re capping


I hear the phrase 'recapping'. when do you know when you should 're cap' an amplifier? I have a McIntosh mc602 amp that sounds fine to me. I also have a McIntosh mx132 that works ok for me. I also have a bose 901 series 2 active equalizer that seems to work ok. the 'red' on light kinda flashes now and then. if my system sounds ok, should I worry about my units?
128x128g_nakamoto

Showing 5 responses by teo_audio

Capacitors age over time and thermals play the biggest part. Can seal leakage is another big failure point and the next aging aspect is the level of current that is modulated through it, over time, with regard to peak long term transient levels, or sine levels (sine wave...in-out, at high levels, over time)

Leaving an amplifier on is probably the fastest way to age the capacitors, as the thermal levels are generally much higher if the amplifier is on, compared to being off and in cool dry storage. Each small plastic skinned aluminum can has the materials inside and then two leads coming out. What the end cap of the can is, is a shaped/molded rubber bung. The bung must seal the outer rim of the can, and then seal the capacitor metal connection legs.

The capacitors are filled with layers of thin metal sheet, coiled along with dielectric separators. The capacitor is infused with a fluid or slurry that is called the electrolyte. This electrolyte, when heated, can have an out-gassing issue tied to the seal quality, and general overall micro leakage, over time. The thermal and natural long term leakage or drying out of the fluids in the electrolyte..slowly ages the capacitor until it finally reaches a failure point.

The failure point is impossible to avoid and WILL happen like gravity and the sun coming up. This failure point is not guaranteed to happen all at the same times on identical capacitors due to the mentioned point that all capacitors are stressed differently and not all seals on all capacitors are created equal. The biggest metal can capacitors in most audio (power supply) gear are generally, if utilized correctly (not electrically over-stressed or thermally stressed) ..they are generally the least likely to fail, and the longest lived.

The failure mode of an electrolytic capacitor that is drying out..is to have no remaining capacitance value, it’s like running a gasoline engine dry with no oil. The end result, is messy for the engine at best. The next thing they do, is to internally short with internal arcs, and the residual electrolytic fluid is converted to gas and can ignite. The infamous capacitor *bang!* we hear about and sometimes get to witness. Much amplifier circuitry or general circuitry carnage can ensue in this scenario.

In general terms, most gear over 10 years old should have a general capacitor quality and wear inspection.

Anything that is Class D or has a pulse power supply should likely be inspected at least at the 5 year age point and then maybe every two years or earlier, after that first 5 year period. The stressing that their capacitors are under is much higher than a standard fully analog system that is built with transformers and rectifiers.

I had to explain all of that so I could say that the continually running GAS amp mentioned in this thread, is quite seriously in the hardcore red zone of imminent failure modes.

If the ampzilla has never been recapped since 1977, as a technical type, I would never even turn it on without a full inspection and some critical level recapping, before taking it even further in the recapping realm.

Please do not take to heart such advice about leaving the amplifier on, ok?

One does also..not want to thermally over stress any plastic aspects in the given design which might be exposed to heat..., as heat over time is what stresses plastic components that may be in use. These plastic bits which can be in the given gear will discolor, harden and become embrittled, fragile..as time goes by. Generally, this is stuff that is (or can be) a problem in the 20 year age range and greater.
True that, but still related. I did not say 'the same', I merely said related. No degree or specific tack mentioned.
True, dat.

EG, a electrolytic with a much higher frequency response, or lower impedance into higher frequencies...might make an amplifier oscillate out of control, due to the feedback and loop gain being set too close to the limit and part of said limits unintentionally relying on the original capacitor’s limits. It can be done. It happens more often than one thinks.

Willy nilly cap replacement by people without the understanding of the circuit, can result in circuit failure. Or over-stressing that can kill the circuit far sooner than the original design and build intended.

Let’s try a hopefully humorous analogy.

Most solid state audio circuits turn on, when that power switch is hit...like they were punched in the head with a ludicrously high speed truck. Hit the power switch and everything in the box goes *BANG!* (Ok, we’re all awake now, pedaling our little bikes!) Somehow they survive it. Robust little things, generally speaking.

If you get in there and make capacitor value and capacitor quality changes, it’s like adding in bigger and faster truck change-outs... to the circuits which were originally being punched in the head by big and fast trucks. This is generally not a good idea.
Depends on what the crossover looks like. If it is all film caps, then no need to do anything at all. If there are electrolytics, well, the brand and type may be critical to the sound of the unit. Same for the film caps. The brand type (model and type) may be critical to the sound of the end product.

any changes will always make a difference. The question is if it is an improvement or merely a difference.

The understanding is that Wilson tends to pot their crossovers, and this is partially to alleviate issues of tampering and copying, to keep that from the casual eye. "Casual" being the key word, as this would not stop the determined mind. Ye old saw about locks existing to keep honest people out.

As well as.... if the speaker is sold later on, that if it was sold with a modified crossover, that would amount to sonic tampering, and misrepresentation of the Wilson brand.