DIY CORNER

PHI has started an import service for DIY enthusiasts. From time to time we shall be importing loudspeaker building parts end electronic components from various suppliers world-wide with whom we've established relationships over the years. By consolidating the purchases of a number of individuals, the smaller importer will be in a position to save substantially on shipping costs. The aim of this service is not to generate a profit - the cost for the importer will be calculated transparently, comprising the actual supplier list price, duties, shipping (calculated pro rata the mass/value of parts) and administrative costs, should there be any. This project will initially be run as a trial. As the process becomes streamlined, we'll update some of the details of the service as it becomes necessary. For the moment we'll place, on this web page, the closing date of an order from a particular supplier. A deposit will be required from participants to cover costs. We'll update this page and the closing dates from time to time.

CURRENT LIST OF SUPPLIERS

Parts Express Loudspeaker drivers, air core and ferrite inductors, audio grade capacitors, general loudspeaker building supplies.

Antique Electronic Supply NOS and new thermionic valves, capacitors

Madisound Loudspeaker drivers, loudspeaker building supplies

DIY Hifi Supply Ltd. (Tentlabs) DAC modules, clock modules

Hypex Class D amplifier modules Parts ConneXion - BlackGate capacitors, electronic components

Texas Instruments/Digi-Key Operational amplifiers for audio

PHI DIY DRIVERS
PHI-Audio will distributing loudspeaker drivers for the DIY loudspeaker enthusiast. The drivers are custom manufactured for PHI-Audio in China. These drivers employ less frequently used technologies such as extreme oversized magnets, wooden cones and large Xmax wideband drivers. All are relatively low powered and most have high efficiencies, making them ideal for the construction of high efficiency fullrange driver speakers to be used with valve amplifiers.

Many of these drivers are used in the PHI loudspeaker product line such as the Yggdrasil and the Naledi II.

P113-13
5" 15W RMS fullrange paper cone driver with a very smooth response up to 20kHz and a smoothly decaying response beyond this. This driver would be ideally coupled with a supertweeter to address the downward curving response of this driver. Fs 65Hz, SPL 89dB/Watt, Re 6.8 Ohm, Vas 10.1 liter, BL 3.3 TM, Xmax 1mm, Qts .49, Qms 3.0, Qes .58. Cloth surround and Conex plus cotton damper.

PRICING WILL FOLLOW SOON
NEXT IMPORT DATE (Interested parties may contact us and set a date of their own, which we'll then post here.)

P166-15
6" 30W RMS fullrange paper cone driver with a smoothly rising response up to 20kHz and a gradual decay beyond. This driver could be coupled with a supertweeter to address high frequency directionality, but can be used on its own. Fs 54Hz, SPL 94dB/Watt, Re 7.2 Ohm, Vas 26 liter, BL 8.8 TM, Xmax 1mm, Qts .22, Qms 2.6, Qes .24. Cloth surround and Conex damper and aluminium phase plug.

PRICING WILL FOLLOW SOON
NEXT IMPORT DATE (Interested parties may contact us and set a date of their own, which we'll then post here.)

P330-11
12" 30W RMS fullrange paper cone driver with a smoothly rising response up to 17kHz and a gradual decay to 20kHz. This driver would be ideally coupled with a supertweeter to address the downward curving high frequency response of this driver. Fs 35Hz, SPL 94dB/Watt, Re 7.2 Ohm, Vas 290 liter, BL 7.4 TM, Xmax 1mm, Qts .75, Qms 7.5, Qes .83. Cloth surround and Conex damper and aluminium phase plug.

PRICING WILL FOLLOW SOON
NEXT IMPORT DATE (Interested parties may contact us and set a date of their own, which we'll then post here.)

muzetaPHI

Embrace the past.

Browsing the World Wide Web one never fails to discover some circuit made famous by a legendary musician and resurrected from anecdotes and memories (some more dubious than US policy) and lovingly re-designed as a little effects box redolent of the original icon. Circuits like the FuzzFace come to mind. Today many of the parts that compose these circuits are obsolete. Should one be lucky enough to find working examples of such components (such as germanium transistors and paper capacitors,) one must expect to pay the price.

One sad thing that digital technology has brought, is a belief system that seems to be woven into the ease and power with which these methods of creating sound are credited. A belief that anything can be created digitally; that measurements are the only musical truth; that functionality trumps quality; that analogue is some old dusty concept lingering only in the minds of the nostalgic. Fortunately the world of musicians seems to be the domain least stricken by this unfortunate untruth and even the hi-fi community has realised that some things analogue equipment are capable of can never be fully emulated by digital means.

This is not a plea for substituting the advances made possible by the digital revolution with a return to the use of analogue equipment. It is, however, an invitation to a re-discovery of the vitality innate in analogue sound production. A call to difference - to the unique - in stead of a thoughtless dependence on the reliable and repeatable.

We invite you to share in this experience.

Jacques van Zyl