Naja, das schreiben die Hersteller natürlich nicht ins Datenblatt. Garantieren dafür kann ich nicht, dass sie hörbares Funkelrauschen oder dass sie unhörbares Funkelrauschen haben in dieser Schaltung !
Reinstöpseln und probieren...
Ich kann nur sagen, dass sowohl OP275 als auch Burson in dieser Beziehung "friedlich" sind.
So ohne weiteres leider nicht. Man müsste eine Art "automatische Aussteuerung" (wie sie früher in Radio-Rekordern Verwendung fand) einbauen, die immer die Magischen Fächer voll aussteuern.
Spontan fällt mir nur der UTC BA3308 (früher Rohm) ein; hier. Der ist auch in meinem Magic Eye VU-Meter verbaut, aber im STC ist einfach kein Platz mehr dafür gewesen
genau, Magic Eye VU Meter, ist eh cooler mit allen "Top Plates" und mindesten einmal im Monat ne andere Röhre damits nicht langweilig wird. Das ist eines meiner Lieblingbauprojekte von nixiekits.
Bisschen zwar, aber ich plane ja ein Upgrade für das Magic Eye VU-Meter, diesmal speziell für die EM83 und EMM801 Röhren (beide in Stereo). Habe auch schon genügend NOS Röhren auf Lager - vielleicht auch noch für 2 x EM800 und 2 x EAM83.
Alle anderen Röhren (speziell die Chiana- und Russen-Nachbauten) haben Toleranzen, dass es einem die Schlappen auszieht.
Das Problem ist und bleibt der Verbrauch der Leuchtschicht, speziell bei dem schönen Grün der EM83. Da bin ich noch am Überlegen, wie ich es mache. Wohl mit einer (automatischen) Helligkeitsregelung mittels PWM, dann bleibt der Schattenwinkel gleich und auch eine Auto-OFF Funktion, wenn kein Signal mehr anliegt, um das Einbrennen bei "Null-Anzeige" zu vermeiden verbunden mit einer leicht positiven Gittervorspannung.
Vielleicht hat jemand einen Tipp für mich: Ich lese oft, dass die Leuchtschicht durch "langsame" Elektronen verbraucht wird. Hhm: Schnelle Elektronen heißt eigentlich hohe Leuchtschirmspannung, die aber gepulst...
Will aber jetzt auch nicht diese kostbaren Röhren durch langwierige Versuche "schlachten", denn es gibt ja nichts Neues mehr...
The DIGNA has become a expanding Subject on this Forum and it has a Few Off Shoot Threads running to further the impressions it has to make on others.
From another perspective the DIGNA is also undergoing an evolution in the sense it is receiving changes encouraged by users, that are being met by the designer / creator.
Jurgen Grau the Creator (Very Star Trek) 8th)
The considerations for the Circuit and the now available options to work with the Aesthetics are all attributes to the Success and Growing Interest in the DIGNA and Mr Nixie other Models on offer.
This Evolution Period is not a result of,
'Necessity being the Mother of Invention' as this is already done.
This evolution is more Darwin, the DIGNA is fit and it is surviving and becoming more dominant and more adaptable.
From personnal experience I know how hard the Phonostage Market is.
I have seen many DIY Circuit Board Models flunk, and fail to gather any momentum.
I have heard DIY Phonostages that when built are a £1000ish Build and are not capable of leaving a very positive impression.
I have heard DIY Phonostages that are very impressive and are worthy of recommendation to be trialled in anothers system.
I have heard expensive Brands Models fail to deliver an impression that was worthy of being promoted to another, as well as Brand Models that can offer a superb account for their function, being highly recommendable for further assessments in another system.
With all these personal experiences in hand, when I first heard the DIGNA in my system,
I knew it was quite special and worthy of recommendation.
I made this known to Jurgen and informed Jurgen I was intending on having the DIGNA assessed in various events throughout the England.
Over the Course of Two Years I took the DIGNA out to be used in Events where it woukld be compared to an extensive selection of Phonostages.
Not at any time did the DIGNA fail to impress and as the Burson acclimatised to being used in a circuit the DIGNA was improving.
As I have stated before, recognized members of the UK's HiFi Industry have heard the DIGNA and chose to comment favorably about it.
As said the Phonostage Market is very difficult to crack, I do not know if I have encouraged inquiries to Jurgen from the UK.
My only communication with Jurgen has been to inform him of an upcoming event and how to review any feed back on the event.
I like Jurgen have stuck loyal to the DIGNA it has been the device that has been audibly assessed against another Phonostage has been despoke built for me.
If the Bespoke Built Phonostage had to offer an impression of the DIGNA and beyond.
The Bespoke Built Phonostage is unobtainable unless an expensive outlay is to be made.
A Fee 'depending on Spec' of approx 5 X the DIGNA's Fee is required to obtain one.
That in my mind says quite a lot for the DIGNA.
The minimum assessment being the DIGNA
'Punches well above its weight'.
As informed before, the DIGNA was loaned to a Local HiFi Group I am a Member off.
Within this group, there is approximately £30 000 worth of Vinyl Front End, and combined system values to £100 000 +.
The DIGNA become the Phonostage of choice for the different systems when used at different homes.
There was an interest in using it with E88CC's and I give the approval for the Circuit Modification to be carried by Member who is very Electronics Capable.
I was not able to attend the first E88CC Tube Rolling Experience, but was informed of the event.
A Selection of Valves were used, all Vintage, and Matched, supplied from another Members Collection.
The Selection of Valves were close to £ 2000 in present day asking prices.
The reports were very good on this day, and the E88CC was the preferred tube by the group.
The Whole Line Up of Valves were not used and another date was arranged to finish the experience.
I managed to be available for the E88CC
As the initial entry, I was introduced to the Valve that was least impressive and Most Impressive from the First Experience.
The most impressive being a Siemens and Halske early 60's design.
I already own a pair of the Siemens and use them in a DAC.
The day went on with a few other E88CC's and the Valve Supplier was informing us throughout the day he has a rare E88CC to be used as the end demonstration.
Up to this point the impression the Siemens Tube had made was perceived as the most impressive.
The Mullard E88CC / 01 early 60's Vintage was now put into the demonstration as the ending.
This Valve 'Shone' it worked with the DIGNA in a way the others had not achieved.
The Room of Auditioners were unaminous in their assessment that the E88CC / 01 had the
X Factor and had allowed the DIGNA to lift to another level of presentation.
All the above is subjective and is needing to be experienced to be fully understood.
My loyalty to the DIGNA has not wained it is still a Phonostage I am intending to make other aware off through being able to listen to it.
After an ongoing search from 2019, I have managed to locate an affordable pair of
Mullard E88CC / 01 Valves, that have better than Factory Spec Readings.
These will be Tested on a AVO by the Groups Valve Collector, to confirm the Sale Reported Readings.
If all goes well the DIGNA will be adorned with the 01's.
This will enable me to to Tube Roll with Matched Pairs of Early 60's Siemen and Halske, Mullard 01 and a Matched Pair of modern Genalex Gold Lions.
The question is now,
what are the benefits of changing the original supplied power supply?
What can be expected from an exchange?
Many Apologies for the Long Post, but the DIGNA deserves the positivity it manages to create.
die Tesla E88CC läuft top in der Digna II.
Diese habe habe ich seit heute drin. Macht sich bei den ganz hohen Tönen des Klaviers bei hoher Lautstärke bemerkbar. Etwas weicher als S4A und JJ. Bild aus dem www geliehen. Danke an dieser Stelle.
hast du auch evtl. einen klanglichen Vergleich zu den vom Jürgen empfohlenen TKF alias Philips Röhren?
Wir reden ja hier über erschwinglich kaufbare Röhren. Die oben genannten Mullards werden im Allgemeinen wohl die wenigsten mit der DIGNA vereinen.
ich habe hier die S4a von Jürgen und die JJ88, dann eben die genannten Tesla. PCC88 habe ich noch etliche. Aber es artet schon wieder in Tuberolling aus. Das will ich nicht.
My experience with the E88CC Valve is very fortunate when it come to Vintage Types.
I have been able to audition Matched Pairs,
Matched serial numbers, and each side of the valve being very close in measurement.
There will be no Cathode or Heater Leakage on any Valve that has been kindly offered for the use of a Tube Rolling experience.
The E88CC has been used on both my DAC and DIGNA.
I know the flavor of these Valves, and when the DIGNA was loaned and in regular use with the HiFI Group, the Valve used daily in a System,
that is more available/obtainable was the Mullard CV 2493 Gold Pin.
If all goes well with the Measurements on the /01, I can report on how the Modern Genalex is as a comparison to the Siemens and /01.
I once read through your long eulogy about the Digna. But I still lack an idea of your environment. Are there pictures of your listening room or your test rig that can be viewed online? Or would you kindly post a photo?
Only that we can get a vivid idea of it here.
Die PCC88 von Siemens klingen auch nett. Die S4A jedoch süffiger, voller im Mittenbereich.
I have posted an image of my System on Here in the Valves Pages.
I am not an easy person to pin down with a system as much of my system is Bespoke Built by very adept engineers from the World Of HiFi.
If it Helps, I have a completely overhauled SP10 MK11 as my go to TT, but I have other Vintage TT's as options from Japanese Vintage DD's and a PTP Solid 9, Lenco GL 75's and I had recently let a Garrard 401 be sold in a 70kg granite plinth.
I no longer use a SME IV or a Audiomods Series Five Tonearm, or any of my unmodified Audio Technica Tonearms.
Today I use an Audio Technica Tonearm, that has undergone a complete redesign for the interfaces between the parts, using revised geometry as well as the latest available technologies and materials to produce the finished product.
This unique Tonearm has surpassed in every way any of the above mentioned Tonearms.
SME V Tonearms have also been relegated by their owners, to be replaced by this Modified Audio Technicha Tonearm.
My Cartridge of choice is a unique one of build by Kilian Bakker of Holistic Audio, Rebuilt to a Very High Spec using Ortofon Parts.
My Phonostage is a Bespoke Built Phonostage which is shown on this forum.
If all goes well, the Designer Builder has informed me a similar version to my model
will be able to be reviewed at the Munich Hi End Show when it resumes at approx £9000 asking price.
I have a Bespoke Built Nelson Pass Design Korg B1 Pre Amp, with a New Design being produced with a Bespoke Built Stepped Attenuator and New Design for the Power Supply.
My Monoblock 845 PP Power Amps are unique one of circuit designs, produced by Valve Engineer with over 40 Years of Designing and Building Bespoke Valve equipment.
The end of the Line are Overhauled to One Thing Audio Specificatio Stacked Quad ESL 57's.
As said I am not a easy person to tie down when it comes to how a HiFi system sounds.
There is not a photo that can descrice the sound of this system.
Those who visit are fully engaged and thoroughly satisfied.
Those who meet me at a public event are totally bewildered by the offering and usually remain in the listening environment for much longer than they had planned for any system review.
The System is one that is remembered.
I have not only heard the DIGNA in my own System, I have heard it in other Systems, one of which is up to £ 150,000 in Value.
The owner of this system was impressed by the DIGNA's capability, especially as on this day it was used in a line up of Phonostages that were up to £10 000 in retail value.
The DIGNA can sing with pride in other company, it just needs the opportunity.
I have not gone out of my way to keep the DIGNA in the best Valve adornment because it is needing it, I have done this as I believe it deserves this dressing.
The DIGNA is not the best I have heard, but for the cost that was associated with it when I received my one.
It was proving to be an extremely competent electronic device, with improvements being noticed through usage.
Follow up experiences showed it took much more expensive Phonostages to show it where it was with short comings.
Thanks for the comments John,
I did not find your photo. But it's also difficult to get to the heart of your own audiobiography when you are older and have done and experienced a lot. I always liked to present myself to the public when I wanted to demonstrate certain results of my own or show exemplary installations. In that respect I see certain similarities.
So much for general understanding.
Danke Wolfgang, konnte mich kurz orientieren.
(Dieses Umfeld ist mir recht vertraut, jetzt habe ich eine Vorstellung... )