There is something quite special during a Analog LP Replay, when a ancillary that is necessary to create the replay, is of a design and able to get out of the way, allowing for the maximum content of the recording to be delivered throughout the presentation.
Beiträge von JohnG
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The link is one I have been following.
There is a number of posts that make the idea of the Linlai E 6SN7 seem a very worthwhile consideration.
For the new Linlai user ' Listen ' there is good advisories suggesting a 100 Hours will bring the better out from the Tubes.
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I used 6H8C Tubes on the Amp I use the 6SN7 Tubes on.
After approx' 20 minutes, I was under the impression I was using a tube that would be a tube worth comparing to my vintage Ken Rad and Sylvania Tubes.
After about 45 minutes of usage, I was becoming quite concerned for my Amp and removed the 68HC, as the distortion produced had become unbearable.
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During the Period when such Tubes were in mass production to support a military operation, the Quality was not so important, the availability of mass quantities was the objective of the production.
A noisy tube is a working tube when used in communication devices, these needs are not as per audio use requirements.
There are a lot of Tubes in use, from such an era that are inferior for use in Audio.
Having Tubes accurately measured and tested for noise produced from microphonics are the only real safeguards.
All other methods without a testing as a proof are born from a romanticism for items from a bygone era.
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Shakti
Out of all the comments on forums I look at, yours are the ones I place into my most trusted bank.
White Papers might be available, how many producers of Tonearms use the research as a guidance to improve on a Tonearm Design or design a Tonearm from scratch.
Many analyse an existing model and put their own design hook to it, producing a variant design available at a much increased cost.
Rega have been subjected to this treatment almost from their first release of the Revolutionary Tonearm Design.
I I think the example I have used is fitting for the context of the post I made and the thread.
The Tonearm in the Link has been increased in purchase value by approx' '5 x' over a not too long period.
This in itself is an indicator as to what can happen as a future occurrence for many products.
It is relevant as an example, when an inquiry, is asking for a prediction about the future of High End Equipment.
There does seem to be a trend where Products are being exponentially massaged in their uplift values, especially where Established Businesses with a Strong Heritage are subjected to a Merger into a Corporate Structured Business, where many Brands fall under a Umbrella Company.
I know of Small UK Based Businesses having been bought out by Corporate entities.
I also know through having communications with indications involved in the supply chain for Cottage Industry HiFi Businesses, that the chance of a Buy Out is for some, where these Businesses and Supply Chain owners are seeing their most prospective future.
Does this mean those who are already bought out are saying very positive things about the outcome ?
These types of manufacturers that are expressing an interest in being bought out, are increasing their base line of products, with the hope there items that cover most areas of building a HiFi System, will be a further attractor and increase the likelihood that an interest is shown in buying them out as a Brand.
It is known that when a buy out occurs, products are usually removed from the Market and the Re-entered to the market with a significant increase in purchase value.
For those who have been Brand Loyal, I am sure the new means on offer to remain Brand Loyal, where the new arrangement is resulting in the intimate relationship between Producer and Customer being lost and the associated new introduced costs to continue with the Brand will be enough to raise an eyebrow or two.
I generally don't feel inspired to see the New Offerings from the mainstream industry through Organized Events and visiting Dealerships.
I spent pretty much all my disposable income from a particular era doing this type of activity many years ago.
My disposable income since leaving the mainstream is set aside for Bespoke Built Devices, supplied from individuals who have a small production and are more focused on their philosophy and design intent for a piece of equipment.
I am most content, when I am able to have a direct communication with a designer/producer who's work I am totally trusting in, whether they are modifying a existing device or designing from scratch, even better when I am invited to receive demonstrations of the evolving design.
I have shared in this experience for TT's, Phonostage, Amplification both Pre' and Power and using this method, through being demonstrated a DAC, that has also been instrumental for myself, to finally introduce a Digital Source into my system not too many years past.
There in my view is not really any great activity in reinventing the wheel when it comes to HiFi Equipment.
Most energy seems to be put into securing a proportion of the Market, and attempting to have a proportion that is a comfort zone.
There is always going to be an odd Item that as a successor, can be seen to be an improved version.
This could simply be a result of an introduction of a material that is incorporated into the design, where the making use of a newly available material that is offering an improvement and fitting the purpose it is used for, is seen to be an improved choice than the one used on a predecessor.
The fact is pretty much proven, that there will be products available from a past era, that are capable of performing in parity to equivalent items that are produced today, especially when the assessments are focused on the performance matching department.
When it comes to products to be released for the future , the likely hood is that, the older designs will be able to do produce quite similar presentations and will be able to be acquired at a price that is substantially less.
The more mainstream this type of info is able to get out to those who are maintaining an interest in analogue reproduction, the possible result is that, the modern models will almost be at risk of being made available as a limited edition, as the production runs will be quite limited in their numbers due to there being unobtanium pricing of the product to the usual type of buyer.
Those who think a Super Car from this period is being offered at a reasonable purchase cost, might be a customer for such a product.
How many Loyal SME users are making inroads to move onto their latest released models released under the direction from the New Owners of the Company ??
My SME IV is Boxed and Stored and appreciating in value as a Heirloom for the Grandchildren.
The Audiomods Arm is in the same situation, but does not receive the same levels of appreciating value.
I am sure there are other Tonearms I own, that are appreciating in their Value and along with the above arms, if set up correctly are all able to give a good account of themselves, if they were to be compared against modern and much more expensive models.
The IV has not been used for years, a Tonearm was produced for me at a much fairer cost, that is a much improved performing arm.
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Hi End vs High Levels of Performance.
Look at todays Market Place and assessments on offer from Trusted Sources who have access to equipment, that Spans over 50ish years.
Well maintained equipment from the past decades, quite easily performs in Parity, Close Proximity or even Surpasses modern equipment, that has a price tag that can be between 5 - 50 x increased.
The future will be much the same, there will be those that buy into modern designs at extremely inflated costs, and others that have a knowledge of how to get the same or better levels of performance with equipment from a bygone era.
The Tonearm in the link, is one that does not appear to have any independent testing, only the sales blurb, and has increased five fold in value over a few years, as reviewers have bought into the sales spiel and made claims on subjective evaluations and nothing else.
I'm sure the services that purchase on behalf of the uber rich love the spiel contained in the sales blurb and associated price tag.
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I myself am using a DAC with Siemens Early 1960 E88CC Tubes.
After recently learning I can also use 6SN7's in place of the E88CC, I am looking to try out Linlai E 6SN7's at some point, and comparing them to other owned Vintage 6SN7's.
I have recently seen Offset Socket Saver Adaptors in use for the Linlai Tubes, but an not sure how these ca be configured to work with the necessary exchange Tube adaptors.
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doctor.funk Thank You for the description.
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doctor.funk Have you built this model with RCA Input/Output and RCA Input / XLR Output ?
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There is a model worthy of consideration shown in the Link
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I have done extensive tube rolling on a Valve Input/Output Phonostage, the permutations for the ECC81, ECC83 Tubes was vast, but I found a place where I was extremely contented after about 10 Configurations.
When the Input / Output selection was finalised and I was sure of the Valves I was wanting to purchase, the owner of the loaned Tubes for the rolling, made available a few rectifiers.
The rectifier tubes did create a difference to the SQ, I would say it was a change to the Seasoning / Flavour, but I did not detect enough to suggest improvement had occurred and pursue the idea of changing the already owned Valve.
This could be one for another rainy day to hammer and tongs to a final decision.
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As said I rely on the support of a individual who has two generations of a Tube Collection and has a unquestionable Pedigree when it comes to Tubes, from Rectification, Input, Output and Power.
I know that when I use the support on offer, I have both sides of the Valve Measured against each other, and this will be repeated to ensure a Pair is a Match if sold that way.
Lots of Tubes are sold that will produce an audible sound and there are many who will accept that outcome as acceptable, with only the description supplied by a Vendor as their only Technical Support.
If this is an individuals choice for how they wish to purchase, that is fine.
I am familiar with the types of prices being asked, hence my 'caveat emptor' approach and the agreement I have put in place at the time of a sale, this has enabled me to return Valves that have measured at approx' 75% +/-and receive a full refund on Valves that have been Advertised with Measurement showing more than 90% of a Manufacturers Specification.
I purchase for personal use only, and at times I have imported from as far as the Far East.
Not all Vendors will agree to such an sale arrangement as I request and some Vendors have proven to be quite hostile in their response to the request.
I did import a early 1960's Mullard E88CC - 01 from Germany and that one measured exactly as advertised, which was factory Spec'.
I also recently learned that I can use an adaptor and this will enable owned Vintage 6SN7's to be used in place of my Vintage Holy Grail E88CC's and 01's, I do like the cross over option, as I do enjoy a bit of Tube Rolling now and again.
The newly developed interest in the Linlai E 6SN7, as a result of the reports being produced by users being very favourable, is in my opinion a very good outcome. It certainly puts a Modern Valve on the Short List that is looking like it can be a recognised performer when compared to a much revered Vintage Option that seems to gaining in value regularly.
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I have tube rolled 6SN7 Tubes and after trying New vs Vintage, I selected Ken Rad Black Glass VT 231 Tubes as the tube of choice.
Recently I have been following a thread where Linlai E 6SN7's are under discussion and winning great favour following a Burn In Period, one contributor has preferred these to their Ken Rad Black Glass VT 231 Tubes.
This Linlai E' is a good information to receive as Vintage Tubes are a minefield to navigate.
I only go down the Vintage Route as I use a trusted Tube Measuring support that is local to me, and only purchase if a pre purchase agreement is in place, that makes it known, if a Tube is not showing a certain level of acceptable measurement, it will be returned and purchase cost refunded. This purchase method is now extended to New Valves as well.
I heartily recommend this as a method, it is surprising how many offered Valves I have received, both New and Vintage fall short in a measurement.
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Experts say that about 1/3 to 1/4 of the system price is planned for the cable. Then it harmonizes in the same class as the rest of the chain, which can only be as good as its weakest link.
I have a friend who is working with an individual who has an extensive career in HiFi and has dove very well financially from it from being involved with well known Brands and is now the owner of a well known Brand.
My friend asked me to pass on the contacts I have for supplying certain types of modern design Copper Wire and Copper - Silver Wire.
To grease the wheels, I was informed a Bespoke Pair of RCA Phono Cables would be gifted to me, with a description of the construction.
I was also informed I would be able to sell them on with a handsome profit, as the Cable will retail at close to
£2000.
I had this as a 2000% projected profit, without a few deductions for Cable Build Time, Proportionate Advertising and Transportation if not offered for Free.
Using the quoted guideline allows those with industry experience to put products in the Market with these types of Uplifted/Hyped estimations for their value.
For the Record, my wire suppliers were not made known, even though I have always been fully transparent about the wire that is in my view worthy of considering.
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The OTA Refurbished Speakers do come to the market occasionally, I had a look tonight and the link is showing is a Pair at a very fair present price.
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Firstly I should let you know I have listened to two Versions of 'OTA' refurbished ESL 57 Speakers.
The 'OTA's own design Treble Panels from the 2012 - 2014 Period have added a +3db increase over the originals from Quads.
Later 'OTA' own design Treble Panels have a +6db increase over the originals from Quad.
The first Stacked Array 57's I heard in a dedicated listening environment were using the 'OTA' +6db Treble Panels, but all Panels used on the the Speakers were claimed to be 0.5db matched.
These speakers were extremely impressive, even when supplying the Source Material through streaming, I really wished there was a good Vinyl Source available, but 'hey ho' I was introduced to a very special speaker.
It was this as a experience that set myself on route to produce a Stacked Array and as said, even though this method does create a very good impression, using singles for a period of time, creates very good impressions as well, even if needing a little more support from the Volume Control.
There is a mixed group, in relation to using 57's a good friend is only interested in original specification speakers and has a Stacked Array that again is very attractive when demonstrated.
As for 'OTA' as a service on 57's, there is a lot of cost for the service work undertaken that is attached to the labour requirement.
An Electronics Engineer with a little time spent learning the Power Supply, can easily overhaul one in a short space of time.
The real skills are needed when a Panel Refurb is required.
I bought a Third Pair of 57's not too long ago that were looking worse for wear.
A friend took them for me and has done the Electrics and now the reports are that these are now working quite well, and very similar in performance to the friends pair that are aesthetically in Very Good Condition.
This friend wants to attend as an exhibitor,
a Public Attended Event and demonstrate 4 x 57's turned into a position, so that the Panels are Horizontal, with the intention of having a wider sweet spot dispersal.
I have made my loaned speaker available for this when it happens.
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The owners of the modern design ESL's are using theirs on Gaia Footers, there are reports of improvements to be attained, I have not heard this carried out as a A/B comparison on Quads so I am OK with the assessment, as I have experienced the benefits of suspension footers on cabinet speakers.
The Quads I listen to mostly are not modified in any way, unless this is a change put in place as part of a Third Party Service or Refurbishment.
I should have said also that I own two types of 57.
Factory originals with a full Quad Service undertaken in 2001 and 57's with a One Thing Audio Refurbishment from the 2014 period, which has their Treble Panels used.
I have not got prejudice toward any Quad's I have been able have demonstrated in use, even though I can detect at times differences in the presentations, my overall impression is one where a good experience is being encountered.
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I am familiar with a rage of Quad ESL's from from 57's in use as a Single per channel, Singles mounted with Panels in the Horizontal Orientation and Stacked per channel.
These Models are my go to models and I enjoy them immensely in any configuration.
I have also been able to be auditioned various 63's and have been present when a comparison took place between a ELS 63 refurbished by One Thing Audio and a Original 63 from the earliest batch, with a very early serial number.
The earliest 63 was the preferred model over the refurbished.
57 Owners who were present were of the view that the preferred 63, was one of the most attractive presentations that can be recalled from the 63 model.
I am also able to receive demonstrations on regular occasion of the latest models on offer, there is even the option to use a Sub Woofer if requested to be used.
I have no prejudice against these designs, with or without Sub Woofer in use, they are more than capable of supplying a very memorable and impressive replay.
Quads when set up in a manner that allows their strengths to be delivered are a very attractive speaker, with enough Bass presence to let the listener not feel there is a depletion.
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I have a Tonearm with Continuous Silver Wiring that is not used much at present, but was used very recently doing a demonstration on another system, it is not possible to determine the influence on offer during this type of usage.
The idea of bypassing a selection of connections seems to be the reasoning for the continuous signal wire method.
I am also being invited to supply ears for assessing Two Tonearms, each share similar design philosophies for the Geometry and the Mechanical Interfaces, both are at different premises, and have different Cartridges, both mounted on Panzerholz Plinths and used with SP10 MkII TT's.
One of the designs has continuous Copper wiring, the other has the internal wire as the typical method and is using PC Triple C Copper Wire, but additionally has used Low Eddy RCA connectors on the Phono Cable and the Phonostage Chassis .
The method that has been most impressive and attractive and wanted to be aspired to from the most recent demonstrations, has been with the use of the Low Eddy connections.
When swapping out a the Cable to an Identical Cable without the Low Eddy RCA Connectors it was a very noticeable change and not for the better or even near parity as a comparison.
The use of Low Eddy connectors on Cable and the Chassis on a Vinyl Source Signal Path, is notable and is well worth the investigation.
I am not sure what other benefits could be achieved by using different Signal Wire Materials, but Silver if chosen might offer further benefits? .
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Hollow Boron Tube and Beryllium as a Cantilever are not a common material.
I have a Beryllium Cantilever on a Kontrapunkt B as a part used on a rebuild of it and really like the Cart' over the original.