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  • Is your stereo enjoyable if it’s not Solid State

    It seems there is a lot of talk about low distortion. Concepts of continuousness. Talk of Goldmund, Gryphon, Soulution amps, FM preamps, power cords and cables, behind the wall power delivery. Clean, clean, clean seems the driving force of many conversations today.

    Buried in the obsession with the best of the best in audio, is a constant quest for something, and the something I am referring to here is low distortion. I am taking into account these comments are focused to a very targeted crowd who is somewhat obsesses, and possibly borderline addicted. I am not saying that is bad. Being addicted to money and your job can be more problematic to your overall happiness than an addiction to upgradeitus with audio gear. And clearly THD parlays into the age old fight of SS vs Tubes. Maybe this is simply in response to a new attack on tubes with a supposed validation of technical triumph in low THD equaling a better listening experience.

    Here are some comments from another post. Comments focused around building a low THD system:

    ((And that is a point I was trying to make and how continuousness leads to greater musical enjoyment. Just don’t see tubes getting to necessary noise levels to fully experience continuousness.. ))
    Just a little better stereo and I will have “greater musical enjoyment”. I have to purchase something approved by “whom”??? Do we all have to have Magico or Wilsons fed by Soulution, Boulder, Gryphon or some other SS amp to have a greater level of musical enjoyment than we are getting from the gear we are listening to now.

    ((I’ve moved beyond the liking colorations stage. It’s very hard to go back once you hear equipment lacking the most egregious colOrations. Pleasing is different than reality. We have to ask whether the instrument really sounds like a piano, guitar, sax, violin,etc.))
    So how much color is too much. You want to tell Ralph, Kevin their amps don’t cut the mustard. Music is not natural on their gear. Are we as consumers are not really hearing what a Saxophone or violin sounds like, to a pure enough degree to really enjoy it, unless we ditch tubes. I get the technical side. I have heard hell a clean. But clean with deep levels of hearing into the music don’t make it pleasing to listen too. It just makes more to listen for. It can end up working the other way. Spending time listening to your stereo instead of enjoying the music. Then the constant discontent and maybe a new power cord will fix things, or a new cartridge or some other gadget. If only it was a little better. That is not enjoying music.


    ((The bottom line is how do we hear melodies and harmonies? When they are obscured, colored, embellished, exaggerated, etc., we are getting away from the essence of the music))
    The essence of the music is the music itself. It has nothing to do with your stereo. It doesn’t even have anything to do with the quality of the recording. I would surmise I have lived some of my most content and satisfying moments listening to my stereo when I was 16 with my headphone on, laying in bed cranking Aerosmith or Led Zepplin. All the trophy systems we have today are just that. Trophy stereo we build because we can and it’s a hobby we enjoy. But we experience no more or less enjoyment than a happy consumer playing his Iphone earbuds.

    Looking at this through my lenses, I say no. There is no compelling reason to say SS is better than tubes when it comes to enjoying reproduced playback. There is no reason to say SS is preferable over tubes, unless you want to pull one technical detail out of the specifications and say they differ in this detail. But details don’t tell the whole story. I agree SS amps have a lower THD than tube amps. But I don’t see that equaling SS amps sound good. Especially spoken with a broad brush approach covering all speakers, rooms, listener taste etc. SS is a topology with certain benefits that some gravitate too. Just like other gravitating to pleasing harmonics and a smooth balanced playback.
    PAP Trio 15 Horn speakers, Audion Black Shadow monoblocks, First Sound Audio Mark 3SI Paramount preamp,
    Mojo Audio Deja Vu server, Mojo Audio Mystique V3 DAC, STST Motus II TT, Vertere SG1 arm, Hanna ML, Allnic H1201 Phono pre, The Linear Solution Ethernet Switch, LPS to Modem Router and Switch, Blue Jeans Ethernet cabling throughout network, Akiko Corelli, Custom power strip direct wired to panel with OFC copper wire.10 awg dedicated branch circuits to amps bolted to power cords. Significant upgrades to 120 volt main power panel. Inakustik Ref Air 2404 Speaker cable. Genesis and Inakustik NF2404 Air Interconnects. ADDPower Symphony and Electraclear.

  • #2
    your subject header is click bait no doubt my anecdotal evidence suggest the opposite to be true, that most 'philes are tube curious and feel they are missing out if they don't have a thermionic valve somewhere in their system. over that last few years I'm also noticing more posts asking about how to get into vinyl than i've seen all through the '90s and early 2000s--not that you asked.

    Horses for courses. If you want to get the most out of a low-efficiency direct radiator type loudspeaker with an impedance modulus that points to 4 ohm and lower, that decision has been made for you. Tubes for everything else, esp high-sensitivity speaker with low overall gain requirements (fewest amplification stages) will result in very quiet system that will match SS where its considered to be at its best, IMHO, YMMV and all that.
    Simon Yorke S10 | My Sonic Lab Eminent GL | AcousticPlan PhonoMaster | Wadia X32 | Innuous ZEN Mini Mk II | Valvet Soulshine2 | Linear Tube Audio ZOTL10 MkII | Avantgarde Uno Fino XD

    "One of the great challenges of this world: Knowing enough about a subject to think you are right, but not enough about the subject to know you're wrong" - Neil deGrasse Tyson

    Comment


    • #3
      +1 on the click bait comment ^. All tube, all SS, mix n match. It's all good but you knew that already.
      "I'm...a rather simple person with a limited talent and perhaps a limited perspective"...Bill Evans

      LP playback: Ariston RD 11 Superieur, Audiomods Series 6 Tonearm, Dynavector DV DRT XV-1s, Valab LCR MkIII, Target wall-mounted turntable shelf

      Amplification: Exposure 2010 S2

      Speakers: B&W Nautilus 805 on sand-filled Atacama stands

      Cabling: Handmade interconnects, Audio Sensibility Testaments (spkr)

      Comment


      • #4
        Sounds like you are trying to define for others what they should be doing as "audiophiles." Among my group of local audiophile friends, we all take it very seriously but all are taking different paths to achieve our goals and have therefore made different choices in our equipment.
        For me, I have both solid-state and tube gear. I find them to be different, with different strengths and weaknesses, though neither being necessarily better or worse overall, just different. Which ones I choose at any given time are based on which speakers I've decided to use and what my mood directs me to.
        Last edited by Steve Lefkowicz; 09-14-2020, 12:55 AM.
        Steve Lefkowicz
        Senior Associate Editor at Positive Feedback
        -
        Analog: Linn LP12 (MOSE/Hercules II), Ittok, Dynavector 19a, iPhono2; Pro-Ject RPM-1 Carbon, Sumiko Pearl, iFi iPhono.
        Digital: Samsung 300E5C notebook, JRiver Media Center 26, Tidal HiFi and Qobuz Studio), iFi iDAC2, iFi iUSB3, iPurifier2.
        Electronics: Burson Conductor Virtuoso, DIY switch-box with TKD 10K pot, Antique Sound Labs MG-SI15DT-S, Burson Timekeeper Virtuoso, Jolida JD1000P, B&K ST140.
        Speakers: Tekton Double Impact, Tekton Lore, Magneplaner .7, ELAC Debut2 B6.2, Debut F5 and Debut B6, Emotiva Airmotiv B1, Sound Dynamics 300ti.
        Interconnects: Morrow Audio MA1, Vermouth Audio Black Pearl, Nordost Solar Wind, Audioquest Evergreen
        Speaker cables: Morrow Audio SP4, Vermouth Audio Red Velvet, Nordost Solar Wind, Nordost Flatline, Audioquest Q2.
        Digital cables: Straightwire USB Link, Aural Symphonics Digital Standard xxv USB, Belkin PureAV.
        Accessories: Sound Organization turntable shelf, Mondo racks, Pangea Audio Vulcan racks, Pi Audio Group Über BUSS, Monster HTS2000 power conditioner, Sound Organization speaker stands, Pangea Audio speaker stands, Kinetronics anti-static brush, Pro-Ject VC-S record cleaner, Spin Clean record cleaner.
        Headphones: Schiit Valhalla amp, Meze Audio 99 Classic and 99 Neo, Beyerdynamic DT770Pro, 1More Triple Driver Over Ear, 1More MK801, 1More Triple Driver IEM

        http://www.audionirvana.org/forum/ti...ounding-system

        Comment


        • #5
          We can all get bored or complacent in our hobby. Changing components and then moving back between SS and tube is common. I have fast SS preamp and amp but my phono is all tube. It works well for me and my goals. It doesn’t mean I don’t want to try a great SS phono. I know I would keep my Io phono regardless just to have the choice when the mood strikes.

          Comment


          • #6
            The age old argument of which is better. The answer is whichever you personally prefer and can afford. There really isn't a "wrong" choice.

            A friend runs 104 dB efficient modded horns with 40 wpc of restored vintage tubes. Female vocals are luscious, maybe a little too luscious. But it sure sounds good. He is quite happy with it.

            I run 96 dB efficient large boxes with 200 wpc of solid state. I think it does everything at least pretty well. It's flat to abut 25 Hz which means it does "large music" quite well which is important to me. I'm quite happy with it.

            Do you like your system? If you're happy and you know it, well, clap your hands.

            Comment


            • #7
              Technically, there is nothing that makes tube gear any more likely to have high distortion or noise. In fact, quite the opposite. Tubes, especially triodes, are more linear than any solid state device. Hence, tube gear tends to need less feedback or no feedback, whereas most SS designs use negative feedback to reduce distortion and increase bandwidth. Tubes have a much higher voltage swing than transistors, and therefore should have a higher signal to noise ratio. Tubes also have a higher slew rate than transistors. A "slow" sound from tube amps is not due to the tubes, but to poor design. The only reason why people think tube gear is more noisy and has higher distortion is due to the fact that most tube circuits are based on designs from the 1940s to 1960s. If the circuit is properly designed, with judicious use of solid state devices in the appropriate areas (current sinks and current sources, regulators etc.), one can achieve state of the art S/N ratio and distortion without using any feedback. Most tube amps need to use output transformers, and good ones are difficult to design and expensive, which is another area of weakness. But this is not insurmountable.
              I actually agree that lower noise and distortion (but the right kind of distortion) make for better sound quality in general. Jean Hiraga's seminal psychoacoustics experiment with different types of distortion showed that the level of the different types of distortion that begins to cause deterioration in perceived sound quality differs greatly. People in general can tolerate much higher levels of second order harmonics than odd or high order harmonics. Therefore, an SET amp with 2% TDH, almost totally second order, would have less effect on sound quality than an SS amp with 0.01% TDH, mostly third or high order due to the application of NFB. And that is before factoring in inharmonic distortions such as inter-modulation distortion. But one can design a tube amp with 0.01% TDH, mostly second order. Would this sound better than the SET amp with 2% TDH ? I daresay I would prefer the former, but some people like the coloration of second order harmonics.
              Anyone interested in this subject should read Allen Wright's Tube Preamplifier handbook. He went into all the design details of how to achieve low noise and distortion without resorting to using feedback. https://www.tnt-audio.com/books/preamp_cookbook_e.html

              Comment


              • #8
                Thanks Adrian. This is good news for me. My Black Shadows were only with me for about a week before they had to be sent for repairs. They are not back yet. Part of what is being done is updating the power supply circuit that makes the voltage much more stable.
                PAP Trio 15 Horn speakers, Audion Black Shadow monoblocks, First Sound Audio Mark 3SI Paramount preamp,
                Mojo Audio Deja Vu server, Mojo Audio Mystique V3 DAC, STST Motus II TT, Vertere SG1 arm, Hanna ML, Allnic H1201 Phono pre, The Linear Solution Ethernet Switch, LPS to Modem Router and Switch, Blue Jeans Ethernet cabling throughout network, Akiko Corelli, Custom power strip direct wired to panel with OFC copper wire.10 awg dedicated branch circuits to amps bolted to power cords. Significant upgrades to 120 volt main power panel. Inakustik Ref Air 2404 Speaker cable. Genesis and Inakustik NF2404 Air Interconnects. ADDPower Symphony and Electraclear.

                Comment


                • #9
                  Originally posted by Kingrex View Post
                  It seems there is a lot of talk about low distortion. Concepts of continuousness. Talk of Goldmund, Gryphon, Soulution amps, FM preamps, power cords and cables, behind the wall power delivery. Clean, clean, clean seems the driving force of many conversations today.

                  Buried in the obsession with the best of the best in audio, is a constant quest for something, and the something I am referring to here is low distortion. I am taking into account these comments are focused to a very targeted crowd who is somewhat obsesses, and possibly borderline addicted. I am not saying that is bad. Being addicted to money and your job can be more problematic to your overall happiness than an addiction to upgradeitus with audio gear. And clearly THD parlays into the age old fight of SS vs Tubes. Maybe this is simply in response to a new attack on tubes with a supposed validation of technical triumph in low THD equaling a better listening experience.

                  Here are some comments from another post. Comments focused around building a low THD system:

                  ((And that is a point I was trying to make and how continuousness leads to greater musical enjoyment. Just don’t see tubes getting to necessary noise levels to fully experience continuousness.. ))
                  Just a little better stereo and I will have “greater musical enjoyment”. I have to purchase something approved by “whom”??? Do we all have to have Magico or Wilsons fed by Soulution, Boulder, Gryphon or some other SS amp to have a greater level of musical enjoyment than we are getting from the gear we are listening to now.

                  ((I’ve moved beyond the liking colorations stage. It’s very hard to go back once you hear equipment lacking the most egregious colOrations. Pleasing is different than reality. We have to ask whether the instrument really sounds like a piano, guitar, sax, violin,etc.))
                  So how much color is too much. You want to tell Ralph, Kevin their amps don’t cut the mustard. Music is not natural on their gear. Are we as consumers are not really hearing what a Saxophone or violin sounds like, to a pure enough degree to really enjoy it, unless we ditch tubes. I get the technical side. I have heard hell a clean. But clean with deep levels of hearing into the music don’t make it pleasing to listen too. It just makes more to listen for. It can end up working the other way. Spending time listening to your stereo instead of enjoying the music. Then the constant discontent and maybe a new power cord will fix things, or a new cartridge or some other gadget. If only it was a little better. That is not enjoying music.


                  ((The bottom line is how do we hear melodies and harmonies? When they are obscured, colored, embellished, exaggerated, etc., we are getting away from the essence of the music))
                  The essence of the music is the music itself. It has nothing to do with your stereo. It doesn’t even have anything to do with the quality of the recording. I would surmise I have lived some of my most content and satisfying moments listening to my stereo when I was 16 with my headphone on, laying in bed cranking Aerosmith or Led Zepplin. All the trophy systems we have today are just that. Trophy stereo we build because we can and it’s a hobby we enjoy. But we experience no more or less enjoyment than a happy consumer playing his Iphone earbuds.

                  Looking at this through my lenses, I say no. There is no compelling reason to say SS is better than tubes when it comes to enjoying reproduced playback. There is no reason to say SS is preferable over tubes, unless you want to pull one technical detail out of the specifications and say they differ in this detail. But details don’t tell the whole story. I agree SS amps have a lower THD than tube amps. But I don’t see that equaling SS amps sound good. Especially spoken with a broad brush approach covering all speakers, rooms, listener taste etc. SS is a topology with certain benefits that some gravitate too. Just like other gravitating to pleasing harmonics and a smooth balanced playback.
                  I can only come to three conclusions after reading your missive. 1) You didn't read what I wrote; 2) You didn't take the time to think through and understand what I wrote; 3) There is some other motive. I strongly suggest you go back to what I wrote and reread it more carefully.

                  1. First of all, don't put words in my mouth! No where did I talk about measurements or distortion figures. No where did I mention THD. You did. All I discussed was a conceptual framework based upon what I was hearing first with the Goldmund electronics and then the FM Acoustics phonostage. Have you heard Goldmund or FM Acoustics?

                  Then you confused maximum power and THD and now you are confusing THD and S/N. Neither of which is particularly pertinent to my discussion. The point is there are so many factors at work so that showing and cause and effect is basically fruitless.

                  2. Next, no where did I say in my thread that you need solid-state equipment to enjoy your music and stereo. For some unknown reason you took this mother of all illogical leaps from my saying tubes won't be able to replicate continuousness like solid-state to only solid-state let's you enjoy music. Where did that come from? Continuousness is but just one of many factors that are essential to audio reproduction. So how does that make solid-state the only way to audio nirvana? I couldn't help but notice that even you were recently musing about buying Boulder solid-state gear.

                  3. In regards to being obsessed. You seem to conflate getting equipment in for review with owning equipment. My reference system stays pretty constant and he average lifespan of a component is probably five years or more. (some gear is retained but updated by manufacturers.) I'd be the last person you could accuse of changing equipment like underwear. (To be honest, I lay out an appreciable sum of money each year to buying software.) For the record, I had my cj ART preamplifier for 12 years. In fact, I'd venture from reading your posts that you've bought more gear in the last two years than I have (three in all and one purchase--the SAT tonearm--was an addition, not a replacement).

                  In fact, does having to modify everything you own count as obsessed? You should also note that it's been a long slow journey getting to this point in home audio reproduction. 40 years in fact.

                  4. Continuousness is an elusive, moving target and only a few components, period, get it right. Few systems get it right and I am just getting more attuned to this way of thinking because of my music lessons and understanding the basics of musicianship more. Just another step in my continuing audio journey and something that I recommend to others. Continually evolve because asking questions should lead to more questions. It's when people think they know it all that the learning process hits a dead end. So give more thought to what I am saying.

                  I do find it somewhat ironic that you are dissing this concept, talking about distortion figures, etc. when you have constantly complained about noise and hum in your system for a long time. That negates the ability to completely under the concept of continuousness. Make no mistake. Noise masks information!

                  5. In the future, please give attributions to the quotes you post so readers can under understand the context in which it is written.

                  So basically your argument is moot and a non-starter to begin with.
                  Myles B. Astor, PhD, Administrator
                  Senior Editor, Positive-Feedback.com
                  ________________________________________

                  -Magico S5 Mk.2 speakers with SPod feet
                  -Goldmund Telos 280 stereo amp
                  -Goldmund Mimesis 37S Nextgen preamplifier
                  -Doshi V3.0 phonostage
                  -VPI Vanquish direct-drive turntable
                  -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
                  -Lyra Atlas SL Lambda, Fuuga, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
                  -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
                  -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
                  -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

                  Comment


                  • #10
                    I have gone to extremes.
                    My Sansui AU-7700 had an already low distortion rating of .1%, while it's being recapped by QRX Restore it's getting a differential balance modification, which was invented by QRX's late founder, it reduces the distortion rate by factor of 10 to an unbelievable .01% in this case, you can read about it on their website.
                    In addition I added a couple of made in Holland tubes in between the preamp outs and the main ins, which will enable me to adjust how much vacuum tube gain and SS gain I use on any given source.
                    The tubes are Philips EF-95's Mini Watt, made in Holland, loaded in an FX Audio 01J, the J for Japan is important because it adds a useful switch, which helps regulate the amount of gain used.

                    Comment


                    • #11
                      Im neurotic myself. A big part of why my Black Shadow amps have been out for repairs for so long is I asked for every update that reduces noise. I don't like noise. Especially noise you can hear. I don't like masking noise either which Is why I moved from PP KT style amps with negative feedback to SET with no feedback.
                      PAP Trio 15 Horn speakers, Audion Black Shadow monoblocks, First Sound Audio Mark 3SI Paramount preamp,
                      Mojo Audio Deja Vu server, Mojo Audio Mystique V3 DAC, STST Motus II TT, Vertere SG1 arm, Hanna ML, Allnic H1201 Phono pre, The Linear Solution Ethernet Switch, LPS to Modem Router and Switch, Blue Jeans Ethernet cabling throughout network, Akiko Corelli, Custom power strip direct wired to panel with OFC copper wire.10 awg dedicated branch circuits to amps bolted to power cords. Significant upgrades to 120 volt main power panel. Inakustik Ref Air 2404 Speaker cable. Genesis and Inakustik NF2404 Air Interconnects. ADDPower Symphony and Electraclear.

                      Comment


                      • #12
                        Originally posted by Kingrex View Post
                        [FONT=Calibri]

                        ((I’ve moved beyond the liking colorations stage. It’s very hard to go back once you hear equipment lacking the most egregious colOrations. Pleasing is different than reality. We have to ask whether the instrument really sounds like a piano, guitar, sax, violin,etc.))
                        [FONT=Calibri]So how much color is too much. You want to tell Ralph, Kevin their amps don’t cut the mustard. Music is not natural on their gear.
                        Whomever you mined this from probably hasn't heard either amp above on a system that worked with those amps. We never built any of our amps with the intention to do anything other than be as natural as possible to the human ear. But coming with that came a whole bunch of caveats that has meant that when someone comes to us looking for an amplifier, I talk to them to see what sort of speakers they have, since what has kept us in business over the last 45 years has been getting the amps set up properly so they sound like music rather than a musical instrument. To do this they have to be natural. And FWIW, I've played in musical ensembles since the 6th grade- orchestras, jazz and folk ensembles... The trick here is to make sure that the amp does not exhibit an audible distortion signature and has good frequency response on the speaker. If we can get there, we'll have a loyal customer. And the saxes will sound real.

                        Comment


                        • #13
                          Originally posted by atmasphere View Post

                          Whomever you mined this from probably hasn't heard either amp above on a system that worked with those amps. We never built any of our amps with the intention to do anything other than be as natural as possible to the human ear. But coming with that came a whole bunch of caveats that has meant that when someone comes to us looking for an amplifier, I talk to them to see what sort of speakers they have, since what has kept us in business over the last 45 years has been getting the amps set up properly so they sound like music rather than a musical instrument. To do this they have to be natural. And FWIW, I've played in musical ensembles since the 6th grade- orchestras, jazz and folk ensembles... The trick here is to make sure that the amp does not exhibit an audible distortion signature and has good frequency response on the speaker. If we can get there, we'll have a loyal customer. And the saxes will sound real.
                          It was me.

                          Please reread my comments above and my thread on continuousness. Naturalness has nothing to do with the thread. Rex took the comments out context. No one has commented on your amps. So far it’s been a straw man argument.
                          Myles B. Astor, PhD, Administrator
                          Senior Editor, Positive-Feedback.com
                          ________________________________________

                          -Magico S5 Mk.2 speakers with SPod feet
                          -Goldmund Telos 280 stereo amp
                          -Goldmund Mimesis 37S Nextgen preamplifier
                          -Doshi V3.0 phonostage
                          -VPI Vanquish direct-drive turntable
                          -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
                          -Lyra Atlas SL Lambda, Fuuga, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
                          -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
                          -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
                          -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

                          Comment


                          • #14
                            I approach this whole SS vs Tubed in the same way many other audiophiles do. I use a Tubed line stage and everything else is currently SS.

                            It works for me.

                            Ed
                            Life is analog...digital is just samples thereof
                            https://www.edsstuff.org

                            Analog: Walnut VPI Prime TT, HRX Pulley + 3 Belt Drive + ADS Speed Ctrl, 3D Dual Pivot Assy, Tru Lift, HW-40 Feet
                            Analog 2: Ortofon Windfeld Ti + Bob's Devices VPI Sky 30 Stepup + Liberty Audio B2B-1 Phono Preamp, Stereo Squares Dust Cover, Wayne's Audio Peripheral Ring
                            Analog Care: VPI MW-1, Kirmuss KA-RC-1, Record Doctor V, Hunt EDA VI Brush, AQ Brush, Discwasher Record Care Kit
                            Digital: TASCAM UH-7000 USB Interface, Pioneer Elite DV-47Ai Universal Disc Player, NAD C448 Internet Radio/Streamer
                            Digital 2: Digital Audio Workstation (Toshiba P75-A7200 w/MS Windows 10, 24GB RAM, 1.5 TB Crucial MX300 SSD Internal Storage, Intel i7-4700MQ Processor)

                            Amp: Rogue RP-9 Line Preamp, Schiit Loki Tone Ctrls, Parasound A21 Power Amp
                            Speakers: Magnepan MMC2, REL T9/i Subwoofer
                            Headphones: Stax Lambda Pro + Woo Audio GES, Focal Clear + Schiit Lyr 2
                            Wires: Kimber Hero ICs, Kimber 8TC Speaker Cables, AQ Leopard Phono IC, Pangea Silver USB Cables, StraightWire Expressivo ICs
                            Power: Furman Elite 15 PFi

                            Comment


                            • #15
                              The hybrid sound is getting more popular with OEM's adding a tube or two upfront or in the output stage.

                              Comment

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