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  • #61
    Originally posted by Hawk View Post
    Has anyone tried 6922's with the GAT series 2? Love my GAT. Have amassed a pretty good collection of 6922's
    GAT S2 uses different tubes Hawk. PCC88, so you can't use ECC88 (6922) in it. Well, you can but at your own risk.
    Source: Kuzma XL DC, Kuzma 4Point 14 inch, Benz Micro LP-S MR; Phono: Zanden 1200 Mk3; Tuner: Magnum Dynalab MD-108T Signature; Line Stage: conrad-johnson GAT Series 2; Power amp: conrad-johnson ART; Speakers: Avalon Time; Grounding: Tripoint Troy Signature & Thor SE; Cable system: Cardas Clear & Clear Beyond; Stands: Finite Elemente Master Reference & Master Reference Heavy Duty; Power conditioner: P.I.Audio: UberBuss with Furutech FI-E30 NCF; Acoustics treatment: Svanå Miljöteknik AB (SMT);

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    • #62
      Well, its been over 300 hours on the GAT S2...fantastic.

      - the 'G-R-I-P' of the GAT S2 is one of the most noticeable improvements. Calling the GAT S1 'slightly sloppy' by comparison is outrageously unfair to the GAT S1...but that was the first that came to my mind when trying to articulate the difference.
      - Complex passages, upper bass drums where I have always struggled to damp, control...seek out where that extra little extraneous-seeming upper bass vibration or looseness was coming from...it was the GAT S1. I always wondered about that, and S2 has proven it to me
      The best way I can compare Series 1 and Series 2 is based on an analogy to what is called 'fingering' when studying piano:

      (Fingering which refers to the technique and placement of fingers on the keyboard when playing. Fingering technique informs various things like your ability to play all the notes clearly without muddling them inadvertently. Sometimes younger, more inexperienced pianists play more complex pieces, and certain notes get smooshed together because the young pianist does not have the fingering technique/strength/articulation of fingering to play the notes at speed one at a time or with sufficient articulation between notes...and the notes end up being played on top of each other instead.)

      - The Series 2 has significantly better fingering technique than the Series 1. Probably the difference between a 9th grader playing a piece, vs a freshman in college.
      - Much better articulation of musical lines, deeper carving of musical expression
      - A good example is on a Fink live concert album, there is one line where in addition to the lead singer, one of the other artists sings along with him for 5 words. i have heard this track hundred times and never noticed that...and literally while just typing this and not paying attention, there it was...the 2nd singer for 5 words...clear as day. Perhaps its easily heard (when listening for it) on Series 1...but all i can say is...i've literally never noticed it
      - GAT 2 presents music as simply ROOTED/PLANTED.
      - Best examples:
      - Glenn Gould Variations (1981)...one of my reference CDs. The piano is one of the best recordings in that the better the system, the more and more it reminds me of the hours i spent in front of the keyboard practicing. (but it can also sound awful in the wrong system...not sure how/why...it just does.)
      - GAT S1: Excellent sense of pace, tempo, clarity...BUT there is a slight ringing/resonance when notes start flying at speed. Like when someone moves slightly just as you take a picture
      - GAT S2: The keys have greater power/solidity, the 'ringing/resonance' is gone when notes fly at speed...they just go faster with precision. Equally, what i like is that the full spectrum is more balanced with upper bass, upper treble and lower bass all starting to have more equal weight in the the presentation of the music spectrum.

      - Anne Bisson: Yes, that crazy over-played 6th track...but those initial drum hits are truly clearer now....wont bore anyone with details. But I listen to these very carefully, and no doubt the S2 hits slightly harder, but the 'whack' is more defined, with a quicker impact but also a bigger, 'meatier' impact because it follows thru the entire strike from beginning to end. Very cool discovery.

      Tonal Colors: greater colors...meaningfully but not really the most noticeable part today

      Deep Bass: far, far tighter, more propulsive but mainly far, far more detailed and in control
      SPEAKER: Wilson X1-Grand SLAMMS/Velodyne DD18+
      SOURCE: Zanden 4-Box Digital
      AMP: CJ GAT/Gryphon Colosseum
      CABLE: SC:TA OpusGen5; IC:TA OpusMM2; PC:PAD 25th/Can/Dom Sablon GCUber
      ISOLATION (16 'SANDWICHES'): Under: HRS, Stillpoints, Auralex Top: HRS, Artesania, Entreq, Finite Elemente, EAT, 70kg mass POWER/GROUND/SHIELD: Burmester 948, Nordost QX4 / Tripoint Troy Sig Thor, Entreq Atlantis / Entreq (Receivus, Wraps)
      ROOM/TUBE: Stillpoints Aperture / Amperex 7308, Mullard (6922,6CA4,6X4) Tele E88CC

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      • Metamatic
        Metamatic commented
        Editing a comment
        Hi lloyd. Can you comment more on the upper frequencies. What I love about the the GAT is its utter openness, detail, life and speed in the upper frequencies without ever being harsh ( or is it my telefunken tubes) - its makes more pre amps seem almost slow in comparison. I hope S2 does not lose this unique quality.

    • #63
      Originally posted by LL21 View Post
      Well, its been over 300 hours on the GAT S2...fantastic.

      - the 'G-R-I-P' of the GAT S2 is one of the most noticeable improvements. Calling the GAT S1 'slightly sloppy' by comparison is outrageously unfair to the GAT S1...but that was the first that came to my mind when trying to articulate the difference.
      - Complex passages, upper bass drums where I have always struggled to damp, control...seek out where that extra little extraneous-seeming upper bass vibration or looseness was coming from...it was the GAT S1. I always wondered about that, and S2 has proven it to me
      The best way I can compare Series 1 and Series 2 is based on an analogy to what is called 'fingering' when studying piano:

      (Fingering which refers to the technique and placement of fingers on the keyboard when playing. Fingering technique informs various things like your ability to play all the notes clearly without muddling them inadvertently. Sometimes younger, more inexperienced pianists play more complex pieces, and certain notes get smooshed together because the young pianist does not have the fingering technique/strength/articulation of fingering to play the notes at speed one at a time or with sufficient articulation between notes...and the notes end up being played on top of each other instead.)

      - The Series 2 has significantly better fingering technique than the Series 1. Probably the difference between a 9th grader playing a piece, vs a freshman in college.
      - Much better articulation of musical lines, deeper carving of musical expression
      - A good example is on a Fink live concert album, there is one line where in addition to the lead singer, one of the other artists sings along with him for 5 words. i have heard this track hundred times and never noticed that...and literally while just typing this and not paying attention, there it was...the 2nd singer for 5 words...clear as day. Perhaps its easily heard (when listening for it) on Series 1...but all i can say is...i've literally never noticed it
      - GAT 2 presents music as simply ROOTED/PLANTED.
      - Best examples:
      - Glenn Gould Variations (1981)...one of my reference CDs. The piano is one of the best recordings in that the better the system, the more and more it reminds me of the hours i spent in front of the keyboard practicing. (but it can also sound awful in the wrong system...not sure how/why...it just does.)
      - GAT S1: Excellent sense of pace, tempo, clarity...BUT there is a slight ringing/resonance when notes start flying at speed. Like when someone moves slightly just as you take a picture
      - GAT S2: The keys have greater power/solidity, the 'ringing/resonance' is gone when notes fly at speed...they just go faster with precision. Equally, what i like is that the full spectrum is more balanced with upper bass, upper treble and lower bass all starting to have more equal weight in the the presentation of the music spectrum.

      - Anne Bisson: Yes, that crazy over-played 6th track...but those initial drum hits are truly clearer now....wont bore anyone with details. But I listen to these very carefully, and no doubt the S2 hits slightly harder, but the 'whack' is more defined, with a quicker impact but also a bigger, 'meatier' impact because it follows thru the entire strike from beginning to end. Very cool discovery.

      Tonal Colors: greater colors...meaningfully but not really the most noticeable part today

      Deep Bass: far, far tighter, more propulsive but mainly far, far more detailed and in control
      Glad to hear the update worked out.

      I'd also say that anyone who thought the GAT's bass was sloppy before didn't have the preamp properly isolated. For whatever the reason--and it's only two tubes--the GAT really requires proper isolation. Placing the SRA Iso platforms under the GAT greatly improved the original unit's low end, dynamic and transparency.
      Myles B. Astor, PhD, Administrator
      Senior Editor, Positive-Feedback.com
      ________________________________________

      Magico S5 Mk.2 speakers, cj ART monoblock Amplifiers; cj GAT preamplifier Series 2; Doshi V3.0 phonostage; VPI Vanquish turntable/12-inch 3D tonearm/Lyra Atlas SL, Ortofon A95, Charisma Reference 2, vdh Colibri Signature, MOFI Master Tracker, Fuuga cartridges; Technics RS1506 with Flux Magnetic heads/Doshi V3.0 tape stage run balanced; Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, MG Audio, Audience Au24SX, Genesis Advanced Technologies Power Cords. Stillpoint Aperture panels, MPod Magico feet, 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.

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