Tag Archives: Tubed power amplifiers
This AXPONA was simply essentially the most upbeat, finest organized, and nicely attended present outdoors Munich. But what actually made this 12 months’s occasion so heartening was the range of the attendees. The halls and exhibit rooms had been filled with younger individuals and {couples} in search of new methods to discover music. Fortunately, this present had loads of inexpensive merchandise for them to see and listen to, and with options and capabilities focusing on how they wish to entry music.
Here are my picks of essentially the most attention-grabbing new electronics on the present.
5 Most Significant New Products
PrimaLuna EVO 100 Phonostage
PrimaLuna, the corporate identified for delivering superb worth and excessive build-quality, has launched a “swing-for-the-fences,” all-tube phonostage with the EVO 100. Nearly all tube phonostages make use of a step-up transformer or transistor achieve stage on the enter earlier than the tube stage to maintain noise ranges low. Realizing 65dB or extra of achieve with simply tubes can lead to a poor signal-to-noise ratio. PrimaLuna has addressed this problem with a large all-tube energy provide that makes use of a pair of EL34s, a tube normally present in a power-amplifier output stage. The EVO 100’s tube complement contains 4 12AX7s within the entrance finish, a 6922 for extra moving-coil achieve, and a pair of 5AR4 tubes as rectifiers. The EVO 100 presents three achieve settings (52dB, 56dB, 60dB). The first manufacturing items simply began transport from distributor/retailer Upscale Audio. Price: $3695.
Aesthetix Pallena Preamplifier and Dione Power Amplifier
Aesthetix has a protracted historical past of constructing exceptionally musical merchandise, a practice continued within the new Pallena preamp and Dione energy amp. The Pallena is a totally balanced tube preamp with a switched-resistor quantity management primarily based on that of the Calypso preamp. An ideal characteristic is the flexibility to customise the Pallena to your wants or add functionality later. Specifically, you possibly can add an elective phono module with achieve and loading changes. These changes could be constructed from the entrance panel or distant management. A second module provides digital-to-analog conversion that helps as much as 384kHz/24-bit PCM and DSD64 and DSD128. The Pallena comes normal with a headphone amplifier, or you possibly can go for a totally discrete differential-input headphone amp. The modules are $1250 every.
The matching Dione energy amplifier is a hybrid design with a tube achieve stage and solid-stage output stage. The amplifier options zero suggestions and has differential balanced-bridged circuitry by means of the output stage. All inputs are supplied on each unbalanced and balanced jacks. The energy transformers are, unusually, wound in-house. Power output is rated at 160Wpc into 8 ohms and 320Wpc into 4 ohms.
The Pallena and Dione are priced at $6500 every and are a step up from the spectacularly nice Aesthetix Mimas built-in amplifier that’s Neil Gader’s reference.
Cabasse Abyss Amplifier
One of essentially the most outstanding demos at this AXPONA wasn’t with one of many present’s greatest methods, however with one in every of its smallest. French speaker maker Cabasse confirmed its Abyss “High-Resolution Connected Active Amplifier,” a 120Wpc built-in amplifier with built-in streaming. What’s particular concerning the Abyss is the DSP processing inside that may enormously enhance the sound of any speaker, most dramatically with fashions from Cabasse. The DSP means that you can inform the system the place your loudspeakers are positioned relative to room boundaries and the DSP will regulate the frequency response for smoother bass. You also can regulate the tonal stability with the integral tilt controls. But right here’s the most effective half: When used with a passive Cabasse speaker, the amplifier will interact a DSP program particular to that speaker to easy out response. The frequency profiles of a variety of Cabasse audio system are programmed into the Abyss; you simply choose which one to interact. The DSP filter has 30 bands, permitting for very exact adjustment. Non-Cabasse audio system profit from a generic DSP algorithm. In addition, the Abyss has a patented processing algorithm referred to as Dynamic Fidelity Enhancer (DFE) that analyzes the sign’s dynamics and degree in actual time and modifies the sign to revive the music’s dynamics and bass extension at low listening ranges. Price: $1795.
Naim NSC 222 Streaming Preamplifier, NAP 250 Power Amplifier, and NPX 300 Power Supply
Naim confirmed the brand new 200-Series, comprising the NSC 222 streaming preamplifier, NAP 250 energy amplifier, and NPX 300 energy provide. The NSC 222 options Naim’s personal streaming engine that helps each streaming platform, Internet Radio, UPnP servers, and can be Roon Ready. A front-panel show exhibits the album artwork. The new preamp is managed by the Naim App, which additionally supplies multi-room management over all of the Naim parts on the community. A high-quality headphone amplifier, inherited from the superb Uniti Atom Headphone Edition, is included. Price: $8999.
The NAP 250 energy amplifier carries the mannequin designation of an iconic Naim amplifier launched in 1975. This new sixth-generation mannequin is, after all, considerably up to date with the newest expertise and design. It advantages from some circuitry developed for Naim’s quarter-million-dollar Statement energy amplifier, together with discrete power-supply regulation and the similar transistors within the output stage. The NAP 250 outputs 100Wpc. Price: $8999.
Finally, the NPX 300 energy provide continues a long-held Naim custom of offering an improve path by means of a really high-quality energy provide in a separate chassis. The NPX is designed to enhance the efficiency of the NPX 222 by delivering exceptionally clear DC energy to the streaming preamplifier. Price: $8999. I’ve heard a number of demonstrations of Naim’s outboard energy provides, and the development in sound high quality was important every time. The three items within the 200-Series share similar styling for a unified look. They are additionally housed in superbly machined aluminum chassis with distinctive build-quality.
Balanced Audio Technology VK-80t
MoFi Distribution confirmed the brand new all-tube BAT VK-80t energy amplifier to rejoice BAT’s 25th anniversary. The VK-80t outputs 60Wpc from the high-current 6C33C-B output tube, the identical tube present in BAT’s flagship REX 3 energy amplifier. This tube has a better present capability that the 6550 discovered in lots of amplifiers. The enter stage is constructed round a 6H30 “SuperTube.” This new BAT could be operated as a stereo amplifier or a 120W monoblock. An auto-bias circuit simplifies possession. Available in black or silver. Deliveries of the $9995 unit start in Q2.
Auspicious Debuts
Air Tight ATC-7 Line Control Amplifier
The venerable Japanese artisanal producer debuted its reference linestage, the ATC-7 Line Control Amplifier. In growth since 2018, the ATC-7 is Air Tight’s assertion in linestages. The all-tube unit options three unbalanced and two balanced inputs, two pairs of 12AX7s, two pairs of 12AU7s, and a extremely superior new quantity management together with an modern energy provide. The styling harkens again to basic merchandise of the previous, with giant front-panel knobs slightly than a digital show. Much consideration was paid to the look and tactile really feel of the knobs; Air Tight wished to convey again the enjoyment of hands-on involvement in working an audio system on this age of touchscreens. In that spirit, the ATC-7 contains 4 separate changes for tonal stability, two for “Presence” and two marked “Bass Compensator.” These mean you can dial within the sound to your significantly loudspeakers, room, and style. The stability management is a pair of knobs (one for every channel) marked “Gain Trim.” As with all Air Tight merchandise, the ATC-7 is constructed by hand to the best normal.
Technics SU-GX70X Streaming Integrated Amplifier
Technics’ new SU-GX70X streaming amplifier is filled with a bunch of superior options. The amplifier is digital, which means it retains digital enter alerts within the digital area during the amplifier. Digital-to-analog conversion happens as a part of the switching output stage. The unit outputs 40Wpc into 8 ohms and 80Wpc into 4. It options Technics’ LAPC processing that “appears to be like” on the traits of the speaker the amplifier is driving and processes the sign to higher match the amplifier to the loudspeaker load. The SU-GX70X has two line inputs, mm phono, networking, Internet Radio, FM radio, Bluetooth, and each streaming service you possibly can think about. It additionally does DSD as much as 5.6MHz. An HDMI enter is included with Audio Return Channel (ARC) for straightforward integration with a TV. You can management the unit through the entrance panel, distant management, or app. Price: $1999, with availability starting in late July.
AVM CS 5.3 and CS 30.3 All-in-One, and PAS Preamplifier
Udo Besser of Germany’s AVM was available to indicate me the corporate’s new CS 5.3 all-in-one unit. The CS 5.3 is a community streaming amplifier with each streaming perform possible, HDMI enter for integrating with a TV, a phonostage with adjustable loading and achieve, and a whopping 330Wpc of Class D output energy. The CS 5.3 could be ordered as a hybrid unit with a tube enter stage at $12,800, or with a solid-state enter at $10,000.
If you don’t want that a lot energy, take into account the brand new CS 30.3 all-in-one, a part of the brand new 30.3 line that brings AVM’s expertise and build-quality to a cheaper price tier. The $5000 CS 30.3 is totally loaded functionally however presents 125Wpc of output energy. The 30.3 sequence comes with the identical superbly machined aluminum distant management as AVM’s high fashions.
If you have already got an influence amplifier and wish to add extra options to your system, AVM confirmed the PAS preamplifier, which is actually a CS 5.3 with out the facility amplification stage. Price: $8000 with tube enter stage.
All the AVM merchandise are supplied in black, silver, and chrome finishes, the latter carrying a small upcharge. Commendably, AVM has written its personal streaming engine software program and invested significantly in making a management app. I noticed a demo of the app and was enormously impressed by its energy, visible magnificence, and ease of use. The app has an ingenious graphic show for multi-room management of an AVM system with a number of parts all through the house.
Rotel Michi Series 2 Integrated Amplifiers and Preamplifier
After a protracted quiet spell, Rotel launched three formidable merchandise within the upscale Michi Series. The first of two built-in amplifiers is the Michi X3 Series 2. The X3 options greater than 90 element upgrades, ESS ES9028PRO DACs, and reengineered energy provides. This powerhouse delivers 350Wpc into 4 ohms and features a full complement of analog and digital inputs, in addition to an mm phonostage.
If you need much more energy, the Michi X5 Series 2 will present 600Wpc into 4 ohms thanks partially to twin, in-house-manufactured, shielded, low-noise toroidal transformers. The X5 additionally advantages from element upgrades and contains selectable mm or mc phono enter.
Finally, the Michi P5 Series 2 preamplifier options the ESS SABRE DAC tailored to “mono” mode for enhanced efficiency. It presents a full suite of analog and digital inputs together with MQA decoding, DSD as much as 4x, and mm and mc phono inputs. The X3 Series 2 is priced at $5799; the X5 is $7999; and the P5 is $4599. Availability begins in April.
WestminsterLab REI Class A Monoblock Amplifier and Quest Preamplifier
I noticed and heard an formidable new energy amplifier and preamplifier from an organization new to me, Hong Kong-based WestminsterLab. The compact amplifier, referred to as the REI, operates in Class A to ship 100W; but, the amplifier ran cool to the contact because of the VARI-BIAS expertise and heatsink design. The amplifier can double its output energy because the impedance is halved, all the way in which all the way down to 2 ohms. The direct-coupled, no-global-feedback circuitry is totally discrete and realized with hand-matched parts. The REI could be bridged for 400W. The minimalist industrial design is uncommon and delightful, realized with CNC-machined aluminum and carbon fiber. The matching Quest preamplifier is equally tweaky, with a dual-mono totally balanced design and a discrete stepped attenuator. Prices: $32,900 per pair for the REI, and $25,100 for the Quest preamplifier. WestminsterLabs merchandise are distributed by HearThis in Newport Beach, California.
SoTM sPQ-100 Phonostage
Korea’s SoTM, maker of dozens of high-tech digital parts for community streaming, launched its first phonostage, the sPQ-100. Housed in SoTM’s acquainted wedge-shaped chassis, the sPQ-100 presents banks of DIP switches for high-quality changes of the equalization curve. One place on every change is marked “RIAA” for setting the unit to accurately equalize for the worldwide normal. No pricing was introduced, however the sPQ-100 is predicted to promote for about $800 plus the price of one of many outboard energy provides supplied by SoTM.
Mola Mola Lupe Phonostage and Perca Stereo Amplifier
The acclaimed phonostage constructed into Mola Mola’s Makua preamplifier has now been become a stand-alone unit with its personal energy provide. The new Lupe options three single-ended inputs and one balanced enter, balanced and single-ended output, and a subsonic filter, all housed in a half-sized chassis. Unusually, the mm and mc levels are utterly separate; in most phonostages the mc sign merely goes by means of a further achieve stage. Any of the 4 inputs could be routed to the output to accommodate turntables with a number of tonearms. Price: $9850.
Mola Mola additionally confirmed a brand new stereo energy amplifier, the Perca. It delivers 150Wpc into 8 ohms and may double that score into 4 ohms. Price: $9850.
Leak Stereo 230 Integrated Amplifier
Talk a few legendary title from the previous. Leak confirmed, by means of its U.S. distributor MoFi Distribution, the brand new Stereo 230 built-in amp. The unit options mid-century-modern styling together with a brand new DAC part that gives full MQA decoding, DSD512, and decoding of any PCM sign. An HDMI enter with Audio Return Channel (ARC) permits the 230 to breed tv sound. An mm phonostage and devoted headphone amplifier are included. The 230 is Roon examined, however certification is pending. Power output is 75Wpc into 8 ohms, and 110Wpc into 4 ohms. Price: $1695
Robert Harley’s Best of Show
Best Sound (value no object)
I’ll title three methods, in no specific order.
Axiss Audio’s demo of the Gauder Akustik DARC 200 loudspeaker pushed by Soulution electronics with a Transrotor turntable and Air Tight Opus One cartridge. Spectacular dynamics, hard-hitting bass, fast, clear, non-fatiguing, and simply plain musical.
The Acora Acoustics VRC loudspeaker ($218,000) pushed by VAC Statement electronics sourced by an Oracle Delphi Reference turntable and cabled with Cardas all through. The sense of presence and immediacy was beautiful, as was the large three-dimensional soundstage.
MBL’s lately upgraded 101 Mk.II loudspeaker pushed by all-MBL entrance finish and electronics delivered the standard dose of MBL virtues—a shocking sense of lifelike presence, top-to-bottom coherence, enormous soundstage, and great bass extension and impression. Because of the 101’s omnidirectional nature each seat in the home was within the candy spot.
Best Sound (for the cash)
The Cabasse Rialto energetic loudspeaker. This small dice combines a concentric forward-facing driver with a rear-firing woofer, integral amplification, streaming, and even DSP room correction. You’ve heard the expression, “Just add audio system.” The Realto is, “Just add music.” The sound was stunningly nice for $4000 a pair. As a showgoer stated, “It’s scary good.” I couldn’t agree extra.
Most Significant Product Introduction
Magico S3. This new $45k speaker brings the sonic qualities of Magico’s flagship merchandise to its less expensive fashions. I’d have thought I used to be listening to one in every of Magico’s M-Series audio system.
Most Significant Trend
Great enhancements in app-based consumer interfaces. Once crude and clumsy, the most effective interfaces are quickly turning into slick and highly effective. Examples: Server-maker Innuos’ spectacular customized music-management system and AVM’s app management of its all-in-one methods with multiroom functionality. That form of software program growth is extraordinarily costly however delivers a superior buyer expertise.
Most Coveted Product
The Hill Plasmatronics plasma tweeter. Dr. Alan Hill, the physicist who invented the plasma tweeter 40 years in the past, was available to witness the primary public show of his driver in 4 a long time. The plasma driver, which has no diaphragm and thus no shifting mass, was paired with an Eminent Technology LFT-8c, crossed over at 1kHz. The sound was extremely lifelike and easy—essentially the most pure and sensible replica of upper-midrange and treble I’ve ever heard. Thanks to Tony Salsich, Joe Galanti, and Ron Hoering for spending the time, effort, and expense to showcase this outstanding expertise and landmark piece of high-end historical past.
The submit The 2023 AXPONA Show: Robert Harley on Electronics appeared first on The Absolute Sound.
Bill Conrad and Lew Johnson searched for a very long time earlier than they found and settled on a common design answer that gave their stereo and mono energy amplifiers what they felt had been fascinating virtues for actual life, state-of-the-art sonic efficiency – this concerned the circuit, the underlying idea itself (pentode or triode coupled), class of operation (AB or A) and, most significantly all kinds of energy outputs from 50 to 300W per channel.
Jeff Fischel, present proprietor and president of conrad-johnson design, inc. noticed no want to alter a lot within the aforementioned strategy, however has labored very laborious since buying the corporate in direction of vital new options and enhancements in each single class of design, manufacturing and manufacturing. The final proof of the pudding is the brand new flagship ART108A Class A Triode Mono amplifier and its, no much less fascinating, however considerably much less energy gifted sibling, the ART27A Class A Triode Stereo amplifier (reviewed in problem 183).
A Sensitive Soul
When requested concerning the considering behind these amplifiers, Jeff Fischel mentioned how he wished to cater for all kinds of loudspeakers out there immediately, and their sensitivity protecting a discipline as extensive as from 86db to 104dB. Other concerns, together with completely different room sizes all over the world and the broad shift from ‘man cave’ to ‘shared listening house’ for a lot of listeners, had been additionally considered. His answer was to design a circuit that would offer the identical highest high quality sound, use similar enter and energy valves (in numerous portions relying on the mannequin), similar best possible c-j mains and output transformers and generously specified accompanying energy provide sections.
ART108A monoblocks have, in essence, a circuit which is designed to function in pukka Class A utilizing the (arguably immediately’s finest) Genelex Gold Lion KT88 output valves configured as triode gadgets. In sensible phrases, this implies one pair of KT88s will yield clear 36 Watts of Class An influence (greater than sufficient for techniques utilizing excessive sensitivity loudspeakers), whereas the ART108A mono provides a formidable 160 Watts drawn from 4 pairs (eight valves in whole) of KT88s with out being pushed close to or over any harmful limits of distortion, overheating or demise irrespective of how laborious pushed.
There is a current tendency for valve amp designers to go ‘a bit zeitgeisty’ in selecting no matter is the newest in a string of latest energy valve releases. However, I applaud conrad‑johnson for taking the ‘tried and trusted’ route with the KT88; the ‘on development’ valves would possibly get the column inches however may not show to be a superb sonic ‘match’ for the model or its loyal followers.
In immediately’s market, a pair of ART108A mono energy amplifiers delivering 2×160W of unadulterated Class An influence means you should use them with nearly any trendy high-end loudspeaker of your alternative! As with all finest c-j merchandise, every ART108A monoblock has separate energy provide levels for the enter (driver) and output (energy) sections of the design. Not solely that, a number of and separate regulation is current for each enter and inverter levels as a bonus.
Active and passive dedication
conrad-johnson’s many years of dedication to best possible passive and energetic parts for his or her merchandise continues to at the present time. Precision, laser-trimmed bulk metallic foil Vishay resistors (ordered from their makers to particular values designs and circuits dictate) are carried out in all essential positions each in energy provides and voltage achieve audio levels. c-j proprietary PTFE (Teflon) dielectric capacitors might be discovered in all places – each to couple the inverter stage to the output stage, in addition to to bypass the excessive worth (additionally proprietary) PP (polypropylene) capacitors within the totally regulated energy provides. Special, customised proprietary, extensive bandwidth Translinear output transformers (moreover optimised for Class A operation), sit between the output stage and the Cardas Audio loudspeaker terminal block on the rear panel of every monoblock.
All inside wiring and different machined OFC connector have been chosen for sonic efficiency. The elegant and engaging open view format of the chassis and encapsulating metalwork make the ART108A an object that’s good to have a look at and have in a residing or music room of each house inside. Each ART108A mono energy amplifier weighs 40kg and is shipped and delivered in a customized picket crate.
Care and feeding
Installation and setup is easy and easy within the custom of all conrad-johnson amplifiers over the previous (nearly) 50 years. Each output valve is individually biased and the method has develop into even simpler than earlier than, due to bi-coloured LEDs subsequent to every of the output valves. Our advisable biasing process could differ considerably to that preached by the producer, however we really feel it provides equally correct remaining bias setting plus one large bonus for each audiophile – a possibility to, really, hear the sonic distinction between an incorrectly (underbiased) and accurately biased machine.
So, after putting in all of the valves, be sure every of the bias adjustment potentiometers is at its minimal (totally anti clockwise) place. Switch the mono amplifiers on (preamplifier first with muted outputs), allow them to heat up for 30-60 seconds after which play a few of your favorite music at average degree for 30-40 minutes. Leave the amount management on the preamplifier the place it was (mute the outputs or, if no ‘mute’ perform out there, choose an unused enter place on the selector) and begin turning every of the bias potentiometers slowly clockwise till the accompanying LED glows yellow/amber. Now transfer to the following valve, and repeat the method till all eight energy tubes have been biased accurately. You will really feel extra warmth dissipated from every of the 16 KT88s in two monoblocks as you go alongside, however that’s wonderful and completely regular; that is, in spite of everything, a real Class A mode of operation and when biased, to retain linearity, Class A provides off a whole lot of warmth!
Regardless, as soon as biasing is finished, put the identical piece of music you had been listening to at the start and play it again on the similar degree as earlier than. Brace your self for an ear opening (and nice) shock.
Long stay the KT88!
The anticipated lifetime of KT88s is no less than 2,500 hours when accurately biased and re-biased (as soon as each six months or so with average common use) which is a really very long time. Small driver valves have no less than as a lot life in them, too. It could sound apparent, however don’t preserve the amplifier on always or longer than required – other than the vitality it should eat within the course of, you’ll be tearing by means of your valves’ lifespan and Class A operation develops warmth and warmth has its personal negative effects by default. Once all of the c-j Teflon capacitors have conditioned themselves to full potential (additionally to be achieved by regular listening procedures and stints, no extra), ART108A monoblock will come to full track inside 45-60 minutes from begin up and, sound totally acceptable from chilly. It’s provided that you don’t play music for months on finish that the capacitors would possibly lose a few of that conditioning, and even that’s debatable.
In order to make sure optimum circumstances, I selected to make use of the c-j flagship line stage GAT Series 2 because the ART108As pure companion and each digital (CD and streaming) and analogue (LP) sources had been used throughout essential listening classes in a reference-standard audio system, culminating in a pair of Wilson Audio Alexx V loudspeakers.
Of course, different high-grade audio merchandise can be found, a lot of which can be a superb match and there’s no secret handshake between these merchandise that precludes utilizing good gadgets from different manufacturers. However, the optimum phrase is ‘good’; you want one thing that delivers the type of efficiency that befits an amplifier of the ART108A’s sonic gravitas, and – with regards to preamplifiers – the quantity that make the lower is vanishingly small. You might spend a lifetime and a King’s ransom attempting each preamp on the circuit and conclude that you need to have simply gone with the GAT Series 2.
Sonic Signature
I really feel the ART27A (examined in Issue 183) was a pivotal product in conrad-johnson’s growth. It confirmed the model the sonic good thing about the smaller amp’s ‘reasonable musical precision’ and the problem was to scale that up with out sacrificing both this new discovered subtlety or the type of impression and dynamic vary that larger amps present. And the ART108A greater than rise to that problem; they ship the dimensions and slam wanted to drive large high-performance tower loudspeakers to ‘enjoyable’ ranges whereas retaining a lot of the grace, velocity and precision of the smaller stereo amplifier. The conjoining of these two hitherto disparate components is uncanny. Yes, in absolute phrases, the larger amps are directed extra at ‘scale’ than the ‘tempo’ of the smaller mannequin, however these are extra shades than brightly painted distinctions.
This utilized just about universally, regardless of the recording you performed by means of the system. For instance, I performed Boris Blank’s Electrified [Polydor], each at comparatively low quantity and at ‘cheap’ sub-party quantity ranges. This was a wonderful take a look at of the amplifier as a result of tonally it didn’t change throughout the amount vary; an indication of high quality as a result of enjoying at low ranges is commonly an uneven expertise. The bass is the true bellwether right here; it neither goes ‘mild’ at low ranges or ‘flappy’ at excessive energy output. I’d argue that the c-j amps are extra Boris Blank and fewer The Prodigy by way of sheer tempo, however even right here the c-j scores higher than a lot of its predecessors and is nearer to a solid-state amp in tempo phrases by comparability.
There’s extra to life than electronica, nonetheless, however all the things was so adept when performed by means of the ART108A, any record of tracks is extra like exhibiting off the depth of your music assortment. If we’re exhibiting off, Orange, by Caroline Shaw and the Attacca Quartet [Nonesuch] scores many ‘cred’ factors; this contemporary string quartet association is troublesome at occasions and at all times a difficult hear, however the rewards are nice right here. There is an inclination for these close-mic’d devices to sound a little bit laborious and grating, typically extra so than required by the music. The ART108A amps get previous that close-quarters recording and get below its pores and skin. You sit and hearken to the efficiency as a piece of nice texture and sweetness for a contemporary composition; nonetheless edgy and ‘angular’ at occasions, however impassioned and textured. The refinement and ‘proper’ steadiness (each in tone and staging qualities) that had been at all times c-j watchwords are there in full impact. As with most trendy conrad-johnson designs, the ART108A is much less ‘heat and cuddly’ and fewer ‘rose-tinted’ than earlier fashions, nevertheless it’s nonetheless romantic-sounding sufficient to attract you into the music.
Each monitor cited on my notepad had an ‘Aha!’ by it. Meaning I’ve both became Alan Partridge (it’s a definite chance, I’ve dismantled greater than my share of Corby Trouser Presses) or every successive monitor I performed was a revelation. Whether it was the facility of Schiff’s piano enjoying [Beethoven Piano Sonatas, ECM] or the interaction of musicians on Cannonball Adderley’s Somethin’ Else [Blue Note], these are all albums which were performed by me extensively and every one gave up a number of extra secrets and techniques by means of the ART108A. It’s heady, thrilling stuff.
Listening anew
The conrad-johnson ART108A amps are able to making you hearken to your recordings as in the event that they had been new to you. In absolute phrases, no ‘hollow-state’ energy amplifier can totally compete with the element extraction and sheer grip the easiest solid-state amps can impart on the sound, however equally no solid-state amp can ship the grace, richness and refinement on provide right here. That doesn’t sound like a trade-off or a compromise to me; it sounds just like the ART108A delivers its personal slice of sonic perfection, one which many individuals will need to replicate in their very own techniques.
The conrad-johnson ART108A is greater than the model’s newest assertion piece amplifier. It’s just like the delicate and delicate ART27A assembly the facility and element of a number of the model’s basic Premier sequence flagship energy amps. That’s a mixture that basically will get below your pores and skin.
Technical specs
- Type Mono valve energy amplifier
- Power 160 Watts rms each channels pushed into 4 ohms from 30 to 15KHz at not more than 1.5% whole harmonic distortion
- Tube Complement 3 × 6922, 8 × KT88
- Sensitivity 1.0V rms to rated energy
- Small Signal Distortion lower than 0.25% at mid-band
- Frequency Response 20 Hz to twenty okayHz, ± 0.25 dB
- Hum and Noise lower than 200 microVolts
- Phase part appropriate
- Input Impedance 100 kOhms
- Dimensions (W×H×D) 48 × 22 × 53cm every
- Weight 40.4kg every
- Price £48,000 per pair
Manufactured by
conrad-johnson design, inc.
Distributed within the UK by
Audiofreaks
+44(0)208 948 4153
The publish conrad-johnson ART108A appeared first on Hi-Fi+.
Audio by Van Alstine DVA M225
$3398/pr.
These high-power (225Wpc into 8 ohms), reasonably priced monoblocks hint their origin to the Nineteen Eighties and Frank Van Alstine’s remodeling of the Dynaco ST-120. That elementary circuit—realized with many refinements—kinds the center of the M225. Within its energy limits, the M225 is likely one of the finest, most impartial, and most revealing energy amplifiers round at any value. It could not have the dynamic power of much more highly effective amplifiers within the lowest frequencies at extraordinarily excessive volumes, however management of bass dynamics and element are superb. The M225’s soundstaging additionally will get excessive marks for its pure depth, width, and detailed placement of voices and devices. AHC, 327
Wyred 4 Sound SX-1000R
$3599
While many amplifiers use Bang & Olufsen’s ICE switch-mode output module, the SX-1000R combines it with its personal direct-coupled, balanced, dual-FET enter stage, designed by Bascom King. The SX-1000R’s 625W of energy (1225W into 4 ohms) can effortlessly ship copious dynamics and particulars. Imaging by way of the SX-1000R is laterally exact. If you require an influence amplifier that may generate oodles of easy output, runs cool, produces a really exact lateral soundstage, gives substantial bass extension and management, has a impartial harmonic steadiness, and is exceedingly quiet, the Wyred 4 Sound SX-1000R needs to be in your brief checklist. SS, 273
Rogue Audio Dragon
$3995
The Dragon is a complicated, hybrid tube/Class D design that stands atop the Rogue Audio lineup. Boasting 300Wpc into 8 ohms, the Dragon gives a near-granular stage of finesse and readability. Speed and transient element are naturalistic and vigorous; tonal steadiness is predominately impartial, with glimmers of midrange heat and a well-defined presence vary. Strings are significantly well-rendered and distinct. Bass response and backbone are excellent. The Dragon can reproduce an organ pedal level or the left hand of a pianist on the underside octaves of a live performance grand with lifelike authority. Not simply one other high-powered beast, the Rogue Dragon is a very splendid piece of electronics. NG, 311
Cambridge Edge W
$4000
Reviewed alongside Cambridge Audio’s Edge NQ community participant/preamp, the 100Wpc EdgeW energy amplifier delivers on this London-based producer’s definition of Great British Sound. Opposing-symmetry twin transformers (which cancel electromagnetic interference) contribute to a considerable bodily presence, however the efficiency is something however heavy. Instead, search for sonic clues in a sign path of simply 14 parts. It’s this less-is-more strategy (additionally splendidly realized within the minimalist aesthetic) that has resulted in an influence amplifier with shocking transparency and composure. Neither imposing nor well mannered, the W is a becoming fiftieth Anniversary celebration from an organization recognized to offer innovation with worth. AM, 301
Audio Mirror SET
$4995
This 45-watt monoblock expands the attain of SET designs to incorporate even reasonably delicate 88-to-90dB loudspeakers. Each amp has a pair of Russian 6C33C-B triodes in parallel, thereby considerably extending energy supply. The bass vary is effectively outlined, which serves as a basis for a barely heat and highly effective presentation with satisfying tonal gravitas and a way of ease on dynamic peaks that’s unusual for a typical SET. The Audio Mirror makes one helluva musical assertion and would have earned an enthusiastic suggestion even with a $10k price ticket. DO, 289
NuPrime Evolution STA
$4995
Class D amplifiers preserve getting higher and higher, and the NuPrime STA is a main instance. The power-stage topology is full bridge, offering push-pull differential operation with NuPrime’s proprietary MOSFET drive design. Power output is a beneficiant 230Wpc into 8 ohms and 310Wpc into 4 ohms. The entrance finish is absolutely analog. Both the preamp stage and Class D pulse-modulation circuit use the NJR MUSES8820 op-amp. The STA’s sonic persona is very like that of distilled water, missing intrinsic taste. It merely displays the character of upstream parts, making it a superb match for a tube preamp, should you’re after a candy and heat system persona. Its robust fits are tonal purity, soundstage transparency, an expansive depth perspective, and glorious bass management. It’s laborious to consider that any amp at this value level, not to mention a Class D amplifier, is able to such beautiful musicality. DO, 330
Atma-Sphere S-30 Mk 3.3
$5100
The Mk 3.3 model of this 30Wpc Circlotron OTL amplifier nudges efficiency greater in dynamics and soundstage transparency. Although responsible of slight timbre alterations and a considerably darkish tonal steadiness, these acts of fee, possible attributable to load interactions, level out the necessity for a suitable loudspeaker and front-end electronics. The S-30 strikes an clever steadiness between high quality and amount, focusing because it does on delivering a robust first watt. Its asking value is a small value to pay for a beneficiant slice of musical heaven. DO, 261
Pass Labs XA25
$5150
The XA25 amp is amongst Pass Labs’ most humble efforts thus far—at the least outwardly. And customers will admittedly have to be slightly respectful about speaker choice, since this solid-stater is rated at a mere 25Wpc into 8 ohms. But that wattage is delivered courtesy of Pass’ single-ended Class A design. So, buckle up and put together to luxuriate in pure liquid musicality. Pass gear typically suggests sweetness and heat, however the XA25 takes these qualities a luminous step additional. Beyond the extraordinary decision engraved within the XA25’s persona is a capability to rework a listening area right into a three-dimensional tableau of photos and atmosphere. A magical amp. NG, 286
T+A A 200
$5450
This small however mighty (125/250 watts per channel into 8/4 ohms) energy amp is a part of T+A’s Series 200, a part stack that takes a novel—however undeniably legitimate—strategy to constructing a reference-level system with a small footprint. Since the absolutely discrete, thermally protected Class D A200 will get its personal chassis, it’s not topic to the digital and different noises that pollute modular built-in amps. The sound is straight out of the Swiss faculty: wide-open, pure, quick, and dynamic, however with an additional dollop of low-end richness. For these looking for reference-class efficiency in a compact, fairly priced amp, the A 200 is tough to beat. AT, 335
Bel Canto e.One REF601M
$5590/pr.
To Steven Stone’s ears, Bel Canto’s 15.4-pound, 300W (600W into 4 ohms) e.One Ref601M Class D monoblock is sweet sufficient to qualify as one of the best all-around energy amplifier he’s heard thus far, no matter expertise or circuit topology. Its mixture of extraordinarily low noise that makes it appropriate to drive even extremely environment friendly loudspeakers, precision three-dimensional imaging, relaxed and pure harmonic steadiness, and energy functionality, makes for a potent bundle. Couple all its sonic achievements with its comparatively modest value and you’ve got an influence amplifier that might effectively be a benchmark reference for a lot of audiophiles for years to return. SS, 269
Audio by Van Alstine DVA M750
$5598/pr.
This large hybrid monoblock with a 12AT7 enter stage and a transistor output part delivers a whopping 850W into 8 ohms. Industry veteran Frank Van Alstine pulled out all of the stops for the DVA M750, together with a circuit primarily based on the patented Fet Valve amplifier and weird lateral MOSFET output transistors. The amp gives a remarkably jaunty and silky sound—with a number of headroom—that all the time errs on the sound of musical bliss. Despite its excessive energy, the DVA M750’s presentation is elegant and refined. A discount in powerhouse amplifiers. JHb, 273
The submit 2023 Editors’ Choice: Power Amplifiers $3,000 – $6,000 appeared first on The Absolute Sound.
I should confess that I’m biased towards tubes (pun intended). I’ve owned a number of tube-based amps, preamps, and phonostages. There is one thing that has at all times drawn me to their sound. Tubes appear to seize musicality in a method that their solid-state counterparts usually don’t fairly equal. My favourite amplification tube is the 300B. Though not with out limitations, it has a beautiful, lush sound that pulls me into the music. I’ve monoblock amplifiers for my reference system which can be based mostly on this tube. Those conversant in the 300B would most likely stereotype it as possessing a full, blooming midrange with an excessively well mannered prime finish and a scarcity of management and dynamics within the backside finish. I must agree that’s a attribute description; nevertheless, in the event you’ve ever needed the advantages of the 300B with out its shortcomings, learn on.
When Robert Harley initially requested me if I wish to evaluate the 91E, I needed to decline, as a result of the 91E was simply too good an built-in amplifier to adequately evaluate in what was then my second system, and there was no sensible method of utilizing an built-in amp in my foremost system. Having lately moved to an house, my foremost (and solely) system can now accommodate an built-in amplifier and is worthy of this degree of {hardware}. At this level, I fortunately mentioned sure to Robert and, wow, am I glad I did.
A Bit about 300B Tubes
The first 300B tubes had been made by Western Electric (WE) in 1938. The tube was in steady manufacturing for 50 years, however in 1988 that got here to a halt. These tubes had been extremely desired after they had been in manufacturing, however significantly so after manufacturing ceased—some WE NOS 300Bs had been fetching hundreds of {dollars} apiece. I’ve had expertise with many 300Bs from Shuguang, Genelex, JJ, and Electro Harmonix, however haven’t had the pleasure of listening to Western Electrics though manufacturing resumed in 1997. These new tubes are devoted reissues, however constructed to a a lot increased normal of producing and efficiency. While not cheap at $1495 a matched pair, they don’t seem to be stratospherically priced the best way many NOS tubes are lately.
I’ve ample expertise with 300Bs on the whole and love their sound. But I used to be by no means keen to pay for an NOS pair of WEs. Most new 300B tubes promote within the neighborhood of $150 to $220 per tube. So, one would instantly surprise why the brand new WE tubes are so costly relative to their competitors. There was a big sound high quality distinction among the many earlier tubes I attempted, however sadly those I most well-liked failed on quite a few events. (I purchased 4 tubes at one level and needed to change all of them inside six months. Two had been inside their 90-day guarantee interval; two weren’t. I now not purchase this model of tube as a result of it’s simply too costly to switch the tubes so ceaselessly, to not point out the effort.) This is the place WE actually units itself aside by providing a five-year guarantee. That’s unprecedented for tubes and significantly shocking for an influence tube. The CEO of Western Electric, Charles Whitener, informed me that he has prospects who nonetheless have tubes in service from his first manufacturing run in 1997. That is over 20 years working!
A Bit in regards to the “New” Western Electric
Charles Whitener had bought a earlier firm in one other trade efficiently and was on the hunt for one thing new. He was keen about high-end audio and famous the rising costs of 300Bs. He seen this as a chance and regarded for a option to faithfully convey again the WE 300B. First, he had to purchase the naming and expertise rights from AT&T (the final house owners of Western Electric). It took a very long time and plenty of makes an attempt to lastly get AT&T to agree. In 1992, he began the revival. For his workers, he used individuals who had been with WE beforehand, working within the authentic plant. With this experience and infrastructure, the pathway was clear. But, as any entrepreneur will let you know, there are at all times sudden challenges. For the brand new WE, glass was the difficulty. Unfortunately, the brand new firm misplaced a key worker who knew tips on how to make the glass. This delayed the primary launch till 1997. After that, WE assumed it will be easy crusing, however that was not the case. AT&T bought its WE plant to an investor, who turned the constructing into workplace house. The new WE misplaced its lease in 2002 and moved to Huntsville, Alabama. An identical concern occurred on this location, and in 2016 WE moved to Roseville, Georgia, and has been there since. (See the Factory Tour sidebar.)
In a chat with Charles, he described the design objectives of the 91E very clearly. He needed the luxurious sound that’s so attribute of the 300B however with out the shortcomings. His want was for it to sound good from prime to backside, with low hysteresis. He described the challenges in attaining this objective with single-ended topology, which usually wants huge transformers that by their very nature are going to have vital hysteresis. Additionally, Charles needed an ultra-low noise ground, which is a problem for single-ended tubes and significantly for a 300B, which has a straight heated filament.
As you may count on, Charles wouldn’t have informed me about his objectives had he not already achieved them, so I’ll spare you the suspense. The query stays, how is it attainable? There are some distinctive components of the design that made Charles’ objectives attainable. One was working the tubes in Class A2. The A2 design is basically Class A that drives the grid of the tubes just a little increased, delivering larger output. This achieve technique is definitely not new in any respect; in truth, the essential circuit design is sort of outdated. But, to my information there isn’t another 300B amplifier utilizing it. The second and patented portion of the design is the Steered Constant Current Source or SCCS. The fundamental thought of this patent is to extend the present on the premise of the load on the output terminal. Thus, if the load will increase so does the present, and if the load decreases so does the present. A 3rd attention-grabbing design parameter is the transformer itself. The A2 and SCCS enable for a smaller and lighter transformer, which helped meet Charles’ design objective of diminished hysteresis. The transformer can be distinctive in that it lacks the standard a number of faucets for varied impedance masses. There is only one set of binding posts; to vary the nominal impedance the transformer must be swapped out. This is definitely very simple to do due to the best way the 91E is designed. Though it ships with no matter nominal impedance the unique purchaser specifies, it’s good to know that in the event you swap audio system and have to make this variation, the swap is comparatively simple and fairly priced at $999 for a second transformer. (According to Charles further faucets on the transformer degrade sonics, so he opted for maybe an easier, albeit dearer method to favor the very best sound.)
The result’s a dependable single-ended 300B built-in amplifier with double the output energy (round 18–20 watts) that what one would usually count on. Yes, Charles achieved his technical objectives, however the actual proof is simply how good this built-in sounds.
Initial Setup
The 91E has six single-ended analog inputs, together with a phono enter that may be modified from mm to mc through a swap on the again panel. I at present should not have a phono system arrange, so I used to be not capable of check the phonostage. There can be a Bluetooth antenna and connection. This was just a little shocking to me, as Bluetooth audio high quality is proscribed and positively less than the sonics of the remainder of this product. Nevertheless, I wound up actually liking the function as a result of I used to be capable of join my TV to the 91E through Bluetooth. No shock that it was infinitely higher than the built-in TV audio system. There are three outputs: the usual speaker binding posts, a line-level output, and a preamp output.
Installing the 300Bs is just a little difficult in that you could open the “chimney” that homes the tubes. A hoop that may be rotated holds down a glass cylinder and grate. The ring is rotated barely counterclockwise utilizing a red-colored spanner software included within the equipment. The directions may very well be just a little clearer on this space. There is a couple of spanner software, so a drawing that reveals which spanner and simply how the “chimney” is opened would have helped. Each of the tubes was labeled, one for the correct channel and one for the left channel. While the tubes are matched, they’ve barely totally different beneficial properties. Each amplifier is calibrated for the tubes that can be utilized in it. The preamp part’s ECC81 tubes are put in on the manufacturing facility.
The unit had been damaged in for a day on the manufacturing facility, however I felt it most likely wanted further time. I anticipated I would want to bias the tubes as properly over the primary few days, however I used to be happy to find the 91E is auto biasing. The tubes are biased every time the amplifier is turned on. It takes about 30 seconds to heat up, then 30 seconds to watch and bias the tubes. The microcontroller within the 91E makes use of an analog-to-digital converter to pattern the plate voltage and present after which modify the grid voltage to the right worth. Tubes will drift over time, so this can be a nice function. I might have appreciated to know what sort of drift was occurring, significantly within the first week or so, however there isn’t any suggestions to the consumer as to what the bias settings are. I count on that the WEs drift lower than another makes of 300B, however I’ve no method of realizing for sure.
Initial Listening
At first hear, I might inform there was want for some break-in. There was just a little harshness and imbalance, which I anticipated. I figured it will take a few weeks to get the most effective sound from the 91E. To my shock, the break-in appeared to be full in a matter of hours, slightly than days or perhaps weeks.
Being very conversant in the 300B sound, I needed to begin with a sequence of vocals. Roon was sort sufficient to combine a Holly Cole playlist for me, which additionally included Jane Monheit and Melody Gardot, amongst many extra of my favorites. This was an ideal start line and, wow, did the amp sound good with none substantial break-in. I used to be cooking dinner whereas casually listening and was already impressed. My spouse even commented on how good it sounded. She wouldn’t name herself an audiophile, however she has gotten just a little spoiled by good sound. It was instantly apparent to her, because it was to me, that this was, certainly, a really particular piece of audio gear.
Curiosity
Having owned many tube amps and preamps I’ve discovered how a lot sonic change can happen by altering tubes. It’s normally enjoyable, however typically it may be irritating. I’ve a pleasant assortment of 300Bs, although they’re in storage. I did take into consideration digging them out and seeing simply how a lot of the sound high quality I used to be having fun with was a results of the WE tubes and the way a lot was owed to the 91E. But within the guide, there’s a clear warning: “The 91E was designed for operation with Western Electric manufactured 300B electron tubes. The software of non-original or replica-type 300B tubes could lead to weakened efficiency, distorted sound, or sudden habits, probably harming each the amplifier and mentioned duplicate tubes.”
As a reviewer, I felt it essential to heed this warning. I’m positive the sound is a mixture of each an impressive tube and a circuit that appears to be purpose-built for the WE glass. Although I’ll possible by no means actually know the reply to the query I posed, I received’t lose any sleep over it. The 91E sounds so extremely good, who cares?
Serious Listening
When you hear a system come collectively and actually gel, it now not appears like a mixture of assorted items of audio gear trying to faithfully reproduce music; it appears like the actual factor. The gear will get out of the best way, and it turns into all in regards to the music. How the textures of a saxophone that resonate all the best way from the reed to the horn tackle the three-dimensional high quality of the actual instrument, or how a vocal feels as if the singer had been leaning over and whispering in your ear, like she or he had been truly current within the room. I used to be already experiencing this with the 91E, and I used to be simply getting began.
The WE’s output energy of round 20 watts is properly suited to my very environment friendly (94dB) audio system, which additionally current a straightforward load to drive. Nominal impedance is 4 ohms. The precise impedance throughout the audible frequencies varies from 2 ohms to 14 ohms. This is a tube-friendly pair of audio system. (This just isn’t true for all audio system, so remember that difficult-to-drive masses could not fare as properly.)
I continued with extra feminine vocals and jazz, which is usually what I hearken to anyway. Every observe I performed simply made me wish to play extra. I might hearken to this amp for hours, and on the primary day of set up I did. And whereas vocals and jazz sounded the most effective I had heard on my system, I needed to see how different musical genres carried out. A system that may solely play one kind of music properly is much too restricted for my musical tastes.
Starting off simple however nonetheless offering barely extra of a problem, I needed to see how the drum solo in Dave Brubeck’s Take 5 fared. The drums are dynamic but additionally have a substantial amount of refined texture to them (the load of the drum strokes differ, and the drumheads’ tone is properly pronounced). The 91E captured this in addition to I’d ever heard it. So, that simply naturally led me to see how properly the 91E might deal with John Bonham on the drums. I personally just like the older Led Zeppelin; I and II are my go-to albums. Christopher Huston, who I labored with at Rives Audio for a few years, recorded Led Zeppelin II and was usually requested how he bought the sound of these drums, because it actually is spectacular. Chris is extremely humble and would ceaselessly reply: “I didn’t. John Bonham did. I simply documented it.” He later informed me he recorded the drums with solely three microphones. Three microphones? Now, that’s actually superb! It is secure to say the WE 91E reproduced all the pieces Chris Huston “documented,” and it was magical. It captured the pace and pure uncooked dynamics of that distinctive sound John Bonham was well-known for!
I needed to proceed to steer towards increasingly troublesome sorts of music to problem this amplifier. Dead Can Dance’s “Yugula” is an excellently recorded piece from the band’s Into the Labyrinth. It runs the complete tonal vary, from very low bass to extra refined vocals, keyboards, chimes, and sounds that give a way of house to the composition. All these refined tones will be misplaced, and in some instances the depth of the bottom frequencies is usually rolled off, decreasing the breadth of the soundstage. With the 91E, I used to be happy with all the pieces I heard. It felt just like the low frequencies had been all there, whereas the refined overlays virtually floated in house, with extra dimensionality than I used to be accustomed to. Everything I used to be throwing at this built-in amp was seemingly too simple for it.
Several days later I made a decision to see if I might discover the boundaries of the amp with Foo Fighters’ Medicine at Midnight. Here, the amp sounded a bit strained and compressed, and the underside finish thinned out. I then performed Eiji Oui Mephisto and Co., an outstanding Reference Recording. On actually massive, dynamic passages, of which there are various, I heard the identical factor—a little bit of pressure and compression and a thinning of the underside octaves. Because these items had been a lot more difficult from a scale and dynamics standpoint, I assumed that the 20 watts of those 300Bs had lastly discovered their limits. But I used to be unsuitable.
A couple of days handed, and I continued to be impressed with this built-in. I discovered myself scratching my head about what I had heard earlier. There was simply no pressure or compression on what I used to be listening to at this level, and I couldn’t consider that these two albums I examined sounded the best way they did. So, I went again to each, and (now) they sounded incredible. There was no pressure, no compression, and a full backside finish. Not solely was the underside finish full, but it surely was additionally properly managed and much better than I’ve ever heard from a 300B amplifier. Additionally, all of the mid and upper-end frequencies remained intact all through these difficult passages. I believe this has loads to do with the SCCS expertise, for the reason that large voltage swings that always happen for decrease frequencies can create havoc with the present being delivered. After a bit extra experimenting, it grew to become clear that this amp wants extra warming up for every listening session than I had initially allowed. Sufficient warmup—round 45 minutes—ends in a a lot greater sonic distinction than I’ve heard with most amps. It’s virtually like a swap, the place the amp locks in and decides it’s recreation time. Since I usually let the gear heat up with out listening critically for some time, I didn’t actually admire simply how vital this warm-up interval was with the 91E. Now that I do know this, it’s actually not a problem to me. But in case you are auditioning this built-in, make sure to let it heat up amply earlier than passing judgment.
One portion of my listening was with a couple of Edgar Meyer albums. These included Edgar Meyer and Chris Thile Uncommon Ritual, Appalachian Waltz, and Short Trip Home. Edgar Meyer’s bass enjoying is fantastic, and plenty of of those albums are simply plain enjoyable. The distinction of sounds, significantly with Chris Thile’s mandolin, was fantastically reproduced—a delight to hearken to. Both devices had been completely true to their character. This could not have been some of the demanding checks, but it surely was pleasurable.
Conclusion
The 91E is a really particular product. It has actual innovation in design that’s not hype. It is delivering sound high quality past what I’ve beforehand heard from any 300B amplifier. The areas that it excels in redefined for me simply how nice a number of the recordings I listened to are. The finest sound I’ve achieved on this technique was listening to jazz and vocals. The presentation was so natural and fluid that I simply needed to soften into the listening chair and hear for hours. The solely time I used to be not impressed was when the amp wasn’t adequately warmed up, and that was my fault, not that of the gear.
If you’re out there for an built-in tube amplifier and have ever been uncovered to the attractive sound that 300Bs can provide, the 91E is a should audition. And whereas not cheap at $15k, I discover it to be a particularly excessive worth for what it delivers. I’m very joyful WE is again and looking out ahead to extra improvements. Very extremely beneficial!
Specs & Pricing
Power output: 20Wpc into 8 or 4 ohms
Inputs: Six line, one phono (all RCA), Bluetooth v4.2
Outputs: Speaker degree on binding posts, preamplifier out, line out (all RCA)
Tube complement: ECC81 (preamplifier), one pair Western Electric 300B (output)
Dimensions: 18.9″ x 15″ x 11.1″
Weight: 49 lbs. (transport weight 94 lbs.)
Price: $14,999 (black or champagne), $15,999 (nickel)
WESTERN ELECTRIC
201 West Gordon Ave
Rossville, GA 30741
(404) 352-2000
westernelectric.com
The publish Western Electric 91E Integrated Amplifier and 300B Tube appeared first on The Absolute Sound.
I should confess that I’m biased towards tubes (pun intended). I’ve owned a number of tube-based amps, preamps, and phonostages. There is one thing that has all the time drawn me to their sound. Tubes appear to seize musicality in a manner that their solid-state counterparts typically don’t fairly equal. My favourite amplification tube is the 300B. Though not with out limitations, it has a beautiful, lush sound that pulls me into the music. I’ve monoblock amplifiers for my reference system which can be based mostly on this tube. Those conversant in the 300B would most likely stereotype it as possessing a full, blooming midrange with a very well mannered prime finish and a scarcity of management and dynamics within the backside finish. I must agree that’s a attribute description; nonetheless, should you’ve ever wished the advantages of the 300B with out its shortcomings, learn on.
When Robert Harley initially requested me if I want to overview the 91E, I needed to decline, as a result of the 91E was simply too good an built-in amplifier to adequately overview in what was then my second system, and there was no sensible manner of utilizing an built-in amp in my important system. Having not too long ago moved to an residence, my important (and solely) system can now accommodate an built-in amplifier and is worthy of this degree of {hardware}. At this level, I fortunately mentioned sure to Robert and, wow, am I glad I did.
A Bit about 300B Tubes
The first 300B tubes have been made by Western Electric (WE) in 1938. The tube was in steady manufacturing for 50 years, however in 1988 that got here to a halt. These tubes have been extremely desired after they have been in manufacturing, however significantly so after manufacturing ceased—some WE NOS 300Bs have been fetching hundreds of {dollars} apiece. I’ve had expertise with many 300Bs from Shuguang, Genelex, JJ, and Electro Harmonix, however haven’t had the pleasure of listening to Western Electrics despite the fact that manufacturing resumed in 1997. These new tubes are devoted reissues, however constructed to a a lot increased customary of producing and efficiency. While not cheap at $1495 a matched pair, they don’t seem to be stratospherically priced the way in which many NOS tubes are nowadays.
I’ve ample expertise with 300Bs usually and love their sound. But I used to be by no means prepared to pay for an NOS pair of WEs. Most new 300B tubes promote within the neighborhood of $150 to $220 per tube. So, one would instantly marvel why the brand new WE tubes are so costly relative to their competitors. There was a major sound high quality distinction among the many earlier tubes I attempted, however sadly those I most popular failed on quite a few events. (I purchased 4 tubes at one level and needed to substitute all of them inside six months. Two have been inside their 90-day guarantee interval; two weren’t. I now not purchase this model of tube as a result of it’s simply too costly to exchange the tubes so regularly, to not point out the effort.) This is the place WE actually units itself aside by providing a five-year guarantee. That’s exceptional for tubes and significantly stunning for an influence tube. The CEO of Western Electric, Charles Whitener, instructed me that he has prospects who nonetheless have tubes in service from his first manufacturing run in 1997. That is over 20 years working!
A Bit in regards to the “New” Western Electric
Charles Whitener had bought a earlier firm in one other business efficiently and was on the hunt for one thing new. He was obsessed with high-end audio and famous the rising costs of 300Bs. He considered this as a possibility and appeared for a approach to faithfully convey again the WE 300B. First, he had to purchase the naming and know-how rights from AT&T (the final homeowners of Western Electric). It took a very long time and plenty of makes an attempt to lastly get AT&T to agree. In 1992, he began the revival. For his workers, he used individuals who had been with WE beforehand, working within the unique plant. With this experience and infrastructure, the pathway was clear. But, as any entrepreneur will let you know, there are all the time sudden challenges. For the brand new WE, glass was the problem. Unfortunately, the brand new firm misplaced a key worker who knew the way to make the glass. This delayed the primary launch till 1997. After that, WE assumed it will be clean crusing, however that was not the case. AT&T bought its WE plant to an investor, who turned the constructing into workplace house. The new WE misplaced its lease in 2002 and moved to Huntsville, Alabama. The same situation occurred on this location, and in 2016 WE moved to Roseville, Georgia, and has been there since. (See the Factory Tour sidebar.)
In a chat with Charles, he described the design objectives of the 91E very clearly. He wished the luxurious sound that’s so attribute of the 300B however with out the shortcomings. His want was for it to sound good from prime to backside, with low hysteresis. He described the challenges in reaching this purpose with single-ended topology, which typically wants large transformers that by their very nature are going to have important hysteresis. Additionally, Charles wished an ultra-low noise ground, which is a problem for single-ended tubes and significantly for a 300B, which has a straight heated filament.
As you may count on, Charles wouldn’t have instructed me about his objectives had he not already achieved them, so I’ll spare you the suspense. The query stays, how is it attainable? There are some distinctive components of the design that made Charles’ objectives attainable. One was working the tubes in Class A2. The A2 design is basically Class A that drives the grid of the tubes a bit increased, delivering larger output. This acquire technique is definitely not new in any respect; actually, the essential circuit design is sort of previous. But, to my data there isn’t some other 300B amplifier utilizing it. The second and patented portion of the design is the Steered Constant Current Source or SCCS. The fundamental thought of this patent is to extend the present on the premise of the load on the output terminal. Thus, if the load will increase so does the present, and if the load decreases so does the present. A 3rd fascinating design parameter is the transformer itself. The A2 and SCCS permit for a smaller and lighter transformer, which helped meet Charles’ design purpose of decreased hysteresis. The transformer can be distinctive in that it lacks the same old a number of faucets for numerous impedance masses. There is only one set of binding posts; to alter the nominal impedance the transformer must be swapped out. This is definitely very straightforward to do due to the way in which the 91E is designed. Though it ships with no matter nominal impedance the unique purchaser specifies, it’s good to know that should you change audio system and have to make this variation, the swap is comparatively simple and fairly priced at $999 for a second transformer. (According to Charles additional faucets on the transformer degrade sonics, so he opted for maybe an easier, albeit dearer method to favor the absolute best sound.)
The result’s a dependable single-ended 300B built-in amplifier with double the output energy (round 18–20 watts) that what one would usually count on. Yes, Charles achieved his technical objectives, however the actual proof is simply how good this built-in sounds.
Initial Setup
The 91E has six single-ended analog inputs, together with a phono enter that may be modified from mm to mc by way of a change on the again panel. I at the moment don’t have a phono system arrange, so I used to be not in a position to check the phonostage. There can be a Bluetooth antenna and connection. This was a bit stunning to me, as Bluetooth audio high quality is proscribed and positively less than the sonics of the remainder of this product. Nevertheless, I wound up actually liking the function as a result of I used to be in a position to join my TV to the 91E by way of Bluetooth. No shock that it was infinitely higher than the built-in TV audio system. There are three outputs: the usual speaker binding posts, a line-level output, and a preamp output.
Installing the 300Bs is a bit tough in that you need to open the “chimney” that homes the tubes. A hoop that may be rotated holds down a glass cylinder and grate. The ring is rotated barely counterclockwise utilizing a red-colored spanner device included within the equipment. The directions could possibly be a bit clearer on this space. There is a couple of spanner device, so a drawing that reveals which spanner and simply how the “chimney” is opened would have helped. Each of the tubes was labeled, one for the appropriate channel and one for the left channel. While the tubes are matched, they’ve barely completely different beneficial properties. Each amplifier is calibrated for the tubes that shall be utilized in it. The preamp part’s ECC81 tubes are put in on the manufacturing unit.
The unit had been damaged in for a day on the manufacturing unit, however I felt it most likely wanted further time. I anticipated I would want to bias the tubes as properly over the primary few days, however I used to be happy to find the 91E is auto biasing. The tubes are biased every time the amplifier is turned on. It takes about 30 seconds to heat up, then 30 seconds to watch and bias the tubes. The microcontroller within the 91E makes use of an analog-to-digital converter to pattern the plate voltage and present after which modify the grid voltage to the right worth. Tubes will drift over time, so it is a nice function. I’d have favored to know what sort of drift was occurring, significantly within the first week or so, however there isn’t any suggestions to the person as to what the bias settings are. I count on that the WEs drift lower than another makes of 300B, however I’ve no manner of understanding for sure.
Initial Listening
At first pay attention, I may inform there was want for some break-in. There was a bit harshness and imbalance, which I anticipated. I figured it will take a few weeks to get the very best sound from the 91E. To my shock, the break-in appeared to be full in a matter of hours, reasonably than days or perhaps weeks.
Being very conversant in the 300B sound, I needed to begin with a sequence of vocals. Roon was form sufficient to combine a Holly Cole playlist for me, which additionally included Jane Monheit and Melody Gardot, amongst many extra of my favorites. This was an ideal place to begin and, wow, did the amp sound good with none substantial break-in. I used to be cooking dinner whereas casually listening and was already impressed. My spouse even commented on how good it sounded. She wouldn’t name herself an audiophile, however she has gotten a bit spoiled by good sound. It was instantly apparent to her, because it was to me, that this was, certainly, a really particular piece of audio gear.
Curiosity
Having owned many tube amps and preamps I’ve discovered how a lot sonic change can happen by altering tubes. It’s normally enjoyable, however generally it may be irritating. I’ve a pleasant assortment of 300Bs, although they’re in storage. I did take into consideration digging them out and seeing simply how a lot of the sound high quality I used to be having fun with was a results of the WE tubes and the way a lot was owed to the 91E. But within the guide, there’s a clear warning: “The 91E was designed for operation with Western Electric manufactured 300B electron tubes. The software of non-original or replica-type 300B tubes could lead to weakened efficiency, distorted sound, or sudden habits, doubtlessly harming each the amplifier and mentioned reproduction tubes.”
As a reviewer, I felt it essential to heed this warning. I’m certain the sound is a mix of each an excellent tube and a circuit that appears to be purpose-built for the WE glass. Although I’ll probably by no means actually know the reply to the query I posed, I gained’t lose any sleep over it. The 91E sounds so extremely good, who cares?
Serious Listening
When you hear a system come collectively and actually gel, it now not appears like a mix of varied items of audio tools trying to faithfully reproduce music; it appears like the actual factor. The tools will get out of the way in which, and it turns into all in regards to the music. How the textures of a saxophone that resonate all the way in which from the reed to the horn tackle the three-dimensional high quality of the actual instrument, or how a vocal feels as if the singer have been leaning over and whispering in your ear, like she or he have been really current within the room. I used to be already experiencing this with the 91E, and I used to be simply getting began.
The WE’s output energy of round 20 watts is properly fitted to my very environment friendly (94dB) audio system, which additionally current a simple load to drive. Nominal impedance is 4 ohms. The precise impedance throughout the audible frequencies varies from 2 ohms to 14 ohms. This is a tube-friendly pair of audio system. (This just isn’t true for all audio system, so remember the fact that difficult-to-drive masses could not fare as properly.)
I continued with extra feminine vocals and jazz, which is usually what I hearken to anyway. Every monitor I performed simply made me need to play extra. I may hearken to this amp for hours, and on the primary day of set up I did. And whereas vocals and jazz sounded the very best I had heard on my system, I wished to see how different musical genres carried out. A system that may solely play one sort of music properly is way too restricted for my musical tastes.
Starting off straightforward however nonetheless offering barely extra of a problem, I wished to see how the drum solo in Dave Brubeck’s Take 5 fared. The drums are dynamic but additionally have quite a lot of delicate texture to them (the burden of the drum strokes range, and the drumheads’ tone is properly pronounced). The 91E captured this in addition to I’d ever heard it. So, that simply naturally led me to see how properly the 91E may deal with John Bonham on the drums. I personally just like the older Led Zeppelin; I and II are my go-to albums. Christopher Huston, who I labored with at Rives Audio for a few years, recorded Led Zeppelin II and was typically requested how he acquired the sound of these drums, because it actually is spectacular. Chris is extremely humble and would regularly reply: “I didn’t. John Bonham did. I simply documented it.” He later instructed me he recorded the drums with solely three microphones. Three microphones? Now, that’s really wonderful! It is secure to say the WE 91E reproduced every part Chris Huston “documented,” and it was magical. It captured the velocity and pure uncooked dynamics of that distinctive sound John Bonham was well-known for!
I wished to proceed to steer towards increasingly more troublesome forms of music to problem this amplifier. Dead Can Dance’s “Yugula” is an excellently recorded piece from the band’s Into the Labyrinth. It runs the total tonal vary, from very low bass to extra delicate vocals, keyboards, chimes, and sounds that give a way of house to the composition. All these delicate tones will be misplaced, and in some instances the depth of the bottom frequencies is usually rolled off, lowering the breadth of the soundstage. With the 91E, I used to be happy with every part I heard. It felt just like the low frequencies have been all there, whereas the delicate overlays virtually floated in house, with extra dimensionality than I used to be accustomed to. Everything I used to be throwing at this built-in amp was seemingly too straightforward for it.
Several days later I made a decision to see if I may discover the bounds of the amp with Foo Fighters’ Medicine at Midnight. Here, the amp sounded a bit strained and compressed, and the underside finish thinned out. I then performed Eiji Oui Mephisto and Co., an excellent Reference Recording. On actually giant, dynamic passages, of which there are various, I heard the identical factor—a little bit of pressure and compression and a thinning of the underside octaves. Because these items have been a lot tougher from a scale and dynamics standpoint, I believed that the 20 watts of those 300Bs had lastly discovered their limits. But I used to be mistaken.
A couple of days handed, and I continued to be impressed with this built-in. I discovered myself scratching my head about what I had heard earlier. There was simply no pressure or compression on what I used to be listening to at this level, and I couldn’t imagine that these two albums I examined sounded the way in which they did. So, I went again to each, and (now) they sounded improbable. There was no pressure, no compression, and a full backside finish. Not solely was the underside finish full, nevertheless it was additionally properly managed and much better than I’ve ever heard from a 300B amplifier. Additionally, all of the mid and upper-end frequencies remained intact all through these difficult passages. I think this has loads to do with the SCCS know-how, for the reason that huge voltage swings that usually happen for decrease frequencies can create havoc with the present being delivered. After a bit extra experimenting, it grew to become clear that this amp wants extra warming up for every listening session than I had initially allowed. Sufficient warmup—round 45 minutes—leads to a a lot larger sonic distinction than I’ve heard with most amps. It’s virtually like a change, the place the amp locks in and decides it’s recreation time. Since I typically let the tools heat up with out listening critically for some time, I didn’t actually respect simply how necessary this warm-up interval was with the 91E. Now that I do know this, it’s actually not a difficulty to me. But in case you are auditioning this built-in, you’ll want to let it heat up amply earlier than passing judgment.
One portion of my listening was with just a few Edgar Meyer albums. These included Edgar Meyer and Chris Thile Uncommon Ritual, Appalachian Waltz, and Short Trip Home. Edgar Meyer’s bass taking part in is great, and plenty of of those albums are simply plain enjoyable. The distinction of sounds, significantly with Chris Thile’s mandolin, was beautifully reproduced—a delight to hearken to. Both devices have been completely true to their character. This could not have been one of the demanding assessments, nevertheless it was pleasant.
Conclusion
The 91E is a really particular product. It has actual innovation in design that isn’t hype. It is delivering sound high quality past what I’ve beforehand heard from any 300B amplifier. The areas that it excels in redefined for me simply how nice a number of the recordings I listened to are. The finest sound I’ve achieved on this method was listening to jazz and vocals. The presentation was so natural and fluid that I simply wished to soften into the listening chair and pay attention for hours. The solely time I used to be not impressed was when the amp wasn’t adequately warmed up, and that was my fault, not that of the tools.
If you’re out there for an built-in tube amplifier and have ever been uncovered to the gorgeous sound that 300Bs can provide, the 91E is a should audition. And whereas not cheap at $15k, I discover it to be a particularly excessive worth for what it delivers. I’m very joyful WE is again and looking out ahead to extra improvements. Very extremely advisable!
Specs & Pricing
Power output: 20Wpc into 8 or 4 ohms
Inputs: Six line, one phono (all RCA), Bluetooth v4.2
Outputs: Speaker degree on binding posts, preamplifier out, line out (all RCA)
Tube complement: ECC81 (preamplifier), one pair Western Electric 300B (output)
Dimensions: 18.9″ x 15″ x 11.1″
Weight: 49 lbs. (transport weight 94 lbs.)
Price: $14,999 (black or champagne), $15,999 (nickel)
WESTERN ELECTRIC
201 West Gordon Ave
Rossville, GA 30741
(404) 352-2000
westernelectric.com
The put up Western Electric 91E Integrated Amplifier and 300B Tube appeared first on The Absolute Sound.
Spoiler alert—I love this amp!
By starting with such a bold statement, I don’t mean to suggest that the latest iteration of Rogue Audio’s Cronus Magnum is without flaws. (What is?) I’ll get to that later, but for now let me begin with this: Here we have a terrific-sounding, all-tube integrated amp that is so musically engaging, such a joy to use, and such a superb value that it’s completely won me over.
Actually, it’s won me over for a second time, as a decade ago I was likewise highly enthusiastic about Rogue’s original Cronus Magnum. But as good as that version was the latest iteration punches several levels above, thanks to a slew of tasty upgrades.
Designed by Rogue Audio’s owner Mark O’Brien, the all-tube Cronus Magnum III ($3495) features an upgraded triode preamp circuit coupled with Rogue’s Atlas Magnum power amp (which goes for $2995 as a stand-alone unit). The III version also incorporates improved component parts throughout, a beefier power supply, as well as refashioned low-voltage supplies for the MOSFET, buffered, discrete headphone circuit and the phono section. I’m also pleased to report that the latter now handles both mm and mc cartridges, with five user-adjustable load settings, as well as 45dB and 60dB gain options.
(One thing to note: If you live near a radio transmission tower—as I do, about a five-mile straight shot across the hills from my house in San Francisco—the Magnum III’s phonostage is sensitive to RF. So, take extra care with placement as well as cable dressing to minimize this extraneous noise. It’s not particularly noticeable with most music but can be during quiet or between-track passages.)
The design’s tube complement (two 12AX7, three 12AU7, and four KT120 output tubes) now allows users to switch “on the fly” between triode or “ultralinear” (pentode) output modes, and power output has increased from 90 to 100Wpc (half of that when operating in the triode mode). The gold-plated binding posts can be rewired to optimize speaker matching for 4- or 8-ohms loads but note that, as with the original design, users will need to remove the amp’s top plate to rejigger the wiring at the posts (as well as to change the phono settings). The process takes a few minutes but is otherwise pretty straightforward.
Also, as with the original edition, a handy, removable, small rectangular top plate allows easy access to the bias adjustments for the output tubes—the supplied plastic screwdriver even has a convenient resting nook tucked behind the tube array. Biasing is a snap to accomplish and something owners will want to check every few months, as well as down the road when a new tube set is installed.
Finally, a machined aluminum remote allows for volume control as well as muting, but you’ll need to get your bum off the couch to switch inputs.
I should also note that everything about the design, build, and fit and finish is first-rate, reflecting the company’s dedication to quality.
Sonically, the Cronus Magnum III is really quite remarkable, especially when compared to the far pricier gear I’m used to in my reference system. No, it doesn’t provide the same degrees of resolution, staging, detail, and dynamics as my references. But then that’s like expecting a village Burgundy to compete with a grand cru. That’s hardly the point of the design. Because the thing is: This amp is musical; it rocks; it’s fun; and lo and behold, it isn’t tweaky. It’s warm sounding but not fat; it’s airy; its resolution is plenty satisfying. It is simply very, very good. The Magnum III’s is not a “wow” kind of sound but rather a let’s pull you into the music kind of sound.
For example, on Analogue Productions’ stunning-sounding UHQR of Are Your Experienced? Mitch Mitchell’s drums on “Waterfall” are tuneful and natural, rollicking along with Hendrix’s dreamy guitar work; Noel Redding’s bass at once anchors things, while floating with the musical tide.
On “Fire,” you really hear and feel the distorted crunch of Hendrix’s Strat/Marshall combo, as well as key in on the album’s mic placement and mixing, which you’ll notice changes from track to track, bringing Hendrix’s potent debut to life.
One caveat for owners of power-hungry speakers like my Maggie 1.7i’s shouldn’t surprise: A bit more additional punch and power would be a welcome thing. But then again, most speakers aren’t as demanding as Magnepans are. And when it does top-out, the Magnum III doesn’t go into distortion mode but comfortably cruises along at its maximum volume setting.
Another caveat. As with the original Magnum, the III does overlay a fine granular texture on the sound. It’s noticeable but not a major distraction. In some ways it’s actually a kind of cool additive. On “Two of Us,” from the Beatles’ 50th anniversary edition of Let it Be, one really senses the sound of the vintage analog gear; Lennon and Harrison’s Epiphone and Gibson guitars plugged into Fender amps, the thick strings and warm tonality of Paul’s signature Hofner bass, and the skin-and-wood tonality of Ringo’s Ludwig kit.
Moving on to Bill Evans’ Complete Sunday at the Village Vanguard shows the amp’s way with a great-sounding live acoustic set. Right away you’ll notice the acoustic ambience and three-dimensionality of this famed venue’s space, the natural feeling of air surrounding the instruments, the tonal and textural resolution of the piano, bass, and drums.
Finally, turning to my well-loved DG LP of Evgeny Kissin’s live recital of Beethoven’s Piano Sonata No 32; while the Magnum III may be missing the nth degree of focus, tonal purity, dynamic nuance, and lower octave drive of the far pricier Sutherland and VTL gear of my reference system, the hypnotic second movement, with its ragtime-like bridge, really shines, drawing one into the emotional and intellectual power of this piece, with its lovely harmonic richness leading to the final and breathtaking denouement.
Circling back to my initial points about imperfections, and that all designs possess them—why else keep pushing the envelope?—it’s interesting to think about how, throughout audio history, certain memorable designs have identifiable shortcomings that don’t greatly detract from their overall excellence. I’ll cite the original Quad electrostatic speaker, the Rogers L3/5A mini-monitor, and the Audio Research SP6 preamp as examples of designs that so wonderfully capture the gestalt of the music that we’re able to live with and listen past their imperfections, because they are so very good at drawing us into and conveying the music.
Each of those designs is, of course, considered a classic. I can’t say if Rogue’s Cronus Magnum III will stand that test of time. But I will say that, in its own way, it is just as deserving.
Specs & Pricing
Power output: 100Wpc
Tube complement: 3x 12AU7, 2x 12AX7, 4x KT120
Inputs: Phono, Line 1, 2, 3
Dimensions: 17.5″ x 6.75″ x 18″
Weight: 55 lbs.
Price: $3495
Rogue Audio, Inc.
545 Jenna Drive
Brodheadsville, PA 18322
(570) 992-9901
rogueaudio.com
The post Rogue Audio Cronus Magnum III Integrated Amplifier appeared first on The Absolute Sound.
After completing a factory tour of Western Electric, CEO Charles Whitener took the time to talk with us and give an in-depth review of the company’s vision, manufacturing processes, and more!
The post Why is Graphene a Life-Saver for Amp Tubes? | Western Electric’s CEO Charles Whitener appeared first on The Absolute Sound.
They say that good things come in small packages. Not so with the Triangle Art (TA) P-200. It was quite a surprise to find a large 90-pound wood crate parked on my doorstep. I’ve become accustomed to diminutive phonostages that can be carried in one hand; the P-200 is obviously an exception. The main reason for the bulk is a massive chassis that is totally CNC milled from aluminum stock. The chassis top, bottom, and rear panels are 3/8″ thick, while the front and the two side panels are a remarkable 1″ thick. Gorgeously finished in satin black, its looks combine a bit of brawn and finesse to make for an elegant impression. Clearly, industrial art plays a significant role in TA’s overall design philosophy. Turntables came first in 1999 with the introduction of the Reference and Signature models, and the line expanded over the years to include tonearms, phono cartridges, and electronics. Tom Vu, TA’s CEO, prides himself in offering music lovers analog playback components that aim to kindle the music’s passion and thus nudge the art of music reproduction forward; the P-200 tube phonostage is a case in point.
It’s fair to say that the P-200 incorporates some classic design touches. Passive inverse RIAA EQ became popular in the 1980s and is implemented here using high-quality caps, resistors, and silver wire in the signal path. The RIAA network is said to be accurate to better than 0.5dB, and unlike active EQ using feedback loops, the passive approach maintains stability of operation even as tubes age. In addition, the mm input overload margin is excellent at 85mV. The inverse RIAA circuit is sandwiched between two 12AX7-based gain stages. A cathode follower provides low-impedance drive. This is also a classic approach, practiced religiously over the years by Conrad-Johnson. I was informed that the cathode follower used is a 12AT7 twin triode. After I removed the top plate (you’ll need a 9/64″ hex key) for a peek at the large PC board that’s mounted at the bottom of the chassis, I not only noticed some premium parts such as Mundorf silver-gold caps and AMRG resistors, but also discovered that the cathode follower tube was actually a 12AU7. According to Tom Vu, the P-200 can accommodate both tube types in this position, and he encouraged me to pop in a 12AT7 for a listen.
The stock tube complement is gold-pin Russian reissue Genalex Gold Lion. But it seems that TA expects most end users to undertake tube rolling—almost obligatory, really, when it comes to 9-pin miniature triodes. That’s partly the rationale for having all three twin triodes shared across left and right channels. The intent is to permit greater flexibility in tube rolling for personal sonic preferences. Let’s say, for example, that you are lucky enough to score a single super vintage tube; you can then just drop it into the preferred circuit position without the need for a matched pair of tubes.
Both mm and mc cartridges are accommodated. There are two mc inputs that differ only in connector type, female XLR or standard RCA jacks. Similarly, the output signal is also accessible via RCA or XLR connectors. Moving-coil loading is fixed at approximately 100 ohms, which is probably an optimal choice for most cartridges, and certainly worked well for my Clearaudio daVinci II MC. Changes in mc loading can be made at the secondary of the step-up transformers, but since it involves a PC-board-level modification, it should ideally be performed at the factory.
The power transformer is housed in an external chassis that connects to the main unit via an umbilical cord to minimize the potential for hum and noise induction. The tube filaments are heated by regulated DC voltage for lower noise. The high-voltage power supply is heavily filtered and separated for left and right channels after initial rectification. Voltage limiting is used during startup to protect the tubes from excessive voltage until they start conducting.
The total gain for the mm section is 45dB, which is supplemented by an additional 26dB of gain provided by a pair of high-quality Lundahl LL9226XL step-up transformers, which come encapsulated in double thickness mu-metal housings. In total, the 71dB of gain is sufficient to amplify even a 0.1mV mc to line-level voltage. This strikes me as a sensible approach as there is no active gain stage that can compete with a good step-up transformer when it comes to pure, low-distortion gain.
Tubes do what tubes do. A tube’s sonic DNA is quite unique and nowhere does it make for a more obvious difference than a phonostage. I’ve yet to audition a solid-state design that comes as close as a tube unit to the textural and tonal conviction of the real thing. It is no accident that all the coveted classic designs from Audio Research and Conrad-Johnson are tube based. My latest tube phono- stage purchase was a Wright Sound WPP200, hand-built by the late George Wright. It was obviously intended as a budget unit but featured a tube-rectified and -regulated external power supply and a circuit topology similar to that of the P-200. I was curious to find out how it would fare against a much more expensive unit. Well, it turned out that sometimes you do have to pay more, a lot more, for reference-quality sound.
First to make the leap onto the platter from my top of the pile was the Chesky reissue of the original RCA Living Stereo LP of Gershwin’s An American in Paris/Rhapsody in Blue (Chesky Records RC8), Arthur Fiedler conducting the Boston Pops Orchestra, Earl Wild on piano. This superb recording is quite revealing of any dynamic bottlenecks in any given system. Most of my listening was conducted in the context of an exceptionally capable setup: the Analysis Audio Omega planar loudspeakers powered by the SMc Audio DNA-1/GT-21 Ultra Plus. This Class AB amplifier represents a complete overhaul of the venerable McCormack DNA-1 and incorporates Steve McCormack’s latest circuit refinements and tweaks. The GT-21 Ultra Plus is capable of stupendous bass slam and volcano-like macrodynamic reach and is the best match for the Omega loudspeaker I’ve found to date. If there’s anything amiss as far as dynamic range (or anything else for that matter), this is the system to reveal it. To its credit, the P-200 did not disappoint. It showcased this recording’s exceptional dynamics and realistic transient speed. There was no doubt about it, this phonostage was just killing it.
Spatial resolution was another strong sonic attribute. Combined with excellent soundstage transparency and a considerable depth perspective, it offered convincing elucidation of massed voices. Complex polyphonic passages were readily resolved, one fine example being Handel’s Messiah choruses, King’s College Choir, Cambridge (EMI CSD 3778). There seemed to be no loss of information at the frequency extremes. In particular, bass lines were well defined with no reduction of impact.
Of course, ultimate performance is a function of the quality of the analog front-end. I tried running my linear-tracking B&O 8000 turntable into the mm input, and compared with my Kuzma Reference table, there were losses at the frequency extremes, dynamic range took a hit, and soundstage transparency suffered, as well. There was no reason to shoot the messenger, the P-200 was simply telling the truth without adding any euphonic colorations.
That brings me to reproduction of the upper midrange. My personal preference is for some textural sweetness coupled with fully saturated tonal colors. Instead, I perceived a somewhat assertive demeanor and a slight bleaching out of harmonic colors. I wondered if the culprit was the stock tube complement or possibly the Lundahl step-up transformers. It was easy enough to bypass the stock transformers by connecting my Sound Tradition MC-10 step-up to the mm inputs of the P-200. The MC-10 features the famous Hashimoto HM-3 transformers, which for over a decade I’ve considered “best of breed.” There is something very special about its upper mids—a pure tone that I’ve come to know and love. It improved depth perspective and image palpability and yielded a sweeter midrange tonality, sounding more tube-like. The Lundahl transformers simply lacked the beguiling, almost lyrical upper mids of the Hashimoto HM-3. Alas, the Lundahls are fixed in place, and so, it was on to Plan B: some basic tube rolling with the idea of nudging textures toward a vintage tone. I rolled in a pair of Siemens ECC83 that I pulled out of my Wright Sound WPP200. That proved to be a step in the right direction, which encouraged me to replace the 12AU7 cathode follower tube with a Brimar 6060 Yellow T premium 12AT7 type. Without much effort, the combined sonic effect was to deliver more refined textures with increased “fat on the bones.” Not only did midrange gravitas benefit, but for some reason transient speed seemed to improve as well. Needless to say, I was a most happy camper at this point.
The P-200 distances itself from the competition by virtue of its superb spatial resolution, transient speed, and resolution of low-level detail. Expect a compelling dynamic range, capable of fleshing out subtle microdynamic nuances as well scaling orchestral peaks with composure. The P-200 simply gets out of the way and allows the music to ebb and flow without dynamic constraints or tube colorations. My guess is that most of you will be perfectly happy with the stock tube complement, which squeezes out a fair amount of tube magic, but know that the unit responds well to tube rolling should you get the urge to experiment with your favorite preamp tube types. The P-200 affirmed my belief in the virtues of a tube phono- stage. It is as good or better than any phonostage I’ve had in the house. It has supercharged my analog playback enjoyment and is deserving of a strong recommendation.
Specs & Pricing
Gain: 45dB (mm) 71dB (mc) @ 1kHz
Input impedance: 47k ohm/150pF (mm), 100 ohm (mc; adjustable)
Output impedance: <500 ohms; lowest recommended load impedance >10k ohm
Distortion (THD+N): 0.01% typical, 1kHz @ 0dBV (1V rms out)
IMD: 0.01% typical, 60Hz and 7kHz 4:1 @ –3dBV (0.7V rms out)
Maximum output: 18dBV (8.5V rms) into lowest recommended load of 10k ohm @ 1% THD+N
Maximum mm input: >–21.4dBV (85mV rms) @ 1 % THD
Crosstalk: <–60dB @ 1kHz
Noise: < –70dB 20Hz to 20kHz relative to 0dBV out; < –85dB A-weighted relative to 0dBV out
Dimensions: 18″ x 7″ x 14″
Weight: 60 lbs.
Price: $15,000
TRIANGLE ART
Anaheim, CA 92808
(714) 553-6474
triangleart.net
Associated Equipment
Speakers: Analysis Audio Omega, Fleetwood Sound Company DeVille
Line Preamplifier: AudioPrism Mantissa brought up to Red Rose Model 3a specs
Power amplifier: SMc Audio DNA-1/GT-21 Ultra+
Phono front end: Kuzma Reference turntable, Kuzma Stogi Reference 313 VTA tonearm, Clearaudio daVinci V2 MC Phono Cartridge
Cable & interconnects: Acrotec, Mogami & Kimber KCAG interconnects; Acrotec 6N; Kimber KCAG, ChromaLeaf Canare 4S11, Analysis Plus Oval 12, & Take Five Audio Cryo treated Mogami 3103 speaker cable
Accessories: Sound Application CF-X & TT-7 power line conditioners, Herbie’s Audio Lab UltraSonic SS-9 and HAL-O III tube dampers
The post Triangle Art P-200 Phonostage appeared first on The Absolute Sound.
darTZeel NHB-468 Monoblock Amplifier
$235,000/pr.
These glamorous, gold-and-crimson Swiss amplifiers offer a level of performance that is truly bedazzling. One moment they are belting out an orchestral or piano crescendo with absolute authority, the next they are plunging into a quiet abyss of sound with impressive control and transparency. With up to 2000 watts on tap, the darTZeel is a powerhouse of an amp that effortlessly traverses the summits of musical reproduction. For one thing, the amp is a real toe-tapper. It commands an alacrity and dynamic liveliness that few, if any, of its brethren possess, allowing it to reproduce transients with an explosive power that is pretty darn close to the real thing. Add in a tonal accuracy throughout the frequency spectrum that ensures the proper weight in the bass region and endows the treble with a delightful mellifluity, banishing any lingering sense of electronic artifacts that can render prolonged listening a chore, particularly on digital recordings. Throughout, it simply seems imperturbable, no matter the musical demands. When matched with the elegant custom stands crafted by Thixar’s CEO Dirk Ruedell, the results are heavenly, indeed. Oh, the places you’ll go! The bottom line: In designing these magnificent amplifiers, Herve Deletraz has outdone himself.
The post 2022 Golden Ear: darTZeel NHB-468 Monoblock Amplifier appeared first on The Absolute Sound.