20 kHz
22 kHz
R63 6340
R64 5110
R65 4220
R66 3650
R67 3160
R68 2870
R74 12K4
R75 10K5
R76 8250
R77 7320
R78 6190
R79 5620
H7
H8
P8
[1]
[2]
[3]
J3
OUTPUT
J4
CASE
24 kHz
R69 2610
R80 5230
Fig. 4 -- Model 4010 Rumble filter, volume control and output filter

24 VDC POWER IN
J9
C103
100nF
+
C104
47 uF
U102
U103
R106 1400
H102
TO POWER
ON LED
F1
1A
H101
S7
POWER ON/OFF
C102
100nF
D101
1N4004
+
C101
2200 uF
R101
22K1
R103
1000
R102
22K1
C107
100nF
R104
15K
2
1
U101
-
+
LM675T
5
4
3
7809
7806
+
C109 C108
100nF 220 uF
R105
1 ohm
C112
C105
100nF
220 nF
7909
U104
C106
+ 100 uF
+
C110
100nF
C111
220 uF
+
C115
220 uF
7906
U105
C114
100nF
+
C113
220 uF
+6V
+9 V
COMMON
-9 V
-6 V
Fig. 5 -- Model 4010 power supply (pwr4010.pcb)

“The Restoration Preamp” TM
Model 4010
Parts List
MAIN4010.PCB
REFERENCE VALUE DESCRIPTION MANUFACTURER
R1, R3 47K 1%, 1/4 w, metal film
R2, R4, R5, R6,
R9, R10, R12,
R13,R15, R16,
R21, R22, R27,
R84 10K 1%, 1/4 w, metal film
R7, R17, R28 4990 1%, 1/4 w, metal film
R8, R18 Not used
R11, R14, R85 Not used
R19A, R19B 5000 Linear taper, dual single-turn pot Alpha (Mouser 31VW305-F)
R20 499 1%, 1/4 w, metal film
R23, R38 200K 1%, 1/4 w, metal film
R24, R39, R75 10K5 1%, 1/4 w, metal film
R25, R40, R76 8250 1%, 1/4 w, metal film
R26, R41 6490 1%, 1/4 w, metal film
R29 3320 1%, 1/4 w, metal film
R30 2490 1%, 1/4 w, metal film
R31 2000 1%, 1/4 w, metal film
R32 1430 1%, 1/4 w, metal film
R33 1240 1%, 1/4 w, metal film
R34 1100 1%, 1/4 w, metal film
R35 866 1%, 1/4 w, metal film
R36 665 1%, 1/4 w, metal film
R37 523 1%, 1/4 w, metal film
R42 1000 1%, 1/4 w, metal film
R43 88.7K 1%, 1/4 w, metal film
R44 4870 1%, 1/4 w, metal film
R45, R56 2050 1%, 1/4 w, metal film
R46, R50 1020 1%, 1/4 w, metal film
R47 1780 1%, 1/4 w, metal film
R48 44K2 1%, 1/4 w, metal film
R49 2430 1%, 1/4 w, metal film
R51 511 1%, 1/4 w, metal film
R52 887 1%, 1/4 w, metal film
R53 178K 1%, 1/4 w, metal film
R54 9760 1%, 1/4 w, metal film
R55, R65 4120 1%, 1/4 w, metal film
R57 3570 1%, 1/4 w, metal film
R58 5000 Audio taper, single-turn pot Alpha (Mouser 31VJ305-F)
R59, R74 12K4 1%, 1/4 w, metal film
R60 10K2 1%, 1/4 w, metal film

R61 8870 1%, 1/4 w, metal film
R62 7680 1%, 1/4 w, metal film
R63 6340 1%, 1/4 w, metal film
R64 5110 1%, 1/4 w, metal film
R66 3650 1%, 1/4 w, metal film
R67 3160 1%, 1/4 w, metal film
R68 2870 1%, 1/4 w, metal film
R69 2610 1%, 1/4 w, metal film
R70 24K9 1%, 1/4 w, metal film
R71 21K 1%, 1/4 w, metal film
R72 17K8 1%, 1/4 w, metal film
R73 15K8 1%, 1/4 w, metal film
R77 7320 1%, 1/4 w, metal film
R78 6190 1%, 1/4 w, metal film
R79 5620 1%, 1/4 w, metal film
R80 5230 1%, 1/4 w, metal film
R81 49R9 1%, 1/4 w, metal film
R82, R83 100 1%, 1/4 w, metal film
R85 4640 1%, 1/4 w, metal film
C1, C3 470 uF 25 V, radial electrolytic
C2, C4, C5, C6,
C7, C8, C9, C10,
C21, C22, C32,
C36, C37, C40 100 nF 5%, 50 V, polyester film
C11 220 nF 5%, 50 V, polyester film
C12 238 nF 5%, 50 V, polyester film (220 nF in parallel with 18 nF)
C13 253 nF 5%, 50 V, polyester film (220 nF in parallel with 33 nF)
C14 270 nF 5%, 50 V, polyester film
C15 280 nF 5%, 50 V, polyester film (270 nF in parallel with 10 nF)
C16 282 nF 5%, 50 V, polyester film (270 nF in parallel with 12 nF)
C17 285 nF 5%, 50 V, polyester film (270 nF in parallel with 15 nF)
C18 292 nF 5%, 50 V, polyester film (270 nF in parallel with 22 nF)
C19 297 nF 5%, 50 V, polyester film (270 nF in parallel with 27 nF)
C20 303 nF 5%, 50 V, polyester film (270 nF in parallel with 33 nF)
C23 24n2 5%, 50 V, polyester film (22 nF in parallel with 2200 pF)
C24 29n2 5%, 50 V, polyester film (27 nF in parallel with 2200 pF)
C25 33 nF 5%, 50 V, polyester film
C26 36n9 5%, 50 V, polyester film (33 nF in parallel with 3900 pF)
C27 42n3 5%, 50 V, polyester film (39 nF in parallel with 3300 pF)
C28 47n2 5%, 50 V, polyester film (39 nF in parallel with 8200 pF)
C29 53n8 5%, 50 V, polyester film (47 nF in parallel with 6800 pF)
C30 61n6 5%, 50 V, polyester film (56 nF in parallel with 5600 pF)
C31 78 nF 5%, 50 V, polyester film (56 nF in parallel with 22 nF)
C32 100 nF 5%, 50 V, polyester film
C33, C34, C35 820 nF 5%, 50 V, polyester film
C38 2n7 5%, 50 V, polyester film
C39 1n2 5%, 50 V, polyester film

U1 OPA2227 Dual opamp, 8-pin DIP
U2, U6 OPA4227 Quad opamp, 14-pin DIP
U3, U4, U5 OPA227 Opamp, 8-pin DIP
JB1, JB1
Jumper block, 2-pins, 3-positions,
with jumper
H1, H6, H7, H11 3-pin male header Molex 22-03-2031
H2 11-pin male header Molex 22-03-2111
H3, H4 12-pin male header Molex 22-03-2121
H5 5-pin male header Molex 22-03-2051
H8, H12 2-pin male header Molex 22-03-2021
H9, H10 4-pin male header Molex 22-03-2041
P1, P6, P7, P11 3-pin terminal shell Molex 22-01-2037
P2 11-pin terminal shell Molex 22-01-2117
P3, P4 12-pin terminal shell Molex 22-01-2127
P5 5-pin terminal shell Molex 22-01-2057
P8, P12 2-pin terminal shell Molex 22-01-2027
P9, P10 4-pin terminal shell Molex 22-01-2047
60 terminal pins Molex 08-50-0114
(1) Circuit board, MAIN4010.PCB
(6) 4-40 x 5/8" machine screws
(6) 4-40 hex nuts
(6) 4-40 hex spacers, nylon, 3/8" length
PWR4010.PCB (Voltage Regulators)
R101, R102 22K1 1%, 1/4 w, metal film
R103 1000 1%, 1/4 w, metal film
R104 15K 1%, 1/4 w, metal film
R105 1 ohm 5%, 1/2 w, carbon film
R106 1400 1%, 1/4 w, metal film
C101 2200 uF 50 V, radial electrolytic
C102, C103, C107,
C109, C110,
C112, C114 100 nF 5%, 50 V, polyester film
C105 220 nF 5%, 50 V, polyester film
C108, C111, C113,
C115 220 uF 50 V, radial electrolytic
D101 1N4004 Silicon diode, 400 PIV, 1A
U101 LM675T Power opamp, TO-220/5 Jameco 120926
U102 7809AF +9 V regulator, TO-220
U103 7806AF +6 V regulator, TO-220

U104 7909AF -9 V regulator, TO-220
U105 7906AF -6 V regulator, TO-220
H101 4-pin male header Molex 22-03-2041
H102 7-pin male header Molex 22-03-2071
P101 4-pin terminal shell Molex 22-01-2047
P102A 2-pin terminal shell Molex 22-01-2027
P102B 5-pin terminal shell Molex 22-01-2057
9 terminal pins Molex 08-50-0114
Circuit board, PWR4010.PCB
(2) 4-40 x 5/8" machine screws
(2) 4-40 hex spacers, nylon, 3/8" length
(3) 4-40 x 1/2" machine screws
(2) 4-40 x 5/16" machine screws
(2) #4 flat washers, metal
(7) 4-40 hex nuts
Heat sink for U101, U102 and U103 1/8" alum angle, 1.5 x 1.5 x 3.5
Heat sink for U104 and U105
ENCLOSURE MOUNTED PARTS
Rack mount enclosure, 3.5 x 7 x 19 inches Wolgram model 2RU7
Front panel
Metalphoto of Cincinnati, PN M4010F
Rear panel
Metalphoto of Cincinnati, PN M4010B
1/4" thick x 3" wide aluminum bar for internal shielding
(7) Knobs Eagle 45KN017-GRX
LED1 LED, red, panel mount (power on) Lumex (DigiKey 67-1147)
F1 Fuse holder, panel mount, 5 mm with 1A fuse Littlefuse (Mouser 576-03455LS1H)
J2, J3, J4,
J7, J8 Connector, female RCA, panel mount, black Kobiconn (Mouser 161-1052)
J1, J5, J6 Connector, female RCA, panel mount, red Kobiconn (Mouser 161-1053)
J9
5-way binding post, blue
J13 Power in connector, 2.5 mm male, insulated Mouser 163-4303
S1, S2, S3 Rotary switch, 1-pole, 11-positions Mouser 105-13571
S4 Rotary switch, 3-poles, 5-positions Mouser 105-SR2921F-25S
S5 Rotary switch, 2-poles, 11-positions Mouser 105-SR2921F-12S
S6 Toggle switch, DPDT
S7 Toggle switch, SPDT
Misc. hardware, teflon insulated wire, and shrink tubing
OTHER SYSTEM COMPONENTS
Wall DC Power Supply, 24 VDC @ 400 mA or higher
Various manufacturers