Very good Lacee, you couldn't ask for any better, enjoy.
The Lightspeed's volume action/structure is logarithmic, and after 1 o'clock it rises exponentially in level till full.
So as you can see at 1 o'clock you are at around only 30% to 40% of full volume you still have 60% to 70% of gain and head room level to go. There is no need for the extra amplification gain of active preamps.
Theses days there's enough gain in cartridges/phono stages, so owners can take the active preamp out of the system, and reap even more transparency/dynamics from their systems with a passive preamps.
And because they are dc coupled (no coupling capacitors in the signal path) the frequency response is greatly improved, passives are 0hz to well over 100's of mhz (megahertz) in frequency response, interconnects become the limiting factor for the high frequency limit.
Lacee once you've listened for a while can you give us a review of replacing the active preamp with the Lightspeed Attenuator.
Cheers George
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It is the most revealing, easiest to listen thru,least expensive(I 've owned some pretty expensive esoteric preamps over the past 40 years,tube and solid state)and quietest "pre amp"I've ever owned, and will be my last.
Are there better ones out there?
My friend has the ARC Ref 10, before that the Anniversary 40.
I think they are pretty special in a system that is completely different than mine.
But I don't think I'm missing too much.
At least I don't feel short changed and I have no desire to chase after either of those preamps. Wow, I feel humbled, and I thank you very much for your fine review above of the Lightspeed Attenuator Lacee. This maybe asking a bit much, not of you so much, but of your friend, as it would be very interesting to know how the Lightspeed stacks up against his ARC Reference 10 in his system. Cheers George. |
Hi Lacee, you could change the gold rca's that I use and replace them if you wish with the Furutech Rhodium ones. NB: If you want to do this let me know and I'll give you the dismantling procedure, it's not what you think, and can be tricky without knowing. Just make sure you don't use the plastic insulation washer/s, as the body (ground) of the Furutech rca must be in contact with the Lightspeed's chassis, to maintain it being an RF (radio frequency) sheild. http://www.furutech.com/2013/01/27/1837/Cheers George |
That's a real shame Banquo363, I was looking forward to the boxing match with the Lightspeed.
You know for the past 7 years I have sent hundreds of Lightspeeds all around the world, even to places like Guam!! and not one has been lost or damaged. I guess I must owe my thanks by sending registered Australia Post.
Please let us know how the phono sounds with the Lightspeed Attenuator anyway.
Cheers George |
Yes we tried doing the same auto-calibration system in many different configurations all with the same negative results to the quality of the sound.
Documented years ago in diyforum, we tried many auto-calibration circuits for the Lightspeed Attenuator, to try to save a large percentage of production costs, of parts costs and labour cost and of the tedious task of quad matching the led/ldr's.
Active auto-calibration (or to give it a more understandable name) "forced matching" circuits have to be attached to the signal carrying output, there is no way around this.
On all the auto-calibration circuits we tried to save on these costs, we came to the final conclusion that they all interfered with the purity of sound. In that they added a highlighted sound to mid to high frequencies. And in effect seemed to reduce the bass a touch at the same time.
So to cut a long story short we stayed with the purer far more costlier system of quad matching all led/ldr's for the Lightspeed Attenuator and auto-calibration was not considered option no matter how well it was designed.
Cheers George |
3 x the price yes, remote yes, same build no, they use the auto-cal "forced matching" circuit to save on production/labour costs as I outlined in my last post.
Cheers George |
OK, don't get your back up, you just admitted you don't like the sound of your source and you wish to colour it with your Dude active tube preamp, enough said.
And yes Nelson Pass is a businessman as well, and one of very few of the very best audio designers ever, and it's a brave man to try to call him out, but he calls a spade a spade and tells it like it is as well, as his testament to passive preamps state two of my posts back.
Cheers George |
Your generalizing. All sources are not flawed, maybe just the ones you've listened to are.
So instead of getting a source you like, you colour the source you have that you don't like the sound of with an active preamp.
This is a mine field of trial and error and can end up costing a substantial amount. That's fine to go about it that way, but it never ever be as transparent as no active preamp.
Cheers George
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I've said many times, and also Nelson Pass in my last post above in so many words.
If your after to change/colour the sound of the source, don't look at the Lightspeed or most passives, go with an active preamp.
As all active preamps sound different to one another, none sound transparent like a "straight piece of wire", only passives or direct can do that.
The only trouble is finding the right active preamp with the right colouration, or combination of colourations that suits what you are trying to achieve. And this gets very costly.
But if you want to hear exactly what your source sounds like you want your preamp to be "true" to that sources sound, and not colour it in any way. Then passive preamps are for you. Then it's up to your amp and speakers to give what you need.
Cheers George |
It all starts with the source, in your equipment.
It sounds very good to me, and I have no wish to change it's sound or colour it in any way.
Cheers George |
If you are really interested in what I have, or maybe others are, here it is.
I won't go into the TT but for my digital source, I only listen to Redbook or HDCD Redbook.
The main digital is nothing that you can buy off the shelf, it's 2R2 multibit based, with a very special I/V stages and class A output buffer, all zero feedback completely dc coupled.
I also have which sound great as well, stock Cary 303/200 and Cal CL15 cdp's, both R2R multibit based units, direct coupled with hdcd capablity as well.
No capacitor coupling (no capacitors anywhere in the signal path in the whole system) from the da converter chips outputs right through to the output of the amps.
Speakers are Ionic Plasma tweeters down to 8khz, big electrostatics similar alumininum vapour deposited pannels as the new Martin Logan Neolith down to 150hz, and ACI SV12 driver based subs down to -3db at 20hz.
Amps are big BJT output class A S/S direct coupled for the Plasma/ESL's, and big BJT output direct coupled A/B s/s for the bass.
And of course, a Lightspeed Attenuator to control the volume.
Cheers George |
Swampwalker you have PM.
I may have included Grannyring wrongly I'm not sure now, (very sorry if I did Grannyring).
Cheers George |
Like a metal dome tweeter without a Zobel network on it, they ring very similar and sound "hot".
And the proper word to call it is it's resonance frequency, "ring like a bell" is just slang.
That is why when the TVC is loaded down by a 1kohm load (in my posted Stereophile graph) it damps the resonant frequency out and creates a roll off instead, but then you also have an impedance mismatch.
Cheers George
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Hwv1 hi.
Thank you very much for your praise and very in depth review. And I'm not surprised it better your TVC preamp, as Shakeydeal also has said, as transformer (TVC/AVC) preamps have a problem as I've outlined to Milpai above.
Yes with any passive preamp or active tube preamp with their high'ish output impedance, when you try to simultaneously drive your main poweramp and a subwoofer amp/s, you create a heavier load for the preamp to see. And it's really only suited for solid state active preamps with their low output impedance to drive.
This problem is the same for any passive or tube preamp, and the way around it is to use a high input impedance buffer in front of the sub amp as you've done, as most sub amp have stupid low input impedance.
Cheers George |
You are semi right Roy, each package of the quad matched set has a 1 x led and 1 x ldr inside it.
But it is the led part that will light up at close to it's specified max brightest when the volume is min or max, this is why at half volume it lights up at half brightness.
Cheers George |
Just a closer explanation of the LED subject.
An LED (light emitting diode)is probably the worlds most reliable active component if it's kept at or below it's max rating. Ever seen one blow?
And in the Lightspeed Attenuator they can never get to more than 80% of their max ratings, even at min or max level where their getting their max current.
BTW we have spell check now on this forum, yay to the administrators.
Cheers George
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Very well put Lacee.
Just two words sum it up "BLACKER BACKGROUND"
This not only improves dynamic range as it lowers the perceived noise floor, but gives you space between notes, as well as transparency to the sound.
Cheers George
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Thanks for that great review Soundguy3 (John). http://forum.audiogon.com/cgi-bin/fr.pl?aamps&1276356977&openflup&1635&4#1635As others that have the Dual Mono Lightspeed Attenuator you will get used to using it, like owning the Audible Illusions Modulus 3a preamp same head space learning curve. Some customers that have both the stereo and dual mono Lightspeeds have said that prefer the dual mono, as they can get precise stereo image regardless of recordings or system/room imbalances, I think this is more the reason for them preferring the dual mono. Cheers George |
Roxy54: PM sent
Cheers George
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Sorry no, we have done it a few times, but without the electronic type/s of feedback that other single ended Lightspeed clones use, they will not stay in calibration over a long period of time, as the matching of the 8 x led/ldr's for balanced output is exponentially more critical than just quad matching for normal single ended.
We have found with a/b listening tests with numerous audiophiles, that these types of electronic matching feedbacks no matter which ones we designed, were detrimental to the sound quality of just doing the proper quad matching without feedback, even though it takes much time, labour and expense to do.
Forced matching seemed to have thinner bass and more etched highs, with a lack of body to the mids, when compared to the production normal Lighspeed Attenuator.
Cheers George |
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Yeah ditto, Grannyring back probs are a "b***h"
Get well soon George
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I believe it has all that's needed to power the Lightspeed (is that right Grannyring?) even the cable I believe is correct, 2.1mm plug with positive being centre.
And the Lightspeed works with 9vdc to 18vdc.
If you order don't forget to tell them you country and mains voltage.
Cheers George
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PS: Grannyring/Marqmike
If the Teradak was only at 8.5v that is no problem, as the Lightspeed Attenuator has it's own secondary 5vdc regulated supply inside, which everything runs off, and it can accept from around 7vdc to 18vdc from the external supply (Teradak)
So in effect it is double regulated using the Teradak as the source DC power.
Cheers George
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Mods can cause more problems in other areas.
The Decaware amp is 100kohm input impedance and it's input sensitivity it only needs 2v for it to give full output.
The Audio Note DAC 3.1 has in standard form 3v output, as you can see this is more than enough.
I believe in an email you sent me that the dac or amp was getting modded?
If so you have lost either gain from the dac's original 3v output, or input sensitivity is now too high (2v to full output originally) on the amp. After these mods.
This is the problem your having with low volume and probably the bass.
If you get these mods rectified to get the gain or sensitivity back, all will be great with plenty of level and bass and you'll keep all the transparency and the micro detail as well.
Cheers George
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No problems that's fine if owners wish to mod them, with exotic wires and WBT RCA's, warranty of course is voided.
The wires I use are 99.9% oxygen free solid core copper, which to my ear are neutral, and the gold chassis RCA's I use are made in Asia and of good quality.
But I need to keep them at a competitive price ($490aud shipped), which equates to $338usd shipped to the USA.
As our Australian dollar is only worth 69cents US dollar at the moment.
If I used what you have done and also put it into a more glitzy chassis, I would have to at least quadruple the price. And that's before a remote control and receiver is even thought of.
Cheers George
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Almarg Ralph is referring to the increase in output impedance of a passive preamp that occurs as the volume control POSITION is reduced from maximum,Almarg
This higher output impedance will only roll off the highs and won't touch the bass if and I state "if" the interconnects are extremmly high in capacitance, above 300pf per foot, and if they are that high they should not be called high-end, they need to go into the bin.
I belive what Ralph is hearing is the Flecher-Munson effect, in the F&M graph I have posted the link to.
Cheers George
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Clio09
but the Noble pots, as good as Roger feels they are, will impart a sonic signature.Clio09
This is what I found, all have a sonic signature because of their very soft wiper contact, this has to be a very soft as not to wear out the resistive track it runs on when you raise the volume up and down. This soft contact behaves like a rectifier (diode) trying to convert some of the AC music signal into DC especially the faster transients and higher frequencies. This is why all pots sound different even switched resistor pots, all are a little different in this wiper pressure/material/ & and mechanics, none are perfect as a soldered resistor would be, which is what basically the Lightpseed Attenuator is.
TVC are better here as they do not have wipers, but their problems lay in the 500mts or so of very thin wire the signal has to pass through, this itself is a mine field of current limiting, capacitance & inductance all of which is harmful to the original source (CD DAC or Phono) signal.
The best sound you will get is to put your (CD DAC or Phono) directly into your power amps with a VERY quite CD track first, this is the most perfect "true to the source" sound you will get, and only the Lightspeed Attenuator is closest pre or passive to mimicking that sound.
Cheers George |
06-16-10:
Koestner:George, Are you, or could you, consider making a fully balanced version with some sort of remote volume function?:Koestner
I'll put it up again, Paul got it almost all.
To do a balanced version takes exponentially more matching time and is exponentially more critical, then if that was achieved, to calibrate it would be exponentially more critical and then it will only stay in calibration a few days.
I have customers that have balanced systems they just use 4 x balanced to rca adaptors on the back of the Lightspeed Attenuator.
http://www.jaycar.com.au/productResults.asp?keywords=rca+to+XLR&keyform=KEYWORD&SUBMIT.x=18&SUBMIT.y=5
After all balanced is only needed if you run extra long interconnects, single ended actually sounds better because of the lack of opamps in the signal path to achieve the balanced signal, and in the end lets face it, the speaker is also only single ended as it run only a + and a - back to the amp and that negative on the back of the amp is at ground potential.
Cheers George
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Wow busy while I was asleep.
Pubul57
Anthony, I'm not sure if you would know this, but if a CD player can be switched for output level (The EMM Labs can be switched between 2v and 3.9v)is there any theoretical reason why one should sound better or different, assuming 2v plays loud enough?Pubul57
You have to watch this one, if it changes the gain via the feedback network of the output stage opamp/amplifier then all will remain the same output impedance wise.
But if the highest output of 3'9v may have say have an output impedance of 100ohms then when you push the switch for 2v this could just introduce a simple voltage divider into the output circuit, which is a series & a shunt resistor this then will change the output impedance of the of the unit from the original 100ohms to whatever the series resisitor is of that voltage divider, it may 1000ohms.
Cheers George |
Zendent7 Does anyone how where or how to buy this preamp. I have tried to contact the manufacturer using the email from their website, with the intention to purchase, but there has been no response. Zendent7
Zendent7 you can email me through the Audiogon Industry Directory
http://www.audiogon.com/cgi-bin/manu.pl?lightspeedatten&1&showmanu&Lightspeed+Attenuator+
Or the Lightspeed Attenuator website www.lightspeedattenuator.com
And I will send to you PDF pricing/shipping/sales brochures. And remember as says on the web site remove the spaces before and after @ on my email address
Cheers George
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Dual L&R controls in every PDF broucher I send out, is the only option I do. It's a $30usd option, but I tell everyone who inquires about it they are not as user friendly as the single stereo pot. As for different cd level volume change, you have to get the balance right again.
Cheers George
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Yes the Burson is also discrete but with +6db of gain, but not DIY, and Nelson's is unity gain and I would say more transparent.
As for running a single ended Lightspeed into a balanced amp, you could use something like these on the input of the Atma-Sphere's
www.jaycar.com.au/productResults.asp?keywords=rca+to+xlr&keyform=KEYWORD&SUBMIT.x=29&SUBMIT.y=7
Cheers George |
11-02-10: Pubul57
>But there is no output impedance optimization based on dial position 10-12-2 o'clock - is that right? Some attentuators seem to have optimal positions in that sense.<
Anywhere between minimum and 3-o'clock is good if i/o impedances are met. If it's after three o'clock for normal level listening in a system then (cdp/amp)has a gain shortage, or ridiculously inefficient speakers (80db or so).
I have a friend that has JBL4350's and Array 1400's and his 80watt Transcendent OTL monoblocks just have enough power driving the 4350's full range but the bass is seriously lacking, but they do sound good on just the upper bass, mids and tops. As for the 1400 Array's they can't even drive the mids and tops on those let alone the bass as well.
Cheers George |
You are right guys the Lightspeed Attenuator (LSA) as you guys have nick named it, is the closest you will get to playing music that's truest to the source (cdp, phono ect), and the truest way to hear the way the recording engineers wanted you to hear how they have recorded the music.
As it adds nothing and subtracts nothing, like I say it is like you have plugged the (cdp or phono ect) directly into the poweramps input, no preamps at all in the signal path, yet still maintain control over the level (volume).
I accept that for some listeners it's preferable to have the added ambience, echo (if you have microphonic tubes). Also the tonal changes, because all active components have their own signature, even different brand potentiometers (Alps, Bournes, Penny&Giles ect)) sound different, compared to a direct (source to poweramp connection) gives, maybe to their ears this is preferable.
But the Lightspeed Attenuator is all about listening to the source nothing added nothing subtracted warts and all.
BTW "LSA" is a registered speaker manufacturer, hope he doesn't get the -----.
Cheers George |
Saying all that now if you have a series output cap on your source that is too small it can rolloff the bass with the combination of the Lightspeed and poweramp input impedances, to give an example for this.
1: Source series output cap of 10uf into the combined 7k Lightspeed & 47k poweramp = 6k the cap is seeing which gives a LF rolloff of -3 at 2.6hz
2: 5uf series source output cap will be double that at -3db at 5.2hz
And so on. 2.5ufwill equal -3db at 10.4hz
I like direct coulpled source outputs as this then is not an issue, as well as the best sounding cap is NO cap.
Cheers George |
Capacitors on output stages of dacs and cdp's are evil necessity with tube output stages, and yes they will not be a suitable match for passives, not only that, the tube output stages on dacs & cdp's are usually too high in output impedance (more than 200ohm) for passives, being sometimes 2kohm (2000ohm).
As for really good multi (24 or 36) position switched resistor "double leaf contact" volume controls that Ralph uses. These are way ahead of quality high end pots (Alps Bournes Penny ect)
But with the single leaf switched resistor, I did also confirm contact bounce, as you can imagine there is no second leaf on the other side of the wiper to clamp it, like squeezing your fore finger and thumb together with the wiper between them like Ralph's double leaf does.
Cheers George |
This is the best battery, it's Lithium-Ion, rechargable (no memory problems) lasts about 12hrs on the Lightspeed before recharge got all the right leads, on/off switch for the Lightspeed an neat sits on top. And cheap.
http://cgi.ebay.com.au/ws/eBayISAPI.dll?ViewItem&item=320645701036&ssPageName=STRK:MEWAX:IT
Cheers George
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The best sounding discrete buffer I have made is a tube buffer called the "SLCF" (Super Linear Cathode Follower). It was first use as the output buffer in the top of thie line Tektronics Ocilloscope, it has the lowest ouptut impedance of any tube buffer, under 100ohms. But it still does'nt sound as good as no buffer.
http://www.diyaudio.com/forums/analog-line-level/80194-lightspeed-attenuator-new-passive-preamp-364.html#post2346943
Cheers George |
None really, it's maxed out because of it's simplicity, the siganl travels through one soldered resitor only with no volume pot contacts or other contacts in the signal path.
All that could be done is to 12vdc battery power it, but that is a very very small gain, most cannot hear a difference over the shipped wall wart.
The difference in supply noise between the battery and wall wart at the Lightspeed's output is microscopic using the very best test gear. "It is in effect noiseless"
Cheers George |
Ha!!! Blu-ray, you guys love abbreviating things, like LSA for my Lightspeed Attenuator, every time I see LSA mentioned on the web I hope it my product being talked about but 50% of the time it's the LSA speakers. Down here in Australia we do the opposite, and lengthen things, for instance for "wife" it becomes the "trouble and strife"
Anyway back to the sources compatibility, anything is, compatible dvd, BR, ect: phono stages are very worth trying from reports of the LP playing customers I have as phono stages benefit greatly by having a Lightspeed controlling the volume, be careful though some old tube phono stages are too high in output impedance, but then two of the customers have a tube stage that's 2kohm (2000ohm) output impedance and they said to me it's the best they've ever heard their vinyl played, and have ditched their mega dollar preamps.
Cheers George |
Hi Paul, I can answer a few points for you.
1: Nobody as far as I know uses the NSL32SR2S "S" donates selected versions of the NSL32SR2 which are far more uniform and far more expensive.
2: As far as I know nobody does matched quad sets, as this is exponentially harder to do than matched pairs, matched quads gives far better min volume level, a better logarithmic feel when in use, and more stable i/o impedances.
3: All the NSL's need to be potted together for balance stability, this is not mentioned at all with the others.
4: Some of the others, especially the ones from Asia are using a fixed series resistor (instead of a NSL) with only one NSL shunted to ground, this was my first MkI version and though still better than any volume potentiomer (pot) was clearly bettered with the MkII version which was a quad matched sets, all my MkI's were recalled 5 years ago and converted to MkII's because they clearly sounded better.
Cheers George |
07-09-11: Devilboy
George,I'm sure that the information I need is listed somewhere in the vast number of posts but could you please tell me what the ideal specs that the Lightspeed would work best in? What output voltage and output impedance of source would the Lightspeed like to receive and what input voltage sensitivity and input impedance of amp would the Lightspeed like to "see"? Again, sorry if I'm asking something that's been discussed previously. Best,Luka
Hi Luka, the Lightspeed will happily slot right into most systems, the only thing that is needed for it to give it's 100% performance is that:
1: The output impedance from your source (cdp, dac, phono stage, etc) should be 200ohms or less output impedance and 1v or more output, which most are.
2: The input impedance of your poweramp should be 47k or more, which most are, 47k being the industry standard.
3: The interconnects from the Lightspeed to the poweramp should be 1.5mts or less and of low capacitance (100pf per foot or less) which most good quality IC's are, this measurement is in the cables specs, if not the supplier/manufacturer should know this.
Cheers George |
The long answer is yes, you can get a slight compression with the Lightspeed Attenuator if the input impedance of the poweramp is below the industry standard of 47k ie: 5k to 30k, because it will be being slightly loaded down.
If it is at or above 47k, the standard Lightspeed Attenuator WILL actually give 100% of the dynamics the source is producing, because there are no active components in the signal path, and it is not being loaded down.
All active components have a limit to be able to try to pass 100% of the dynamic input through their circuitry, this is why they all have specs that will never show "dynamic range"=unlimited. Or signal to noise = unlimited
Except if it is a purpose built dynamic range expander like the old DBX 118, but you would not want one of these in a high end audio setup, they sound disgusting.
Cheers George |
09-16-11 Agear: George, does Cadmium have a sound? Is that part of the reason why it is perceived as superior to carbon or metal? What specific measurements or measurable parameters separate the LSA from other passives or active pre-amps? :09-16-11: Agear
Ager, It may very well be the most transparent sounding resistive substance, their is no way to measure this.
But I believe the Lightspeed Attenuator to be "the truest to the source" way of controlling the volume because their are no contacts (diode effect) in the signal path, this is why darTZeel has used them in their $24k NHB18ns preamp, also Constellation Audio with their $60k Altair preamp uses them as well.
All I can say Ager is with the Lightspeed Attenuator you get the closest to the sound of having your source directly connected to the poweramps, yet with control over the volume, it adds nothing and takes away nothing when implemented properly, it is "true to the source"
Cheers George |
I take what you've found out onboard Tony. I can safely say a cap on the output will not change the output impedance of the tube in the audio band for the better (lower). And a resistor would also not change it for a lower impedance, only for higher impedance.
So there is something else we don't know, if what you were told is "5.2k ohms and 900 ohms" As I find it very disconcerting that the output impedance has not been included in the specs or design on the website.
As just one of a few of the tube gurus I queried about cascode output said. And they all say basically the same thing.
Quote" If you want 6 or 12dB gain, you don't use a cascode.
If you want lowish output impedance, you don't use a cascode. (NB. in a preamp you will want low output impedance, unless you are incompetent).
If you are serious about valves, you don't hang them out horizontally at the back of the chassis, even with fancy roll-bars. This is asking for poor contact as the valve slowly drops out of the socket.Quote"
Cheers George |
09-21-11: Agear:
1:George, is the diode effect measurable? What does it do of rather what does it distort?
2: Paul asked the million dollar question above: what are the effects of gain? Does it produce distortion?
3: I did try the LSA with a SS amp (TRL Samsons) with 68K input impedance and the sound staging flattened. I have experienced the same thing when running the amps directly with my source. What is this about George?:Agear
1: Diode effect is the very lightweight pin point touch contact of the metal wiper in a volume control on the resistive track in any volume control, and also on some switches, this creates the diode effect, which has a rectifying (change ac to dc)effect on the ac music signal trying to pass through it. Even Hervé Delétraz of the Dartzeel NHB-18ns also acknowledges it half way down the page here and he also uses the Lightspeed volume control in this preamp to eliminate it.
http://www.stereophile.com/content/dartzeel-nhb-18ns-preamplifier-page-2
2: All active circuits produce distortion/colouration whether they have no gain or unity gain.
3:By going directly from your source to your poweramps you are not adding or subtracting anything to that source. The perfect "mythical" active preamp is "a straight wire with or without gain", it doesn't exist.
If you insert a preamp that sounds different/better to your ears to this, you are introducing either a coloration or distortion that you prefer, which is a band aid fix, you should have a source that does not have to have this expensive band aid fix.
Cheers George |
Banquo363 The 1.2kohm for the phono is very high and should not be an "ideal" match with the Lightspeed, but it will not be harmful to anything either.
I have quite a few customer with dac's and phono stages with output impedances this high with tube output, and they say they couldn't care if it's not a 100% match as they are over the moon with the sound that they are getting with them into the Lightspeed Attenuator.
Cheers George |
