Overview Dynaco, PAS 3, Conrad Johnson PV-5,

For all pics, click to enlarge. L: innards of my bone stock PAS 3.

Dynaco PAS 3, Part I
Overview: Dynaco
Letter from NYC (81) 2018 (7): PAS3 vs Conrad-Johnson PV-5

Dynaco PAS 3, Part II had been published (here). It dealt with all my modifications, some so unconventional that it just may surprise you.

Communication Woes I detest it when people talk loudly and incessantly on the phone in public. In HK and China, many chat loudly away in public, even in the closed confines of subway cars and buses, much to my annoyance. The US fares much better. Here I believe the telephone conversation is going the way of vinyl - that is, not dead but a minority activity. Texting is more instantaneous and in widespread use. It is almost rude to call someone, one of my friends says. As I write, a TV ad against texting while driving flashed on the screen...

Not when it comes to Audiophiles. Our long conversations tirelessly scrutinize every component and combinations. I am not the worst example, but am not completely immune. In NYC, I frequently call (though I keep them short) Andy to discuss the audio issues at hand, which is how the idea of resurrecting my Dynaco PAS 3 came about. I don't remember exactly how. I think we were talking about the Citation I and Andy reminded me that the Cathode Follower so favored by tube designers slow down the sound. The PAS 3, like our beloved Citation I, does not have one. I decided to dig out mine for a reappraisal.

"If there is one name in Hi-Fi which is synonomous with excellent sound, and at the same time with excellent price, that name is Dynaco." (from TNT)

Overview: Dynaco

• Background Read this comprehensive wikipedia entry on arguably THE most famous tube company of all time. Many people, including industrial professionals, got their first taste of tube audio from Dynaco, at a time when solid state started their domination. The HUGE amount of information and after-market products and support on the internet testify to the excellence, indeed immortality, of the products. The reader can easily search for any info on any Dynaco product, so I need not elaborate.

• Online Resources, Mods and HiFi Lore As the stuff were bargain kits without frills, mostly home-built and easily available, they were, and still are, undervalued. You know, cheap stuff, no matter how good, do not engender pride of possession, an unfortunate human trait. This leads many people to buy and modify Dynaco for fun, to satisfy their own DIY penchants and David vs Goliath mentality (whereas few would do drastic surgeries on, say, a Marantz or McIntosh). What matters more to me, however, is how perceived monetary value undermines the objective assessment of their true sonic merits. As an example, is Dynaco PAS 3 vs Marantz 7 really David vs Goliath? I think not. But many of the DIY people and mod squads buy into this line of thinking, partly because they have been taught so (for people who supposedly are thinking outside the box, many of them have a surprisingly herd mentality) and partly because many of them do not have much experience with more expensive gear nor high end audio. The internet can provide any number of instructions on how to do this and that. Aside from basic restoration, you are urged to defeat the tone control, remove the selenium rectifier, beef up the power supply, use expensive caps, improve the speed, firm up the bass, make the RIAA flatter, add stages and stand up to perceived Goliaths. All of these promise improved sound, but should you believe in all of it? Based on my experience with mods, exercise caution and restraint. I have yet to hear a wholesale mod of anything that sounds good. Also, our beliefs in Google are seriously challenged these days - it buries the small voices, much dissent, and the Google algorithm is no less commercial than advertisements as it is calculated to increase traffic and income. When you get tired of the monolithic views prevalent in most popular and most googled sites, perhaps you can search in audioreview user reviews, which offer capsular opinions that are much less didactic and more varied.

• Dynaco ST-70 This is THE most iconic product, and deservedly so. As with all Dynaco products, it is a masterclass in economy - in a relatively small footprint, we have a tube rectified (valued by many tube aficionados), adjustable bias amplifier with very good irons. Many people think the treble is too soft, but I disagree and think (given a good specimen) in this parameter it is amongst the best in EL34 amps that I have heard - there is a silken smoothness that is just mesmerizing. People also complain about the somewhat loose bass, which is also why many mods and later iterations switched to solid state rectification, but I think it is the opposite - the tube rectification makes the amp more wholesome. I think it sounds better than the Marantz 5 and gives the Marantz 8B a run for its money. In my early years in HK, I had a pair (with the later and supposedly inferior Japanese output trannies) and it produced delightful sound with a DIY Marantz 7 (constructed for me, before I took up the solder, by an audiophile student) and Rogers LS 3/5A. I still have one in NYC with the A470 trannies, which I occasionally listen to (read my report on the ST70 and 8B driving the Maggies). Maybe it is time to resurrect it in view of my PAS 3 project.

• ST 35/SCA 35 I have one of each in HK. They are wonderful examples of EL84 amps, which I prefer to EL34 amps.

• Mark III This is another classic product that offers more power than the ST-70 in small monoblock chassis. Very fine sounding if tubed right.

• FM 3 A marvelous no-frills tuner that is a sonic match for many much more well known tuners (like McIntosh). My specimen is mint and sounds great.

• PAS 3 In shocking ways, my experience with the PAS 3 pretty much parallels mine with the Harman Kardon Citation I. That is, for the longest time, I did not think much of it, but my opinion drastically changed when it was finally used with my horns, but not without struggles! Read on, as it may be a long series!

• Other Products I have no experience of the earlier products, some mono. I have heard quite a few of the solid state products and they all sounded above average. There is some good engineering behind this brand! But these are largely outside my radar.

• Panor and Later Products In the early 90's I heard in HK the Panor ST-70 Series II (in the now defunct Man Yee building), and it did not impress me, but that could be the dealer, which was not known for setup skills. It had divided opinions (panned in Stereophile but well received by TNT). If you google, you shall find out how much furor it had stirred up. I'd think that is par for the course - it takes a courageous soul to try to bring back an "updated" version of a legend. The lesson continues to the present day, right now, when Canadian company Raidial Engineering tries to bring out its Series III (here). Although publicized in trade magazines like TAS, apparently Panor, which seems to still own the trademark, had instigated lawsuits which may or may not have been settled.

Dynaco PAS 3

• Background As with many things Dynaco, there is an incredible amount of info available on the internet. For a manageable background, read radiomuseum and this article titled The Most Important Preamp in The World. The 3 and 3X are very similar and here is a good article on how to tell AS 3 from PAS 3X. My unit is a stock PAS 3.

• Round 1: Initial Impressions I am not sure how many years had elapsed since the last time I heard the PAS 3 - perhaps two decades? Hooked up to my horns, I was quite take aback. Whereas I had remembered it as slow and gray, it was now lightning fast and quite aggressive. The leading edge and transients were very exciting, but the treble was very rough and the preamp could not play loud at all, as it turned strident fast. But I knew: it has potential.

• Round 2: vs Conrad Johnson PV-5 I took it to Kevin's house (equipment more or less detailed here), where it was matched with Conrad Johnson PV-5. As expected, the PAS 3 sounded smoother here but its fast leading edge and weakness at loud volume were still very much evident. Listened at a reasonable volume the sound was very promising, very much more so than the CJ PV-5: while the CJ painted a more comforting broad stroke and bold colors, the stock PAS 3, even when tethering at the edge, revealed a much broader palette of infinite shades and hues, in both tonality and rhythm.

There is a LOT more to Part II. Stay tuned.

Bell 2122, Citation I, and more

For all pics, click to enlarge. Left, Chez Andy. Note Bell perched on top of Cary. Garrard 401 with Odyssey arm in foreground.

Letter from NYC (80) 2018 (6): Making the Rounds

I think I have been a bit under the weather of late, the symptoms even premonitory of S.A.D. (Seasonal Affective Disorder). So what better than to counter with time spent in good systems? That all the visits came with great food and wine made it all the more enticing. Many thanks to Andy, Kevin and Stephen for their hospitality. There is too much to cover, so I shall try to be brief and, sorry (anonymous reader who had left a comment), no food pics (for this post)!

Chez Andy - Bell and Citation redux
Andy had recently gotten himself a pair of Bell 2122 (info here) and spent a great deal of time doing basic restoration on the line section (phono section and tone controls left in circuit). On this occasion, Andy had switched to the Citation I's line section, so it was used as full-function preamp. Equipment has changed a bit since last reported:

Analog 1: Garrard 401/Odyssey tonearm/Ortofon 2M Red (hot-rodded; see below)
Analog 2: Walker Proscenium Gold Signature/Pickering 380 with elliptical stylus
Preamp: Harman Kardon Citation I
Amp: Bell 2122
Loudspeakers: Altec A5 (with JBL 075 tweeter and Entec subwoofer)

Although I had listened to Andy's system quite often, I had somehow neglected to report that for quite a while he has been using the Altec 288 driver (instead of the JBL) with the 515 woofer, so that makes it a bona fide A5 system.

Despite some obvious anomalies, the sound this time was truly inspiring. Every note of Ivan Moravec's Beethoven (Connoisseur Society LP) was clear as a Bell (punt intended). Most impressive were the inner voices, which were never subsumed. The PDQ Bach LP (Vanguard), recorded live at Town Hall, was full of life, yet never strident.

Back home, the Rostropovich/Richter Beethoven Sonatas (Philips) had a much weightier tone, which also benefited the two Jazz LPs, Portrait of Marian McPartland (Concord) and Oscar Peterson We Get Requests (Verve/Speakers Corner). However, I could not quite reproduce the palpability of the Moravec, and the PDQ Bach became a torture LP, which set me on a new quest, the details of which shall follow in a future post.

Chez Andy, the lightness probably had multiple causes: the fast speed and relatively light balance of the Citation I, compounded by the exact same qualities in the Bell amplifiers. But it too threw into sharp relief the sterling qualities of the system, a palpability and clarity that would be very hard to emulate.

We had listened mostly to the Garrard/Odyssey/Ortofon. But it should be noted that the Ortofon Red was specially modified (in particular a shortened cantilever) by Stephen (of VAS, see here). Andy has high regard for it, and I can hear why. Also, Andy loaded it at 100k, which he said smoothed out a rough peak. The exercise also once again reaffirm the exemplary qualities of the Citation I.

The visit was made even better by lunch: excellent lamb and wines! Sorry, no pics!

Chez Kevin
A few days later, I re-visited Kevin (system covered in great detail here). James brought his newly acquired CJ PV 5, and the purported purpose was to compare with Kevin's unit. I also brought my newly re-enlisted Dynaco PAS 3. My impressions will be published in another article.

Keep the Distance! Somehow we ended up re-positioning the smaller loudspeakers. The Conrad Johnson MV-75, so lackluster with the Altec A7, fared better (as it should) with the B&W CM5 and Rogers LS3/5A (late bi-wire version), which are much hungrier for power. Way in-room and free of boundary effects, the bookshelves performed admirably with all kinds of music: soundstage was deep and wide, and images were close to life-size. Indeed, with simpler music one can almost mistake them for the big horns in the back! As expected, the B&W sounded bigger but more diffuse and the LS3/5A more accurate and well proportioned. I was also impressed by the performance of Kevin's second-system turntable, a lesser known Technics direct drive fitted with a humble P-mount Pickering MM.

Many thanks to Kevin for the delicious lunch (fried rice and turnip soup) and hot-pot dinner washed down with a surprisingly good vintage Australian shiraz! Again, no pics.

Whirlwind New Jersey Tour
The next day, the full gang headed for New Jersey. First stop was a short stay chez Paul, an electronic wizard. It was too bad we were only doing drop-off's and pick-up's, as among his goodies I spotted Tannoy 15" Gold, Marantz 7 + 9, Philips CD-1000, Dahlquist DQ-20, Stromberg Carlson monoblocks and much more.

Next we re-visited Stephen at VAS (covered before here). Partnered with Focal floorstanders, the same setup sounded much airier. We were even more impressed by his bespoke MONO cartridge than his very good stereo one. This guy is seriously talented!

After a quick lunch hosted by Stephen, we visited veteran Mr Ma, a well respected electrical wizard. In his crazily jam-packed workshop we listened to Classe Digital/ARC SP 6/Eico HF-20 (modified as power amps) driving Altec 604H's. Sound was very good with simpler material. Littered around the room were, to name a few, ARC CL-60, Meridian/Philips CD100, IMF, R2R decks, Counterpoint SA7 and Radio Craftsman RC-2 (which R bought and hopefully I'll get to hear soon).

As if that wasn't enough, Stephen and his lovely wife treated us to a marvelous Chinese dinner, washed down with an excellent Napa red and a refreshing Riesling. Again, sorry, no pics.

Life is good.

Being Electrically Correct

State of Audiophilia (1): Being Electrically Correct
Editor's Note: New Blog Feature - Cartoons
Letter from NYC (79) 2018 (5)

Here is another new feature. Though my drawing skill is rudimentary, sometimes I like to have a visual element to make a point and, yes, I like to poke fun at audiophiles. So here is the first of my cartoons. For those who don't know, audiophiles have long been caricatured, even in reputable magazines like The New Yorker.

If you do a Google search for "audiophile cartoon" you get pages. And you will think: "...truth hurts..."

Happy New Year, Old Dogs, Loudspeaker Finish

Letter from NYC (78) 2018 (4): Happy New Year of the Dog
Editor's Note: Old Dogs, Mid-Life Crisis and More
Tip in a Capsule (1): Loudspeaker Enclosure Finish 

From an Old Dog A belated Happy New Year of the Dog, the celebration of which traditionally is not really over until the first full moon, which is one of two Chinese equivalents of Valentine's Day! According to most Chinese Astrologist, this year is likely to be better than the departed Year of the Rooster. It better be for this Goat! And, dear readers, may you finally achieve that elusive audio breakthrough! Not 10% better, not 30% better, but ∞ better! May your throats grow lumpy and tears roll down your cheeks every day!

Dog Pig Men are often called Pigs, which is unfair to the much maligned animal that occupies one of twelve places in the Chinese Zodiac. Given our collective penchant for the Deadly Sin of Gluttony, we deserve the allocation. Many people I know can fill a basement or two with equipment, much in disuse, disarray and disrepair. I am guilty as charged, but perhaps no more than women who just pile up different things that have even less of a chance to be used. Why should I, and why do I, still long to make the round and dig through vinyl piles, when I have enough for several lifetimes? It is for sure a malaise, one that could only be kept at bay by infirmities, not will. At this point in time I could still lift an amp and do not quite yet wish to be cured.

Be Green Being mainly a purveyor of second-hand, even unwanted and unloved, items give me some kind of justification. My take of the audio hobby is consistent with my otherwise reasonably green credentials (I get only e-statements, use only a few sheets of fresh paper a year; I don't even own a printer and in general don't create much new waste). Yes, the tubes (and I use a few) waste a little more electricity than usual, but that is nothing compared to the environmental waste perpetrated by people who make or buy big new amps (Boulder, D'Agostino, Constellation, Soullution etc etc), loudspeakers (Magico, YG etc etc), even interconnects (MIT Oracle etc) milled from large blocks of aluminum. Collecting old equipment and physical media also gives me the satisfaction as it has a cultural aspect that is much undervalued in this age. When all the unworthy noise about the latest "advances" of our generation (particularly in digital, be it hi-res, DSD, MQA what have you) has subsided, there will still be discerning people who value vintage (old LPs and equipment) and, many years from now, the latter will have outlasted in durability and value those aluminum blocks. Can you name more than a handful of solid state "legends" that still work and have rising second-hand value after a good number of years?

When Old Dogs Learn New Tricks Perhaps for good reason, old dogs stick to their preferences. When they do venture out of their safety zones, anything can happen, usually to mixed results. I have known quite a few tube people who ventured into various types of solid state equipment, be it undervalued vintage, boutique modern hi-end or cheap and cheerful D- or T- amps (the last includes myself) - aside from perhaps a somewhat different perspective, none to my ears could rival, not to mention surpass, tube magic. More puzzling to me is the old analogue man who adds Computer Audio to his source: not for the act per se, as I can see the fun in novelty, but for the Herculean effort to rip their CDs into files and make them sound as good. These people have good analogue setups and CD players (and large libraries of LPs and CDs) but to my ears (though they may proclaim otherwise) their CAS at best are only close approximations of their analogue front ends (forget about reel-to-reel, a even greater divide there) and usually no better than CD playback through their (good) red-book CDP. Every time I think to myself: "this is protracted Mid-Life Crisis" and "Old Dogs should not learn new tricks". Yours truly will stay an Old Dog.

New Blog Feature One of my problems is I am quite obsessive when it comes to writing, so articles often take too long to write and may even morph into bigger things of less manageable proportion. So I have decided to start a new feature called Tip in a Capsule: these would be short blurbs on my beliefs, written on the whim, without much exposition or citation. Read it at your own peril. To group these close to "HiFi Basics", these would also be labelled "HiFi Basics" but followed with "/Tip in a Capsule". Here is the First One:

Tip in a Capsule (1): Loudspeaker Finish 

• The Finish Makes a Difference We are talking about the same loudspeaker. We are not talking about different color paints (like the many painted colors available from many modern loudspeakers). We are talking about different types of Finish and Veneers. This is experience based upon a lot of listening to certain very popular loudspeakers like the LS3/5A and Sonus faber Concertino, among others. The difference sometimes is surprisingly big.

• WORST "Piano" Finish The Piano Black versions of the KEF LS3/5A and Sonus faber Concertino, mostly for the Asian market, were (and are) very popular in HK, and I have heard tons of them. To my ears, compared to their wood-veneered siblings, they sound less relaxed. Moreover, those fingerprints are just annoying!

• BETTER Rosewood/Ebony For LS3/5A, the Rosewood (and rarer Harbeth Ebony) finish is arguably even more in demand. To my ears, they sound better than piano black, less uptight, but still not the best. I do like the looks of the older rosewoods and Ebony, but most of what we see now are not genuine and I'd pass, for visual as well as sonic reasons.

• BEST Walnut/Maple Though less fashionable today, these are the most traditional and sonically superior veneers. The treble and bass are usually slightly less extended or controlled than Piano Black (or Rosewood/Ebony), but these finishes sound more relaxed and musical.

• Exotic Finishes (like Birdseye/Bur(l) Maple) usually are more expensive but do not sound superior to cheaper Walnut/Maple. Moreover, the lighter colored ones age/oxidize less gracefully. I'd pass.

• Knock on the Wood Different finishes yield a different feeling when knocked upon. Contrary to most reviewers, I think the deader it seems, the deader the sound.

Altec A7, Bell, Grommes, WE 285L, Langevin 402B, Ortofon MC-5000, T-20

Click pic to enlarge. Bottom Row, Bell Amps; Middle Row, C-J PV5 to the left and Premier 3 to the right; Top: from R, C-J PV-75, Grommes Amps, Sun Audio 2A3.
Two 6V6 Amps: Bell 2122 and Grommes Little Jewel LJ5
Ortofon MC-5000 Cartridge (vs Ortofon hot-rodded 2M Red)
Three Step-Up Transformers: Ortofon T-20, WE 285L, Langevin 402B
More Horns Without Pain: Altec A7
Letter from NYC (77) 2018 (3): The Amazing 6V6

After hearing the A5, barely a day had passed when Andy and I visited Kevin to hear the A7 (previous visit here.) Equipment had changed a bit. Through a mutual friend, he acquired an Ortofon MC-5000 which had previously belonged to me! Before I left for HK last time, I had also lent him my Bell 2122 and Grommes Little Jewel LJ5. For this round I also brought with me the WE 285L and Langevin 402B SUT's for fun. Equipment:

Analog: VPI Prime; Arm 1 with Ortofon 2M Red hot-rodded (MM); Arm 2 with Ortofon MC5000 (MC)
MC Step Up's: Ortofon T-20, WE 285L, Langevin 402B
Phonoamp: Conrad-Johnson Premier 3 (using Tape Out)
Preamp: none for Bell 2122; C-J Premier 3 for Grommes LJ5
Amps: Bell 2122 and Grommes LJ5
Loudspeakers: Altec A7 augmented by JBL 075 as supertweeters and an old subwoofer

Here I shall detour to write briefly on what I know of 6V6 tube and amps. As power rube, the 6V6 is famously still used in guitar amps, but now rarely in hifi. I probably know and have heard more than most audio tube aficionados, as the 6V6 tube's low power precludes useful applications with conventional loudspeakers, which won't do it justice like an efficient horn would. And that's a shame, as it is one of the most wonderful tubes!

Overview: 6V6 Tube and Amps

• 6V6 Tube Astonishingly, the 6V6, like the 6L6, has been in continuous use since its inception in 1936 and, if I am lucky, I will get to witness its centenary less than twenty years from now! For a surprisingly good history, read this wikipedia entry. Sonics The intrinsic sound of the 6V6 can be described as possessing uncommon clarity and lucidity (that other tetrodes/pentodes struggle to equal, let alone surpass). In fact, some knowledgeable old timers in HK regard this tube as 琴王, meaning "violin king", nonpareil in the portrayal of the violin (or other stringed instruments). On the other hand, perhaps due to its low power, it often sounds a little lean in the bass. Like the 45, there are a huge number of different old stock 6V6s out there, and almost all brands and constructions sound very good. 6V6G vs 6V6GT As usual for G vs GT, the earlier and larger G (ST type) has a warmer sound than the smaller GT type. However, to me (as we just found out, at Kevin's), the 6V6G lags quite a bit behind 6V6GT in resolution and speed, which doesn't stop it from being favored by the "older is better" vintage crowd (prevalent in Asia; I know many of them and imho they don't know what high fidelity is). Big Family The 6V6 is but one member of a large family, with siblings and cousins like 6F6 (used in a lot of radios, and said by some to be closest to WE349A), 6Y6, 6W6, 6K6, etc. Perhaps the most famous "cousin" is the WE349A, whose price has been driven up insanely partly because of people who use it as substitute for the 6V6, a dubious application in an attempt to get the "WE sound on the cheap". Durability The 6V6 is known to have a good life and survive beyond its ratings. However, I don't feel this to be true of Russian and Chinese tubes - I had quite a few die (same for Russian 6SN7/6SL7) when I first fired up my old Audio Note Kit 4, but that was a long time ago (perhaps current ones are better; I sure hope so).

• 6V6 Usage Amps For a while, from the forties to the fifties, the 6V6, like the 6L6, was ubiquitous in home use amps (loudspeakers of the day were efficient). Therefore, there were innumerable models, even from the same company, though, in terms of sheer number, they were outnumbered by the higher powered 6L6, which survived for much longer in home use after the emergence of stereo and lower efficiency loudspeakers. Topology As for the era, most 6V6 amps were mono Push-Pull and had classic, simple designs. Most were mass market Integrated Amps with a Phono Section (usually employing 6SC7). There were fewer Power Amps, which usually employed larger irons and were built to a higher standards (like Radiocraftsman C-400 and RC-2, McIntosh 15W-1/20W-2, WE made by Dukane KS-16617-L1), though some were integrated with loudspeakers in consoles or guitar amps (like Ampex), and some were for professional use (like Langevin, descended from WE; one may also count the WE 133, which employed the 349A). In terms of Circuit, they can be roughly divided into two eras: the earlier ones were driven by an Octal Tube (typically 6SL7, like the Bell 2122 here), which were later replaced by the smaller Noval Tube (typically 12AX7, like the Grommes LJ5 here), an evolution exemplified by the various iterations of the Bell 2122 and Grommes LJ amps over their life spans. In Our Times 6V6 is little employed in home use. Classic push-pull operation were few and far in-between, some examples being the Audio Note Kit 4 of yore and, more recently, an amp module from Swiss hi-end Swissonor. The 6V6 is sometimes used in DIY amps by horn or fullrange driver users, mostly in Single-Ended configuration (like the Sun Audio 6V6 amp). It should be known that there were a few vintage SE 6V6 amps (like the one auditioned here in this blog). The 6V6 is also known as a good Driver Tube (likely with interstage) used in many DIY applications, with or without interstage (as well as in commercial products, one example being the Audio Note Jinro; the related 6Y6 is also used as driver in Wavac SET 811 and 300B amps).

• Bell 2122 I acquired this pair (an "A") from an old hand, whose Altec A5 was amongst the best horn sound I have heard. He had restored it meticulously and proof was in the listening. Here are notes from a previous 6V6 listening session more than seven years ago! The History of Bell can be found here. Bell 2122 The site claims the 2122 was rolled out in the late 40's, but  some 2122's for sale that I have seen claim those were manufactured in the 50's, so the model could have had a long life. Some also had a sticker proclaiming "licensed by Western Electric" (what is not?). We do know that the later 2122C replaced the 6SL7 driver with the smaller 12AX7, and by 1957 Bell had rolled out their completely different looking slimline models.

• Grommes Little Jewel LJ5 Grommes has survived today as Grommes Precision, whose webiste has a History Page. Its cached Past Product Guide did not have the LJ5, but one can see that, as in Bell products, by the time of LJ5 (circa 1957) the noval 12AX7 had replaced the 6SL7 used in its predecessor LJ2. There is more info on LJ5 in radiomuseum. By 1959 their amps had become slim-line like Bell.

Info: Ortofon MC-5000 Cartridge; Ortofon T-20, WE 285L, Langevin 402B SUT

• Ortofon MC-5000 This is second from the top in Ortofon's '000 series (Official Info) and employs the famous Replicant Stylus diamond which continues on successors like the Winfield, A90/A95 and Anna. The MC-5000's internal impedance is 6 ohm and output is 0.14 mV. This is one of my reference cartridges and my experience is briefly documented here. 

• Ortofon T-20 (Official Info) This was originally designed for the MC200 cartridge which has an output of 0.09 mV and internal impedance of 3 ohm, both even lower than the MC-5000, which however should still be an excellent match.

• WE 285L Western Electric 285L, the input transformer for the 124-B Amp, has a secondary of 75k ohms (pins 5 and 6) and two primaries. The 600 ohm primary (pins 1 and 4) was used for microphone/professional inputs (in conjunction with the 170B) and the 124-B is configured as such. But it also has a 30 ohm input (pins 2 and 3) which makes it suitable for use as a step-up transformer for certain cartridges, and the MC-5000 should be one of them.  

• Langevin 402B This is reputed to be internally identical to the WE 618A. Like the WE 285L, it also has a 30 ohm primary (in addition to 120 ohm). Secondary is 50k. The figures seem perfect for a SUT and suitable for the MC-5000.

Sonic Impressions

• General The Altec A7 turned in another fine performance. In this incarnation it seemed quite a bit smoother than the A5 we heard at R's. Although this might be partly be the intrinsic character, I think there could have been more transient information and attack. Sound with 6V6 furthered the promise shown last time with the Sun Audio (the C-J MV-75 need not apply).

• Bell 2122 After amplification by the phono section of the C-J Premier 3, line level signal via Tape Out was fed directly into the Bell. The sound exhibited all the lucidity the 6V6 is famous for, with superb microdynamics, articulation, rhythm and pace, save for bass which was a little lean. It should be mentioned that this pair has the phono section disengaged. A brief mention here that Andy also has a pair with the phono section intact and less luxuriously restored. He thinks it doesn't sound as good, so restoration is a trial and error thing and demands patience.

• Grommes LJ5 Unlike the above, this was not directly driven, rather controlled through the Premier 3's line section. Despite addition of a preamp and regardless of where the volume knob was set on the Grommes, the sound was softer than the Bell 2122, with less microdynamic nuance. However, the smoothness was eminently suitable for classical replay. It should be noted that the phono section is intact in this pair and we surmised that the ceramic coupling capacitors were compromising the sound.

• Ortofon MC-5000 and 2M Red With classicals the MC-5000 turned in a performance much as I remembered it - very neutral and detailed, with excellent rendition of microdynamics. The Ortofon T-20 initially sounded quite coarse but became quite decent when proper VTA was dialed in. However, it was thoroughly outclassed by the WE 285L, which turned in the best performance that I have heard from it (better than in my setups), with that je ne sais quoi subtlety and finesse that is WE, where every phrase becomes distinct, with nonpareil rhythmic pointing and flow. The Langevin 402B did not fare as well in this setting. However, jazz and pop were quite bland and here the hot-rodded and peaky 2M Red gave good performances. This puzzled me as I don't recall such preference when I used the MC-5000.

Comments

• 6V6 Amps With high efficiency horns, 6V6 should be seriously considered. Aside from the most famous models they are very reasonably priced, especially the integrated amps covered here. However, our experience poses questions: one wonders why the outwardly similar Bell and Grommes sound so different (even why two pairs of Bell sound different): is it due to the difference between driver tubes, restoration methods (like removal of unused stages) or component use (particularly caps)? There is no quick answer, and I promise you shall hear more of it. However, one thing is certain, particularly with more complicated integrated's - it would be highly desirable if you have some electronic knowledge and soldering skills to tackle the vagaries of restoration (the most important asset though is a good ear). Integrated vs Power Amps The ubiquitous integrated's tend to be more mass-market. Compared to the more famous power amps, they have much smaller output transformers, but, as heard, they sound just as good in their own ways. I have heard most of the famous big power amp brothers with big transformers, like the Radiocraftsman RC-2 and C-400 and the Dukane KS-16617-L1, and I don't think they sound as nimble as they less "endowed" brothers (I had better impressions of Ampex and McIntosh). When it comes to output transformers, size matters and it may not always be "the bigger the better".

• The SUT's Those considered here are theoretically all suitable for low cartridges with low internal impedances, and so they proved. But it is amazing how different they sounded, and the spec's really are meaningless. The Ortofon T-20 is good value for money. But, for a lot more money, the WE 285L was remarkably much more enticing, though the Langevin 402B sounds better in my own setup (with 3 ohm Air Tight PC-1 and Shindo Monbrisson MM). The cartridge and the cable (I went through 8 cables to find the right one for my Langevin) make a huge difference - synergy is the word. My own thinking is, like arms and cartridges, you cannot have too many SUT's.

• The Perfect Complement What is audio without good friends and good food? I thank Kevin for painstakingly making every one of his house specialty, Shanghai Style Wonton. The stir-fried cauliflower with cured pork (home made by Stephen's relative) was equally inspiring. All washed down with two excellent wines from Andy! Thank you all, if all audio meets were so fulfilling for the ears and tastebuds!

• Spec's and Rules For a hobby that relies so utterly on our senses, it is amazing how many audiophiles choose to believe less in their ears than in spec's and rules. So many newcomers on the internet seek opinions, so many more trolls offer opinion based solely on spec's and rules rather than experience! I do think while one should have some technical grounding, proof in the pudding is in listening. Early in this session, I found the sound of the MC-5000 a bit unnerving. I discovered that the tail of the tonearm was way down, and so raised it by almost 1 cm! Sound smoothed out quite a bit, while theoretically it should perhaps have gone the other way. Andy surmised perhaps it was because of the profile of the Replicant Stylus. Who knows! Our rooms and equipment do not function in an anechoic chamber, and there are always local anomalies. If we spend a lot of time positioning loudspeakers (and one should) we should equally spend time matching equipment and cables. Spec's and Rules are not at all everything! In hifi, think SET amps, Non-Oversampling, even active preamps (which many think are unnecessary) and cables (which many laughably think all sound the same). Well, in the picture below are some closely spec'ed craft beers, and they all taste dramatically different. Incidentally, if you ask me, American Craft Beers are now the best in the world. Thumbs up for choice!

Altec A5, WE124, Marantz 8B, Jadis JA-80, JPS2, Citation I, McIntosh Verdin P-153

Click pic to enlarge. Front to Back: WE 124; Marantz 8B, Jadis JA-80, McIntosh Verdin P-153. Subwoofer behind center channel.

Growing Up Without Pain! One Lucky Man's A5
Jadis JA-80, Marantz 8B, WE 124, McIntosh Verdin P-153
Jadis JPS2 vs Harmon Kardon Citation I
Letter from NYC (76) 2018 (2): Smorgasbord!

That Horny Feeling What would life be without our taskmaster R (you last met him recently, here)? Contented now with the big Wilson rig in his cavernous living room, he immediately set about to fill the void in his previous man-cave and theater room, where the Wilson's had literally struggled to be heard. Being a jazz fan under the influence of mentor/team leader Andy, he was somehow (rightly) drawn to horns (without having heard much).

The Great Debate Since the den was vacated, the team had spent much time fruitlessly debating on whether JBL or Altec or even Klipsch would be best for R. Simon has always been a JBL fan, and in some ways I concur - it is usually much easier to get good sound out of JBL (better crossovers) than Altec (notorious crossover woes, which I am not at all sure is always justified). On the other hand, I thought a good pair of classic Klipsch is a complete solution - the stock crossovers work well (and I prefer them to the many overhyped aftermarket kits) and you need not do much tweaking. However, some of us, myself and likely Andy, do feel that, when properly implemented, Altec delivers the most.

Men at Work It all came to fruition during my absence. A late alnico Altec A5 system was sourced from Andy's friend P and the I heard the team had recently labored quite hard to implement the system in R's den, one of those occasions when everything that could have gone wrong did. I reaped the fruits of their efforts as I got to hear them this past Saturday, and I brought with me a pair of WE 124.

The A5 came with the original crossovers as well as ones DIY'ed by the previous owner P. I only got to hear the latter, which have attenuators for the 288 drivers. We played several jazz records, including mono Clifford Brown, audiophile fav Saxophone Colossus etc. All with a little subwoofer dialled in (crossovered high).

Equipment (for more detail on some items, please refer to 2016 visit)

Phono 1: Walker Proscenium/Kondo IO-J
Phono 2: Versa Dynamics 2.0/Stanton 380 (with nude elliptical stylus inserted)
Phonoamp 1: Kondo KSL-SFz step-up into Harman Kardon Citation I phono section (via Tape Out)
Phonoamp 2: Lamm LP2
Preamp: Jadis JPS2 (and Harman Kardon Citation I)
Amps: Jadis JA-80, Marantz 8B, WE 124, McIntosh Verdin P-153
Loudspeakers: Altec A5 (DIY crossover)
Subwoofer: Focal/JM Lab

Sonic Impressions Overall, the sound was good and quite coherent, though not the last word in detail or nuance. I am sure a lot more of the strengths of the Altec horn system are still waiting to be unearthed but, for now, it does sound more lived in than horn novice R has a right to expect!

• Jadis JA-80 This has always been a Jadis staple. This pair is the older, pre-KT150, version, modestly tubed with old-stock 12AU7's, Chinese 12AX7's and Russian 6550's. I know this amp quite well and in this setting it delivered sound just as I remembered it - punchy, weighty and smooth, with good transients and macrodynamically adept (with these efficient horns) but with sub-par microdynamics, failing to convey all the low level signals in the music. Painting in broad strokes, so to speak, and that is not quite acceptable for expensive electronics.

• Marantz 8B For the EL34's, this unit has a melange of 3x RFT's and 1x Russian that necessitated some re-biasing. That done, no surprise, the ever reliable 8B turned in a good performance - the microdynamics walked all over the Jadis JA-80, restoring most of the nuances in the music. However, used with the Jadis preamp, it had a significant flaw - the slow transient speed drained the zap out of jazz.

• Western Electric 124 What more can I say! As usual, the WE immediately established its credentials. The music simply came alive: the superb microdynamics revealed infinite shades in the music's rhythm and color. Transient speed was excellent without being breathless. The only criticism that could be levied was a somewhat lean bass in this setting.

• McIntosh Verdin P-153 Now, this is a rarity! Likely this was not intended for audio applications. It employs McIntosh transformers and the typical driver tubes, 2x 12AX7 and 1x 12BH7. Output tubes are 4x 8417. R reported the plates of the 8417's in one amp turning red after an hour of use. We did not listen that long, but what we heard was classic McIntosh sound - Ballsy, big and bold, like the Jadis, but with much better microdynamics, though still not quite in the league of the Marantz, not to mention WE. Right is another pic from the net (click to enlarge).

• Harman Kardon Citation I I mused at the frequent lack of microdynamics. Suspecting the Jadis JPS2 to be inadequate, I asked for the line section of the Citation I to be substituted. We had trouble with the connectors, as so often in R's place, but we did manage for a while. Suffice to say, the Citation I was snappier and much more detailed and articulated in its line stage than the Jadis - it was not even close!

Comments

• Jadis JPS2 As heard, it performed quite sub-optimally in this system. I am pretty sure it is robbing the music of much microdynamics, no more obvious than in its pairing with its own stablemate JA-80! The JPS2 is not a favorite of mine, but I have not been previously aware of such deficiencies in the systems of my friends Paul and Simon (here; the latter in the form of the line stage of JP80). I am not sure whether the deficiencies are intrinsic or if it is amenable to tube rolling, but my feeling was echoed by this comment posted by a user on the net: "...does anyone know any other pre which has the midrange magic of Jadis JPS2 plus more resolution on complex orchestral music and more control in the bass?..." I am also curious because Dick Olsher, a reviewer with priorities somewhat in line with mine, specifically lauded the similarly configured but cheaper Jadis JPL (one chassis, no separate power supply) for its dynamic prowess. For this write-up, I went back to my post on my one of my early visits to R, and was reminded that I had already documented the problem when I much preferred my Shindo on that occasion.

• Harman Kardon Citation I Once again, the Citation I showed its mettle. Just as it worked well with my YL horns (here), it seemed to work well with R's A5's. I also urge you to re-read what I said about it in our last preamp shootout (here). Next time, I'd like to spend more time with it IF the connection quirks were dealt with.

• Jadis JA-80 I have long familiarity with this amp, since the 80's in fact, when a friend owned it. But I had never really taken to it then; I only liked it when it was used with GEC KT88, but then that was almost solely due to the excellence of those valves, which also could transform the McIntosh MC275 from a good amp to a great one! Speaking of which, the Jadis JA-80 is no more powerful than an MC275 in good condition, and the latter only employs half the number of output valves and occupies a fraction of the real estate.

• Marantz 8B To me, the Marantz 8B is an evergreen. It is not perfect, nor does it immediately grab you in any parameter, but it never puts a wrong foot forward, safeguards the big musical picture, and rewards patience and time spent. It should be partnered with a modern preamp of lively presentation (think ARC, Shindo etc), or else sound may be a little slow.

• McIntosh Verdin P-153 I think this one has potential, if one manages to get around the conundrum that is 8417, famous for its excellent sound, rarity and sometimes finicky behavior (QC issues for later production tubes and issues of ?oscillation). Given its solid state rectification (selenium) and power envelope, I wager it should sound like a more powerful MI-75, but not quite in the eschelon of tube-rectified MC-60. Just a guess.

• WE 124 Simply, in a league of its own.

• The Lunch Raison d'etre for the day? The specially sourced lamb, served with risotto and Shiitake mushroom sauce, was an absolute delight, washed down with a very fine 2005 Saint-Emilion and a mature Cotes du Rhone. Surely enough to make one forget audio woes. What more can one ask for?

In the Eyes of Others

Editor's Note: In the Eyes of Others and Eye to Eye with Others
Letter from NYC (75) 2018 (1)

Regular readers know I try to thoroughly research the topic/stuff I am writing about, but what they probably don't know is that, for gears that don't have so much coverage (which is a lot of what I write about), even after I have finished the topic at hand, I often continue to re-google/research the topic, to see what others after me have thought. There can be unexpected consequences; several scenarios...

Voice in the Wilderness  Often, with something uncommon, I am bemused when the only significant thing I turn up is my own writing. Make no mistake, I'd rather there be other contributions. Different Opinions Occasionally, I come across an honest view that is different from mine. I welcome that and usually read it the more carefully. The world is big enough to harbor different opinions. Critiquing the Reviewer All reviewers get critiqued, even bashed, and this so-called reviewer, more a user/blogger in perpetual motion and revision, is no exception.

In this article I'll tell you of some reactions to what I have published, and my own reactions to their reactions.

Mofi StudioPhono
Part I of my StudioPhono Review was published on Sept 6, 2017, followed by Part II on Oct 27, 2017. At the time of writing, there was nothing on the internet that approaches a decent review. There still isn't, but recently I discovered a stevehoffman forum thread, where some user opinions were published. In late Jan, 2018, someone asked whether there is a photo of the innards, which led to another posting a picture from my article, with the comment: "...Source is this.(my Part I) An amateur review with comparisons to the Schiit Mani...". Another chimed in: "...No personal offense to whomever wrote that review but it uses a whole lotta words to basically say nothing...". Reading that, I was not offended but did comb through the thread and failed to find anything that was more insightful. Fortunately, another (more careful) reader posted (as if for me): "...Did you look through all the parts? Agreed about all the system descriptions and such, it's a little to follow if you are just interested in the Mofi review, but did try it in a variety of settings and does finish up with a conclusion section for all the pieces tested..."

In reality, I think my comparing the StudioPhono in different systems with esoteric components whose costs are not commensurate with the StudioPhono means nothing to most people who are looking for a quick opinion, usually people who are on a budget. Here is the problem: when something is truly good, you should try to have it compete in a different class to see how much potential there is, not to be satisfied just because it can trounce a few similarly priced competitors. Stereophile writers, like Herb Reichert (sometimes Art Dudley and even Michael Fremer), do that regularly, and that is commendable for a trade magazine. Perhaps people just want a quick opinion - a short proclamation that it is good or bad, great or simply competent. But I don't believe it is that simple.

Capsular reviews don't usually yield a good sense of the gear. System matching and synergy comprise half the battle, which is why I always list my equipment and change things here and there to try to achieve the optimum. An experienced reader shall be able to tell from my equipment list whether he and I are on the same wavelength and if there is any need to read on. For myself, there are a lot of articles I don't bother to read in the trade magazines because the associated equipment lists tell me I have nothing in common with the writers.

And then on the net and various forums there is a prevailing sentiment that all trade magazines are compromised and the writers not as trustworthy as user opinions in forums. To me, this is a ludicrous, even dangerous position. Every publication, hard copy trade or internet, has its own bias - there is no exception. The trade magazines do have good editing, which cannot be said of the nearly free-for-all free speech on the net, where the signal/noise ratio is low and where there are as many angry people as helpful ones. I could go on and on, but I'll stop here.

Belden 9497
Basically I have owned this topic. For the longest time, googling yields nothing but myself. Imagine my surprise when I came across this Aug, 2017 review from 6moons (here). The writer is Michele Surdi, a fellow Tannoy (Canterbury, no less, though his is SE and mine HE) and Klipsch man, who concluded he preferred his van den Hul Skyline to 9497. I don't have a problem with that, and can perhaps even understand that. I find him entertaining and unfailingly polite, which seems to be the case with most continental European reviewers (a breed I am usually sympathetic with; witness enjoythemusic).

The Tannoy Canterbury is actually more malleable than many think. It can work with flea powered SET amps, but neither does it blink an eye with high powered amps (as per my experience with the marvelous 100 wpc EAR 509), which can make the sound "snap into focus", even excitingly "hifi". We take different paths. As with my preference for horns, I believe the low powered path is more rewarding. Commensurate with this belief, I also think the goal with the Canterbury is different from most other hifi speakers - one wants power (why else the volume and 15" woofers), but that which is in tandem with grace and subtle virtues rather than visceral "hifi" ones. The article mentioned Jeff Day, who has published lots of articles on the Canterbury, but I find today's Jeff Day more than a little too complicated and too into esoterica, which is not my path. That said, although Michele Surdi may have different preferences than I, we likely have more in common, and I'd love to connect with him. So, Mr. Surdi, if you are reading, could you please email me (email address in sidebar)? I'd love to talk to you!

I want to answer one of his questions: "...though for reasons unexplained, the good doctor seems to dislike 6moons...". Indeed, I have voiced my ambivalence towards 6moons in the past, and Michele Surdi seems to be a careful reader! Well, I don't want to offend, but since this came up, I'll try to answer it. I believe: 1) 6moons is an unusual creature, one which has morphed from a useful alternative web magazine to a full-flight commercial enterprise. Every page, including, God forbid, the front page, now has by far more unwanted ads than words, and this is far more annoying than trade magazines; 2) unlike trade magazines, it reviews too much stuff that can only be termed DIY, and promotes far too many guru's, people and their products; 3) it heavily promotes expensive accessories and tweaks (especially Srajan Ebaen), which is against my beliefs; 4) it has too many contributors of unknown sympathy/affiliation - I know at least one who is intimately connected with the companies he writes about; thankfully he doesn't write anymore; 5) publisher Srajan Ebaen - although he dabbles in SETs and horns, his approach and ways are alien to me; even his speaker placement in various rooms look wrong to me. Enough said. In the end, I think 6moons has become far too complicated, and commercial, for its own good.