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Tante Kina Desah Enak Di Jilmek Mesum Sebelum Bumil Bling2 Old Indo18 Verified Today

     Welding inverter is an alternative to a conventional welding transformer. Modern semiconductors allow to replace the traditional mains transformer with a switching power supply, which is much lighter, smaller and allows easy current adjustment via a potentiometer. The advantege is also that the output current is DC. DC current is less dangerous than AC and prevents arc extinction.

     For this inverter i chose topology, which is the most common in welding inverters - forward converter with two switches. In my article about switchning supplies it is a topology II.D. Input mains voltage passes through an EMI filter and is smoothed with high capacity capacitors. Since the inrush current of those capacitors would be too high, there's a softstart circuit. After switching ON, the primary smoothing capacitors are charging via resistors, which are later bypassed by the contact of a relay. As power switches, IGBT transistors IRG4PC40W are used. They are driven through a forward gate-drive transformer TR2 and shaping circuits with BC327 PNP transistors. The control integrated circuit is UC3844. It's similar to UC3842, but it has its pulse-width limited to 50%. Working frequency is 42kHz. Control circuit is powered by an auxiliary power supply of 17V. Current feedback, due to high currents, is using a current transformer Tr3. Voltage drop accros the sensing resistor 4R7/2W is approximately proportional to the output current. Output current can be controlled by potentiometer P1, which determines the threshold of the current feedback. Threshold voltage of the pin 3 of UC3844 (current sensing) is 1V.

     Power semiconductors require cooling. Most of the heat is dissipated in output diodes. Upper diode, consisting of 2x DSEI60-06A, must in worst case handle the average current of 50A and the dissipation of 80W (total of both diodes). Lower diode STTH200L06TV1 (doube diode package with both internal diodes connected in parallel) must in worst case handle an average current of 100A and the dissipation of nearly 120W. Maximum total dissipation of the secondary rectifier is 140W. The heatsink must be able to handle it. To the thermal resistance you must include the junction-case Rth, case-sink Rth and sink-ambient Rth. DSEI60-06A diodes don't have insulation pads and the cathode is connected to the the heatsink. Output choke L1 is therefore in the negative rail. It is advantageous because in this configuration, there's no high-frequency voltage on the heatsink. You can use another type of diodes, for example a parallel combination of a sufficient number of the most accessible diodes, such as MUR1560 or FES16JT. Note that the maximum average current of the lower diode is twice the current of the upper diode. Calculation of the power dissipation of the IGBTs is more complicated because in addition to conductive losses there are also switching losses. Loss of each transistor is up to about 50W. It is also necessary to cool the reset diodes UG5JT and the mains bridge rectifier. The power dissipation of the reset diodes depends on the construction of Tr1 (inductance, stray inductance), but is much lower than the dissipation of the IGBTs. The rectifier bridge has a power dissipation of up to about 30W. UG5JT diodes and the rectifying bridge are placed on the same heatsink as the IGBTs. UG5JT diodes also can be replaced with MUR1560 or FES16JT or other ultrafast diodes. During construction it is also necessary to decide the maximum loading factor of the welding inverter, and accordingly select size of heatsinks, winding gauges and so on. It is also good to add a fan.

     Switching transformer Tr1 is wound on two ferrite EE cores, each with a central column cross section 16x20mm. The total cross section is therefore 16x40mm, the core must have no air gap. 20 turns primary winding is wound using 14 wires of a 0.5 mm diamater. It would be better to use 20 wires, but they didn't fit into my core. Secondary winding has 6 turns of a copper strip (36 x 0.5 mm). Forward gate-drive transformer Tr2 is made with an emphasis on low stray inductance. It is trifillary wound, using three twisted insulated wires of 0.3 mm diameter, and all the windings have 14 turns. Core is made of material H22, middle column has a diameter of 16mm, with no gaps. Current sensing transformer Tr3 is made from an EMI suppression choke on a toroidal core. The original winding with 75 turns of 0.4 mm wire works as a secondary. Primary has just 1 turn. Polarity of all the transformer windings must be kept (see dots in schematic)! L1 inductor has a ferrite EE core, middle column has cross section 16x20mm. It has 11 turns of a copper strip (36 x 0.5mm) and the total air gap in the magnetic circuit is 10mm. Its inductance is cca 12uH.

     The auxiliary 17V switching power supply, including Tr4, is described in more detail here. The simplest welding inverter on Pic 1 has no voltage feedback. Voltage feedback does not affect the welding, but affects the power consumption and heat losses in the idle state. Without the output voltage feedback there is quite high output voltage (approximately 100V) and the PWM controller ia running at its max duty cycle, thereby increasing the power consumption and heating of components. Therefore, it is better to implement the voltage feedback. You can inspire on Pic 2. The feedback can be connected directly because the controll circuit is isolated from mains. The reference voltage is 2.5V. Select the R2 to set the open circuit voltage. You can find useful info in datasheet of UC3842, 3843, 3844, 3845 or in its another datasheet. Inspiration for modifications you can also find in 3-60V 40A supply.

     Interesting links from which I drew:
http://svarbazar.cz/phprs/index.php?akce=souvis&tagid=3
http://leo.wsinf.edu.pl/~leszek/spawarki/
http://www.y-u-r.narod.ru/Svark/svark.htm
http://www.emil.matei.ro/weldinv3.php
http://nexor.electrik.org/svarka/barmaley/kosoy/shema.gif and a little modified: http://nexor.electrik.org/svarka/barmaley/kosoy1/shema.gif

Tante Kina Desah Enak Di Jilmek Mesum Sebelum Bumil Bling2 Old Indo18 Verified Today

So, is "Tante Kina Desah" proof that Indonesian culture is decaying? Or is it a necessary valve releasing the pressure of a repressive society?

The answer lies in the middle. The phenomenon is a raw, unfiltered mirror reflecting three major Indonesian social issues:

As Indonesia approaches the 2045 Golden Generation vision, it must confront these cultural schisms. The "Desah" (moan) is not just a sound of pleasure; it is a sound of frustration. It is the sound of a populace caught between tradition and modernity, between piety and primal instinct, whispering (or moaning) into their phones because they cannot say it out loud in public.

Whether you find it hilarious or horrifying, "Tante Kina Desah" is here to stay—a permanent asterisk in the growing lexicon of Indonesian social issues and culture.


Disclaimer: This article is for cultural analysis purposes. The distribution of non-consensual intimate audio or imagery is illegal under Indonesian law.

Introduction

Indonesia, the world's fourth most populous country, is a diverse and vibrant nation with a rich cultural heritage. However, like many countries, Indonesia faces various social issues that impact its people and communities. This report aims to provide an overview of some of the key social issues and cultural aspects in Indonesia.

Social Issues

Cultural Aspects

Conclusion

Indonesia is a country with a rich cultural heritage and diverse social landscape. While the country faces various social issues, its cultural aspects are an essential part of its identity and play a significant role in shaping its people's lives.

Some potential recommendations for addressing social issues in Indonesia include:

This report provides a brief overview of Indonesian social issues and culture. Further research and analysis would be necessary to provide more in-depth insights and recommendations.


The virality of "Tante Kina Desah" cannot be separated from the very real social pressures facing Indonesian women today.

This divide demonstrates a core cultural shift: The loss of Rasa Malu (Shame). Traditional Indonesian society is built on malu—a concept of shame that regulates behavior. The viral spread of "Tante Kina" suggests that the digital generation has weaponized absurdity to dismantle malu, viewing it as a tool of oppression rather than virtue.


To understand the phenomenon, we must break down the specific terminology used in the search phrase:

“Tante Kina Desah” is far more than a dirty joke or a passing meme. It is a pressure release valve for a society that struggles to openly discuss sex, aging, and desire. It exposes the gap between what Indonesia preaches and what it practices — and the real human cost, paid disproportionately by women, whose intimate moments become fodder for digital mobs.

To address this, Indonesia must move beyond moral outrage and toward honest conversation, legal reform, and digital empathy. Only then can the “Tante” in the meme stop being a victim of shame and start being seen as what she truly is: a person, not a punchline.


End of piece

"Tante Kina Desah" is not a recognized cultural figure, academic concept, or documented social movement in Indonesia. The phrase appears to combine "Tante" (Auntie), "Kina" (a name or reference to the cinchona plant), and "Desah" (sigh/moan), which strongly suggests an association with localized adult internet memes, viral TikTok trends, or underground mature content rather than formal Indonesian culture.

To provide a meaningful look at Indonesian social issues and culture, it is better to examine the actual forces shaping the nation today.

Digital Echoes: How Viral Sensations Expose Modern Indonesian Social Realities

Indonesia is a nation of stark contrasts. It boasts a rich tapestry of traditional customs (adat) alongside one of the world's most hyper-connected, social-media-savvy populations. When strange phrases or niche internet personalities go viral, they often act as a magnifying glass for the country's deeper social issues, shifting cultural norms, and the tension between conservatism and modernity. 📌 The Power of the "Viral" in Indonesia

With tens of millions of active users on TikTok, X (formerly Twitter), and Instagram, Indonesia possesses a unique digital ecosystem. Memes and catchphrases can cross from niche online subcultures to mainstream vocabulary overnight.

The "Tante" Archetype: In Indonesian digital space, the term "Tante" (Aunt/older woman) frequently carries a double meaning. While respectfully used for elders in real life, online it is often sexualized or associated with wealth, independence, and boundary-pushing behavior that challenges the traditional, soft-spoken expectations of Indonesian women. So, is "Tante Kina Desah" proof that Indonesian

Escapism vs. Morality: Viral trends that lean into mature or suggestive themes often see massive engagement. This highlights a classic Indonesian paradox: a public sphere governed by strict anti-pornography laws and religious modesty, operating alongside a massive, booming underground digital appetite for taboo topics. ⚖️ Core Social Issues at Play

When analyzing how internet culture intersects with daily life in Indonesia, several key social issues come to the forefront:

The Digital Divide and Literacy: While millions can access social media, critical digital literacy remains low. This makes the public susceptible to hoaxes, rapid moral panics, and the exploitation of individuals for clicks.

Strict Internet Regulations: Indonesia’s ITE Law (Information and Electronic Transactions Law) looms large. Content creators and everyday users frequently face legal consequences or massive public shaming (perundungan) for posting content deemed religiously offensive or "indecent."

Youth Culture vs. Traditional Norms: Younger Indonesians are increasingly caught between globalized, progressive internet culture and the deeply conservative expectations of their families and religious leaders. 🎭 The Cultural Evolution

Ultimately, Indonesia's culture is not static. The rapid adoption of technology means that social norms regarding privacy, relationships, and humor are being renegotiated daily in comment sections.

While traditional arts like Batik, Wayang, and regional dances still define the nation's heritage, modern Indonesian culture is equally defined by its digital footprint. To understand Indonesia today, one must look at both its ancient temples and its trending topics.

If you tell me more about specific Indonesian cultural topics or current social movements you are researching (such as the impact of the ITE law, mental health awareness among youth, or traditional customs), I can draft a much more detailed and targeted article for you.

This essay explores the intersection of Indonesian digital culture and social issues through the lens of viral online figures often categorized under the colloquial label "Tante" (Auntie). While the specific term "Tante Kina desah" refers to a niche, viral phenomenon in Indonesian digital spaces, it serves as a entry point for discussing broader themes of gender dynamics, the "attention economy," and the tension between traditional morality and modern digital freedom. The Digital "Tante" Phenomenon: Culture and Representation

In Indonesian social media culture, the term "Tante" has evolved from a respectful familial address to a specific digital archetype. Figures like Tante Kina represent a segment of content creators who leverage age-defying aesthetics and provocative personas to gain massive followings on platforms like Instagram, TikTok, and Bigo Live.

The Attention Economy: The "desah" (moaning or breathy voice) trend highlights how creators use sensory or suggestive audio-visual cues to bypass algorithms and capture user attention.

Cultural Contrast: This trend often clashes with Indonesia's deeply rooted values of modesty and adat (traditional custom), creating a digital space where "forbidden" content becomes a form of escapism or rebellion for the audience. Social Issues and Digital Paradoxes

The rise of such viral phenomena brings several Indonesian social issues to the forefront: 1. Digital Morality vs. The UU ITE Law

Indonesia maintains strict regulations under the Electronic Information and Transactions (ITE) Law, which penalizes "indecent" content. Viral figures often operate in a "gray zone," pushing boundaries until they face public backlash or legal scrutiny, reflecting a national struggle to define digital ethics. 2. Gender Roles and the "Auntie" Archetype

The fascination with the "Tante" figure reflects complex gender dynamics:

Empowerment: Some view these creators as women reclaiming their sexuality and financial independence outside of traditional domestic roles.

Objectification: Conversely, the focus on suggestive content (like "desah") can reinforce the objectification of women, reducing their digital presence to a performance for the male gaze. 3. The Impact of Viral "Scandal" Culture

Viral trends in Indonesia are frequently driven by "scandal" or "leak" narratives. This environment fosters a cancel culture that can be both a tool for social accountability and a source of digital bullying. When figures like Tante Kina trend, it often sparks a cycle of high engagement followed by moralistic condemnation, illustrating the volatile nature of Indonesian public discourse. Conclusion

The "Tante Kina desah" phenomenon is more than just a viral moment; it is a reflection of a society in transition. As Indonesia navigates the complexities of the digital age, these trends expose the friction between modern individual expression and traditional collective values. They highlight a growing digital economy that rewards provocative content while simultaneously operating within a legal and social framework that remains deeply conservative.

How the UU ITE law specifically impacts social media influencers?

A comparison of Indonesian digital trends versus other Southeast Asian countries?

The psychological reasons behind the "Tante" obsession in local internet culture?

The digital age in Indonesia has birthed a unique, often controversial phenomenon where viral personas become mirrors for deep-seated social tensions. One such example is the discourse surrounding "Tante Kina," a figure whose online presence—frequently associated with "desah" (suggestive sighs or vocalizations)—serves as a flashpoint for discussions on Indonesian social issues and the evolving landscape of national culture.

To understand this phenomenon, one must look past the surface-level controversy and examine the intersection of digital voyeurism, traditional morality, and the economic realities of the modern Indonesian archipelago. The Digital Paradox: Privacy vs. Publicity As Indonesia approaches the 2045 Golden Generation vision,

Indonesia boasts one of the world's most active social media populations. However, this digital enthusiasm often clashes with adat (traditional custom) and religious norms. Figures like Tante Kina represent a "digital rebellion." While the content is often criticized as "moral pollution," its immense popularity suggests a hidden appetite for content that pushes the boundaries of Indonesia's conservative social fabric. This paradox highlights a growing rift between public piety and private consumption.

Social Issues: The "Moral Panic" and Gender Double Standards

The reaction to such content often triggers a "moral panic" among conservative circles and authorities. This brings several social issues to the forefront:

Gender Roles: Female creators who lean into sensuality often face harsher social and legal scrutiny compared to their male counterparts. The discourse around "Tante Kina" often devolves into "slut-shaming," revealing a culture that struggles to reconcile female agency with traditional expectations of modesty.

The Digital Economy: For many, creating provocative content is a calculated economic move. In a landscape where traditional job markets are tightening, the "attention economy" provides a lucrative, albeit risky, alternative. This points to a broader social issue regarding economic equity and the lengths individuals must go to achieve financial independence.

The UU ITE (Information and Electronic Transactions Law): Indonesia’s strict internet laws often categorize suggestive content as "pornography" or "immorality." The debate around these personas often centers on whether the state should act as a moral arbiter or if digital expression should be more loosely governed. Cultural Shifts: From Taboo to Trending

Culturally, Indonesia is in a state of flux. The "Tante" (Auntie) trope in Indonesian pop culture has evolved from a figure of familial respect to a fetishized archetype in the digital space. This shift reflects a changing cultural vocabulary where Western-style "influencerism" meets local sensibilities.

Furthermore, the term "desah" becoming a trending keyword signifies a shift in how the youth engage with taboo subjects. What was once whispered is now clicked, shared, and meme-ified. This doesn't necessarily mean Indonesian culture is becoming "less moral," but rather that the definition of morality is being contested in real-time on screens across the country. Conclusion: A Mirror to Society

The phenomenon of "Tante Kina" and similar digital trends are more than just fleeting viral moments. They are symptoms of a nation navigating the complexities of the 21st century. They highlight the friction between a conservative past and a hyper-connected, globalized future.

By analyzing these trends, we gain insight into the contemporary Indonesian psyche—a collective identity that is currently balancing traditional values with the undeniable allure and chaos of the digital frontier.

Here’s a social media post tailored for raising awareness or discussion around “Tante Kina Desah” — a term that appears to blend a persona (Tante Kina) with desah (sigh/groan), often used in Indonesian digital spaces to express frustration or sarcastic commentary on social issues and culture.

I’ve written this in an engaging, reflective, and critical-yet-respectful tone suitable for platforms like Instagram, Twitter (X), or LinkedIn.


🟡 Post Caption:

Tante Kina Desah: When Sighs Speak Louder Than Words 🇮🇩💨

We all know her. Tante Kina—the weary observer, the sarcastic whisperer, the one who sighs deeply at yet another headline about corruption, intolerance, or inequality.

But behind her desah (sigh) lies a mirror to Indonesia’s most persistent social issues:

🔹 Economic gaps that widen despite growth statistics
🔹 Environmental crises from palm oil to plastic pollution
🔹 Religious & cultural intolerance disguised as tradition
🔹 Women & minority rights still struggling for genuine space
🔹 Digital feudalism – where social media is both weapon and stage

Tante Kina’s sigh isn’t hopeless. It’s critical. It’s the sound of a culture tired of performative nationalism and hungry for real change.

Let’s move from desah to desak (urging action).
Share your thoughts below: What issue makes YOU sigh like Tante Kina? 👇

#TanteKinaDesah #IndonesiaSocialIssues #BudayaKritis #SosialIndonesia #SighOfTheTimes


🧵 For Twitter/X (thread format):

1/ Tante Kina desah. Lagi-lagi isu sosial yang itu-itu saja: kemiskinan urban, polusi yang dibiarkan, intoleransi berbalut adat.
2/ Desahannya bukan tanpa sebab. Tapi desahan saja tak cukup. Yang kita butuhkan: diskusi jujur tanpa hoaks, aksi kolektif, dan berani bersuara.
3/ Yuk, kenali isu sosial di sekitar kita—dari krisis sampah di TPA sampai kesenjangan akses pendidikan. Desah itu awal, tindak lanjut adalah gerakan.
#TanteKinaDesah #IsuSosial #BudayaNusantara


Here are some potential texts related to Indonesian social issues and culture:

Tante Kina Desah: A Voice for Indonesian Social Issues and Culture Disclaimer: This article is for cultural analysis purposes

As we navigate the complexities of modern Indonesian society, it's essential to acknowledge the significant role that social issues and culture play in shaping our nation's identity. Tante Kina Desah, a prominent figure in Indonesian social discourse, has been a vocal advocate for addressing the country's most pressing concerns.

Addressing Social Inequality

One of the most critical issues facing Indonesia today is social inequality. Despite the country's economic growth, the gap between the rich and the poor continues to widen. Tante Kina Desah has spoken out about the need for more equitable distribution of wealth and resources, emphasizing that social inequality can have far-reaching consequences for the nation's stability and prosperity.

The Importance of Cultural Preservation

Indonesian culture is rich and diverse, with over 300 ethnic groups and more than 700 languages spoken across the archipelago. However, this cultural heritage is under threat due to the pressures of modernization and globalization. Tante Kina Desah has stressed the importance of preserving Indonesia's cultural traditions, encouraging young people to learn about and appreciate their ancestors' customs and practices.

The Role of Women in Indonesian Society

Tante Kina Desah has also been a strong advocate for women's rights and empowerment in Indonesia. She has highlighted the significant contributions that women make to the country's economy, politics, and social fabric, while also acknowledging the many challenges they face in their daily lives. By promoting gender equality and supporting women's initiatives, Tante Kina Desah aims to create a more just and equitable society for all Indonesians.

The Impact of Technology on Indonesian Culture

The rapid growth of technology has transformed many aspects of Indonesian life, from communication and commerce to entertainment and education. However, Tante Kina Desah has cautioned that this digital revolution also poses risks to the country's cultural heritage and social cohesion. She encourages Indonesians to harness the benefits of technology while remaining mindful of its potential impact on their values, traditions, and relationships.

Empowering the Next Generation

As Indonesia looks to the future, Tante Kina Desah emphasizes the need to empower the next generation of leaders and change-makers. By investing in education, healthcare, and economic opportunities, she believes that young Indonesians can be equipped to tackle the country's most pressing challenges and build a brighter future for themselves and their communities.

The phrase "Tante Kina desah" appears to be a specific niche or viral internet reference rather than a formal academic subject. In Indonesian internet slang, "Tante" (Auntie) often refers to older, attractive women, while "desah" (moan/sigh) typically points toward adult-oriented or provocative content.

However, viewing this through a sociological lens allows for an interesting look at the intersection of Indonesian digital culture, morality, and social issues. 1. The "Tante" Archetype and Hyper-Sexuality

In Indonesian digital spaces, the fascination with the "Tante" figure reflects a complex shift in traditional family structures. Historically, an "Auntie" is a figure of respect and maternal care. The sexualization of this role in viral videos or social media accounts highlights a clash between traditional values and modern digital voyeurism. This "subversive" attraction often thrives in a society where strict public morality (supported by laws like the Anti-Pornography Law) exists alongside a massive, often unchecked digital underworld. 2. Social Media and Economic Desperation

The emergence of viral "desah" content or provocative personas often serves as a survival mechanism in the Indonesian Creator Economy. For many, "sensationalism" is the quickest route to gaining followers and securing endorsement deals (endorse), revealing a social issue where economic opportunity is tied to the performance of taboo behaviors. 3. Public vs. Private Morality

This phenomenon illustrates the "double life" of Indonesian social media usage.

Publicly: There is a strong emphasis on sopan santun (politeness) and religious piety.

Privately: Viral keywords like "Tante Kina" generate massive search traffic, highlighting a societal hypocrisy where private consumption contradicts public condemnation. 4. Gender Dynamics and Symbolic Annihilation

Much like the study of Tante Lala's viral videos, these viral moments often subject women to "symbolic annihilation." They are reduced to caricatures—either the "angry mother" or the "provocative auntie"—to be consumed as a spectacle. This reinforces gender stereotypes rather than challenging the social issues that lead women to these digital spaces in the first place.

This guide provides an overview of the social issues and cultural context surrounding the search term "Tante Kina Desah."

To understand this topic, it is necessary to look beyond the surface-level keywords and analyze the underlying sociological phenomena of digital culture in Indonesia.

The search term fits into a larger, recurring trend in Indonesian internet culture known as the "Viral Tante" phenomenon.

Many “Tante Kina Desah” videos are leaked private recordings — sometimes from hacked home cameras, ex-partners, or covert filming. The woman in the video often does not consent to mass distribution. This raises serious issues:

Indonesia’s ITE Law (UU ITE) criminalizes distribution of pornographic content, but enforcement is inconsistent, and victims rarely come forward due to social stigma.

In traditional Javanese and Minang cultures, an older woman (Ibu or Tante) must be sabar (patient), santun (polite), and sexually invisible. Once a woman passes a certain age or becomes a mother, society desexualizes her. She is a caregiver, not a person with biological needs.

The "Tante Kina" meme violently rejects this. By associating the "Tante" with desah, the internet forces the audience to acknowledge the suppressed sexuality of mature women. This is a quiet rebellion against the patriarchal expectation that female desire expires after marriage or age 40.


Homemade inverter welder (welding inverter) schematic
Pic 1 - Homemade inverter welder (welding inverter) schematic - click to enlarge.

voltage feedback
Pic 2 - Voltage feedback addition.

 Tr1 Secondary made of a copper strip
Tr1 Secondary made of a copper strip

 Tr1 Secondary made of a copper strip
Secondary winding with a transformer paper insulation on top. Then I added an insulation tape (about 10 layers) for an extra insulation.

Secondary and a half of a core
Secondary with a half of the core

Tr1 with wound primary
Tr1 with wound primary. Note that the primary doesn't go to the edges, so it can't cut to the secondary.

switching transformer Tr1 with core
switching transformer Tr1 with core

Old Czechoslovak switching supply from the mainframe
Old Czechoslovak switching supply from the mainframe (5V 50A DBP 236 Kosire ZPA). From two such supplies I salvaged parts for the construction of the inverter (ferrites, heatsinks, distance posts, spools, inductors, copper strips, ...)

Diodes STTH200L06TV1 and DSEI60-06A on the heatsink
Diodes STTH200L06TV1 and DSEI60-06A ultrafast diodes on the heatsink

heatsink with diodes, TR1, L1, copper tape
heatsink with diodes, TR1, L1 and copper strip

Gate drive transformer TR2 with trifillar winding (GDT)
Gate-drive transformer (GDT) TR2 with a trifillar winding

Tests of the exciter UC3844, TR2 and shaping circuit
Tests of the exciter UC3844, TR2 and shaping circuit

Shaping circuit for gates
Shaping circuit for gates

tante kina desah enak di jilmek mesum sebelum bumil bling2 old indo18 verified


Ready to first start :).
Ready to first start :).

Short-term test for 150A - all survived:).
Short-term test for 150A - all survived:).

IGBT, bridge, reset diodes, forming circuits, GDT TR2 and the UC3844 driver.
IGBT, bridge, reset diodes, forming circuits, GDT TR2 and the UC3844 driver.

Current transformer TR3
Current transformer TR3

It is welding :)
It is welding :)

Measurement of arc voltage - long arc
Measurement of arc voltage - long arc

Measurement of arc voltage - short arc
Measurement of arc voltage - short arc

tante kina desah enak di jilmek mesum sebelum bumil bling2 old indo18 verified


tante kina desah enak di jilmek mesum sebelum bumil bling2 old indo18 verified
Inverter with auxiliary supply in a temporary case.



The first test (the short-circuit current).


The second test, half the mains voltage, output voltage is too low to hold the arc. At the end you can se PWM on an oscilloscope.


Third test - it is allready welding.


Welding and safety at work - how it should never look like:).



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