Shindo Monbrisson, Part I (extensive basic info and review); Part II (vs Manley 300B preamp), Part III (phono section vs MoFi Studiophono)
Yamamoto CA-04 Review
A few months ago, as New York turned into an Inferno, I was watching the News a lot. So I set up the Klipsch Heresy in the Living Room. A little after, I started streaming NML (USB) and in early May I started with Bluetooth. Now, New York is in a much better place, I am watching less news, still streaming via BT - and I haven't listened to music in my music room for all these months, not even once.
After living with the Yamamoto CA-04 for almost 2 months, I decided it's time to rehabilitate my Shindo Monbrison, which has been languishing in the music room. So I brought it out and inserted it into the streaming system in lieu of the Yamamoto.
The result is hardly surprising, indeed as expected. The Shindo is fuller and richer sounding, but not overly so. Its bass has significantly more impact but still good timing and contour. It is not as lithe as the Yamamoto but is more composed and an even better match for the Harbeth P3ESR. The sonic difference is consistent with the respective sonic signature of the companies.
Some of the sonic difference can be attributable to differences in design and built. The Yamamoto is more minimalist, solid state rectified, and uses 2 tubes and modern components. The Shindo is tube rectified, tube regulated, also uses 2 tubes in the line section and is choke full of vintage components. Yet the Yamamoto avoids the blandness of many modern preamps, just as the Shindo avoids the overly colored sound and timing inadequacies of many vintage products.
I slotted the Yamamoto into System II in the audio room. I was expecting a leaner sound but, with the Wavac MD-811, sound was quite wholesome and bass was still quite full with my 4-way YL horns.
The 2 preamps each paints a vivid picture. As different as they are it is hard to say who tells more of the "truth". One thing is for certain, musical "truth" is a complicated, often elusive thing.
A word on the Monbrison's phono section. This time I tried the EF83 (Siemens) instead of the EF86 and it works fine.
Yamamoto CA-04 Review
A few months ago, as New York turned into an Inferno, I was watching the News a lot. So I set up the Klipsch Heresy in the Living Room. A little after, I started streaming NML (USB) and in early May I started with Bluetooth. Now, New York is in a much better place, I am watching less news, still streaming via BT - and I haven't listened to music in my music room for all these months, not even once.
After living with the Yamamoto CA-04 for almost 2 months, I decided it's time to rehabilitate my Shindo Monbrison, which has been languishing in the music room. So I brought it out and inserted it into the streaming system in lieu of the Yamamoto.
The result is hardly surprising, indeed as expected. The Shindo is fuller and richer sounding, but not overly so. Its bass has significantly more impact but still good timing and contour. It is not as lithe as the Yamamoto but is more composed and an even better match for the Harbeth P3ESR. The sonic difference is consistent with the respective sonic signature of the companies.
Some of the sonic difference can be attributable to differences in design and built. The Yamamoto is more minimalist, solid state rectified, and uses 2 tubes and modern components. The Shindo is tube rectified, tube regulated, also uses 2 tubes in the line section and is choke full of vintage components. Yet the Yamamoto avoids the blandness of many modern preamps, just as the Shindo avoids the overly colored sound and timing inadequacies of many vintage products.
I slotted the Yamamoto into System II in the audio room. I was expecting a leaner sound but, with the Wavac MD-811, sound was quite wholesome and bass was still quite full with my 4-way YL horns.
The 2 preamps each paints a vivid picture. As different as they are it is hard to say who tells more of the "truth". One thing is for certain, musical "truth" is a complicated, often elusive thing.
A word on the Monbrison's phono section. This time I tried the EF83 (Siemens) instead of the EF86 and it works fine.
Posts
links to previous posts are missing in the subtitle
ReplyDeleteThx for notifying. Corrected.
DeleteTube substitution is interesting because the EF83 has variable transconductance (designed for compressors) and should lead to variable circuit gain. See e.g. https://www.vintage-radio.net/forum/showthread.php?t=114142
ReplyDeleteKen Shindo is renowned for creativity in design and maybe his preamps have peculiar features. Plus phono stage works with very low voltages. So who knows what the consequences of the substitution are in the Monbrison, from the electrical point of view. But one might also say, if it sounds fine it is fine.
I tried it not to tube roll, but for what I mentioned in Part I, that it is not entirely clear whether the earlier generation of Monbrison that I have uses EF83 or EF86.
DeleteIntriguing. I will read the old posts. It could be more evidence of Shindo's creativity in amp design. Here in Europe there is some concern on possible user modifications (difficult to track), especially since some models (e.g. the Claret) used to be sold in kit for DIY form - in the old times when it was still allowed to sell Shindo gear in the EU. Given the amount of effort on tweaking the amps done at the Shindo lab (and their recognised skills) it is understandable that fans worry about non-original variations. But it is also well-known that great differences exist between same-name models (I mean *original* variations). Correct use of Shindo gear seems a complex task, at least for vintage models, but it has to be very rewarding in terms of listening pleasure, seeing how much it is / used to be loved by remarkable audiophiles (late Art Dudley comes to mind).
DeleteMine I am sure is original. Talking about the Claret, I have heard it and always regret not having bought it when I had the chance. It is less warm than the Monbrison.
Delete