I have had to let go of several long held beliefs as I have continuously improved the synergy of the system. Therefore the title.
Dual mono tube preamp/line stage in the system above 160Hz.
PS A DirectStream, Jadis JP-200/800, dual chassis line stage through Aural Thrills AC tube powered interconnect, and from line stage to amps with tube powered active shield interconnects.
Tubes in or near the front end and the same for the rear. Tubes on the stats. H-class SS on the woofers and, D-class amps built into the subwoofers. D, but mostly tubes.
8 tube head amp/pre-pre amp, Phono 8 tubes, 6 tubes each line stage, Mono block amps 14 tubes each. interconnects 1 tube ea.(three sets)
59 tubes total, driving Prodigy stats, with lots of SS grunt on the woofers and paired active subwoofers.
Most of you are too young to remember the pull down turntable with built in speakers, and sometimes tuners, back in the 60's to spin our vinyl.
Of course we all eventually progressed to separate turntables with a receiver and separate speakers.
Of course then transitioned into a a separate preamp and power amp.
Some of us even moved on to mono amps. And preamps with a separate phono section, and line section. And possibly a separate power supply.
So, this is a block diagram of all my separate pieces.
Jadis JP-800
Built in China and sold as a Jadis JP-200. The JP-200 was a four chassis preamp full function (phono included) using 12AX7's. However, this is a line section only preamp. The four chassis JP-800 was built around 12AU7's. I have the additional chassis and parts now. But I will probably never build the separate power supply chassis because it sounds so good now. All the line section 12A*7's in the left and right line sections have been replaced with three 12SN7's , and the coupling caps have been paralleled with large US NOS PIO caps. Therefore this is closer to a JP-800 clone with a digital readout.
Jadis JP-200
Dual mono (two chassis) using the Lite Audio L's Audio A28 chassis with one LSD-Y power supply each and a single channel JP-200 clone. Tubes are NOT as spec'd, but rolled with US NOS. Line tubes 3-12SN7's , regulator and reference tubes 12bh7, and 12B4A. Russian rectifier/diode tube. All NOS.
PS Audio DirectStream DAC
With the latest firmware - Redcloud
HP Touchsmart 520-1047c
Dedicate as the music server. Runs Fidelizer, and jRiver for graphics interface. Files played from memory.
Audio by Van Alstine Bridge - Stereo to monoblock
Van Alstine engineering prototype bridge. Coverts two stereo amps to monoblocks with twice the voltage swing to the speakers. Theoretically 4 time the single stereo power, real world something over 3 times.
Cary Audio Design CAD-280sa, V12
A pair of these, bridged as 325 watt mono blocks. 2-6sn7 input tubes and 12 el34's per amp
Martin Logan Prodigy
Prodigy with Blue Analine side panels, and DIY oak perch on the left side used for mouse and remotes.
ALL passive crossover components bypassed. Therefore, active electrostatic hybrids powered by 325 watt tube mono blocks.
These huge "headphones" with powered subs are wonderful, and have to be heard, as setup, to truly understand and appreciate.
Behringer EP4000
H Class AB, MOSFET amp monoblock. One channel only directly driving Prodigy woofers in series. 550 watts RMS into nominal 8 ohms. Used from 160 Hz to 45 digital crossover, 48 db slope.
Behringer EP4000 monoblock
Second H Class AB, MOSFET amp monoblock. One channel only directly driving Prodigy woofers in series. 550 watts RMS into nominal 8 ohms. Used from 160 Hz to 45 digital crossover, 48 db slope.
Martin Logan Depth - pair
The three 8" woofers move the air of a 13". The D-class amps are optimized for the task and lots of crossover and volume control with each sub makes them a perfect match for the Prodigy, in my listening room. Digital crossover to input @ 45Hz to 25Hz LR 48db/octave.
Counterpoint SA-2
Tube rectified head amp, moving coil step-up amp. 8 tubes
Conrad Johnson PV-5
This is an 8 tube classic from the "80's". I use it as a dedicated phono preamp. The phono and line sections have about 70 db of gain combined. It will work with moving coil. Currently being used with the GAS moving coil.
Linn LP-12 Valhalla
If you are a Linn die hard you will NOT like this one. Bottom is off. Rubber feet are gone and three cones in their place. Damping on the platter and subplatter. Armboard replaced with plexi and bolted to subchassis. Tonearm "floating" on armboard. At least those are the major changes. Oh, and Boston record mat.
Phono(Counterpoint SA-2, CJ PV5, SCR2496, DEQ2496, digital preamp PS Audio DirectStream DAC, JP200's to stat tube amps, PS Audio to woofer monoblocks. See the individual pieces below.
GAS (Great American Sound) Sleeping Beauty
Currently in service. GAS Sleeping Beauty, MC cartridge Manufacturer: The Great American Sound Co., INC., USA, actually an OEM cartridge made for them in Japan by Coral. The Sleeping Beauty was a rebadged Coral 777EX Principle: Moving Coil (MC Output voltage: 0.3 mV Frequency response: 10 Hz - 35000 Hz Tracking force: 1.3 - 2.0 g
Koetsu Rosewood Mk II NOS
Currently out of service because of a lost tip. :-( I had a Rosewood back in the late 70's with an Audiocraft AC300 on a Linn.
I went through a few cartridges and a few tables and arms before I made it back home to a Rosewood, Linn, and Audiocraft.
Grado Signature 8MR
Now in retirement in favor of GAS above. For decades, the Grado name has been synonymous with providing affordable cartridges that hint at the performance of expensive moving-coils. Although Grado Labs founder/designer, Joseph Grado may be best known for inventing the moving-coil cartridge, and for marketing moving-iron cartridges in the 70's that were more expensive than any moving-coil then available in the US (that is until the original Koetsu Rosewood broke the four digit price barrier), his greatest impact on the affordable market was the introduction of the Signature 8 cartridge in the early 80's. This $200 reference moving-iron design represented a drastic price reduction from his previous decade of efforts and had few glaring flaws. It's smooth tonal balance, superb dynamics and resolution of detail, and soundstaging capabilities competed with many more expensive moving-coils of the day. All of the Grado cartridges shared a rich, seductive midrange that made them attractive to audiophiles who cherished realistic vocal reproduction.
Audiocraft AC300
This 1970's vintage arm is Still a good match for my Rosewood or GAS. But it is even a better arm now that it sits in a VTAF.
Peter Riggle Audio Engineering VTAF
What can I say that has not been said. Just check his website. Link is here; http://www.vtaf.com/vtafdescription.html
Boston Audio Design MAT-1
Carbon fiber mix
Audioquest Sorbothane Record Mat
Sits on platter UNDER the Boston
Behringer DCX2496
Crossover - digital domain - 48db/octave at 160Hz and down to 25Hz. Used for woofers and subwoofers only.
Behringer SRC 2496
Behringer's very inexpensive sample rate converter. Used to digitize the CJ PV5 at 24/96 to the PS Direct stream DAC for bass ONLY!
ANALOG from cartridge all the way to the stats!!!.
Behringer Ultra-Curve Pro DEQ2496 - Currently NOT in system
Available on the web for $350 or less. The Behringer Ultra-Curve Pro DEQ2496 offers 4 concurrently selectable EQ modules: 31-band graphic, 10-band parametric, Feedback Destroyer, and 3 dynamic EQs per channel. Other highlights are the 61-band RTA that can run simultaneously with the EQ section, high-quality 24-bit/96kHz A/D/A converters, and 2 high-performance 32/40-bit floating-point SHARC digital signal processors which yield ultimate sonic resolution and 113dB dynamic range. Multifunction level meters, 64 user memories, RTA mic/line input. Balanced inputs, servo-balanced outputs with gold-plated XLR connectors, stereo aux output, and AES/EBU and S/PDIF I/Os (XLR and optical)
Locus Design Group Polestar
The Locus Design exclusive Complect braid of ultra pure CryoFreeze treated DCT-UP-OCC conductors and Teflon air tubes make up the inner design of the cable. Over this base a tinned copper weave and strategic use of ERS fabric is added for shielding and additional damping. Finally, a layer of Multifilament nylon is pulled over the complete assembly for extra damping and aestethic appeal.
Aural Thrills DC Tube ACS
12AU7 twin triode tube amplifier. It is powered by a AC-DC wallwart converter and the output of the tube amp charges the shield to about 50 volts. With the wrong tube it is not that special. With the right tube. WOW
Aural Thrills Tube Powered Active Cables
to follow
Aural Thrills Tube Powered Active Cables
AC version of the interconnects with NOS 12AU7. Tom Kenny's statement to me, "If the DC version is a 7 than the AC is a 10". He is correct! :-)
Van den Hul The First Ultimate - etc.
Carbon interconnects!!! Lots of pairs of The First Ultimate, and MK II. 0.8 to 3 meter pairs. Using one for pair from TT to phono in. The rest are currently retired.
Cardas Helink Golden 5-C
At one time Cardas' top of the line speaker cable. From EP4000 monos direct to woofers
Audioquest Volcano 144v
From the Zero boxes to the Prodigy stats. Four foot pair, upgraded to 144v system. Audioquest sold the 144v version for a short while. It has been explained to me that UL had a problem/requirement for something at that voltage level. Apparently the improvement in sound was not be enough to make AQ jump through more UL hoops.
Alpha-Core MI-3 Divinity
Nice beefy cooper from the Behringer mono blocks to the woofers.
Blue Circle BC68
The BC68 is essentially a BC62 power cord with a built in line-conditioner equivalent to two BC86 MKII noisehounds. It was developed and serendipitously used with some Matin Logan electrostatic loudspeakers. Now in the MkIII iteration http://www.bluecircle.com/page88.html
Virtual Dynamics - kinda Master Series DIY 6 awg
These huge 6 AWG!!!! solid core/single strand AC power cords are real BANG for the BUCK!($70 cost) Here are threads to details and construction; http://forum.audiogon.com/cgi-bin/fr.pl?htech&1242155869&openmine&zzBruce_weiland&4&5#Bruce_weiland http://www.carveraudio.com/phpBB3/viewtopic.php?f=39&t=11564&start=0
Equi=Tech Son of Q
I use two of these balance AC transformer conditioners. Took care of ALL of my hum problems that I had battled for year. Lowered noise floor.
BPT Balance Power Technologies BPT-2
BPT-2 balance AC power transformer, small, older unit for analog front end.
DIY Sound Flags
A cross between Michael Green's room tunes, and ASC's sound flags. Standard fiberglass wall insulation cut into triangles, with a cheap fabric triangle "pillow case like" cover.
Because of the huge decrease in physical space allotted for my audio (2x3 sq ft), I am going to a headphone based system.
Yes, I know. I need to go wash my mouth out. LOL
Because of ongoing technology improvements this is finally acceptable to me. I am finishing acquiring the pieces now.
So this will be the initial setup;
My current PC server to the HDMI input of a Smyth A8 Realiser and from that using Toslink optical to a PS Audio DirectStream DAC. This bypasses the A to D and D to A in the A8. From the DAC using tube powered actively shielded interconnets to a King Sound M20 OTL all tube, electrostatic headphone amp, both tube and power cord rolled, driving a pair H-03 electrostatic headphones. And.... one Martin Logan Depth active sub.
Final power cord compliment for each system piece will be determined experimentally.
AC is first regenerated from the wall through a PurePower 1050 and then balanced through a Equi=tech Son of Q to feed the entire system.
Well I have started to acquire what will replace almost all of my stuff.
The vinyl will stay the same through the PV-5, but with the Rosewood retipped, and a Counterpoint SA-2 for step up.
The computer server will remain unchanged, for now, as will the USB cable.
There will be a USB to HDMI converter to get the signal to the Smyth A8 Virtualize and then optical to a PS Audio DirectStream DAC. This by-passes the Smyth A to D and then D to A.
Tube powered actively shielded interconnects to the King Sound M20 OTL electrostatic tube amp, tube and power cord "rolled" to H-3 headphones.
Everything else will be sold. Oh, except one of the Martin Logan Depth subs.
Digital crossover in place. Being used as a two way for bass only from 250Hz down. 20 to 40 to powered subs and 40 to 250 to SS mono-blocked woofers. 48db/octave LR
All passive crossover components bypassed to the woofers and the Electrostatic panels.
SS amps direct to woofers.
Tube amps direct to crossoverLESS elctrostat stepup transformers.
Currently panels rolling off passively. Next step is some EQ roll off at the bottom of the panels (250Hz) but NOT with the DEQ2496 Behringer.
The A to D and D to A opamps in the DEQ2496 are not transparent enough in the midrange.
System edited: I was running from the DAC-2's RCA outs to the Phase 1000 and of to the Behringers with speaker wire inputs from the Behringers to the ML Depth subs. However, now I go to the subs from the Phase and us the sub's high pass at 35 to the Behringers that are passively biamping the Prodigy woofers. Cleaner through out. :-)
System edited: Now passively bi-amped with Volcano/Goertz MI 3 shootgun to stats with Manley tube mono blocks in triode. And Cardas with bridged Behringer EP4000's to the Prodigy woofers. :-) :-)
System edited: Biamped system with a pair of Behringer EP4000's bridged to mono to supply 2,400 watts per channel into 4 ohms for the Prodigy woofers from 30 to 250 Hz.
System edited: I recently bi-wired the system. I had read many pros and cons on bi-wiring, and in my system bi-wiring was never an improvement. That includes with my current speakers, the Prodigy (now in the system for 7 years). However, much has changed in my system over the past few years and I took another run at bi-wiring. Cardas on the stats and Audio Quest on the woofers was NOT as good as a single run of the Audio Quest Volcano and my 6 awg copper jumpers. But............ AQ on the stats and Cardas on the woofers just blew me away. Without a doubt the best sound I have had so far. Amazing ambiance, sound stage size, nuances, and musicality.
Ok, I know, I know, there has never been a "12B" model. I will get to that in a bit. First let me get the shields up captain.
I must confess to my rudimentary electronic skills. I can use a VOM, am only moderately good with a soldering iron, and know the theory behind caps, resistors, diodes, etc. Yes I know Ohm's law. Other than that I am just an audiophool/phile tweaker.
Therefore you real engineering types that KNOW putting in (rolling) a tube type that a circuit was not designed for makes no sense without a change in values of resistors, and caps can stop reading now.
And those of you who know/believe that caps, etc. cannot make any difference in the sound, except to us audiophools, can stop reading too. Spend your time doing something you enjoy more, except if those activities include attacking phools like. You don't need to waste your time doing that. I won't respond.
OK. Shields are up. :-) Now let's get started.
I have been spinning vinyl since I was 3, and chasing audio nirvana since returning from the Corps at age 22, 44 years ago. I am sure I will continue for many decades to come.
The preamp I am about to describe sits in a system using big tube amps, big electrostats, powered subs, and massive AC power conditioning.
It started life as a Chinese Jadis JP-200 "clone". I use the term clone somewhat loosely, because it had only two chassis, not four as a real JP-200 would. The chassis, unlike most two chassis preamps, were not line section, and separate power supply, but rather a left chassis and a right chassis. Additionally, it had/has a 3310 chip based remote input selector, volume, and mute. Which is not unlike many very expensive preamps, Roland to name just one. Because it consists of a left and right chassis, and therefore separate volume controls, that can be used for balance too.
There were two owners before me. I was able to pick these preamps up for $630.
Each chassis has four separate boards and two R-core transformers. They contain an LS-DY tube rectifier, regulator board, supposedly patterned after an ARC design. The tube complement consists of a Chinese 6Z4 rectifier (similar to 6X4 but different pin out), a US made NOS/used(?) 12B4A, and a Russian, new production EH 12AT7. The R-80-31 transformer supplies this board. It also has a LM317 for 12.6 or 6.3 filament regulation (it is set for 12.6) for the line stage board.
The Jadis cloned line section board contains three EH 12AX7's. To shorten the story some, and not bore you with all the tubes I rolled, suffice it to say I tried a lot of 12A*7 types and brands, AU and AX, Bugle Boys and others. AT's did not work well.
Knowing that many had said that most 12BH7's were every bit as good as the best 12AU7's in most circuits, and that being my experience too, I decided to put two in the output positions. As the younger generation would say, OMG! Talk about ambience recovery, and filling out the lower midrange and bass, while still maintaining excellent image. WOW! It did it. And more nuances were coming through too.
I eventually rolled 12BH7's into all three locations, with improvements with each 12BH7 added. The power supply has sufficient filament current to supply all three 12BH7's at 12.6 volts, with current to spare. The three tubes need 0.9 amps. The LM317 is protection limited to 1.5 amps.
There are two boards dedicated to the remote volume and digital display and a separate R-core transformer for those two boards.
While rolling 12AX7 types I inadvertently rolled 12AX7's into the 12AT7 position on the power supply board with resultant better dynamics and separation. I went back and forth several times with different AT's and AX's. The AT's always seemed to compress the dynamics and homogenize the image some.
After a few weeks of listening I had a hair brain idea. What if I put a 12BH7 in the AT position of the power supply? Oh, I forgot to mention that I had purchased a pair of adapters so that I could use US made NOS 6X4's in place of the Chinese 6Z4's. I put in 6X4's from day one.
Anyway, 12BH7's in the power supply worked their magic again. This is where the "12B" model name comes from, four 12BH7's, one 12B4A, and a 6X4 in each chassis.
One further mod. The pair I have has Solen SCR pp coupling caps at the output. I paralleled two NOS US made PIO 1 uf, 500v caps in each chassis. Nice improvement. :-)
I have had both active and passive units in my system through the years. I have had SS and tube units in the $5,000 to $6,000 range. My current preamp setup is synergistically MUCH better than anything I have listened to in my system, so far.
Now, what is next for these preamps?
Well why not four chassis as the original $30,000 to $60,000 Jadis. So, I have order two more chassis with power buttons only.
Taking the PS out of the line section box has the potential to further lower the noise floor, which is already very low. However, there are some additional benefits. The chassis are all full sized, 16x13x4. By moving the two transformers and the power supply board out of the "main" chassis I get the additional space to play around.
I have ordered an additional pair of transformers for the tubes to give me twice the potential current capabilities. I have also ordered enough capacitance to increase the PS reserve by a factor of 10. Of course there would not have been enough room in the current chassis to add such big caps. I will also have more room in the line section to play with more interstage coupling caps.
Stay tuned (pun intended) for further developments.
System edited: New digital playback software. Already using jPlay 4.3a. Just upgraded from Windows 7 to Windows 8 Pro, and from MC17 to jRiver Media Center 18. :-)
System edited: No longer using ribbon super tweeters. Damping back wave directly behind the stat panels with double thickness of bath towel. Tighter image focus, more depth, width, and focus. :-)
System edited: Looks like I inadvertently deleted my computer server. I still need to update the phono cartridge and will ad the server then. Plus the overall system pictures need updating.
The speakers are angled in more than 45 degrees. They don't point directly at each other, but do point at me. I sit almost between them. The inner third of the panels (the preferred listen portion of most Martin Logan's) are pointing right at my ears, and each ear is about 24" from that stat.
Obviously this is an EXTREME near field listening position.
The Prodigy are 5 feet from the wall behind them and 3 feet from each side wall. When using the system for background listening (since the audio room connects directly to the family room) the speaker placement is not a problem. When listening critically, or for the "bathed in the sound" experience it is of course a single listener system. Very much like great big electrostatic & ribbon headphones, but with balls (a pair of powered subs) and whole body enjoyment.
While the single person nature of this setup may not be everyone's cup of tea, there are a number of very distinct advantages to near field listening.
The first is system/room interaction. Because the back wave and the front wave have to travel such a long distance to reflect off of surfaces before returning to the listener and the ratio of that time delay compared to the initial wave to listener ear is so great, room interaction with the system is GREATLY reduced.
As you can see from some of the pictures, I have still treated the room for acoustics. EVERY system benefits for treating the room. You will see many on this forum state that treating the room should be done before, changing a piece of equipment, or a cable, or treating AC, etc. I have to agree with them. A room can certainly ruin a very good system. I have seen/heard it happen more times than I care to remember.
Another benefit of near field is total system headroom. Speaker efficiency, or more accurately "sensitivity" is generally stated at 1 meter and 1 watt at 4 ohms. For every meter one sits further from the speaker an additional 6db of power is needed to achieve the same volume. And of course for every 3db of dynamics above whatever the stated sensitivity is one needs double the power to attain that volume. Put these to realities together and you find that many amps are clipping with the dynamic peaks in the music. And that thousand watt per channel amps DO make sense, just not "cents" for most peoples pocket books.
Near field listening, especially with big amps, give most systems a great deal of "easy". When one is efforting to create an experience of being there, effortless dynamics are very important. This system has them in spades. :-)
System edited: After several attempts over the past few days, and a half dozen today, I was some how able to get into my virtual. I tried a number of work around's. I am not sure if I an reproduce the work around. I will try tomorrow. Audiogon has finally contacted me about this problem. Good for them! :-)
System edited: Sometimes it works, sometimes it doesn't. The Audiogon Virtual system links. But that is a big improvement over not at all. :-) Deleted a few items, will add the AC version of the tube interconnects soon.
Now the AC version -- Tom (Kenny) mentioned that "if the DC version was a 7 then the AC version was a 10!"
I finally bit the bullet and ordered the AC version of his active shielded interconnects. Unfortunately he had some health challenges that delayed his ability to construct these "one at a time" wonders.
But eventually they came, and Oh Boy! Was he right.
Now, damn it, I will need a few more of his AC wonders.
If the sonics he describes on his website interests you, definitively give a pair a listen, WITH A GOOD NOS TUBE.
Bruce
PS I have ABSOLUTELY no financial interest in Tom's business, with the exception that I want it to continue so that I can purchase more of his wonderful stuff.
I have a LOT of VdH, but am simplying my system and may be selling some soon. And like you my first "The First" was in the 90's when it "first" became available.
Nothing I had used in my system sounded as good, including several runs of Audioquest Sky, until........
I tried Aural Thrills (Tom Kenny) DC powered vacuum tube active shield interconnects.
I think his description on his website does a darn good job of giving one an idea of what they can sound like. And.....
I tried the tube socks, but they cut off the circulation to my feet. :-) lol
Actually I have not tried tube socks but I have tried some ARC OEM rings and some DYI rings and I did not like what they did. In my system they kind of killed the sound.
Made the system less ambient and life like. Maybe more accurate, but not more "musical".
Yes you are. I have had the Aural Thrills tubed DC IC's for awhile. Just received my AC version last night. Have not has a chance yet to connect them and start burning them in.
Well crap!!!!! I have made some system changes. I went to "MyPage" to update this virtual system and the link no longer exists. 10/2011 all over again. Damn!!!
System edited: It has taken me hours to reconstruct my virtual system. I have saved the pictures and descriptions on my hard drive, this time. I Audiogon looses my links again, it won't take me so long to reconstruct. Not all descriptions have been recreated, YET. Stay tuned.
Some months ago the links to my virtual system some how mysteriously broke. At first support was able to re-establish them. After they disappeared again the result has not been as good.
Here is my old virtual system. It is no longer linked to "My Page", nor are the descriptions or individual pictures there.
I am reestablishing that now. Here. The old link does have discussion starting back in January of 2008.