tag:blogger.com,1999:blog-81672566984628103172024-03-10T13:07:50.423+01:00truefiThis blog is dedicated to real music fidelity with vintage tube audio components. Conversion kits for classic SME tonearms, vintage speaker systems with a main emphasis on vintage Tannoy speakers will be presented first. The role of enclosures as musical transducers will be enlightened. As well other systems like Western Electric Horns and its modern replics will be discussed. Directly heated tube amp amplification will be another main issue to follow.truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.comBlogger101125tag:blogger.com,1999:blog-8167256698462810317.post-29358427308112781012022-08-17T09:07:00.028+02:002022-08-25T13:42:16.335+02:00Revisiting my Favourite Sounds again<p>Hi everybody,</p><p>today I come back to an installation that I last <a href="http://truefi.blogspot.com/2017/03/revisited-my-favourite-sounds.html" target="_blank">discussed in 2017</a>. Having described this chain as exemplary and outstanding several years earlier, it was at this time that its owner began attempting this set more linear qualities to educate. I would like to remind you once again that a classic analog tube amplified <i>Shindo</i> chain with a typical <i>Monbrison </i>tube preamp, a pair of the early legendary 300B single-ended power amps and analog three-way crossover with historical components such as oil-paper capacitors and auto transformer in combination with the <i>LineMagneti</i>c 22A/597A and WE7331A speakers. In these days changing from smaller dipole housings each equipped with Pushpull <i>Klangfilm KL405</i> 14'' basses had ensured outstanding results. I have described this chain in detail and also looked up for its variants in other places for comparison, everything is well documented in this blog within the past years.</p><p lang="de-DE" style="margin-bottom: 0cm;">In this last stage of expansion at that time, dipole bass enclosures got exchanged to larger and more solid made enclosures 100% comparable to the vintage originals from Western Electric in terms of material and design here manufactured and additionally fitted with <i>LineMagnetic</i> 14'' field coil drivers. In this last article, I did describe in 2017 that the original quality and restrained sound structure with the new, much more powerful and heavier paper cone bass speakers was no longer able to deliver the homogeneity and natural unobtrusiveness, that I value so much in favor of a more typical PA tuning.</p><p lang="de-DE" style="margin-bottom: 0cm;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWnm__b8qImbJWYMYJFXfRBdjOBLn3CImwDZUHztGoR41CocKlNvNVP3gnus-OETCXFLwgZxy4fulRmVn6MmtLVxA5m9X-C-iDrykXQI0FZvf7VzgxCtI94ihrXRVct815rq0wF8-uQd4Do7_LNR86-PTaTyFOhRfNaZBRw_6_uoYNiJG6JctqWPzk3g/s4032/IMG_0643.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWnm__b8qImbJWYMYJFXfRBdjOBLn3CImwDZUHztGoR41CocKlNvNVP3gnus-OETCXFLwgZxy4fulRmVn6MmtLVxA5m9X-C-iDrykXQI0FZvf7VzgxCtI94ihrXRVct815rq0wF8-uQd4Do7_LNR86-PTaTyFOhRfNaZBRw_6_uoYNiJG6JctqWPzk3g/w664-h498/IMG_0643.jpg" width="664" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New Location and first step towards a new set up, still LineMagnetic 22A, but equipped with ribbon tweeters.</td></tr></tbody></table><br /><p></p><p lang="de-DE" style="margin-bottom: 0cm;"></p><p style="text-align: left;"><span style="text-align: left;">A lot has happened in the meanwhile of five years, especially in all of our lives. We are now familiar with numerous corona virus variants as with their medically correct names, for a few months we have been able to correctly decline all weapon systems of the German military and their NATO partners and we are happy that as a result of all this the inflation values in our country measure our quality of life in the low double-digit range. </span></p><p style="text-align: left;"><span style="text-align: left;">But also in this audio set up numerous stages of evolution were declined. First, the entire tube electronics were replaced in favor of a fully active DSP-supported digital amplification terminal. So it brought the possibility to switch from three to four and five-way systems. The <i>LineMagnic</i> midrange and tweeter horn systems were also exchanged for larger, similar horn system. Instead of the 22A snail horn, a <i>Susuma Sato</i> interpretation by a friend, <i>LignoLab</i> owner Norbert Gütte, was used. This means a completely double-walled construction with a resonance-reducing quartz sand filling. </span></p><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAcgohsST5DvHG5xIHft90qnZ45IiUlzNd312H02XLi0-O8hQbnYd_Qe-hjbwZIYxKzOaV8HHk6UWa_phtcEGcOz51k0X9SCWai_DKEBAeDtuxKkKpEgmg4KLc4YLezZloiCyK9DygBvoiNcIVotgdE_T4v3PxzytRDgTbmPdi27G35nZ2M2UymTvMzA/s6000/_DSC2520.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="6000" height="447" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAcgohsST5DvHG5xIHft90qnZ45IiUlzNd312H02XLi0-O8hQbnYd_Qe-hjbwZIYxKzOaV8HHk6UWa_phtcEGcOz51k0X9SCWai_DKEBAeDtuxKkKpEgmg4KLc4YLezZloiCyK9DygBvoiNcIVotgdE_T4v3PxzytRDgTbmPdi27G35nZ2M2UymTvMzA/w672-h447/_DSC2520.JPG" width="672" /></a></div><br /><span style="text-align: left;"><br /></span><p></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;">Norbert Gütte offers both curled necks and straight necks of different lengths for the sato-typical square meter opening. So it makes sense to evaluate different sized and different driver systems. From the classic 3/4'' pressure chamber driver to the 6.5'' paper cone driver, everything can be adapted to a dedicated straight horn throat in a mechanically optimized length. One after the other, modified Atlas/Klipsch drivers from Dietmar Hampel, JBL / Selenium 405, Celestion AXI 2050 were used. Modern PA drivers like the latter are of course no longer made with Alnico magnetic materials, but ceramic materials are used to achieve optimum efficiency in the PA dedication. With the 3/4'' version, the straight horn neck extends backwards over a distance of 2.40m and has to carry a solid weight. This requires a support system made from 12 meters for each side from typical <i>Bosch/Rexroth</i> structural aluminum profiles 40x40mm. The entire unit, consisting of the 7331 dipole bass enclosure, Satohorn and <i>Mundorf AMT 197PP27R-740-452-CDH</i> tweeter horn built into it from the Pro Series, is reinforced with these profiles and movably mounted on castors. One unit therefore easily reaches 1.00x1.72x1.80-2.40m (WxHxD) variable in depths by the preference of the middle tone driver size and a weight of 150 kg.</span></p><p style="text-align: left;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv1NaDjq2E_OBnWpqg51HL2f730mJwSnjz9kPdBSN9Q3pCSF83jOBhLD9uW-AMYeS36v4s43lm46Oby7g9PVFl4WEqNjRj1laiBpzO92r-S66hi_CmTWy5zhGb-17HYH--4p9xTM0yO99sV6VIMfC8LHxPUdBSDTPJJia4NAMT8yG-NJpNnG7N9IE7yA/s4032/IMG_2435.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="483" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv1NaDjq2E_OBnWpqg51HL2f730mJwSnjz9kPdBSN9Q3pCSF83jOBhLD9uW-AMYeS36v4s43lm46Oby7g9PVFl4WEqNjRj1laiBpzO92r-S66hi_CmTWy5zhGb-17HYH--4p9xTM0yO99sV6VIMfC8LHxPUdBSDTPJJia4NAMT8yG-NJpNnG7N9IE7yA/w644-h483/IMG_2435.jpg" width="644" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sato with long straight neck, adapted with extension neck to match D. Hampels modified 3/4'' <i>Atlas Sound</i> driver</td></tr></tbody></table><br /><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjL8QJzJEu_ujAJkwXSbSTA1t_-YLZf_qHbLOUtqZIJWco1vqcfadNCmYGm8ED_5MrJrkPqn0v-UEHUsy9pZ5FqCA0MWVSZ7vZlprOdglIY2YpMauWwos7glApQnndXKwMEOIvwpwRtQWbFF1iDAV6fblAK0pdGKvYStIN-vdPUH3CCw9_HripUGv7rA/s4032/IMG_1673.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjL8QJzJEu_ujAJkwXSbSTA1t_-YLZf_qHbLOUtqZIJWco1vqcfadNCmYGm8ED_5MrJrkPqn0v-UEHUsy9pZ5FqCA0MWVSZ7vZlprOdglIY2YpMauWwos7glApQnndXKwMEOIvwpwRtQWbFF1iDAV6fblAK0pdGKvYStIN-vdPUH3CCw9_HripUGv7rA/w675-h506/IMG_1673.jpg" width="675" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sato with 6'' driver and recessed neck</td></tr></tbody></table><br /><span style="text-align: left;"><br /></span><p></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;">After many attempts with different bass drivers, such as the Altec 416B/A, the Sonido 12'' driver is now being used in the dipole bass enclosure as final solution. The comparatively small 12" cone only works satisfactorily in combination with a <i>SW Becker B1000</i> subwoofer with 18" bass drivers per channel, which are actively used below 80 Hz.</p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEuVtVOcRpQuE8vEbVhYNW_WVS0GMwbhZBhuu5ipraXM1HUNGcheKNWg4cONAmBXujeeNGpkIyeuDAcolKIudMErX5bzDSI8y6Y24-3XXWwNJxB_RnJsQqR1kZLRj1rtaUPOt2syUY9zAenzr-MyzE9bR4TVfORqDb9K0OQPfX1R2ZD0WhZjezAL3NIw/s4032/IMG_3472.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="505" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEuVtVOcRpQuE8vEbVhYNW_WVS0GMwbhZBhuu5ipraXM1HUNGcheKNWg4cONAmBXujeeNGpkIyeuDAcolKIudMErX5bzDSI8y6Y24-3XXWwNJxB_RnJsQqR1kZLRj1rtaUPOt2syUY9zAenzr-MyzE9bR4TVfORqDb9K0OQPfX1R2ZD0WhZjezAL3NIw/w673-h505/IMG_3472.jpg" width="673" /></a></div><br /><br /><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;">In this chain, the loudspeakers described with active crossover (<i>Xilica XP4080</i>) are used with DSP support. The crossover frequencies are therefore:</p><p lang="de-DE" style="margin-bottom: 0cm;">Subwoofer 28 < 80Hz; Bass / Sato > 180, or 200; Sato / AMT < 900 to 1000 Hz</p><p lang="de-DE" style="margin-bottom: 0cm;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHSJZxh8DQ12BUCqj_qEaOkL84K1oQpbz5rV-xHB2i-3gAwaEP9v2M3R0Sv2Ldp46-Ao1asFXMMIDFkTM7mTIKe1MT039_m9wUe7K9dU6bKBh5RoL-QsKBqkNFHoQ1CCsbaTjGr3nl1gaLO-vb8VuOMUS0BBiq72hIm6-tkgQKXVqjIVckamc-VQcDxw/s4032/IMG_3468.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="503" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHSJZxh8DQ12BUCqj_qEaOkL84K1oQpbz5rV-xHB2i-3gAwaEP9v2M3R0Sv2Ldp46-Ao1asFXMMIDFkTM7mTIKe1MT039_m9wUe7K9dU6bKBh5RoL-QsKBqkNFHoQ1CCsbaTjGr3nl1gaLO-vb8VuOMUS0BBiq72hIm6-tkgQKXVqjIVckamc-VQcDxw/w671-h503/IMG_3468.jpg" width="671" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Actual set up, three ways plus stereo subwoofers</td></tr></tbody></table><p></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;">Initially, a Butterworth filter characteristic was used, but in the meantime it has been switched almost exclusively to a Linkwitz Riley characteristic with 48dB/octave. This not insignificantly complex structure is controlled by the <i>STA-800D</i> or <i>STA-400D</i> power amps, depending on the power consumption required. The settings of the DSP have been subtly integrated to counteract the typical room modes. In this way, undistorted levels of at least 110 dB can be reproduced. At medium levels, the distortion factors are around 0.1 percent, and at high levels it is still below 1%.</p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE2Cju97mmD6aC4xET5c6R-bVJvB6KcDXLBqwGz9ILa85BFxiiG86qQbfDakPEILGKAcgxLYzBw2V-_DX6ouJsdr9MXDEqbCd7iW8141sDUy_aI5_QVKIuEN0SeI1lrCmDYnWowU7Eg1tUILVM8wwJsGXTJY1oZwfmsfAueJoiBHSr95glDeNd1aDr2Q/s4032/IMG_4016.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="499" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE2Cju97mmD6aC4xET5c6R-bVJvB6KcDXLBqwGz9ILa85BFxiiG86qQbfDakPEILGKAcgxLYzBw2V-_DX6ouJsdr9MXDEqbCd7iW8141sDUy_aI5_QVKIuEN0SeI1lrCmDYnWowU7Eg1tUILVM8wwJsGXTJY1oZwfmsfAueJoiBHSr95glDeNd1aDr2Q/w665-h499/IMG_4016.jpeg" width="665" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Amplifier and crossover/DSP rack</td></tr></tbody></table><br /><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;">It's all hard core technical and well complicated. Such complex and expansive installations in the past have repeatedly shown very similar soundstages, very dynamic, tonally very complex with clearly noticeable properties. In the past few years I have often had the opportunity to listen to such large horn installations. The tonal properties were usually extremely different. They mostly impressed with an extremely present and fanned-out midrange reproduction, so one believed to hear details that other sound transducer principles are not able to reproduce, including electrostatic transducers.</p><p lang="de-DE" style="margin-bottom: 0cm;">In addition, the space-consuming structure with its physically extremely large distances between the individual sound transducers and the clear expansion length of the respective sound generation is hardly manageable in the sense of a point source. This effect additionally supports the interpretation of a tremendously extended reproduction of the stage space. It is not uncommon for this sensation to become the originated problem after a short time of listening. The first thing that strikes you is the typical fatigue of our sensory perception. Later, one also notices that the supposed sensation is a result of typical inhomogeneities of such large three-, four- and five-way systems and turns the underlying sensation into its exact opposite, namely making listening increasingly an emotional stress.</p><p lang="de-DE" style="margin-bottom: 0cm;">It was exactly the same in 2017 in my report, when in the more solid and larger <i>WE7331A </i>replicas, 14'' field coil-driven <i>LineMagnetic</i> woofers supplemented the setup at that time. The originally extremely refined homogeneity, which was achieved in the bass section with two 14'' <i>Klangfilm KL405</i> in push-pull operation, became so noticeable due to the significantly stronger cone structure that it suddenly got in the way of effortless, natural listening.</p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjztqTqIHSmAKxn68bm88m7USu2aPBS9UiP7N63y2-PrNku-vpU6UgH97y7QP6LgFJUgmld5rQRgp1i0MzDOmgXDvaq6faH8mZO8MmRSytzwxWFx7El-vlKYpcls0C-eWF3MY3VLJJTbpKmnREgFMOOsaRdw2VLzU7S17OYAuvYfzVSEDz3iUVXZdtCXQ/s4032/IMG_2202.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjztqTqIHSmAKxn68bm88m7USu2aPBS9UiP7N63y2-PrNku-vpU6UgH97y7QP6LgFJUgmld5rQRgp1i0MzDOmgXDvaq6faH8mZO8MmRSytzwxWFx7El-vlKYpcls0C-eWF3MY3VLJJTbpKmnREgFMOOsaRdw2VLzU7S17OYAuvYfzVSEDz3iUVXZdtCXQ/w677-h508/IMG_2202.jpg" width="677" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Intermediate installation with mixed amplifying devices, here still rolling tubes</td></tr></tbody></table><br /><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;">Other Sato horn installations or similarly large horn systems that also work four-way with large passive or partially active bass systems sometimes also involve four-segment midrange horns, like the original installations in the 1970ties by Susuma Sato. In these days it was supposed to improve the linearity of the overall frequency response in the upper mids, but examples I did listen to, do play so little homogeneous that it seems possible for the experienced ear to identify all drivers as single sources at the same time, like a large orchestra to be heard separately with insane runtime differences. </p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkwlt9sQn2m5MuLQtQQPAjQYpRPT2ZDxruTBqZsy_Ll0er7_iEaypG-kxZ8x3FK7s80fVWRGcmmCP1MAQq-HvFEB96hwrwwUvXkRYGGrmNnohpmhO2Kv3mqjaNK4HdpBH4ehKRP2sIYyv41dUpPnuq3Zoia1n81eqh1Lgs7SRZkiCdIfrE7C1GV3lkCw/s4032/IMG_4032.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="575" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkwlt9sQn2m5MuLQtQQPAjQYpRPT2ZDxruTBqZsy_Ll0er7_iEaypG-kxZ8x3FK7s80fVWRGcmmCP1MAQq-HvFEB96hwrwwUvXkRYGGrmNnohpmhO2Kv3mqjaNK4HdpBH4ehKRP2sIYyv41dUpPnuq3Zoia1n81eqh1Lgs7SRZkiCdIfrE7C1GV3lkCw/w431-h575/IMG_4032.jpeg" width="431" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p lang="de-DE" style="margin-bottom: 0cm;">The experience trail shown here is also about tracing the complex path of the various ways that such a structure enables. Here the effort was increased to the extreme that is feasible, as many variants in the pictures impressively are shown. And this complex path of various tests has really paid off for an exclusive refinement at all.</p><p lang="de-DE" style="margin-bottom: 0cm;">With the usual scepticism about such overexpenditure and also about the technology used here, I did listen to this installation calmly and impartially. Despite a four-way structure (HT-MT-TT-SW), it has been possible to achieve a completely seamless and extremely homogeneous sound pattern with the finest tonal reproduction quality. Over the entire tonal spectrum, i.e. between about 40 Hz up to the limit of my hearing ability in the high-frequency range, an extremely dynamic but never conspicuous sound spectrum is projected into the room with unbelievable ease, which with such cogency I have never heard of such a large-scale installation. One is able to recall approximately a live performance, or to put it another way, the playback is incredibly close to the characteristics of a very good pair of open space headphones, such as the <i>AKG K1000 </i>with near field equalization. Especially with extremely difficult tutti passages of large orchestra recordings, i.e. music that can hardly be reproduced realistically via normal loudspeakers, the set impresses with a huge stage that makes an exact spatial staggering comprehensible, but above all the most important thing of such a reproduction, the unbelievable amount of moving air makes playfully realistically tangible. Other challenges such as smaller jazz ensembles, chamber music or voices, on the other hand, are almost a side exercise. One can enjoy listening to music for long passages without any signs of fatigue, and after all, that's exactly what we should all be aiming for. Even if this is often lost in pointless technical debates, here it shows that it will be possible with almost contradictive conceptions of audio response.</p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1sKsfC8oirSMYhAZEa5lLEmttgO1YQwxcMSzWf8uxOG2esm6qWwGuSag-fA2slSlAWbiQwLx6B-rk5EYrZr55ZBM_711QQUhrcAcu3zGCHy2iUZoUlM7jAw3E_Ai4UKOoAFaHJed1TynC6Xxu8z0kveKND-aeBcvUa1SRS6k4N7kYQrPYXH2pGHnCNQ/s4032/IMG_3466.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="513" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1sKsfC8oirSMYhAZEa5lLEmttgO1YQwxcMSzWf8uxOG2esm6qWwGuSag-fA2slSlAWbiQwLx6B-rk5EYrZr55ZBM_711QQUhrcAcu3zGCHy2iUZoUlM7jAw3E_Ai4UKOoAFaHJed1TynC6Xxu8z0kveKND-aeBcvUa1SRS6k4N7kYQrPYXH2pGHnCNQ/w684-h513/IMG_3466.jpg" width="684" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Half of the actual set up, 2022</td></tr></tbody></table><br /><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;">This chain consciously relies on currently produced technology for the large-scale public address use, so it is completely free from the usual hifi terminations of a "beautiful sound", like exalted tube technology, "certain rare old components without which the earth would not continue to turn". Go then...</p><p lang="de-DE" style="margin-bottom: 0cm;">So if you are striving for something similar, in words a "walkable headphone", you might want to take advantage of the moment. The actual savings discussions might set your mind to convert existing inhouse swimming pools, indoor squash courts or the like in the generally sense. With a room area of less than 50 square meters it becomes difficult, the integration of such an installation into normal family life will probably inevitably lead to opulent maintenance payments. And if you were equipped in younger age with a pronounced play instinct addiction, which might have in your earlier life led to basement-sized H0 model railway installations, you can certainly think about a similar way of presenting such amounts of fun with music reproduction into your life.</p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><p lang="de-DE" style="margin-bottom: 0cm;">Read on soon, Volker</p><p lang="de-DE" style="margin-bottom: 0cm;"><br /></p><br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-79118213809349973722022-06-15T11:12:00.007+02:002022-06-15T13:55:11.392+02:00Back to stage – a PSU for a known singing bird<p>Hello everybody,</p><p>in loose sequence I am posting articles about vintage audio equipment. In the last couple of month I have spend my time more with listening to music and with the support rearing of songbirds, in particular of black birds, than with building audio equipment. To listen to the very different sound of birds is as well a exceptional training for the educated ear...</p><p>Today I am talking again about building a power supply for a British tube preamplifier with RIAA-equalizer stage. A familiar customer asked me a while ago if I will be able to make him a power supply for his Concordant Exelsior preamplifier. He pretended to have a schematic for it and as well the schematic of the amplifier itself. I said that it would not be to difficult to make one. Next he asked me if I will be able to make one with tube rectification and better components. I said I need to check, because some components are hard to find in the meanwhile and that I would need to check my stock of parts. The schematics turned out to belong to a completely different version of this preamp. As the most people might know mains transformers with split balanced HT-output and two different filament windings "don't grow anymore on trees" as it would be needed for this! A quick look in my storage gave me some overview to pulled transformers from old equipment, foremost from old radios, some were missing parts, others where winded for 4 volts filament, etc. I didn't find the right part to do it well. Next question is to find new parts, Lundahl might here the right solution, but nothing under 200 €, which was expected a lot to expensive. Next problem would be to find a matching case for all, matching in visual terms, but as well big enough to harbor all components. Not easy, but I decided to get forward with a black painted Hammond casted aluminum case of the same height and depths of the Concordant. My customer limited the cost range for all to 250 €, which is an almost impossible sporting competition to stay beyond. A rough calculation showed immediately that such amount will pay the needed parts but not the work making it. On the other hand this guy never had a chance to listen to this preamp before, since he bought it without power supply. This person normally listens to a Shindo Monbrison and other well priced and established products, so he does not know what he will become at the end, just to explain his tight money framing. To be honest with this limit a simple PSU with silicon rectification and simple filter stage for the anode rail and silicon 12 volt IC regulation will be the solution to bring the package back to life within such financial limitations. I told him about and he pleaded to get something better, smoother sounding. I told him, that there will be no guaranty that even a perfect made PSU will bring this preamp to the level he ideally might expect.</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyDQICtSqm6nlUUa4EKRgwKDdXx8yPPx1TEBlB6P2rpXmVAGm7tGB0snSZeNDSRcsaCRKcbbRfNh7Rggs7dw6vBGaADjWfXrfR4pNBF2PBdWJ_EqGEv0HHTi1r6JFwlRivfQpgasUACNK2dLGrxpDKqP4tYw23b6QGT414hL49pBjXrVwUwTnj3B82-Q/s1500/Concord_nPSU1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="1500" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyDQICtSqm6nlUUa4EKRgwKDdXx8yPPx1TEBlB6P2rpXmVAGm7tGB0snSZeNDSRcsaCRKcbbRfNh7Rggs7dw6vBGaADjWfXrfR4pNBF2PBdWJ_EqGEv0HHTi1r6JFwlRivfQpgasUACNK2dLGrxpDKqP4tYw23b6QGT414hL49pBjXrVwUwTnj3B82-Q/w676-h452/Concord_nPSU1.jpg" width="676" /></a></div><br /><p></p><br /><p><br /></p><p><br /></p><p><br /></p><p>Ok, I started some research at the internet and opened the Concordant case with the result that I realized that this version is equipped with ECC82 in the output stage and ECC88 in the RIAA-filter stage. This means with ECC88 it needs a 6.3 volts filament supply – no way make a cheap silicon based regulation with penny parts only ugly rails of hated caps and resistors to drop the voltages. </p><p>So it gets back to the start with tube rectification with EZ81, choke regulated loading and filter stage for the anode supply. I looked again into my storage list for mains transformers, where all transformers are listed, which are useful for power amplifiers with their exact output data. The most of the transformers are collected as pairs, I am always afraid to use one of them for a single project, so still a lot of them is untouched since years. So I found the right type with the right taps, just a little bit oversized for such a project, but otherwise perfect. I decided to use it because I am not getting younger and the future projects might get countable. Now I needed to order a Hammond 157G 30H/40mA smoothing choke and I found a supplier who offered a bunch of NOS double capacitors 2x100uF/400V of ideal physical size to match my selected case. The Concordant sports a luxury, a mirrored double filament support for each channel, so it says at the front plate double mono preamplifier. At the back it has two identical unusual German DIN three pole jacks for this reason. I found in my storage the matching plugs, otherwise nowdays hard to find. So I collected all necessary parts from my storage together, – switch, fuse holder, cables and wires, resistors, tubes, silicon rectifiers, oil caps, supports, screws, nuts, bolts and more. When I first time tested the size of the case with the real components, I realized that it will get tight, – exceptional tight. At the end there was not the space for one more resistor inside. I needed several times to regroup the components inside to make it work!</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiScy3O90TIxUdSG4uIkW4aQwZZiYIL8hYrrpgROkIihG_85GC9gukZwZ6vYGqRbReUmr2lUiLYrSvJXODY1-iX6__oAMzbCG5FL7et_V3QU89KlspUk8yMTS2TY3mu7Dr-Xl1v1OJBZWdAJ0gfQZ-C56ovURA98-iNfEcivE2NXbD3A46U3Ng12cDgUQ/s2016/PSU_pre_VH.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="2016" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiScy3O90TIxUdSG4uIkW4aQwZZiYIL8hYrrpgROkIihG_85GC9gukZwZ6vYGqRbReUmr2lUiLYrSvJXODY1-iX6__oAMzbCG5FL7et_V3QU89KlspUk8yMTS2TY3mu7Dr-Xl1v1OJBZWdAJ0gfQZ-C56ovURA98-iNfEcivE2NXbD3A46U3Ng12cDgUQ/w677-h508/PSU_pre_VH.JPG" width="677" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>At the end of the day all parts were in place and the case could be closed without pressure. Before I needed to isolate delicate exposed contacts. For example the tip of the EZ81 just matched the close case because I drilled ventilation wholes into the cover, the middle whole takes the tip, underneath the octal socket I needed isolation, because there was only 1mm air left between HT contacts and the base plate!</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib1L6h4c57pGZkmk0qEkhanAaZh7MOKzh1_q5mDVE2MuyFGx2qfBEMQ3vpyHXNBLEaPWYFSwkJphuoAKoM0VGmfTrWjAcg1olkI2ZPy-HC2fL_FR5u41d3wlXogXRhM4NXzcSfz2ricY6JpHIfnDiEHjDTqpaaMyoJ6yimyI2fLQ37ha8nfMwMTbM-MA/s1500/Concord_nPSU2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="1500" height="451" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib1L6h4c57pGZkmk0qEkhanAaZh7MOKzh1_q5mDVE2MuyFGx2qfBEMQ3vpyHXNBLEaPWYFSwkJphuoAKoM0VGmfTrWjAcg1olkI2ZPy-HC2fL_FR5u41d3wlXogXRhM4NXzcSfz2ricY6JpHIfnDiEHjDTqpaaMyoJ6yimyI2fLQ37ha8nfMwMTbM-MA/w675-h451/Concord_nPSU2.jpg" width="675" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>When I connected the new preamp with PSU to my setup, I was really astonished. The sound was exceptional refined, with wide open smooth and liquid soundstage, exactly so I do like it a lot. Of course I don't have any comparison to the original version, but I must say this combination is very very good. Yes the PSU uses some basic ideas which have been established in my equipment for years. For example the push-pull choke for the filament, the low oil capacitance in the loading stage for the rectifier tube to make it fast and smooth. </p><p>I am looking forward about the ruling of the owner when he does the compare it with his Shindo Monbrison. It might get difficult... This is definetly under all tube preamps which had a chance to listen to one of the rare singing birds.</p><p>And who is now going to pay my work? </p>truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-79879069765412621002022-01-21T09:35:00.090+01:002022-01-21T17:00:35.731+01:00Revisiting own History – The classic Leak TL12+ amplifiers<p><br /></p><p>As already widely shown in my <a href="http://truefi.blogspot.com/2019/10/collection-resolution-part-i-leak-tube.html">earlier articles</a> I collected in the early 1990ties during my London time a whole lot of classic <i>Leak</i> tube amplifiers. Foremostly I remember one visit in London in 1992 when I did buy an exceptional lot of amplifiers from London dealers. On the way back to Germany my car got stopped from French custom officers because of its obvious visible overweight in its trunk, the rear wheels already were deep hidden in the chassis with an extra 15º camber. I will never forget the officers face when I did show him the tight stacked amplifiers, he had no idea what he was looking at. I don't exactly remember, but it must have been around 6 to 8 pairs of this model TL12+ and several Stereo 20 and as well some pairs <a href="http://truefi.blogspot.com/2019/10/collection-resolution-part-i-leak-tube.html">TL10.1 and TL12 point one's</a>. I tried to explain that these are historic audio amplifiers, but he hardly could believe my words looking at a wall of golden chassis.</p><p><br /></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhlcaozKdkxPgLp537fyzx0vFwEjM6xXWjirDZ3jThCjssJMkhvYITx3M1IllnnK7WZYzufBZ-hlTyEnREbSx6hD_XpUUo0qPAMN9nlK6ZgOCMayIR_w4btf8SW7YeijKKv_bWxv7QmQ2jXOdXqZ8MZX5WUpD-SHmKtMqI0Qu7M1FaTFmFYzRBhsLV7vw=s1500" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1002" data-original-width="1500" height="446" src="https://blogger.googleusercontent.com/img/a/AVvXsEhlcaozKdkxPgLp537fyzx0vFwEjM6xXWjirDZ3jThCjssJMkhvYITx3M1IllnnK7WZYzufBZ-hlTyEnREbSx6hD_XpUUo0qPAMN9nlK6ZgOCMayIR_w4btf8SW7YeijKKv_bWxv7QmQ2jXOdXqZ8MZX5WUpD-SHmKtMqI0Qu7M1FaTFmFYzRBhsLV7vw=w667-h446" width="667" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The classic late 1959 Leak TL12+, here already with RCA-socket and input pot.</td></tr></tbody></table><br /><p></p><p><br /></p><p><br /></p><p><br /></p><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>The shown pair is one set of this batch. I did restore all of them to my highest possible standard these days. In particular this pair got the best care because of the rather rare color "champaign" and with the aim to keep them for my own collection. As regular treatment I replaced the electrolytic filter caps to oil caps. Here the old electrolytic content needed to get emptied in order to reuse their cans for originality and color with new caps glued in. Generally all coupling caps where replaced to oil caps, a expensive step these days because the only modern source for such was <i>Audio Note</i>, who cared about the distribution of <i>Jensens</i> Audio Caps, a good 20£ investment for each value which added alone to 200£ for a set. All carbon composition resistors got exchanged to new German <i>Beyschlag</i> 2 watts carbon composition types, each around 2 € only available in 10er belts these days. The cathode bypass capacitors generally got changed to bipolar tone frequency caps, which mainly where used as crossover parts in speakers. The religion in these days was the use of triodes in all stages, so I always changed the input stage from EF86 pentodes to ECC83 triodes in order to refine the soundstage and to reduce the input amplification factor, which is with all Leaks extremely sensitive. I brought generally the power stages of these push-pull designs to semi triode operation of the EL84 tubes. All these steps were introduced in order to achieve with this little amps a much more sophisticated and smoother operation, in contrast to the impressive, but a bit too cheaky performance of the original version. The reduction of output power from 12 watts to hardly 4 watts in pseudo triode operation emotionally perceived with efficient speakers (better than 96db) as to be a even better drivability. </p><p><br /></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi4I_scQKzbeVQrVcABOlbr9ftM3WR6Cxwzs6j3s-UexuysU3z2hScSMQ01sGwzAk5FtYt7Jn8tNSIL6kruB6yHEL1kUR_r5QIhV3AZR0g5CpviN4xoyfO9XxAmIdPd-Ol75TRPzX0TzlH8JSfKltbo13vzE9uwYuMOVRcCGrRypg1QMzyFeVsfNPdEAg=s1500" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1002" data-original-width="1500" height="438" src="https://blogger.googleusercontent.com/img/a/AVvXsEi4I_scQKzbeVQrVcABOlbr9ftM3WR6Cxwzs6j3s-UexuysU3z2hScSMQ01sGwzAk5FtYt7Jn8tNSIL6kruB6yHEL1kUR_r5QIhV3AZR0g5CpviN4xoyfO9XxAmIdPd-Ol75TRPzX0TzlH8JSfKltbo13vzE9uwYuMOVRcCGrRypg1QMzyFeVsfNPdEAg=w655-h438" width="655" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Close up of input stage in foreground, in background whole lot of modifications at the filter stage with smoothing choke (at left) and fuse holder, switch (at right) and power cord.</td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="text-align: left;"><span style="text-align: left;">As some might expect the days weren't far that I decided, with almost every </span><i style="text-align: left;">Leak </i><span style="text-align: left;">model in daily use, the most of them in several versions, to get rid of some doublets to save space and money. Some friends of mine got within this years involved into my passion and became interested as well to use tube amplification in combination with Tannoy speakers. So I sold some amps from my collection to them. As reported in my last entry a <i><a href="http://truefi.blogspot.com/2021/10/collection-resolution-leak-tube.html">Leak Stereo 60</a></i> of my early collection revisited me unexpected end of last year. This example found a caring new home in the meanwhile. Shortly before New Years Eve another friend visited me and brought another former pair into service, which acted for 30 years a long term companion to his </span><i style="text-align: left;">Tannoy Lancasters</i><span style="text-align: left;"> with </span><i style="text-align: left;">15'' Monitor Golds</i><span style="text-align: left;"> for him. When I started to inspect this pair, I realized what 30 years of rough use with several house moves and more or less permanent plugging and unplugging can do. They were completely rocked down. Loose contacts, open wires, leaking capacitors, wax dripping from transformers, tubes run down to 20%, in one an almost black ashed rectifier tube showed the remnants of an unexpected firework, – he had treated them almost to unusable wracks. My friend decided to spend good money for another life and a total revision. At my first restoration in 1992 these amps were already 35 years old, now added on to another 30 years. I will try my best to give them another third life for the next 30 years. Maybe these little wonders will find one day when I already will be passed away the next owner who might bring them into a fourth period of living – this is what I will call </span><b style="text-align: left;">sustainability </b><span style="text-align: left;">– not the highly acclaimed class G digital amps to be so.</span></p><p></p><p><br /></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjiB3u2qXdFdJ7X5oLx8dw3kZoWlg1NOniZuqMqq3ihzKSzwjukgc1PNKSfnsyrueRzJIabPDdEFjyTOHIGCvh6gjqyQE-YgY1m5zFtGKfa-eYAX2h5U0MgAGDOBkFOxvjCmsqUq-82WueJKIFBM8owEiz4PBRdq9nuiiPIxbcl8sSyN_G6KsgO2kelIw=s1500" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1002" data-original-width="1500" height="440" src="https://blogger.googleusercontent.com/img/a/AVvXsEjiB3u2qXdFdJ7X5oLx8dw3kZoWlg1NOniZuqMqq3ihzKSzwjukgc1PNKSfnsyrueRzJIabPDdEFjyTOHIGCvh6gjqyQE-YgY1m5zFtGKfa-eYAX2h5U0MgAGDOBkFOxvjCmsqUq-82WueJKIFBM8owEiz4PBRdq9nuiiPIxbcl8sSyN_G6KsgO2kelIw=w658-h440" width="658" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">View of the complete mainboard, just at top edge underside of pot and the filament symmetry element</td></tr></tbody></table><br /><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p>For this reason to open up for a new future I decided to change some principles I had 30 years ago. I always took extremely care to keep mechanical originality of the amplifiers, which was meant not to drill wholes or remove unused components, like the octal sockets for chaining further Leak- or other components. Today or even better tomorrow nobody really will use a <i>Troughline</i> tuner or a <i>Varislope</i> preamp, so contemporary preferences for practical use are getting more important instead of originality. A better control of the input signal, in particular with modern high output components (min. 2V or more) like preamplifiers, computers or digital streaming clients, – more or less hum- and hiss free operation and of course still the smooth and dynamic soundstage are relevant for the aficionado.</p><p>So I needed to find mechanically and electrically matching filter capacitors as paper-in oil types, not an easy job even with <i>eBay within </i>such sizes. Pots, switches and simple things like fuse holders are more and more difficult to be found in well known high quality, foremost made for military use in the 1970ties.</p><p><br /></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiRP4Zq8qhjUknlKBjCrcdlzNta2x3jkNORbR329XyUeZ648lS-i7BkgIoMTUjEigNexvFuK1ukQqYjyLWd3oT83PDTfFA7nvtEe0daIWQfuMh1UgkhlyltzBw9Vqd2Xk-oe5rhMCrZyh174wKr3WHSsVksPiTUtFX-2ANIgJPT0ckXqhXcd4QErG7zSA=s1500" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1002" data-original-width="1500" height="436" src="https://blogger.googleusercontent.com/img/a/AVvXsEiRP4Zq8qhjUknlKBjCrcdlzNta2x3jkNORbR329XyUeZ648lS-i7BkgIoMTUjEigNexvFuK1ukQqYjyLWd3oT83PDTfFA7nvtEe0daIWQfuMh1UgkhlyltzBw9Vqd2Xk-oe5rhMCrZyh174wKr3WHSsVksPiTUtFX-2ANIgJPT0ckXqhXcd4QErG7zSA=w652-h436" width="652" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Knob inlay made from real embossed calf leather matching luxury expectations...</td></tr></tbody></table><br /><p></p><h1 style="text-align: left;"><br /></h1><p><br /></p><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>The <i>Leaks</i> got now smoothing chokes (8H/100mA) in the filter stage, NOS mil spec input potentiometers, perfect RCA-sockets, switches, optimized AC-cords and of course a set of best possible NOS tubes in every stage. So equipped this little pair will do a perfect job in the coming years and play now in the same league where best handmade tube amplifiers like Shindo, Thomas Mayer or others are bought for in difference to modern chrome monsters made to match Asian expectations. </p><br /><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgWQ517MFMxGPIrnYJcQr6jeBgi6uYx8mVRfNFuXKIyNQ_Y610CjmNTcPvLlFDFkcDbO9j1ow-CYYaUtHAbjfSizq-rbyhzIyTAosA3kNsEb11cbGzFoi2YDMEIrzntPe3CLz4BURcihEmY_Ij0uVzI1KYOQ2NyRM49ZFXSLwRkqsQvLoxeEfMZ_Snhhg=s1500" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1002" data-original-width="1500" height="431" src="https://blogger.googleusercontent.com/img/a/AVvXsEgWQ517MFMxGPIrnYJcQr6jeBgi6uYx8mVRfNFuXKIyNQ_Y610CjmNTcPvLlFDFkcDbO9j1ow-CYYaUtHAbjfSizq-rbyhzIyTAosA3kNsEb11cbGzFoi2YDMEIrzntPe3CLz4BURcihEmY_Ij0uVzI1KYOQ2NyRM49ZFXSLwRkqsQvLoxeEfMZ_Snhhg=w644-h431" width="644" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">60 years of technological time shift to play music</td></tr></tbody></table><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>Now this little amps are ready for the time which is already there, a time were music streaming has overtaken the music market and digital components are feeding their playlists into such ultra analog audio chains. After 10 years of wireless music stream into my own chain from my notebook as to be the 'jack of alle trades'. I did spend at the start of 2022 myself an actual <i>iPad</i> with 1Tb storage to be solely my comfortable <u>music juke box</u> to play from cloud services as well from my own digital collection at a finger touch. </p><p>Stay healthy, it might find an end sooner or later, Volker</p><p><br /></p><p><br /></p>truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-54477443976748799492021-10-11T09:58:00.005+02:002021-10-11T13:27:51.651+02:00Collection Resolution – Leak Tube Amplifiers – Addendum<p> Hello to everybody,</p><p>after my successful sale of my tube amplifier collection, fore mostly several Leak models, I have to make a curious addendum. A very old friend offered me after 35 years a rare Leak Stereo 60 back, which I did sell him in the early 1990ties. I had completely forgotten about it since I wasn't in contact to my friend over all the years. As the most people know which do read here such tube amplifiers have got rare and even more rare is such condition. He did not use it a lot, just enough to keep it flawless running over the whole period of time. So I got it back (home I would say) and was a bit astonished about it. I did overhaul it in the 1990ties with even than expansive Audionote (Jensen) Paper-in Oil Caps, which did cost through the luxury distribution a good lot of money in these days. I now did replace all electrolyte capacitors, in particular the original ones, more than 60 years old. I was astonished that I already did change the design to triode mode by shortening the suppressor grids with a 100 ohm resistor in order to improve the sound attitudes. When I connected this amp I was more or less speechless about it enormous sound qualities and its solid driving qualities, which did make my standard set with single ended topology completely superfluous. A exceptional natural fluid sound stage, which is a lot better than any modern produced tube amplifier I do know.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVrKsgkCQahNbWq0NYhGIgy1SYXWwMaU1clMwMmZcSx4-RFVqvdf_SXPu9akLG4e9o8O0MafEHoj0NB5aZ-SsBXkWrywGhKmBRHozdTGmJLPbNwROkHmanR8FKI9QZdAU58gxsAKyLRrzp/s1500/_DSC5884Leak_ST60.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1086" data-original-width="1500" height="453" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVrKsgkCQahNbWq0NYhGIgy1SYXWwMaU1clMwMmZcSx4-RFVqvdf_SXPu9akLG4e9o8O0MafEHoj0NB5aZ-SsBXkWrywGhKmBRHozdTGmJLPbNwROkHmanR8FKI9QZdAU58gxsAKyLRrzp/w625-h453/_DSC5884Leak_ST60.jpg" width="625" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiReTDOdfjrl-nAmFOGhwvtgGYAL1bmPAw6wL7KCxbdS5BtN5gQciLuNc9g7BLGXmWfx4Ya2jN0A0ItMph50_mTh9IFPX-sjvskB0e4MA_d69pTpvIQGhnG0tUCwo_1G4jpy6YcsgzEikI1/s1500/_DSC5885Leak_ST60.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiReTDOdfjrl-nAmFOGhwvtgGYAL1bmPAw6wL7KCxbdS5BtN5gQciLuNc9g7BLGXmWfx4Ya2jN0A0ItMph50_mTh9IFPX-sjvskB0e4MA_d69pTpvIQGhnG0tUCwo_1G4jpy6YcsgzEikI1/s1500/_DSC5885Leak_ST60.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1086" data-original-width="1500" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiReTDOdfjrl-nAmFOGhwvtgGYAL1bmPAw6wL7KCxbdS5BtN5gQciLuNc9g7BLGXmWfx4Ya2jN0A0ItMph50_mTh9IFPX-sjvskB0e4MA_d69pTpvIQGhnG0tUCwo_1G4jpy6YcsgzEikI1/w637-h462/_DSC5885Leak_ST60.jpg" width="637" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br />The amp is equipped with used tubes, all in very good condition. The ECC83s are Mullard - Blackburn production, the power tubes are early 1970 Sovtec 5881.</td></tr></tbody></table><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiReTDOdfjrl-nAmFOGhwvtgGYAL1bmPAw6wL7KCxbdS5BtN5gQciLuNc9g7BLGXmWfx4Ya2jN0A0ItMph50_mTh9IFPX-sjvskB0e4MA_d69pTpvIQGhnG0tUCwo_1G4jpy6YcsgzEikI1/s1500/_DSC5885Leak_ST60.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoR1TlvYVyvUAnniVtttceVxNITFCw1unn3axZO_f2Sjmx-xlcvIeDBLtPz2HV7ybP0tZ1j4FsKdDK59Dm7ZKD5rTh-DGIy10kzVx-Qx2F5OBmF5hqJAHvq7CGxd_ajqhCEYZ4dNSVKx1Z/s1598/_DSC5887Leak_ST60.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoR1TlvYVyvUAnniVtttceVxNITFCw1unn3axZO_f2Sjmx-xlcvIeDBLtPz2HV7ybP0tZ1j4FsKdDK59Dm7ZKD5rTh-DGIy10kzVx-Qx2F5OBmF5hqJAHvq7CGxd_ajqhCEYZ4dNSVKx1Z/s1598/_DSC5887Leak_ST60.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoR1TlvYVyvUAnniVtttceVxNITFCw1unn3axZO_f2Sjmx-xlcvIeDBLtPz2HV7ybP0tZ1j4FsKdDK59Dm7ZKD5rTh-DGIy10kzVx-Qx2F5OBmF5hqJAHvq7CGxd_ajqhCEYZ4dNSVKx1Z/s1598/_DSC5887Leak_ST60.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1598" data-original-width="1500" height="455" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoR1TlvYVyvUAnniVtttceVxNITFCw1unn3axZO_f2Sjmx-xlcvIeDBLtPz2HV7ybP0tZ1j4FsKdDK59Dm7ZKD5rTh-DGIy10kzVx-Qx2F5OBmF5hqJAHvq7CGxd_ajqhCEYZ4dNSVKx1Z/w427-h455/_DSC5887Leak_ST60.jpg" width="427" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The coupling caps are "Audionote"-Jensen made oil-paper-typres, <br />even in these days an expensive upgrade<br /><br /></td></tr></tbody></table><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoR1TlvYVyvUAnniVtttceVxNITFCw1unn3axZO_f2Sjmx-xlcvIeDBLtPz2HV7ybP0tZ1j4FsKdDK59Dm7ZKD5rTh-DGIy10kzVx-Qx2F5OBmF5hqJAHvq7CGxd_ajqhCEYZ4dNSVKx1Z/s1598/_DSC5887Leak_ST60.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuxcUNItNIKqIPd7aqQ33k645IWG-ajQiQZqV3Njk5ByqD7RLyZfIMiR9s1sSXRJBXxHjHwgkvg1hvAN_Tu-1mjhEWN0QvTzHQpnK8bZZiIj6hJmiiSzHipo6rFk96CVOovSme88WcbkUd/s1500/_DSC5886Leak_ST60.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="980" data-original-width="1500" height="421" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuxcUNItNIKqIPd7aqQ33k645IWG-ajQiQZqV3Njk5ByqD7RLyZfIMiR9s1sSXRJBXxHjHwgkvg1hvAN_Tu-1mjhEWN0QvTzHQpnK8bZZiIj6hJmiiSzHipo6rFk96CVOovSme88WcbkUd/w644-h421/_DSC5886Leak_ST60.jpg" width="644" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><br /></td></tr></tbody></table><br /></div><br /><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsMdo0rIH88Kv3jGFx_uo_UlxpRBBqWl6f5p5WTOao4EO_ty3xYItvzzx4HwbSCvFB5TUcbghGa3M_u6Tphjjn4fBj9Vhm1fSSJufMgNHqqy4w396TZc1qMo0hEGiwAtwI3-x_bYHKD2wG/s1500/_DSC5888Leak_ST60.jpg" style="clear: left; margin-bottom: 1em;"><img border="0" data-original-height="1059" data-original-width="1500" height="455" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsMdo0rIH88Kv3jGFx_uo_UlxpRBBqWl6f5p5WTOao4EO_ty3xYItvzzx4HwbSCvFB5TUcbghGa3M_u6Tphjjn4fBj9Vhm1fSSJufMgNHqqy4w396TZc1qMo0hEGiwAtwI3-x_bYHKD2wG/w644-h455/_DSC5888Leak_ST60.jpg" width="644" /></a></div><p><br /></p><p>This rare item will be sold to somebody who might take a good care about this exceptional amplifier. I will be able to demonstrate its perfect performance here to anybody interested who wants a good tube amplifier for the rest of his life... With its triode connected push-pull design the amplifier is able to drive a quite wide range of speakers from 92 dB upwards on to exceptional dynamic open and natural sound stages. </p>truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-45324036713936820582020-06-04T14:44:00.000+02:002020-06-05T11:05:14.531+02:00Faith, Hope and Salvation – The WE91A SE stereo amplifier without 300b tubes – I did it againEnd of 2017 I did <a href="http://truefi.blogspot.com/2017/12/faith-hope-salvation-single-ended-tube.html" target="_blank">publish</a> a post about the single ended amplifier designs and my evaluation of power tubes to be more than an alternative of the <i>Western Electric 300B</i> tube. In these days the idea formed from my earlier sound evaluation experience of different manufactured 300B tubes. The audio business focused on tube amplification made single ended tube amplification designs with 300B power tubes for 40 years to be <u>the</u> "cash cow" of growths. As result there are uncountable amounts of makes and brands in the market which explain each as the most original reproduction derivate of the original <i>Western Electric</i> power triode <i>WE 300A</i> from the 1920ties. The major problem here are the extremely developed market values of original vintage rare <i>WE</i>-tubes from all production decades and as reaction to such rareness the market mechanism highly raised the price tags. So modern production tubes create an own market, such are made in different countries but foremostly in China (to keep the quality level high, lol). As earlier stated, if you are not millionaire, able to light your <i>Cohibas</i> with 100$-notes, the modern replacement tubes in the 100 to 600$ range are all more or less <strike>crap</strike>functional in comparison to vintage tubes from the 1940ties in + 2000$/pc range. So relevant amplifiers of the traditional WE91A design topology use on top the WE310A as driver, the WE274B as rectifier, all together the equivalent for stereo in the 10K$ range and if you really want the exceptional finesse of sound, – alternativeless.<br />
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Yet, the single ended amplifier topology shows up to the tube audio connoisseur with several advantages if you incorporate a lightweight, fast and fine detailed alnico magnet driven loudspeaker, like horns and full range paper cone speakers (like Altec 755 or similar) or combinations from both principles. To raise the full potential of such systems the amplifier design is in need of radical control about component quality and about its consequent amplification topology. Today almost all decisive vintage components of quality production have disappeared from the market, so it is almost impossible to realize an amplifier design without any compromising cut or ending up in the cost nirvana (known from several Japanese brands reissuing modern <i>Western Electric</i> equipment at a highest possible level). Such set ups easily might create levels of investment in the million dollar range. If you are not the successor in the Toyota heritage or the son of an Arab prince, it might get a bit difficult to follow up such ways to your hobby within the coming years. For all others it needs some intelligent liberation from hardly traded positions in order to find perfect new ways to comparable sound qualities. Here I am going to describe my second sample to a wishless audio happiness with tube amplified equipment, where the tube line up for stereo matches the amount for a well cared piece of organic breeded beef. Yes, 50 $ and all tubes are vintage NOS highest quality production standards long life types or military grade, – and on sale in good amounts.<br />
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I am still in the good position to have several of necessary vintage quality parts as spares stored in my cellar, so I am able to realize rarely a design with almost ideal components. My first sample of such conception from 2017 earned so much interest that I did decide to realize a second version build on an identical design topology but realized with completely different hardware, a interesting step to find out about resulting differences.<br />
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<tr><td class="tr-caption" style="text-align: center;">Partridge mains transformer beside modern open frame output transformers, all covered by epoxy resin boards, like several British vintage amplifiers show up with</td></tr>
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Here I did finalize an early <i>Ebay</i> finding after more than 20 years, a British <i>Goodsell GW12 Williamson</i> PP design from 1949, which had lost its open frame <i>Partridge</i>-output transformer. I did look for years to complete it again or to find a matching partner for stereo use, which never happened by its exclusive rareness. So I decide in 2005 to break off the originality line with a heavy heart, but at least in order to bring it back to a new functional life as a single stereo ended amplifier. In these days I did experiment with another rare find, the DHTs from <i>Elektromekano S6</i> in order to resemble the classic 300b out put tube in such designs. I used the <i>Mullard</i> EF37A to be the driver tube and tested several output transformers to complete this concept, but nothing could convince my expectations in these days (and the illustre matching preferences of this extreme tube). It ended up that I stored the chassis back in my cellar and followed up other ideas like DHT tubes in preamplification stages and so the Goodsell SE-amplifier got more or less forgotten.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJP_hh9nWeQn7ywi7zPP5Jm07Hs579HCzOmEtl72Ictg0QhGvWPDMaRcqoXXP3WXI_-vtLU8DPg_nC3JlG4tTgQrb-In1LXDv1DuBKAswS9kFV0mO3c_nCI4TOAbYSwnhC9e6sVyhTXegf/s1600/ElektroM_S7-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1001" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJP_hh9nWeQn7ywi7zPP5Jm07Hs579HCzOmEtl72Ictg0QhGvWPDMaRcqoXXP3WXI_-vtLU8DPg_nC3JlG4tTgQrb-In1LXDv1DuBKAswS9kFV0mO3c_nCI4TOAbYSwnhC9e6sVyhTXegf/s640/ElektroM_S7-1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Danish 1940ties Directly Heated Triodes from Elektromekano, the S6 and M7 (4V/1A) are some of the finest manufactured power triodes made ever. Even the Western Electric types from this period don't match mechanically their standard. Unfortunately these triodes don't match the ordinary range of output transformers but they are still some of the nicest Tube ever.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQnRTBaFk4EVEEySK4sra3XdfAanrHO76ZZQG5p12HqRzjSMU7shyphenhyphen5uc8WEEdPsE0dO1bzE0sSbfhGjGMtzSpCHfpf9kVPLtPO0Ll3mmi8mA5C4Rk4tKyztdf88MFzOqAbgybolzWMe0X/s1600/Goodsell_SE_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1001" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQnRTBaFk4EVEEySK4sra3XdfAanrHO76ZZQG5p12HqRzjSMU7shyphenhyphen5uc8WEEdPsE0dO1bzE0sSbfhGjGMtzSpCHfpf9kVPLtPO0Ll3mmi8mA5C4Rk4tKyztdf88MFzOqAbgybolzWMe0X/s640/Goodsell_SE_2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">at the far right the knob for the global feedback loop, realized with single switchable carbon composition resistors</td></tr>
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Last autum I did start a collection sale of all my long time collected amplifiers and other audio collectibles in order downsize my life in a "less is more" matter. So I had several people coming to look and listen to different components of my personal estate. Many of such auditions ended into sales of exceptional sounding vintage valve amplifiers and dedicated components like speakers, preamplifiers, tonearms, etc. But the most respect raised after end of a particular sales procedure when the question came up with which amplifier I am going to listen in the future? When I demonstrated the <a href="https://draft.blogger.com/blogger.g?blogID=8167256698462810317#editor/target=post;postID=4256669227061436451;onPublishedMenu=posts;onClosedMenu=posts;postNum=8;src=postname" target="_blank">"bastard amp"</a> in my favored chain, the most people didn't need a lot more than a minute of listening to understand my decision. Within the two gone years of time the interest into such a special single ended tube amp has grown. So I thought about another sample, well knowing that the prototype was some sort of recycling of leftovers on a highest level possible. I did exactly know, that I never will get a chance to make a identical copy and so could not predict the following result, in particular when using 70 year old parts like the mains transformer, choke (both <i>Partridge</i> brand) and other sound determining parts like the output transformers. The open frame design of the vintage parts made the selection of output transformers delicate in terms of authenticity of design. Modern potted transformers like Japanese classics from <i>Tango, Tamura</i> or later Taiwan successor <i>James</i> aestetically do exclude themself for this project. One of my technically ideal choices, the Swedish <i>Lundahls</i>, were no option since their design makes an open frame incorporation impossible. I had a pair of vintage <i>Philips</i> universal single ended transformers in spare (1/2/3/5K:4/8/15Z). I had no idea for which power output they were made for, but size and weight let rate me them to something like 7 watts (similar to <i>Tango U808)</i>. The next candidate were some classic Chinese laminated oriented steel core OPTs with 3.5K:4/8/15Z@20W, such have been sold as entry level transformers in HK as <i>Mars</i> brand are built into lots of typical Chinese made chrome monsteramps, which are sold through Ebay since years for small money. With the <i>Philips</i> transformers the amplifier performed with a exceptional open refined soundstage, wide, liquid and natural, but with a little slim sound fundament lacking the typical natural substance of a single ended amplifier. Switching to the 2,5 kg <i>Mars</i> transformers the soundstage was perfectly well balanced. I did only try them since they measured at a scope very linear between 30 and 18000 hz, but these lack all the subtile refinements, which have been already on stage with the smaller <i>Philips</i> iron. So I needed to find something with good sound attitude <u>and</u> matching design preferences.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicBxfUZSyXBdtURmXNdrQIp81kRK1xodRLRh4SrRST6MWBO7Gf8qxO7LngEVNKqP-EMFo4xFbcKFHV6Y33k1eGXd66OUfq3mer2drTVzrMZHUxFCP6ABTRiwoEFWFYzVPmORSLtjQuHOXO/s1600/Goodsell_SE_6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1001" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicBxfUZSyXBdtURmXNdrQIp81kRK1xodRLRh4SrRST6MWBO7Gf8qxO7LngEVNKqP-EMFo4xFbcKFHV6Y33k1eGXd66OUfq3mer2drTVzrMZHUxFCP6ABTRiwoEFWFYzVPmORSLtjQuHOXO/s640/Goodsell_SE_6.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Clearly visible the eight pieces of amorphous c-core parts forming the final transformer core</td></tr>
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Beside these experiments I was a bit curious about all the rumors about different new core materials and designs. The final sow which had been chased through the tube audio village in the last years was the <i>Hitachi</i> made "<i>metglas</i>" core material, an amorphous nanocristalline alloy formed with extremely high pressure under exceptional melting temperatures of several thousand degrees. This high tech material is known for its lowest loss properties addressed with "never before heard" tremendous resulting properties. Something which is equally important addressed to even more important rise of the resulting price tag in the audio world, a factor up to three times to an ordinary cut c-core output transformer. Vintage (early 2000) made <i>Tango</i> or <i>Tamura </i>transformers containing amorphous core instead of c-cores or even laminated iron are on sale at <i>Ebay</i> for tremendous amounts... and even serious brands like <i>Lundahl </i>have incorporated such cores to keep up in the vanishing markets.<br />
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Today the amorphous cores are used in different high tech scientific applications or in mobile web technologies and <i>Hitachi</i> produces a whole catalog of differently shaped cores and sizes. It looks that only the audio nuts are paying the elaborated high bill for the next "must have gadget". <i>Hitachi</i> has found paths to produce this high tech metal somewhere in India at reasonable market prices. Like with all other new technology some people will find fast illegal ways to sell fractions of such production lines at the web. Then is it only a little step and a question of short time that you will find other people there who make a serious business with such cores and produce audio output transformers for the audio aficionado and sell these for a fraction of the price of established brands. So I found at <a href="https://www.ebay.com/itm/3-5K-SE-8C-CORE-amorphous-core-AUDIO-OUTPUT-TRANSFORMERS-pair-FOR-300B/264681494989?hash=item3da03f19cd:g:xrIAAOSweMNeplUV" target="_blank">Ebay. hk.com</a> different designed tube out put transformers with amorphous core material, one type was matching my primary preferences of 3.5 K/20H/15W, unfortunately with secondary windings interlaced for 4 and 8 ohms. So I asked the seller if a custom version with 15 ohm will be available and the friendly people were happy to make me a customized pair. Visually the transformers are wound in a typical British manner with steel mounting frames, so these OPTs did visually match well with my 70 years old <i>Partridge</i> transformers of the <i>Goodsell</i>. So I ordered a pair with 15 ohm secondary tap in the hope that this transformers will match my expectation set by other brands like standard <i>Lundahls</i>, but will offer a better formal integration with this vintage amplifier. I had no expectation about something special as a result from different core material.<br />
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The transformers where delivered by <i>Hermes</i> as a standard parcel, no customs, import procedure – how can this be possible? When I opened the parcel a strong smell of the epoxy resin knocked me out for a second, but this smell evaporated within a day and when I had the pair incorporated into the amplifier, their smell was already neutral. The first listening showed up with a well known sound attitude, so I needed to adjust the feedback loop with the new amplifier. In my first post from 2017 I photographed the amplifier with fixed feedback loop with a 3.2K resistor. Later I integrated two wire wound pots of 5k range to have the opportunity to match different speakers than only my Tannoy Monitor Reds with 15 ohms. Here now I planned from the beginning to have the luxury of a adjustable global feedback loop. After some measurements and finalization by listening I ended up with matching value for this amp, ironically it is again 3.2k!<br />
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<tr><td class="tr-caption" style="text-align: center;">Underneath oil paper caps ballet and a <i>Partridge</i> choke, all high current wire is original vintage <i>Western Electric</i> wire. Top right corner the switchable feedback resistors connected with blue and yellow wire</td></tr>
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The most of yours will or can not believe me, but the new realized single ended amplifier sounds <u>absolutely identical</u> to my first version. Yes of course, the design is to 100% the same, but all the very important HiFi narratives about hardware, the use of parts, in particular output transformers, their quality and branding seemed to be what it is – marketing fairytales. Both amps look completely different, but soundwise I cannot detect the smallest difference, <u>unbelievable but true</u>. I have used the same capacitor layout with the same material preferences, paper-in-oil-capacitors as small values as necessary. For example I use 4µF as loading capacitor and another 4µF as smoothing cap. For 30 years of my life it was impossible for me to get such rail calm, now I know how to do and this amp is dead quiet, like a modern transistor amp, but with a "fresh oiled liquidity" unknown from other tube amplifiers. The only coupling cap between driver and power stage is 0.05µF like it should and not like in 99% of all WE91A copies and derivates wrongly transcripted 0.5µF and so on...<br />
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If you are looking for a reasonable priced tube output transformer which shows up with exceptional sound qualities and offers results which are on par with the well established brands for a fraction of the price tag ask the <a href="https://www.ebay.com/itm/3-5K-SE-8C-CORE-amorphous-core-AUDIO-OUTPUT-TRANSFORMERS-pair-FOR-300B/264681494989?hash=item3da03f19cd:g:xrIAAOSweMNeplUV" target="_blank">people in HK</a>, they will be happy to serve your needs and HK people need some support anyway, their future doesn't look so bright...<br />
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-73852973756578197392019-10-20T13:33:00.003+02:002019-11-27T07:05:12.935+01:00 Collection Resolution Part V -– 12 inch Tone ArmsHello everybody,<br />
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today I want to start my final sales with 12-inch tone arms. As some people may have recognized, within the the last eight years this blog published extensive informations about my <a href="http://truefi.blogspot.com/2015/02/the-new-conversion-kit-for-sme-3000.html" target="_blank">Conversion Kit</a>. In 2012 I started to sell such kits in order to convert SME 3009 SII arms into their predecessor, the legendary so called Mark One type. This early (1958) tone arm was a modern masterpiece of British engineering and its market entrance was some purely dedication to the first moving coil stereo pick up cartridge ever the Ortofon SPU (<b>S</b>tereo <b>P</b>ick <b>U</b>p). This remarkable cartridge was made in the tradition of the former monaural cartridges from different makes, all were extremely low compliance types and were optimized for high tracking mass in order to track safely 78-records. With high torque record players the pick up process was brought to a seer side. In 1958, in the age of micro groove recordings, the most players still were equipped with heavy arms, so the new stereo cartridges were made to match this masses. As everybody knows it didn't take a long time and the mass of typical cartridges made for the audio amateur aimed to another direction, the ultra low mass cartridge and dedicated low mass tone arms. The SME Series Two got lighter and lighter, got improved for further lightweight, got resembled into Series Three with less mass to match ultra high compliance cartridges of the late 1970ties.<br />
In the 1980ties a huge rediscovery of the tube era was synchronized with the esteem of the equipment of the golden time of audio, the 1950ties. The manufactured quality of no equal in these days and the depths of engineering got discovered again. Tube amplification, idler wheel turntables, former professionally used speaker systems, horn systems and all dedicated technology found back for some lovers to be highly superior than the commercial audio products which had flooded the world since then. So the professional tone arms from SME, EMT, Ortofon, all made in quite small amounts for studio applications got back into demand. In Japan these were combined with broadcast cartridges like the Denon DL103 or the legendary Ortofon SPU. In Japan several new made pick up cartridges from Koetsu, FR, Ikeda, etc. took the path to the low compliance to be highly superior into current products. A heavy arm with a low compliance cartridge on a high mass record player reproduces vinyl completely different than the typical high end products of the commercial audio market.<br />
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In the last couple of years I could made several aficionados world wide happy with my SME MK1 conversion kit. Additionally I<a href="http://truefi.blogspot.com/2015/02/ready-converted-sme-tonearms-to-mk1.html" target="_blank"> refurbished</a> outworn SME 3009 SII into like new 12 inch tonearms which are assembled with stainless steel arm wand and internal balsa wood damping element, heavier weights and highly improved internal 99.99 % silk isolated silver wire and good RCA terminals in order to find back to the original performance of the legendary heavy SME 3012 MK1 and improve even that.<br />
When I started this idea outworn SME 3009SII were still available in countable amounts, so it made sense to convert these into something superior. But today there is no more stock available in any amounts, so I had sadly to stop my idea. I will now sell my last three converted SME 3012 from my own stock. When these are once sold a exceptional quality item for analog sound reproduction of vinyl will be gone forever or you will need to spend thousand of euros to find a original MK1 in unknown condition without any spares available.<br />
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SME 3012 converted to MK1 standard – #I , <span style="color: red;">sold</span></h3>
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The first arm is in like new condition without any marks. It has been completely refurbished and got the silver internal wire, new damping balsa wood and new RCA terminals with additional ground contact. This arm is like new condition and performs with a low compliance cartridge like SPU light years better than any SME arm available. Wider more refined soundstage, more undistorted and deeper unlimited low frequency performance, far better trackability make such a combination superior to any arm I do know. Read what customers do <a href="http://truefi.blogspot.com/2014/04/sme-conversion-part-4-what-customers.html" target="_blank">say</a> about their own experience.<br />
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This one comes with anti skating weight and original SME head shell with raised logo.<br />
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Additional grounding wire with dedicated socket.<br />
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SME 3012 converted to MK1 standard – #II , <span style="color: red;">sold</span></h3>
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The next one is asthetically in very good condition. It shows very minor spots in its galvanizing, technically like new. To compensate this I put a original SME connection cable on top of that package.</div>
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This one has the later anti skating guide with roller, head shell is original SME with raised logo.</div>
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<h3>
SME 3012 converted to MK1 standard – #III , <span style="color: red;">1250,00 EUR plus shipping</span></h3>
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This one will follow after request since it built into a presentation box for fairs. It is in better than new condition and my last sample of these.</div>
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Accos Lustre studio tone arm – 12 inch , <span style="color: red;">SOLD</span></h3>
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As next offer I have a Australian studio tone arm, which was mainly used at Technics direct drive turntable at broadcast stations. It is a extremely well manufactured arm with micro ball bearings and a wide range of additional weights to compensate different cartridges. This feature and the built quality brought me to the idea to convert this arm into a heavier stainless steel version to perform with low compliance cartridges as well. This arm like many professional arms has no cueing option and needs to be operated manually by hand, I have a rest included to make it work. The tone arm has the exact overhang figure like the SME 3012, which means 312mm between center rotation axis and diamond tip.</div>
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This arm has got a RCA contact terminal with separate ground contact and cloth isolated ground wire, additional balancing weight. Internally wired with 99.99% silver wire silk isolated. Internal damping of the arm wand is the typical balsa wood element.</div>
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This is a perfect solution for those who want a 12-inch arm of best quality with out the price tag of the well known brands. This arm performs on the same level like other stainless steel arms with micro bearing and internal silver wire. You don't know one, Fidelity Research FR66 or some later Ikedas. Yes they feature a lift, but otherwise ten times the price. </div>
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Unknown Japanese make 12-inch tone arm – <span style="color: red;">SOLD</span></h3>
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The next arm is converted from a typical japanese 9-inch record player tone arm, maybe Jelco. It shows up with the same details like the arm before. Precision micro ball bearings, internal 99.99% silk isolated silver wire, balsa wood damping element, RCA terminal with separate grounding contact. Geometry is identical with SME 3012, which means an overhang of 312mm. The unit features a brass base, which will be screwed with two M4 screws from underside and will simultaneously lock the RCA terminal from underside. </div>
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Additional extra is a second lateral balancing weight and a cloth isolated ground wire. The arm features a anti skating mechanism.</div>
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The bakelite SPU headshell is shown just for illustration purposes and is not part of the sales package. This offer is dedicated to somebody who might build a own plinth for a idler wheel turntable and who does not want to spend thousands on a tonearm, when the player will cost a reasonable amount. Beside comfort reasons this arm does not limit the audio performance comparing the arms shown in the upper section.</div>
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truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-3374654706137785292019-10-08T09:02:00.001+02:002019-10-08T09:03:54.715+02:00Collection Resolution Part III -– Driver Units and Speakers<h3>
Tannoy</h3>
Within the years I have collected a variety of speakers and drivers, if they haven't been installed in speakers for myself or for customers. The whole period addicted to serious audio I was some sort of married with the legendary <a href="http://truefi.blogspot.com/2013/04/my-long-and-winding-way-with-vintage.html" target="_blank">Tannoy Dual Concentric Speakers</a>. I had almost every type of every size, which is 10'' with IIILZ-units, 12'' and 15'' with one exception, I never owned a Monitor Black speaker. When I decided some time ago to start my audio retirement, which means I will stay on with my actual set and will get rid of all other equipment for sale. One exceptional pair of Monitor Red in 12'' size will be offered here. This pair is in almost like new condition, the cones are absolutely perfect like new, only little chips at the chassis paint where the mounting screws did hold the units in their cabinets and one dent at the metal caps, that's all. Otherwise this pair is perfect which is today 60 years after their introduction hard to find. So I will offer it to somebody, who looks to find a amazing pair for stunning audio future! I still have a pair quite small cabinets (in size like the Chatsworth) but with opened backside to work optimized like a dipole. I used this pair for 15 years for my everyday audio listening, till I came up to <a href="http://truefi.blogspot.com/2016/02/the-truefi-tannoy-enclosure-manufacture.html" target="_blank">my own design with front loading horn and 15 inch chassis</a>. I do not anymore recommendations about this exceptional speaker, but recently I had a chance again to listen to my former smaller 12-inch sized cabinets again, now with opened backside to improve into dipole mode. I was just amazed how good even such a small version matched all preferences to perform on a improved level of refinement, musical, realism and integrity. This speaker is able to do everything like my much bigger pair, without appreciable differences.<br />
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Of course the original solders crossovers are included. Today such set has got quite rare and everybody who uses these will not give them away, otherwise he is getting old.<br />
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Look at the screws of HF-units, these are still secured with lacquer!<br />
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Here you can see the Ding in the cap of one unit and as well the scratched screw wholes. Please notice the incredible British attitude with top products tu use high glossy chromed screws!<br />
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So if anybody is looking for new partner for the rest of his life, here it might be the rare solution. Sensible offers are welcome!<br />
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<h3>
Vitavox GP 1 pressure units</h3>
On offer is a pair of the legendary Vitavox GP 1 units. These were made in the very early 1950ties and were dedicated to different horn extensions, which were designed to match a frequency ranges between 700 and 12000 Hz with different dispersion attitudes. Their magnet is made from alnico and their coil is designed for 20 watts and 15 Ohm impedance. Their outer case condition looks well used with several ships and some surface stains, rust spots. Unfortunately the previous owner was of opinion to improve the performance of this units by poking the security grids inside their threads. Of course this is not dysfunctional, but could be much nicer when intact.<br />
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As you can see inside the diaphragms are original and like new.<br />
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The new owner will get a third unit without diaphragm free for spare parts like the magnet, grid, contacts, etc. Offers are welcome on eBay.<br />
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<h3>
Bouyer Bireflex</h3>
Quite similar in energy dissipation, frequency range and actual size to the above Vitavox GP1 units, but with phenol diaphragms, the Boyer Bireflex units. I offer these as another set of HF-drive units of the french company specialized into public address equipment <i>Bouyer</i>. As well these show some wear at their cases, some chips and stains, but they are still in a technical perfect state, as the meter shows. They are dedicated to a 15 ohm impedance, power rating is unknown.<br />
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These much more common than the Vitavox and I believe they are much younger, so the prices are less.<br />
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<h3>
Jensen A-12 field coil</h3>
A single Jensen A-12 field coil driver only usable with a separate power supply. The units work between 150 to 300 Volts. These have been used in the later 1940ties til the 1950ties for different kind applications, like public address, organs etc. The most of them were integrated as chokes in the power supply of their dedicated tube amplifiers. Well known is the 2A3 or 6V6 designs from Hamond.<br />
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This unit has a repaired cone, otherwise it is completely functional. Offers are welcome.<br />
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-84528109318556548472019-10-02T14:25:00.000+02:002019-11-18T09:32:30.081+01:00Collection Resolution Part II – Quad<h3>
Quad Series II – <span style="color: red;">Sold</span></h3>
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The next set of components will be from the famous brand Quad from Peter Walker. I always liked the chassis design of the well known tube power amplifiers called Quad II as the most advanced of all brands. Simple, straight and without any a abundance of parts, these amps are ridiculous small without any compromise ind technical design, comparing them to other brands. They show up with a smoothing choke, well calculated transformers for power and output and well designed housings for all of them. Other brands normally used bell caps instead closed covers.<br />
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The dedicated preamps Quad 22 are a milestone in casing design and functionality. Control about filterloops, bass and treble energy, balance and volume and pluggable equalizer filters for phono and tape were oriented at professional studio equipment instead of home audio products. Together with their legendary electrostatic speaker system ESL 57 these sets set the pace for refinement and resolution of recorded audio response in the mid 1950ties. The Company did sell really a whole lot of these sets until the late 1960ties because of its well named reputation, so there are still a lot of these units in use still today. But to be honest, these components are incredible nice designed, but their paints were not on par with other brands. All my Quad components from all series like series II, III and IV show after several years of use (sunshine, humidity, etc.) hefty discolorations and paint chipped offs. You will see below. The Series II is a single layer gray metal paint without protective clear lacker coating, that shows up with some of them with decent rust blisters. So as well my set is far from perfect, it shows its age but it can be a lot worse than this pair.<br />
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Still almost everything is original, only the RCA sockets have been added for better compatibility. Here showed with cloth isolated ac-wires to match their original two contact (earth-free) Bulgin plugs (I have added a separate earthpath which connects to one contact of the Johnson-socket. The tubes are in working condition, but the GEC KT66 are dead and are given just for optical originality. Included is a quartet of very well sounding Russian NOS 5881 long live types. The Mullard EF 86 measure good as the GZ 32 do.<br />
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Inside the amps are in pristine condition, restored with the best components available, like Jensen paper in oil caps and Beyschlag carbon composition resistors.<br />
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My set contains an original dedicated Quad 22 Stereo Control Unit with their typical connecting wires to the Johnson Connectors at power units, so the preamp is supplied by them. Included are as well two pluggable filter units for phono (MM) and tape equalization. The Control Unit is complete but untested and comes as I got it 30 years ago from a London dealer. The cosmetic condition is fair and can be verified through these images.<br />
The second unit ist the Quad FM 2 mono tuner in quite poor cosmetic condition, technically untested. Both units are included for complement. Both units should be seen as base for restoration.<br />
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I own as well a pair of ESL 57 electrostatic speakers. These I do own since 30 years, back in this time I did use them the last. I don't have any idea about their functionality, but normally I would expect the power unit will need new capacitors as some of the foils might need some attention? I do not know and actually I am not able to test them, so I would give these free to a new owner of the Quad II/2/22 units if picked up here. No way to ship them, simply too large.<br />
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Quad Series III</h3>
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The successor of these famous Series II is the logically called Series III. With the first transistorized amp series from Quad, called Quad 303/33/FM3 Peter Walker approached end of the 1960ties again a design masterpiece. Again presented in tiny cases with orange-ivory-brown keys, knobs switches the new series was on top of this time. The Series III was still dedicated to the famous ESL 53 speaker, so the 303 power amp was technically designed to supply the high current requirements of this speaker type. </div>
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Both units are untested and show cosmetically aging and on top some resting spots. These come with ac cords to connect the smaller 5-pin Bulgin mains plug to EU mains.</div>
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The Quad Series III introduced first the in Britain so popular 5-pin-DIN-sockets, as well for the preamp unit different filter boards were available to match different pickups and tape equalizing preferences.<br />
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Quad Series IV</h3>
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From this successor series four I only own the extremely nice tuner, which I used over the whole period of the 1980 years in my setup. The Quad FM 4 tuner introduced station preset buttons and a numerically frequency display. Even the Series 4 was housed in quite small sized cabinets with exceptional well designed technology built in. I always liked the typical simplicity of this excellent tuner, in particular comparing it to the typical japanese "all you can get"- concepts with tausend functions as sales argument from big brands. </div>
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Within the end of the 90ties I got off listening to FM broadcast, so the tuner went into storage for 18 years. As everybody might expect, such a disuse is not very healthy for several components build in. So electrolytic caps dry out, batteries defunction soon and other oxidations might occur further. When I switches last year this unit first time after all this period, almost nothing happened at all. So I decided to give it a complete refurbish. I exchanged all 56 capacitors on the board, some resistors went out of tolerance and the cell battery type needed to be exchanged. It was a nightmare to find in Britain an original spare part but, I was happy. A lot of work spend on this tuner it now works flawless like new again and will give perfect service for another 25 years. The unit has some small chips in the paint and a slightly surface detoriation on the top case, nothing not to be seen in the images, – the unit looks still very good.</div>
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-16001108577672456282019-10-01T12:49:00.005+02:002020-09-22T17:09:36.978+02:00Collection Resolution Part I – Leak Tube AmplifiersHello to everybody,<br />
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today I am going to finalize a step in my life, which is not an easy to do. I have decided to sell my long term audio partners, which have enriched my life for the last 35 years in a way like no other audio components did. It took now almost five years decision to separate myself from this beloved items. I will here give this meticulously cared collection of audio history their last platform and this is the platform for sale and for me to say good bye. This is a bit emphatic, but there is no way out...<br />
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In General </h3>
I will start with more common equipment from this brand and and will end with rare items, all are hard to find in this state today. So if you are interested to find some Leak amplifiers, you will get some of the best cared examples of their kind best possible state, technically but as well in very good optical condition. All amplifiers have been used and completely overhauled with best possible spare parts and as well in care of optical originality. NOS or new paper in oil- or electrolytic capacitors from major brands like Jensen or F&T. Carbon composition resistors from major brands like Alan Bradley, Beyschlag or others if possible in 2 or 3 watts qualities for the best smoothness. Solid core wires from different materials (silver, silvered copper and tinned copper). In some cases I have slightly upgraded the performance of the amps by introducing smoothing chokes instead of cheap power resistors. Power resitors i. e., like cathode resistors are always green lacquered Rosenthal types, the best possible solution. Everybody is able to see at my photographs the standard of components. In difference to the many cheaply sold amps, here you don't find any useless replacement parts.<br />
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Leak Stereo 20 Power Amplifier</h3>
So we are starting with a very common amplifier from the Leak range, the well known Leak Stereo 20. This amplifiers are highly underrated, because they are so common. But its sound performance does not need any hiding comparing other tube amps, these are fantastic amplifiers if you can integrate them matching into a given chain. Like all British tube power amps from that period (1950ties to early 1960ties) the power amps are designed for highest input sensitivity matching their preamplification counterparts with extremely low output figures from the same brand. This attribute can create with modern preamps and their high output some real problems of hum and hiss. Generally all Leaks shown up with an extremely wide open soundstage when combined with the right preamplifier and matching output energy.<br />
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<tr><td class="tr-caption" style="text-align: center;">Leak Stereo 20 with power cord and RCA inputs</td></tr>
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This shown amplifier was for almost 35 years my backup amp if I needed a physical small transportable amp, instead of a heavier and bigger pair of mono blocks like the below shown pairs. This amp can perform exceptional in a well balanced chain of vintage components, it is able to do everything which makes even sophisticated audio aficionados happy. This one is equipped with new RCA- contacts and underneath with carbon pots to balance the input energy.<br />
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<tr><td class="tr-caption" style="text-align: center;">Back side with Bulgin mains switch and banana contacts for the speakers</td></tr>
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The overal condition of the chassis I would rate a good minus, I have seen and owned a few better ones, but technically this one is like new.<br />
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<tr><td class="tr-caption" style="text-align: center;">Underneath view with input carbon pots in the upper right corner</td></tr>
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Smoothing caps are paper in oil from Siemens (sprayed in the matching gold tone), coupling caps are vintage Bosch and russian types, as the tubes are used but still with good emission and they are excellent sounding russian longline ER-types. Cathode caps are vintage Roederstein electrolytics.<br />
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Leak TL12 Plus Power Amplifier <span style="color: red;">– Sold</span></h3>
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This pair of recently completely rebuilt power amps is in incredible state, I would rate it almost mint. This is the best pair I did own since 1985 and I had several pairs since that time. Their chassis and paint work is like new.</div>
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Here again I have introduced input potentiometers (carbon pots) and solid rhodium plated RCA-contacts, smoothing caps are NOS PIO from Siemens bridged by Hammond smoothing choke, coupling caps are Bosch and Russian Types. Output terminals are changed to banana sockets. Resistors are carbon composition from different brands like Allan Bradley. </div>
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This pair of Leak Tl12 plus is amazing sounding and one of the best pairs I had (I had in the late 1980ties ten pairs) and it comes with a well used quartet of the legendary Mullard Blackburn EL84 tubes, still well working but will need change in some time. If you are looking for a pair per amps from this type for daily use, these will give you another 35 years of service.</div>
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Leak TL10 Point One Power Amplifier <span style="color: red;">– Sold</span></h3><br /></div>
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Next offer will be a pair of predecessor mono blocks from the famous brand Leak, which entered a new market in 1955, the second amplifier line marketed with the ending "Point One" from Leak but this time for a growing private audio use. When they started in the late 1940ties to sell audio amplifiers it was a novum to have a power amplifier which was able to show such low distortion over the complete frequency range about 0.1%, this gave their early audio amplifiers their credit and name and made the brand successful in professional segments.</div>
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Here we have the series which was manufactured first in higher figures to satisfy demands in a growing market of the 1950ties. Leak wanted a physically smaller and cheaper produced unit than their exceptional and famous paragon, the legendary TL 12 Point One. With this amplifier Leak entered a growing market for the private audio enthusiast. With 10 watts output power and still the low distortion figures of 0.1% these amplifiers made the way for the success of the later mass products. Already all typical characteristics of the later production line (TL12, 25, 50 plus) were established here, but still realized with octal tubes of a former era. They introduced here rarely used power tube with this series of amps, the GEC KT61. Only a few amplifier designs were developed in the early 1950ties mainly by British brands, which used this exceptional fantastic sounding tube.</div>
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The set here shows up with marvelous condition for their age. Of course there are some minor chips and blemishes, particular at the black enamel of the Haddon transformers, but the overall appearance is breathtaking good in real. They are equipped with a <u>new</u> Quad of GEC KT61 (an additional pair of used ones, still good will be available as extra) and smoked gray military Brimar 6SN7GT. Input stage is changed to triode mode in order to decrease sensitivity with ECC83 from Philips. Power cords are cloth isolated types and with German AC-plugs.</div>
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The smoothing caps are again pro from Siemens and Bosch with a smoothing choke in-between (right lower corner). Underneath you will see completely rebuild unit with 2 watt carbon composition resistors from Beyschlag and coupling caps from Jensen. Power resistors are green glassed Rosenthal types. The amplifiers show with a switchable option between triode- and pentode mode. The power cords are again cloth isolated types and equipped with German ac-plugs.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLoti6GoxTFANg074GCheQB6mYnC4x8ukVgbLwIscmeRm0OTlqdny8V_AGbX5iQWKWny2SJvuc3e5yED-Mk9AKJ1Z43HNOSS8B_c8csQ1FE0pocHWrwFqAt7WkLlkWLBaJH1-_0KJ9PL6/s1600/Ebay+32.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLoti6GoxTFANg074GCheQB6mYnC4x8ukVgbLwIscmeRm0OTlqdny8V_AGbX5iQWKWny2SJvuc3e5yED-Mk9AKJ1Z43HNOSS8B_c8csQ1FE0pocHWrwFqAt7WkLlkWLBaJH1-_0KJ9PL6/s640/Ebay+32.jpg" width="640" /></a></div>
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The lucky new owner of this pair will be rewarded with a new quartet NOS GEC KT61s and additional with a spare pair of used ones from GEC (to be seen in the image above).</div>
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The next image brings us to the last set on sale, one of the best tube amplifiers in audio history and shows the sizes in comparing mode.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir5E_kqUOcGKNpscoLp_Nm6U3-Lv7y9IDCU2oId4jvVHE96b6zuK5ASQ1rYvrUGNf90_anFISG1FXaX-aVl8pJd9ehuiY-ePnVEvacnhzfZojHAj9oT3u5iHVW8C5L0EAXZ7Y8wHap2As8/s1600/Ebay+28.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="801" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir5E_kqUOcGKNpscoLp_Nm6U3-Lv7y9IDCU2oId4jvVHE96b6zuK5ASQ1rYvrUGNf90_anFISG1FXaX-aVl8pJd9ehuiY-ePnVEvacnhzfZojHAj9oT3u5iHVW8C5L0EAXZ7Y8wHap2As8/s640/Ebay+28.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Three "Point One"-Amplifiers in comparison</td></tr>
</tbody></table>
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<h3>
Leak TL12 Point One Power Amplifier</h3>
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And not least we look at a exceptional rare pair of the legendary <i>Leak TL12 Point One</i> mono blocks as they are hard to find today, but they were always rare at all times before. The shown sales brochure states that 731 units (mono) had been delivered to the BBC for their worldwide broadcast service, if we don't count any loss we have theoretically 370 stereo pairs. You might imagine yourself how many are today existing in working condition after 71 years. So you might as well imagine how many <u>pairs</u> are still working in such shown perfekt state like this pair.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHxmySR4UwSirdsEcOj_pBCCbirnlswkNdjO2k1m1Aoorx1dtceP7ZnG40KJYn4wog4OlJKn7Fo3yz9mzOK_AZxL_jrHML3ToBDNwsL6Vtoi3g91gC4jwQ6Fye0HlIx7Ns0Q0TLBeVF-JW/s1600/Ebay+25.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHxmySR4UwSirdsEcOj_pBCCbirnlswkNdjO2k1m1Aoorx1dtceP7ZnG40KJYn4wog4OlJKn7Fo3yz9mzOK_AZxL_jrHML3ToBDNwsL6Vtoi3g91gC4jwQ6Fye0HlIx7Ns0Q0TLBeVF-JW/s640/Ebay+25.jpg" width="640" /></a></div>
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These historical 12 watts push-pull triode connected amplifiers are simply the best sounding vintage valve amplifiers I could listen to within the last 35 years. They show up simultaneously with all so hard to find attitudes of smoothness, resolution, widest refined soundstage and almost unlimited control about any type of speaker. This incomparable service was the reason I did use these myself for the last 25 years in my own set up for every day listening. Some of the contenders could stand some single disciplines, a very few showed even up with benefits in part aspects, but there was by far nothing which could deliver such impressive completeness of sound. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY-JX2WBO8CUsnSnrBGE1B2vYeow_Eiz4pSuBuW4u0_UYp7WS-R0no7CzneJIP3wZ8iuj6CQ9scvZSOXYO_ZBMpOfudcMO9IPwM4XdJ7E55zFuHasHeBXKJpx46l5ncJDdvDnexNgOqjL8/s1600/Ebay+23.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY-JX2WBO8CUsnSnrBGE1B2vYeow_Eiz4pSuBuW4u0_UYp7WS-R0no7CzneJIP3wZ8iuj6CQ9scvZSOXYO_ZBMpOfudcMO9IPwM4XdJ7E55zFuHasHeBXKJpx46l5ncJDdvDnexNgOqjL8/s640/Ebay+23.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFqf9jsJhg9tqf8wcDdevwl8xNjhvWPSWDj4n14pMR_lTJYGItyJdoXy5Gy9E3juXryvLDigJdyZwQGXyCoOz1q9VfbZpd45z7IWxeqPKXKPSIV5O3Zl3KlCAHgVmEOnA-H5If_o4kkhBw/s1600/Ebay+21.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1200" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFqf9jsJhg9tqf8wcDdevwl8xNjhvWPSWDj4n14pMR_lTJYGItyJdoXy5Gy9E3juXryvLDigJdyZwQGXyCoOz1q9VfbZpd45z7IWxeqPKXKPSIV5O3Zl3KlCAHgVmEOnA-H5If_o4kkhBw/s640/Ebay+21.jpg" width="640" /></a></div>
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This pair was taken extraordinarily care about – like my eyesight, so is their optical and technical appearance just in a meticulous state. Nothing at the body has been changed, beside the two main switches (french air-force parts) for improved functionality. They come with all <u>original</u> accessories, like the rare two pin Bulgin bakelite plugs and cloth wire ac-cabling with the common three contact Bulgin-plug. They come with the original exceptional rare shielding cans. As all my amps both units have been equipped with chrome bell felt isolated feets. They come with their original sales brochure, which is a collector item alone.<br />
They have been completely rebuilt with NOS Cornell-Dubilier-oil-capacitors (USA) in ceramic tubes, F&T cathode bypass caps, carbon composition 2 watts resistors. <a href="http://truefi.blogspot.com/2015/07/vintage-treasuries-restoration-of-leak.html" target="_blank"><u>This pair has got new oil paper smoothing-filtering caps</u>,</a> these are impossible to find, so I did a small edition with copper housings and modern oil caps my self for a small group of TL12.1-aficionados worldwide. The new owner of course will get the leaking parts to complete originality.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgldtOfo-mYq9z6LH4gwehSysG7-NlwMrKpQJQyYwVmfrAgQHOAhPlDqEYqub3JurxhkS8no3loSWPuRS_uFuGsuoBpRCpFV-01XZvDt0ZcjWIImGpsRhUqa7RRLN1Btm50daeRN3_aJxtu/s1600/Ebay+35.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1200" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgldtOfo-mYq9z6LH4gwehSysG7-NlwMrKpQJQyYwVmfrAgQHOAhPlDqEYqub3JurxhkS8no3loSWPuRS_uFuGsuoBpRCpFV-01XZvDt0ZcjWIImGpsRhUqa7RRLN1Btm50daeRN3_aJxtu/s640/Ebay+35.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBXoccmCVLITAYJnXiqclt6qoqxHwikynH3ocgGHtUv9btMbNEvTfAazhgItp534FsF7ktS2Z0A_UpQYBJW0i3y5e_mCZZIPcXFvCCvUaS9TrnrL8w_2C2SfEjnhEsRRcrod3n4HAbNIZJ/s1600/Ebay+34.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBXoccmCVLITAYJnXiqclt6qoqxHwikynH3ocgGHtUv9btMbNEvTfAazhgItp534FsF7ktS2Z0A_UpQYBJW0i3y5e_mCZZIPcXFvCCvUaS9TrnrL8w_2C2SfEjnhEsRRcrod3n4HAbNIZJ/s640/Ebay+34.jpg" width="640" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjONUJ33-eZ1CjVEhzQ0GoIBlHhyH1TSP5L4SJGBCEt_jjU7j637HV6FY7-GBifqLSqDZjVXXJkOeGRopyAXPpo_EZ5IX3T9QeKfqY27-sGTyI9W5pMp5kLSrYpOhyvjROkNyhxrdZyBapp/s1600/Ebay+27.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjONUJ33-eZ1CjVEhzQ0GoIBlHhyH1TSP5L4SJGBCEt_jjU7j637HV6FY7-GBifqLSqDZjVXXJkOeGRopyAXPpo_EZ5IX3T9QeKfqY27-sGTyI9W5pMp5kLSrYpOhyvjROkNyhxrdZyBapp/s640/Ebay+27.jpg" width="640" /></a></div>
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The amps are equipped with original used GEC KT66 tubes, these show up with 70% of their new emission, this means they are good for several years of daily use. They are actually configured for 15 ohm output, their multi layer secondary makes several configurations possible between 2 and 24 ohms, without loosing the potentials of the output transformer. A feature only seen at very complex made transformers with separate windings at the secondary found within this period (late 1940ties), like Partridge, Haddon, etc. for the Williamson Amplifiers.</div>
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I modified here the input with RCA contact to variablity with a stepped attenuator, with solid resistors housed in an octal plugged unit to match the existing preamp socket technically, but as well aesthetically the design of this amps.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6r8IykY2DZbVjPTg6WWJHoRtr__O8IW-ri3oHMPdKBoMu5zUR17pAw2eTyITlbTbU3z5sUp7XeJn3BZ6WhB5W8WbPBz01bgmTOTw40VVLbfymAxORm9x4DuCxodKDpal9eNfglYTmjIAT/s1600/Ebay+22.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6r8IykY2DZbVjPTg6WWJHoRtr__O8IW-ri3oHMPdKBoMu5zUR17pAw2eTyITlbTbU3z5sUp7XeJn3BZ6WhB5W8WbPBz01bgmTOTw40VVLbfymAxORm9x4DuCxodKDpal9eNfglYTmjIAT/s640/Ebay+22.jpg" width="640" /></a></div>
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Of course as well my darlings have been equipped with cloth isolated AC-cables of 1,5 meter length and German AC-contacts. The overal condition of this pair ist extraordinary good compared to units I have seen at Ebay since 1995. The most of them were sold not in matching pairs. If you are looking for a collectable and useable pair of amplifiers of this type, it will be difficult to find today any better on sale! No more comment on this.</div>
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I will sell this pair for an adequate offer, please accept that ideas around 2500 EUR per piece will not find response. This is the typical offers on Ebay for junk parts, wracks or restoration bases. The most amps offered are rusty or repainted, with new or foreign transformers or other restrictions to collectability, sometimes hidden to the customer. Here you know what you will get from somebody who knows better what the most people need to know. I don't have to make presents, I just want to find a fair deal for both side of interests.</div>
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These amps are huge, bulky and heavy (almost 20 kg each), so it might need two shipping crates/boxes, it depends on its destination. If these will find a new home in Asia I would recommend wooden shipping crates and will be able to make them, if fairly paid for the work. </div>
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All my Leak amps can be delivered with their schematics showing the little changes made, the TL12.1 comes with original sales brochure and schematic.</div>
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I will be open for sensible made offers at <span style="color: red;">heinze (at) kommunikation-i (dot) de.</span></div>
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truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-89387006978587604742018-05-23T13:55:00.004+02:002018-05-23T13:59:07.979+02:00Privacy<div class="uk-width-1-1" id="privpol_div_rich_text_preview">
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<li>the existence of the right to lodge a complaint with a supervisory authority;</li>
<li>where the personal data are not collected from the data subject, any available information as to their source;</li>
<li>the existence of automated decision-making, including profiling,
referred to in Article 22(1) and (4) of the GDPR and, at least in those
cases, meaningful information about the logic involved, as well as the
significance and envisaged consequences of such processing for the data
subject.</li>
</ul>
Furthermore, the data subject shall have a right to obtain
information as to whether personal data are transferred to a third
country or to an international organisation. Where this is the case, the
data subject shall have the right to be informed of the appropriate
safeguards relating to the transfer.<br />
If a data subject wishes to avail himself of this right of access, he
or she may, at any time, contact any employee of the controller.<br />
</li>
<li><h4>
c) Right to rectification </h4>
Each data subject shall have the right granted by the European
legislator to obtain from the controller without undue delay the
rectification of inaccurate personal data concerning him or her. Taking
into account the purposes of the processing, the data subject shall have
the right to have incomplete personal data completed, including by
means of providing a supplementary statement.<br />
If a data subject wishes to exercise this right to rectification, he
or she may, at any time, contact any employee of the controller.</li>
<li>
<h4>
d) Right to erasure (Right to be forgotten) </h4>
Each data subject shall have the right granted by the European
legislator to obtain from the controller the erasure of personal data
concerning him or her without undue delay, and the controller shall have
the obligation to erase personal data without undue delay where one of
the following grounds applies, as long as the processing is not
necessary: <br />
<ul style="list-style: none;">
<li>The personal data are no longer necessary in relation to the purposes for which they were collected or otherwise processed.</li>
<li>The data subject withdraws consent to which the processing is based
according to point (a) of Article 6(1) of the GDPR, or point (a) of
Article 9(2) of the GDPR, and where there is no other legal ground for
the processing.</li>
<li>The data subject objects to the processing pursuant to Article 21(1)
of the GDPR and there are no overriding legitimate grounds for the
processing, or the data subject objects to the processing pursuant to
Article 21(2) of the GDPR. </li>
<li>The personal data have been unlawfully processed.</li>
<li>The personal data must be erased for compliance with a legal
obligation in Union or Member State law to which the controller is
subject.</li>
<li>The personal data have been collected in relation to the offer of
information society services referred to in Article 8(1) of the GDPR.</li>
</ul>
If one of the aforementioned reasons applies, and a data subject
wishes to request the erasure of personal data stored by the Volker
Heinze, he or she may, at any time, contact any employee of the
controller. An employee of Volker Heinze shall promptly ensure that the
erasure request is complied with immediately.<br />
Where the controller has made personal data public and is obliged
pursuant to Article 17(1) to erase the personal data, the controller,
taking account of available technology and the cost of implementation,
shall take reasonable steps, including technical measures, to inform
other controllers processing the personal data that the data subject has
requested erasure by such controllers of any links to, or copy or
replication of, those personal data, as far as processing is not
required. An employees of the Volker Heinze will arrange the necessary
measures in individual cases.<br />
</li>
<li><h4>
e) Right of restriction of processing</h4>
Each data subject shall have the right granted by the European
legislator to obtain from the controller restriction of processing where
one of the following applies:<br />
<ul style="list-style: none;">
<li>The accuracy of the personal data is contested by the data subject,
for a period enabling the controller to verify the accuracy of the
personal data. </li>
<li>The processing is unlawful and the data subject opposes the erasure
of the personal data and requests instead the restriction of their use
instead.</li>
<li>The controller no longer needs the personal data for the purposes of
the processing, but they are required by the data subject for the
establishment, exercise or defence of legal claims.</li>
<li>The data subject has objected to processing pursuant to Article
21(1) of the GDPR pending the verification whether the legitimate
grounds of the controller override those of the data subject.</li>
</ul>
If one of the aforementioned conditions is met, and a data subject
wishes to request the restriction of the processing of personal data
stored by the Volker Heinze, he or she may at any time contact any
employee of the controller. The employee of the Volker Heinze will
arrange the restriction of the processing. <br />
</li>
<li><h4>
f) Right to data portability</h4>
Each data subject shall have the right granted by the European
legislator, to receive the personal data concerning him or her, which
was provided to a controller, in a structured, commonly used and
machine-readable format. He or she shall have the right to transmit
those data to another controller without hindrance from the controller
to which the personal data have been provided, as long as the processing
is based on consent pursuant to point (a) of Article 6(1) of the GDPR
or point (a) of Article 9(2) of the GDPR, or on a contract pursuant to
point (b) of Article 6(1) of the GDPR, and the processing is carried out
by automated means, as long as the processing is not necessary for the
performance of a task carried out in the public interest or in the
exercise of official authority vested in the controller.<br />
Furthermore, in exercising his or her right to data portability
pursuant to Article 20(1) of the GDPR, the data subject shall have the
right to have personal data transmitted directly from one controller to
another, where technically feasible and when doing so does not adversely
affect the rights and freedoms of others.<br />
In order to assert the right to data portability, the data subject may at any time contact any employee of the Volker Heinze.<br />
</li>
<li>
<h4>
g) Right to object</h4>
Each data subject shall have the right granted by the European
legislator to object, on grounds relating to his or her particular
situation, at any time, to processing of personal data concerning him or
her, which is based on point (e) or (f) of Article 6(1) of the GDPR.
This also applies to profiling based on these provisions.<br />
The Volker Heinze shall no longer process the personal data in the
event of the objection, unless we can demonstrate compelling legitimate
grounds for the processing which override the interests, rights and
freedoms of the data subject, or for the establishment, exercise or
defence of legal claims.<br />
If the Volker Heinze processes personal data for direct marketing
purposes, the data subject shall have the right to object at any time to
processing of personal data concerning him or her for such marketing.
This applies to profiling to the extent that it is related to such
direct marketing. If the data subject objects to the Volker Heinze to
the processing for direct marketing purposes, the Volker Heinze will no
longer process the personal data for these purposes.<br />
In addition, the data subject has the right, on grounds relating to
his or her particular situation, to object to processing of personal
data concerning him or her by the Volker Heinze for scientific or
historical research purposes, or for statistical purposes pursuant to
Article 89(1) of the GDPR, unless the processing is necessary for the
performance of a task carried out for reasons of public interest.<br />
In order to exercise the right to object, the data subject may
contact any employee of the Volker Heinze. In addition, the data subject
is free in the context of the use of information society services, and
notwithstanding Directive 2002/58/EC, to use his or her right to object
by automated means using technical specifications.<br />
</li>
<li><h4>
h) Automated individual decision-making, including profiling</h4>
Each data subject shall have the right granted by the European
legislator not to be subject to a decision based solely on automated
processing, including profiling, which produces legal effects concerning
him or her, or similarly significantly affects him or her, as long as
the decision (1) is not is necessary for entering into, or the
performance of, a contract between the data subject and a data
controller, or (2) is not authorised by Union or Member State law to
which the controller is subject and which also lays down suitable
measures to safeguard the data subject's rights and freedoms and
legitimate interests, or (3) is not based on the data subject's explicit
consent.<br />
If the decision (1) is necessary for entering into, or the
performance of, a contract between the data subject and a data
controller, or (2) it is based on the data subject's explicit consent,
the Volker Heinze shall implement suitable measures to safeguard the
data subject's rights and freedoms and legitimate interests, at least
the right to obtain human intervention on the part of the controller, to
express his or her point of view and contest the decision.<br />
If the data subject wishes to exercise the rights concerning
automated individual decision-making, he or she may, at any time,
contact any employee of the Volker Heinze.<br />
</li>
<li><h4>
i) Right to withdraw data protection consent </h4>
Each data subject shall have the right granted by the European
legislator to withdraw his or her consent to processing of his or her
personal data at any time. <br />
If the data subject wishes to exercise the right to withdraw the
consent, he or she may, at any time, contact any employee of the Volker
Heinze.<br />
</li>
</ul>
<h4>
6. Data protection provisions about the application and use of Google Analytics (with anonymization function)</h4>
On this website, the controller has integrated the component of
Google Analytics (with the anonymizer function). Google Analytics is a
web analytics service. Web analytics is the collection, gathering, and
analysis of data about the behavior of visitors to websites. A web
analysis service collects, inter alia, data about the website from which
a person has come (the so-called referrer), which sub-pages were
visited, or how often and for what duration a sub-page was viewed. Web
analytics are mainly used for the optimization of a website and in order
to carry out a cost-benefit analysis of Internet advertising.<br />
The operator of the Google Analytics component is Google Inc., 1600
Amphitheatre Pkwy, Mountain View, CA 94043-1351, United States.<br />
For the web analytics through Google Analytics the controller uses
the application "_gat. _anonymizeIp". By means of this application the
IP address of the Internet connection of the data subject is abridged by
Google and anonymised when accessing our websites from a Member State
of the European Union or another Contracting State to the Agreement on
the European Economic Area.<br />
The purpose of the Google Analytics component is to analyze the
traffic on our website. Google uses the collected data and information,
inter alia, to evaluate the use of our website and to provide online
reports, which show the activities on our websites, and to provide other
services concerning the use of our Internet site for us.<br />
Google Analytics places a cookie on the information technology system
of the data subject. The definition of cookies is explained above. With
the setting of the cookie, Google is enabled to analyze the use of our
website. With each call-up to one of the individual pages of this
Internet site, which is operated by the controller and into which a
Google Analytics component was integrated, the Internet browser on the
information technology system of the data subject will automatically
submit data through the Google Analytics component for the purpose of
online advertising and the settlement of commissions to Google. During
the course of this technical procedure, the enterprise Google gains
knowledge of personal information, such as the IP address of the data
subject, which serves Google, inter alia, to understand the origin of
visitors and clicks, and subsequently create commission settlements.<br />
The cookie is used to store personal information, such as the access
time, the location from which the access was made, and the frequency of
visits of our website by the data subject. With each visit to our
Internet site, such personal data, including the IP address of the
Internet access used by the data subject, will be transmitted to Google
in the United States of America. These personal data are stored by
Google in the United States of America. Google may pass these personal
data collected through the technical procedure to third parties.
<br />
The data subject may, as stated above, prevent the setting of cookies
through our website at any time by means of a corresponding adjustment
of the web browser used and thus permanently deny the setting of
cookies. Such an adjustment to the Internet browser used would also
prevent Google Analytics from setting a cookie on the information
technology system of the data subject. In addition, cookies already in
use by Google Analytics may be deleted at any time via a web browser or
other software programs.<br />
In addition, the data subject has the possibility of objecting to a
collection of data that are generated by Google Analytics, which is
related to the use of this website, as well as the processing of this
data by Google and the chance to preclude any such. For this purpose,
the data subject must download a browser add-on under the link
https://tools.google.com/dlpage/gaoptout and install it. This browser
add-on tells Google Analytics through a JavaScript, that any data and
information about the visits of Internet pages may not be transmitted to
Google Analytics. The installation of the browser add-ons is considered
an objection by Google. If the information technology system of the
data subject is later deleted, formatted, or newly installed, then the
data subject must reinstall the browser add-ons to disable Google
Analytics. If the browser add-on was uninstalled by the data subject or
any other person who is attributable to their sphere of competence, or
is disabled, it is possible to execute the reinstallation or
reactivation of the browser add-ons.<br />
Further information and the applicable data protection provisions of
Google may be retrieved under
https://www.google.com/intl/en/policies/privacy/ and under
http://www.google.com/analytics/terms/us.html. Google Analytics is
further explained under the following Link
https://www.google.com/analytics/.<br />
<h4>
7. Data protection provisions about the application and use of Google+</h4>
On this website, the controller has integrated the Google+ button as a
component. Google+ is a so-called social network. A social network is a
social meeting place on the Internet, an online community, which
usually allows users to communicate with each other and interact in a
virtual space. A social network may serve as a platform for the exchange
of opinions and experiences, or enable the Internet community to
provide personal or business-related information. Google+ allows users
of the social network to include the creation of private profiles,
upload photos and network through friend requests.<br />
The operating company of Google+ is Google Inc., 1600 Amphitheatre Pkwy, Mountain View, CA 94043-1351, UNITED STATES.<br />
With each call-up to one of the individual pages of this website,
which is operated by the controller and on which a Google+ button has
been integrated, the Internet browser on the information technology
system of the data subject automatically downloads a display of the
corresponding Google+ button of Google through the respective Google+
button component. During the course of this technical procedure, Google
is made aware of what specific sub-page of our website was visited by
the data subject. More detailed information about Google+ is available
under https://developers.google.com/+/.<br />
If the data subject is logged in at the same time to Google+, Google
recognizes with each call-up to our website by the data subject and for
the entire duration of his or her stay on our Internet site, which
specific sub-pages of our Internet page were visited by the data
subject. This information is collected through the Google+ button and
Google matches this with the respective Google+ account associated with
the data subject.<br />
If the data subject clicks on the Google+ button integrated on our
website and thus gives a Google+ 1 recommendation, then Google assigns
this information to the personal Google+ user account of the data
subject and stores the personal data. Google stores the Google+ 1
recommendation of the data subject, making it publicly available in
accordance with the terms and conditions accepted by the data subject in
this regard. Subsequently, a Google+ 1 recommendation given by the data
subject on this website together with other personal data, such as the
Google+ account name used by the data subject and the stored photo, is
stored and processed on other Google services, such as search-engine
results of the Google search engine, the Google account of the data
subject or in other places, e.g. on Internet pages, or in relation to
advertisements. Google is also able to link the visit to this website
with other personal data stored on Google. Google further records this
personal information with the purpose of improving or optimizing the
various Google services.<br />
Through the Google+ button, Google receives information that the data
subject visited our website, if the data subject at the time of the
call-up to our website is logged in to Google+. This occurs regardless
of whether the data subject clicks or doesn’t click on the Google+
button.<br />
If the data subject does not wish to transmit personal data to
Google, he or she may prevent such transmission by logging out of his
Google+ account before calling up our website.<br />
Further information and the data protection provisions of Google may
be retrieved under https://www.google.com/intl/en/policies/privacy/.
More references from Google about the Google+ 1 button may be obtained
under https://developers.google.com/+/web/buttons-policy.<br />
<h4>
8. Legal basis for the processing </h4>
Art. 6(1) lit. a GDPR serves as the legal basis for processing
operations for which we obtain consent for a specific processing
purpose. If the processing of personal data is necessary for the
performance of a contract to which the data subject is party, as is the
case, for example, when processing operations are necessary for the
supply of goods or to provide any other service, the processing is based
on Article 6(1) lit. b GDPR. The same applies to such processing
operations which are necessary for carrying out pre-contractual
measures, for example in the case of inquiries concerning our products
or services. Is our company subject to a legal obligation by which
processing of personal data is required, such as for the fulfillment of
tax obligations, the processing is based on Art. 6(1) lit. c GDPR.
In rare cases, the processing of personal data may be necessary to
protect the vital interests of the data subject or of another natural
person. This would be the case, for example, if a visitor were injured
in our company and his name, age, health insurance data or other vital
information would have to be passed on to a doctor, hospital or other
third party. Then the processing would be based on Art. 6(1) lit. d
GDPR.
Finally, processing operations could be based on Article 6(1) lit. f
GDPR. This legal basis is used for processing operations which are not
covered by any of the abovementioned legal grounds, if processing is
necessary for the purposes of the legitimate interests pursued by our
company or by a third party, except where such interests are overridden
by the interests or fundamental rights and freedoms of the data subject
which require protection of personal data. Such processing operations
are particularly permissible because they have been specifically
mentioned by the European legislator. He considered that a legitimate
interest could be assumed if the data subject is a client of the
controller (Recital 47 Sentence 2 GDPR).
<br />
<h4>
9. The legitimate interests pursued by the controller or by a third party</h4>
Where the processing of personal data is based on Article 6(1) lit. f
GDPR our legitimate interest is to carry out our business in favor of
the well-being of all our employees and the shareholders.<br />
<h4>
10. Period for which the personal data will be stored</h4>
The criteria used to determine the period of storage of personal data
is the respective statutory retention period. After expiration of that
period, the corresponding data is routinely deleted, as long as it is no
longer necessary for the fulfillment of the contract or the initiation
of a contract.<br />
<h4>
11. Provision of personal data as statutory or contractual
requirement; Requirement necessary to enter into a contract; Obligation
of the data subject to provide the personal data; possible consequences
of failure to provide such data </h4>
We clarify that the provision of personal data is partly required by
law (e.g. tax regulations) or can also result from contractual
provisions (e.g. information on the contractual partner).
Sometimes it may be necessary to conclude a contract that the data
subject provides us with personal data, which must subsequently be
processed by us. The data subject is, for example, obliged to provide us
with personal data when our company signs a contract with him or her.
The non-provision of the personal data would have the consequence that
the contract with the data subject could not be concluded.
Before personal data is provided by the data subject, the data subject
must contact any employee. The employee clarifies to the data subject
whether the provision of the personal data is required by law or
contract or is necessary for the conclusion of the contract, whether
there is an obligation to provide the personal data and the consequences
of non-provision of the personal data.
<br />
<h4>
12. Existence of automated decision-making</h4>
As a responsible company, we do not use automatic decision-making or profiling.<br />
This Privacy Policy has been generated by the Privacy Policy Generator of the <a href="https://dg-datenschutz.de/services/external-data-protection-officer/?lang=en">DGD - Your External DPO</a> that was developed in cooperation with <a href="https://www.wbs-law.de/eng/">German Lawyers</a> from WILDE BEUGER SOLMECKE, Cologne. </div>
truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-77978598999083096872018-02-16T09:45:00.001+01:002018-02-16T14:25:08.976+01:00For Lunch in ParisHi everybody,<br />
<br />
when I was a teenager, we – my friends and I – did regularly after hanging out late at Friday nights, some spontanous road trips to Paris in order to have breakfast in one of the countless street bistros early in the morning. Driving through all the night is something for young people with lots of energy, when getting older such dangerous practice gets lost. But recently my friend Andreas asked me, if I would like to go for a Sunday lunch with him to Paris. This time the manual was not set for breakfast with croissants and cafe, but for a colorful lunch with the best Japanese sushi and sashimi accompanied by some British beef slowly roasted in a typical large scale American barbecue smoker, made in China. Exquisite Japanese <i>Sans</i> (masters) like <i>Kanno, Shishido, Shindo </i>were booked to form a delicate audio menue in conjunction with a <i>Line Magnetic</i> loudspeaker system.<br />
<br />
<br />
<br />
<h3>
The Defilè</h3>
<div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEignEj1TLCTsWhRDJj4TsBQW0pI4bhXF5zI5cB9IH-APNRTBl3lJuBlHxVrbhVzqtHke3lwKgrBbICzQM4I_ajkvgOJzWGgYPbq7eewVZNvgju32-PGotJbNFzGtbQCL2LkZqZB5U-CC8Ty/s1600/Amps.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1069" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEignEj1TLCTsWhRDJj4TsBQW0pI4bhXF5zI5cB9IH-APNRTBl3lJuBlHxVrbhVzqtHke3lwKgrBbICzQM4I_ajkvgOJzWGgYPbq7eewVZNvgju32-PGotJbNFzGtbQCL2LkZqZB5U-CC8Ty/s640/Amps.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left: Classic SE PX4 amps with Tamura iron and vintage tubes, right a typical Shishido SE 808 stereo amp with<br />
Tango transformers and RCA808 triodes, transformer coupled driven by GEC KT66.<br />
<br /></td></tr>
</tbody></table>
<div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikEwdUeK66M9ctAxiUxDZ6sYlaeMqtu5j4nGH3R5VNYyMFUQ70j7sgWOSrgnnzAdX2THbdQ2X-C4Icjsz-BjeiCH8rWAkqFLMNW0CPX3QhBktsqDubqDPghgFYk_3RviMpTSDkNRCHfAKe/s1600/Kanno_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1124" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikEwdUeK66M9ctAxiUxDZ6sYlaeMqtu5j4nGH3R5VNYyMFUQ70j7sgWOSrgnnzAdX2THbdQ2X-C4Icjsz-BjeiCH8rWAkqFLMNW0CPX3QhBktsqDubqDPghgFYk_3RviMpTSDkNRCHfAKe/s640/Kanno_2.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Kanno Works</i> SE 300b with input transformer into the<br />
paralleled ECC33 driver tube for improved impedances to couple the<br />
interstage transformer to the grid of the 300b tube.</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8BL0aIdwu61VsO2HdQ-VpJ2t5zknIyl18BywNiPdTItsURd5lH4Ali342C9RUPw83F7caWI1IxLWJ9iaqB2BY2CFu3dD0YHxgrhu2DJsl0LkRoOs_EulpewkcA5xsdvpMHWMODlpsTAjk/s1600/Kanno_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1131" data-original-width="1300" height="556" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8BL0aIdwu61VsO2HdQ-VpJ2t5zknIyl18BywNiPdTItsURd5lH4Ali342C9RUPw83F7caWI1IxLWJ9iaqB2BY2CFu3dD0YHxgrhu2DJsl0LkRoOs_EulpewkcA5xsdvpMHWMODlpsTAjk/s640/Kanno_1.jpg" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8AXJYw58cuqqCSVhsSWIEn7kA8mLrrUJ-fi4HXmMudCG7V66q_gpmGIYBYR-QT3-32zeJ-ndwoa9tNf3LiXBPJWIZGB2stWoYKF97KvlpPy5GgxUz2H7QIploUDy5eVWTia8JcjbekRUz/s1600/Shishido.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1001" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8AXJYw58cuqqCSVhsSWIEn7kA8mLrrUJ-fi4HXmMudCG7V66q_gpmGIYBYR-QT3-32zeJ-ndwoa9tNf3LiXBPJWIZGB2stWoYKF97KvlpPy5GgxUz2H7QIploUDy5eVWTia8JcjbekRUz/s640/Shishido.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nobukazu Shishido's legendary SE 811 positive grid amplifier,<br />
typical for Shishido are the interstage transformers with reversed secondaries<br />
and always realized with silicon rectifier diodes.</td></tr>
</tbody></table>
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<br />
In the <i>Premier Arrondissement</i>, in the heart of the town, lives the gourmand Philippe F.. He is a extremely polite and cordial man with good sense and taste for several interrests in life. So it does not wonder to meet a man who has collected a good variety of top class vintage single ended amplifiers from the important period of the 1970 to 1980ties, which can be hardly found outside of Japan. He combines them in his set up with vintage classics from the 1960ties in Europe, like tonearms, pick up cartridges and record players, extended by some today impossible originally to find replica loudspeaker components of <i>Western Electric</i> origin to a majestic audio system. Exceptional in many terms is his <i>Line Magnetic </i>speaker system <i>LM-3</i>, which got highly upgraded with top line products to form some final improvements. The tweeter got exchanged to <i>LM597, </i>presumably the crossover as well to best <i>Line Magnetic </i>standard, and so the <i>Tungar</i> power supply got included to feed all three drivers with three independant lines at once.<i> </i>The bass driver is here now the legendary<i> LM4181.</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3gBAdVpXZvhDSyML66t6cn75nVbwyjSTHo8PECLG8_H2LkWOf8gVmgwgIRZx8BOcXMl4-R8QqxKw8_YFK9U_CDIbgdt9ejzqbNvkhrtGvyMocfbAyBkjnz6Tg86SUb1kpvAs8nCZ83Hmm/s1600/Shindo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1001" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3gBAdVpXZvhDSyML66t6cn75nVbwyjSTHo8PECLG8_H2LkWOf8gVmgwgIRZx8BOcXMl4-R8QqxKw8_YFK9U_CDIbgdt9ejzqbNvkhrtGvyMocfbAyBkjnz6Tg86SUb1kpvAs8nCZ83Hmm/s640/Shindo.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A pair of familiar Shindo <i>300b Limited </i>amps, connected to perform. </td></tr>
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We started listening with a <i>Tim de Paravicini</i> preamp and a pair <i>Shindo 300b Limited</i> power amps, equipped with original WE tubes to adapt the whole system and get used to the given room attitudes. After half an hour we switched to the brought <i>Shindo Vosne Romaneè</i> preamp, which was Philippe's major interest to listen to. The standard <i>Ortofon SPU/A</i> got exchanged to the adequat <i>Shindo</i> derivate with a clear destination into refinement. As next step the <i>300b Limited</i> got exchanged to the pair <i>Kanno 300b</i> amps, which showed up with a very well outbalanced souvereignity. Here now several 300b tubes and as well different rectifier tubes have been in service and showed some typical tonal fine tuning. But as everybody know, such complex systems are mainly defined by their acoustical transducer systems. The loudspeaker in a given room defines more than 60% of the soundstage in a given system. At this point it was quite difficult for me to find decisive opinions about all the changes.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqdvhaXustdis1xpB2Z9B2d0mQlbqXzCsg5kof7HbJuQWlxLDlUqn3qEqgrX-PncrZVgj1My_twl1jXyrixiAQX9bpD-C9adxpUHsB1d4RxrpysvwIyxQP-RHrFWgKaOz6MGoXSzrRWJtL/s1600/LM3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1069" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqdvhaXustdis1xpB2Z9B2d0mQlbqXzCsg5kof7HbJuQWlxLDlUqn3qEqgrX-PncrZVgj1My_twl1jXyrixiAQX9bpD-C9adxpUHsB1d4RxrpysvwIyxQP-RHrFWgKaOz6MGoXSzrRWJtL/s640/LM3.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Upgraded complete loudspeaker system <i>LM-3, </i>beside its three-way tungar<br />
power supply for all three units</td></tr>
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Readers of my blog learned about several presented systems with <i>Line Magnetic LM22</i>, extended with <i>LM597</i> tweeter and several <u>different</u> solutions for the low frequency finalisation. I spell out no secret about the fact, that a 22a horn with its dedicated tweeter 597 is a combination, which performs a world class solution on its own. But its exceptional finesse, resolution and transmitted energy makes any adaption of the lower frequency part to a <u>life task</u>. All named sets which have been presented here within the last years, have in common, that all owners permanently try to improve the low frequency support of their horns. The most do incorporate a replica WE7331 dipole enclosure or a downsized derivate of such design principle as by far best type. These are driven by field coil motorized alternatively permanent magnet units of diverse makes and from variable origin and vintage cinema productions. These get powered with one or more amps of different technology (tube-, switched-, transsistor amps) or get powered active to passive, with different crossover types or even with DSP. To match the horn around 300 hz with more or less wide transitions and different steepness, all these finalisations show how complex it is to find a natural tone. The lighter and faster wideband woofers from Klangfim, the KL405 in different connections, seem to be a passable way for some. This means the low freqeuncy unit needs to be exceptional fast, deep and extended into the middle frequencies with wide overlapping parts between horn and woofer. This problem is <u>the achilles heel</u> of the 22a horn. The bigger wooden horns WE12/13/15 and the metal WE16a perform a lower frequency cut off, so their response shows a different, a bit easier to realize preference for invisible completeness.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVeGDuYiS6GERM7BQtbJgh2qQeyQ_84t3wRHWPpd0k09WfI9_JD09OUx08wynHxAWd8thlfxbH3-5lv-dbCRzIIgP4qaLgVOFUCaLtFeCBycfoi0gEFFq8fpXCz7n2hHCfIV5aCo2uNNnB/s1600/LM_3-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1069" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVeGDuYiS6GERM7BQtbJgh2qQeyQ_84t3wRHWPpd0k09WfI9_JD09OUx08wynHxAWd8thlfxbH3-5lv-dbCRzIIgP4qaLgVOFUCaLtFeCBycfoi0gEFFq8fpXCz7n2hHCfIV5aCo2uNNnB/s640/LM_3-2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of the best tweeters in audio history the 597 </td></tr>
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The here shown frontloaded enclosure from <i>Line Magnetic</i>, which incorporates a 18-inch field coil speaker, is a exceptional solution for all such requests. Upgraded to LM4181 the enclosure can be used as fullrange unit up to 5000 hz, or equipped with different crossover designs to match all named horn types with different take-over frequecies. The LM4181 is like its original predessor from <i>Western Electric</i>, the wide band coned version of three different speakers, which share the same motor armature. The speaker shows elegant wide band attitudes with a unsurpassed fast, refined textured low frequency support down to the deepest levels of bass, without the otherwise dulledness, which is so typical for modern large pa-systems. The enclosure can be opened in the back to form a dipole, which transports together with the front loading horn uncomparable attitudes, which are hardly found in other design principles, like backloaded, vented or bass reflex systems. The combination of frontloading in a dipole is known to be my favorite solution. It is giving large coned systems the property of refined fastness and articulation otherwise rarely noticed. <a href="http://truefi.blogspot.de/2016/02/the-truefi-tannoy-enclosure-manufacture.html" target="_blank">My own speaker</a> showed me once the superiority of such design principle over other more commercially practicable principles.<br />
Now here Philippe's installation shows simply the best connected low frequency range I have listened to in conjunction with the 22A. It is huge and it is high, it is a real piece of space determing furniture, and makes the positioning in the room difficult in both terms, acoustically and visually. This is not the type of furniture which makes life partnerships happy. It takes a good footprint and it needs some back space, as with all dipole systems, its backwarded radiated energy reflects from its backing wall. The system ideally will need some more space than Philippe will actually allow to spend, particular in corners even more, but such better position (a good meter) off the side and backing walls will tremendously increase the soundstage in his room, ideally to <u>a almost invisible holographic soundstage</u>. Another aspect is the door width to get it into the house and the final room.<br />
But soundwise, in terms of a deepest, most refined and fastest organic bass response for musical completeness and integrety, this is a <u>top notch solution</u> of highest expectation to match the world class 22a horn with its invisible tweeter. So far simply the best solution I have listened to and it is <a href="https://www.line-magnetic.eu/" target="_blank">straight available by order</a>. No woodwork, no carpenter, no nightmares of finetuning, no lost last hair from endless frequency matching or overboarding bills of frustation killing substitude drugs, like alcohol or expensive food, – maybe only a good glass of wine, while relaxed listening to a record of <i><a href="http://truefi.blogspot.de/2013/07/nina-simone-first-decade-on-vinyl.html" target="_blank">Nina Simone</a></i>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVP12eUD_ICkpJByR9S1hS8gLtIJRiW7tE8_stmvJQ9qdG-eJpg-sfmbehlJKR1xx0SWA7r034cBY5TLjyLN4G3c4LnNDClP2Z1gQlztJaDi6YaIrtJI9M4JXPT7RdhGtCtdftyfAHBi7O/s1600/Ro%25CC%2588hren.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="931" data-original-width="1500" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVP12eUD_ICkpJByR9S1hS8gLtIJRiW7tE8_stmvJQ9qdG-eJpg-sfmbehlJKR1xx0SWA7r034cBY5TLjyLN4G3c4LnNDClP2Z1gQlztJaDi6YaIrtJI9M4JXPT7RdhGtCtdftyfAHBi7O/s640/Ro%25CC%2588hren.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Of course Philippe does not only use original WE-300b tubes from different production lines, he also<br />
needs original Japanese makes from <i>Takatsuki TA-300</i>, here shown next to original WE-274b rectifier tubes,<br />
beside legendary Jørgen Schou MC-step up transformers for the Ortofon SPU</td></tr>
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At our way back we made stop at a typical French Hypermarché to get some food for the evening. We bought some exquisite cheese, baguette and were looking for some wine. The range in French supermarkets is phantastic and I needed some time to evaluate some of the offers, when Andreas noticed loudly from two shelves far away: "Look they have all the Shindos here, Latour, Lafon, Vosne-Romaneé, Monbrison, Lafitte, really all!" "Ok, why not staying on with a Vosne-Romaneé for the dinner."<br />
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Stay tuned,<br />
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-42566692270614364512017-12-24T12:49:00.004+01:002017-12-28T07:09:49.169+01:00Faith, Hope, Salvation - The Single Ended Tube Amplifier<div class="separator" style="clear: both; text-align: center;">
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Hi everybody,<br />
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since a long time I didn't post any article about tube based audio with vintage components. To my understanding almost everything substantially was said within the last four years about this topic. But now here I will try to bring right in time a known Christmas fairytale with some new accents.<br />
In particular after my series of articles about the rise and reintroduction of tube amplified audio with a synonymously way to create the <i>Western Electric 300b </i>tube as central element of <u>religous passion</u> over the last 30 years. Yes, a vintage <i>Western Electric </i>300A or 300B tube is a exceptional unique sounding device with unparalleled attitudes – period. But a lot of other triodes like the 45, the 2A3, the 6BG4, the RE604, the R120, the AD1 and several other directly heated tubes from that period before the 1950ties (i.e. mass production) are as well unique sounding devices, each with a recognizable fingerprint soundwise. Not even to note the big bottles 211, 845 and GM70.<br />
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To keep the example of the WE300B, there are more than 10 different vintage original WE types known, which show all the originating imprint <i>Western Electric</i>, made at different production places and in periods from 1928 to 1998. Further are additional license productions, like the well known <i>Cetron</i> or the <i>STC </i>4300B (<i>Standard Telephone and Cables</i>, GB) versions. Each of this different 300B tubes show a clear and comprehensible sound attitude, different to any other sample of this types. The reasons for such might be today found in aging, storage conditions and of course, even in little production differences and materials. Tubes are made to technical given standards and the most of us know, technical specifications can be evaluated through measurements, but sound <u>cannot</u>. This insight brings us to the question if automatically a more rare and a inevitable more expensive tube is generally the better sounding device?<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX9cysEacKJV9MLwaQwiP5uNxhV-gcLlkzWH3kwFKvLjsrOJobr093qizZskFwnqwk4HwVMucbth1520ejRKn3Q1ID49n6EsBKCo9ETT5FmpVNzi4i9pglE0oE6lttu1O0W3IinpF_saY6/s1600/WE300Btubes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="864" data-original-width="940" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX9cysEacKJV9MLwaQwiP5uNxhV-gcLlkzWH3kwFKvLjsrOJobr093qizZskFwnqwk4HwVMucbth1520ejRKn3Q1ID49n6EsBKCo9ETT5FmpVNzi4i9pglE0oE6lttu1O0W3IinpF_saY6/s400/WE300Btubes.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Three WE300B tubes, one from Cetron</td></tr>
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For some, who might fire their barbecue with 100 dollar notes, the permamently rising price tag for vintage WE 300B tubes might be neglible. Dripping every day 10 dollars into the money box is the value of using vintage 1950ties original 300B tubes for some hours every day. The latest <i>Western Electric</i> originated 300B production from the 1980ties generates price tags of 2500 $ for a NOS pair, a <u>used</u> single graved base tube from early production will cost a good 3K$, <i>New Old Stock</i> asks for a open range between 10k and 20K$ for a 70 year old pair. Yes this tubes might do sound exceptional unique, hardly to compare them to any later production line, but do they really sound that much better than later versions, – or just different? Or does the price tag create a very special cognition, which tricks psychologically our auditive perception? (a common sign of market religion) How long will such investment work, yes 70 years ago such tubes could fulfill the WE specifications of 10000 hours minimum service, but what happened in the meanwhile with such tubes? How do they have been stored for the major past time, nobody can tell you here some reliable truth. <a href="http://truefi.blogspot.de/2017/01/audible-drugs-valvozepam-or.html" target="_blank">Recently</a> I did make a lot of tube testing with NOS tubes from the 1940 to 1950ties production period. Top NOS products from GEC, STC, Mullard/Osram and others have been on test. From every 10 piece batch two tubes failed within shortest running time without recognizable reason. I have never listened to a very early produced WE300B tube, I can remember a shoot out between 1950ties and 1980ties production lines and as a third contender a <i>Cetron</i> type from 1970ties production. This shoot out happened a good decade or longer ago, the oldest tube showed up with the darkest, deepest and widest spread sound attitude (or was it just almost gone?).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw8rDDbHjGUKjzjQekpD4o7bgp8bmvNhOOJ3gkZBe_uvMHkoCygXB3NGrQlS4qrvv4yxSdfHC6DyeZurPv5R-F2rlfMTcYTEMMux0rjltYFcBuj9A1kt6FWlWXZCiyGKyXu-b9JLZOLYBV/s1600/KT8c_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1044" data-original-width="1500" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw8rDDbHjGUKjzjQekpD4o7bgp8bmvNhOOJ3gkZBe_uvMHkoCygXB3NGrQlS4qrvv4yxSdfHC6DyeZurPv5R-F2rlfMTcYTEMMux0rjltYFcBuj9A1kt6FWlWXZCiyGKyXu-b9JLZOLYBV/s640/KT8c_2.jpg" width="640" /></a></div>
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Today, if you want to buy a new made tube (new for safety reasons, i.e. religion again, when talking about Chinese tubes, <strike>I remember my first bought chinese 300B tube ever pulled out of a box in 1992 failed with a first switching</strike>), you can get modern replacements made from China, Russia or from the former East production. This modern tubes do sound substancially different than the most of the vintage original products, – to say it carefully – the most of them does sound infected with cough or hoarseness, without any elegance and tonal refinement, which is so typical for vintage production tubes. To say it straight, they are absolutely useless, if you you are hunting for a three <i>Michelin</i> <i>star</i> graded audio dinner. In deregulated markets the price tag does not reflect any quality aspect, today its more going to be visa vice. In price ranges between 200$ up to 1000$ for a pair of modern 300B bulbs, you will have today a wide range of choices to get the mechanical value of a ordinary electrical light bulb. It seems to be still a good terminated business, to keep the<i> religion </i>running by serving such tubes to people of the <i>300b-faith congregation.</i> Captured that only 300B tubes can do the trick, people spend still astonishing amounts into such wearparts, driven by the hope of audio salvation. (typical phenomenia within altered capitalism as religion?).<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOZH5A2vkJZsc2ah-mw_TXNw9-SWja19NwagcYGtQjfI4Z3ambz6zPKXsV1wGbcYaQZaRh2hkQk_IAeR9YO5zI6aV_9ZiZ55jN_ayhQhCxAfOi2ACbu5GPMG2Iy1EazftxZ894KxJeZ0yM/s1600/Leak_TL12.1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="544" data-original-width="800" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOZH5A2vkJZsc2ah-mw_TXNw9-SWja19NwagcYGtQjfI4Z3ambz6zPKXsV1wGbcYaQZaRh2hkQk_IAeR9YO5zI6aV_9ZiZ55jN_ayhQhCxAfOi2ACbu5GPMG2Iy1EazftxZ894KxJeZ0yM/s640/Leak_TL12.1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My long term compaignon power amps, the legendary Leak TL 12.1,<br />
one of the finest push-pull amplifiers in history</td></tr>
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Comming back to the essentials of this story, the rise of the 300B tubes was on par with a fresh reconception of the <b>Single Ended Amplifier</b> in the 1980ties. This topology can show some exceptional attitudes and advantages, comparing their merrits with other tube amplifier design principles, like the classic push-pull-designs, known from uncountable variations in the longer past, which are based on D.T. N. Williamsons article in <i>Wireless World</i> 1938, the so called the <i>Williamson Amplifier</i>. All the derivates do use pentodes, tetrodes and their kinkless relatives in order to generate a powerfull output of 12 to 100 watts, with theoretically improved distortion figures. Some of these amps, in particular the very early examples do sound exceptional good. The most of the crowd sounds like what is today known as "tube amplifier sound". Dynamic, a bit cheeky, but mostly impressive. The most readers here know my long time relationship with a better example, the early 1949 <i>Leak TL12.1.</i> These push-pull amplifiers are rediculously overenginered in several aspects and they do sound exceptional transparent and natural, I could not find in 30 years of evaluation something from other manufacturers, which was even close beside. I got once a really early set of <i>Williamson Amplifiers,</i> built in 1950ties from a british radio engineer in Bristol, realized at the best possible level of parts and manufacture. Made with Partridge and Parmeko iron as four chassis design (PSU and amp chassis in double mono), these amps are very close to the Leaks, if not on par. Once I will do a own article just about this incredible realisation as piece of important audio history. Both amps use the <i>KT66</i> from <i>GEC</i> as power output tube, a tube which was designed around the same time of the <i>Wireless World</i> article. The <b>K</b>inkless <b>T</b>etrodes <i>KT66</i> from<i> GEC</i> are the summit of such pentodes or tetrodes in the 25 watt class. Almost every manufacturer of this time did make a own design, RCA began with the 6L6 as base for all of them in 1936, Mullard/Osram did the EL37 in the late 1940ties, another derivate was the US-designed 807 and 5881. In these days a lot of different applications got as well designed, so that the demand for such tubes was immense. RF-amplifiers, military or civil rf-, radar-, pa- and tv-stage-amplifiers and finally der growing audio and music business created a huge market for such tubes. In the 1950ties almost every manufacturer in in GB had a luxury power amplifier with KT66 in their portfolio, since US-american makers mostly relieed to 6L6 tubes in these days.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir8o09-P_gPVvZB6xOojvRoIZfmzJVA286MZ_qkA2W3GcaKljcASGrXZD3M4XgkgpB2hyphenhyphen7BhBiBZ2bK62gYJeXzqvmfJUd0sSutL17sYbr6NOhNhoPVJ1Bc3AyGeVaTFHeV_FekwR6pAmQ/s1600/Willamson2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1251" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir8o09-P_gPVvZB6xOojvRoIZfmzJVA286MZ_qkA2W3GcaKljcASGrXZD3M4XgkgpB2hyphenhyphen7BhBiBZ2bK62gYJeXzqvmfJUd0sSutL17sYbr6NOhNhoPVJ1Bc3AyGeVaTFHeV_FekwR6pAmQ/s400/Willamson2.jpg" width="385" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHn_ekb_jju8Oql_kXt07N-3sWkJkUE2YVQFJWduVxtp8NNRF4KiT-Jwl1ey2zXOtPW7tA1oNmecHdgVNos8L7zcnYNIfiMUdSWrtYGI-CJNKrNLOV3WBg9Ixb5FSpHptZrtHezrFT0d8U/s1600/Willamson1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="966" data-original-width="1500" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHn_ekb_jju8Oql_kXt07N-3sWkJkUE2YVQFJWduVxtp8NNRF4KiT-Jwl1ey2zXOtPW7tA1oNmecHdgVNos8L7zcnYNIfiMUdSWrtYGI-CJNKrNLOV3WBg9Ixb5FSpHptZrtHezrFT0d8U/s640/Willamson1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Original bochure from <i>Wireless World</i> about the <i>Williamson Amplifier</i> from 1951</td></tr>
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These original tubes are mostly exceptional good sounding tubes when compared with modern reissues, mostly made in Asia. So its is understandable that a new old stock quartet of <i>GEC KT66's</i> today will cost almost 1000$ or even more. Everybody who has compared these tubes with any modern variants, even if they look completely identical, is willing to pay the difference of almost 850$ to get the real addictive drug for his guitar or audio amp. If you own an amp which is able to show all aspects of such refinement in sound quality, like with a magnifying glass, than you know that these tubes can do a unparalleled job for you. This is a <u>alternativeless lessons of truth</u> with push pull amplifiers, but it is even more important with a single ended amplifier topology, where only one single power tube is the decisive key element for its finalized sound. Beside the used iron, which is quite important, but in its role for the realism are transformers highly overated, the power tube is a key component. If you don't believe about, just have a look to the "legendary" output transformer of the even more legendary <i>Western Electric 91A</i> amplifier, the WE171A transformer, which is a small and lightweight piece of iron. In its days almost any signal was limited to a frequency range of 200 to 5000 hz, in cinemas intelligibility was the major demand, speech frequencies between 500 to 4000 hz was the aim of audio designers. This range is what the "legendary" <i>Western Electric</i> amp shows as its best attitude, such performance is even by todays standards a exceptional result (look at the WE aficionados running wide band horn systems with this sort of amps to match their middle frequency performance).<br />
But today the most of us prefer some <i>high end audio</i> quality, let us point it out, a fast, undisdorted and lean low frequency response from 40 to 100 Hz, or even deeper with powerfull liquid distributed dynamic energy output. The frequency extremes are not the foremost attidude of the legendary vintage amps/i.e. its output transformer/ i.e. the foremost domain of the 300b tube, <u>it was never intended to be so.</u> The wonderful middle frequency response of such amplification with original 300b tubes, was the point which made this combinations legendary once in the early 1970ties in Japan. They got a synonym for a different realized audio response, which is hardly found in much more technically elaborated products from the second half of the 20th century, not to talk about all the contemporary products, which are just feeding only a remnant theoretical demand of audio, or let us say it in more straight words – <i>religous belief. </i><br />
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This article aims to those who have not yet come under wheels in their individual sensual independence and are still able to differnence out on a base of personal <u>auditive ability</u>. Those who want a more natural and less technical sound quality, those who do not want to make some drugdealers fat, those who do not want carry on the misleading message,<b> – for those I have some good news</b>. All others who want to consolidate and follow some tribal paths of gone history, religous correlations <strike>or faith congretations with different color codes, from black to grey to green</strike>, <b>can stop now reading!</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvu5xpaHFEEqQgamlNQCOSb9dsyVZQBmT17cLqN-1tqnBhpyCqKJghMjkvnOVWdSr_E2vJrzPg9dMMp867xK3c_-c9aVWTOR5rtisJNwmVbApv2jg83IN7RSgI2zOG_AkNFLBoa1da8Kg7/s1600/NewSE_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="990" data-original-width="1500" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvu5xpaHFEEqQgamlNQCOSb9dsyVZQBmT17cLqN-1tqnBhpyCqKJghMjkvnOVWdSr_E2vJrzPg9dMMp867xK3c_-c9aVWTOR5rtisJNwmVbApv2jg83IN7RSgI2zOG_AkNFLBoa1da8Kg7/s640/NewSE_1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebuilt from Cary Audio Push-Pull 300B stereo wrack. The stereo set of NOS tubes from<br />
Cetron, STC and Rogers does cost 50 $, together, not one tube!</td></tr>
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In 1994 I did buy a already completely slaughtered 300B push pull amp from the than emerging US-company <i>Cary,</i> which was in these days to my knowledge, the only American manufacturer of single ended amps in the US-market of <u>higher faster further audio</u>. With typical sales arguments of extreme heavyness, glossy shine and solid stainless steel cases this company marketed a range of different 300B amps in the US and as well in Europe, as the one and only salvation for the new tube age in these days. <i>Single Ended</i> mono blocks with one 300B or as <i>Parallel Single Ended</i> versions with two or like this example here, as <i>Push Pull Stereo</i> model. I can remember that these amps were quite expensive, all between 5000 and 15000 $US, which was good money in 1992. So I was a bit astonished to see a eviscerated example for some 50$ at a final outsale of a closing local hifi-shop. This amp was completely emptied, without any wiring or components, but with all original hardware. The shop owner told me that several people tried to convert this amp to a singing bird, but all had given up after a while. The former owners loss was going to be my win. (market religion again) I always had the inherent problems of this amp in my mind and so my idea to bring this thing back to another life, was hold back for years. Alone the investment for four Chinese 300B tubes always suffocated my energy in a glance to start some restauration. It got forgotten in my cellar for more than 20 years til I decided in 2015, maybe to do something with this wrack. First I removed the original output transformers and sold these on Ebay for 400$ back into the US. I stripped it down to the clean chassis and found under the massive casted <i>Cary</i> decal at its front the inscription "6L6-push pull power amplifier". So I realized <i>Cary</i> did manufacture with identical hardware a classic 6L6- and a 300b-push-pull amplifier without change. Now I did understand the amount of tube sockets, the layout was dedicated to a classic design with a half 6SN7 as driver stage, another 6SN7 as phase splitter and two power tubes, all served by a doubled rectifier stage with two 5U4G. With a value of 200uF for the charging capacitor (<u>a lot helps a lot-religion</u>) this amplifier gave me a deep insight into a practice of feeding a new and adolescent market.<br />
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In 2016 some friends and I made a final shootout with several 300B tubes (will be reported in another special article once), which showed me again that 300B tubes in audio amplifiers are something for people who don't take care about their money. Maybe the same target group which do barbecue only with the best available hand fed <i>Kobe</i> beef. So nothing for me, I know that the <i>Chianina Beef</i> from Italy is as well a good choice and available for a fraction of the pricetag from <i>Kobe</i> beef. I always trusted in my life into long time established cultural path lines, so I know that in Japan beef got fashionable late in the 1960ties. Before that time beef was almost unknown, because of the lack of pasture, so cows did exist in hand counted amounts mostly in the region around <i>Kobe</i>. (legend building as religion) In the common Japanese kitchen beef didn't play any cultural decisive role. In Tuskany the <i>Chianina Cow </i>has been cultivated for several hundred years with very similar excellent life circumstances for the cows. The right living conditions of the animal and the right treating of the beef is manifested as a several hundred year old tradition which can be read back in the legendary <span style="box-sizing: border-box;"><span style="box-sizing: border-box;"><i><span style="font-family: inherit;">Coquinaria</span></i><i style="font-family: Arial, Helvetica, sans-serif;"> </i><span style="font-family: inherit;">from Martino' Rossi printed in 1465</span></span></span><span style="box-sizing: border-box;"><span style="box-sizing: border-box;"><span style="font-family: inherit;">, the first printed cooking book in history. This book was as well a present to the <i>Savoyens, </i>which<i> </i>transcripted that knowledge base for the french cooking revolution 250 years later. I rate Japanese cooking to one of the three best traditions in the world, but to be honest, I never was a friend of the <i>Teriyaki </i>style beef cooking (i.e. cutting beef into bite-sized pieces for the chop stick tradition). The Japenese are better with other things than beef. Have a look at the tv documentation showed once on <i>Arte</i> about the <i>Dashi</i> tradition, unbelievable, than you will know what I mean!</span></span></span><br />
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<span style="box-sizing: border-box;"><span style="box-sizing: border-box;"><span style="font-family: inherit;">Back to our topic, the single ended amplifier, based on its most famous incarnation, the <i>Western Electric 91A</i> model, is still today a wonderful application as tube amp, but there is no real need to perfom the expensive 300B tubes. A minimalist two step amplifier can show up with a lot of advantages against any other tube amplifier design principle. With other nos tubes such derivate of amp can show all typical attidues on a identical level of audio performance as equipped with 300B's. The most of this attitudes are already common knowledge and have been part of their marketing throughout the last thirty years. Its simplicity is is major win towards refinement, but it doesn't need all the religous writebacks which have been cultivated within this time. Such common fairytales are: 1. direct heated triodes sound better than their indirect heated counterparts, 2. about the exclusive audible excellence of triodes, 3. the second-class rating of multi grid tubes </span></span></span>in general as disharmonic element, 4. the over valuation of output transformers for the performance of amplifiers. And finally the witchery as such, 5. the global feedback loop known from conventional designs.<br />
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When <i>Maison de L'Audiophile</i> released in 1984 their early interpretation of the original <i>WE 91A </i>amp, their <i>MdL'A300b Legend</i> amplifier with <i>Partridge </i>transformers, showed this reincarnation a very good will to do the best to release a contemporary high graded product of this breed. But it came out with some real faults. Some of these faults relay to time dependend interpretations, like the oversizing of capacitors in the PSU, but some were major faults in the transcription of the original schematic, like a 10 times higher valued coupling capacitor between the two tube stages. Further the far to high valued grid resistor for the 300b tube might be handled by original WE tubes, but several modern chinese copies will be overwhelmed in a glance. About this faults and about the original template Fritz Hunold (<a href="http://frihu.com/">frihu.com</a>) has made several excellent articles. If you aftermath such details and if you ever try to built such an amplifier yourself, you will not believe how important such little changes are, they shift the overall perfomance of such an amplifier<b> together with a precisely adjusted feedback loop </b>from mediocre bastard to world class component. Yes, <u>global feedback</u>! (inquisition!)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw4VkT7KKSHCLN9MJfKggNb1rfFTVxT-o6rocIzn4o3xZO2PO2PR-jJrAKlYYEOq3IqxViqzJnPkSIHfA9oSojIvjASRa02Fdp6yWEnrMA4KAHNv6MUQGMZBSR0FgVEOpILkwNbMtvxz75/s1600/NewSE_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1001" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw4VkT7KKSHCLN9MJfKggNb1rfFTVxT-o6rocIzn4o3xZO2PO2PR-jJrAKlYYEOq3IqxViqzJnPkSIHfA9oSojIvjASRa02Fdp6yWEnrMA4KAHNv6MUQGMZBSR0FgVEOpILkwNbMtvxz75/s640/NewSE_3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebuilt with <i>James Audio</i> 2.5/3.5/5K output transformer, <i>Chicago Transformer Co.</i> Choke, three <i>General Electric</i> 8uF/600V smoothing paper caps and two stage nos tubes,</td></tr>
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Coming back to my Cary wrack, it showed up with a acceptable power transformer with values for the plate voltage of 350-0-350 volts and with respectable capabilty for rectifier and tube filaments and a stainless steel chassis with 8 holes for tube sockets. A good base for the transcription of the <i>WE91A </i>topology into a stereo (<u>uuhh, another sin – stereo, pah</u>) amplifier. I did reject two giant electrolytic filter caps (600uF) which gave me the space for the <i>James</i> output transformers. The former OPT's gave enough space for a solid nos potted smoothing choke (8H/150mA) from <i>Chicago Transformer Co</i>. on the right and a set of three oil caps from <i>GE</i> of 8uF/600V capacity on the left side. Keep the impedances of the PSU as low as possible!<br />
First important decision for such a simple two step amp is a reliable penthode-input-/driver stage. Where once <i>WE</i> did set the WE310A as a working horse, thousands of copyiest had nowdays better knowledge and prefered here a <u>better sounding triode</u><i> </i>(religion again. wow, what a mistake!). The penthode is a must to get the full possible swing to the grid of the output tube with only one tube, the 300B is very selective character at this point, but output tetrodes can be similiar. Coupling in tube amplifiers is one of the most important things, I was always convinced about the perfect coupling abilities of transformers for the same reason. So it makes sense to get rid of the phase shift tube stage in pp-amps, but here we don't have such and pentodes make transformer coupling impossible. Here a small coupling capacitor of 0.05 or 0.068 uF (original WE design is 0.047uF) is mandatory and helps the pentode to charge this capacitor easier. (I started with a typical value of 0.22uF, which is four times higher and the difference is the same like the sliding a boat or a hovercraft. In order to couple both tubes perfectly and to keep the amp <u>dynamic and liquid</u> in its physical sound structure this detail is decisive) Almost any of the competitors or the successors of the WE310A is on par with this rare and expensive tube. A natural partnering substitude from that time will be the British EF37A/36, VR56 or EF6 such show all a metallized glass envelopes, wich is important to get this tubes hum free. The direct competitors of the WE310A are the 6J7G or C6C, but these can only be run humfree in solid metall shields, or otherwise later made smaller metal tubes like RCA 5693, the complete European noval row EF40 to 89 and similar types, like the loktal C3g are possible. The typical penthode as driver is a <b>must</b>, period. A whole range of power output tubes can be set up without electrical change: the kinkless tetrodes from <i>GEC</i> in the first row, the KT66/88, their high frequency derivates TT22 and KT8c, the Mullard/Phillips competitor EL37 with its HF-derivate EL38, the Telefunken F2A11, American 807, 6BH6 and 6L6 tubes, STC 5B254M/A, Russian 5881s and several more tubes will work perfectly auto biased on point with a <b>3.5 k-ohm</b> output transformer. Exactlthe same point wich is typical for 300B tubes with a different filament and a different socket. <b>All of these named tubes here are soundwise in such topology extremely delicate sounding sources with slightly different attitudes. When connected as triodes they all do sound certain classes superior to any chinese production 300B's, – period. </b>Each of them has a clear sound destinction, so is my long time favourite, the EL37/38 are more at the transparent side with clear destinction to better detail resolution of the higher frequencies and on opposite side are the typical 807's with a more darker tonality spectrum and attention to the bass weight. Decisions should be made to personal taste and with the speaker attidudes in mind. But prices for such nos tubes are still low, so low that it is very easy to test them out yourself with oktal adapters, which are available trough <i>Ebay</i> from a Taiwan seller. The most of the gang are easy available for 10$ for a nos piece, some up to 50$, only the space deers from <i>GEC,</i> the <i>KT66/88's</i> and the German <i>F2A11</i>s are quite expensive for different reasons (demand, superiority and rareness). It just needs a single ended gapped output transformer from solid audio production made with some reserve, let's say a silicon oriented steel lamination wound for 3.5 K, gapped for 70mA to 4/8/16 ohms secondary, with 100mA capacity designed for a output of maximum of 12 to 15 watts. Such are available from different brands like German <i><a href="http://www.roehrentechnik.de/" target="_blank">Reinhöfer</a></i> for 100 EUR/piece or as top product with c-cores from <i><a href="http://www.lundahl.se/" target="_blank">Lundahl</a></i> for 250 EUR/piece. There is no need for exorbitant expensive <i>Tango</i> or <i>Tamura</i> iron.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_VySe16WDNuqYGUKuBN6VoHXd69i85HVRpexX0sQCRawah_4A7iBtzg_WUhBtu_psOVp5IAisf3ygPxx6xTnEFRR4TDTFZBikV2yjtnXbAqlVSKLnavYDoA0NWqg-kZpEbzJZXdtLfSq/s1600/NewSE_Tubes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1001" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_VySe16WDNuqYGUKuBN6VoHXd69i85HVRpexX0sQCRawah_4A7iBtzg_WUhBtu_psOVp5IAisf3ygPxx6xTnEFRR4TDTFZBikV2yjtnXbAqlVSKLnavYDoA0NWqg-kZpEbzJZXdtLfSq/s640/NewSE_Tubes.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Selection of nos driverstage tubes from Mullard and Rogers. Nos power tubes from Mullard, STC, GEC, Vostok, <br />
with oktal adapters are they all pin compatible, as well have matching working point. (Does somebody remember the tube box?<br />
Yes, the British license STC 4300B was packed identical. ;-)</td></tr>
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If you want to get further into audible perfection, you might profit completely from a diy project against a off the rack production from established brands, than you should <u>match</u> your finalized amplifier with a so called <i>Boucherot Element</i> at the secondary of the output transformer to your paticular speaker/crossover (again frihu.com). You will not only get a safety element for the output transformer, when a speaker cable fails on power, you will get a <u>superior matched combination</u>. Such a matching is able to shift the sound abilities into a certain level of performance, since the impedance peaks of your speaker get flattenend. You will get rewarded with a extraodinary dynamic, open and naturally refined soundstage, without equal. Such an amplifier will be able to transcript the recorded air between instrumentation in a true natural scale, just like to perform a wide and deep open scaled dynamic soundstage, an aspect I always prefer beside tonality as my major criteria for aural excellence. Such an amplifier acts so sophistcated, that I couldn't imagine the result before I started this project, otherwise I argue with myself now why I would have done it some 20 years earlier, but I would't been able to do so back than. Such impedance matching makes as well complex loads possible, like a typical vintage 15 inch coned voice coil in the 12 ohm dc – 3mH section. You will be rewarded with a well matched partner with 6 watts output power, able to drive your vintage immobilias from <i>Altec, Tannoy, EV</i> or <i>Klipsch</i>.<br />
By far the most of commercially available single ended amplifiers cannot outperform the classic push pull designs in this discipline of speaker control. Such always have been named to be short of power reserve to do that job well, which have given them a general poor reputation. The floods of <u>copy and paste chinaware</u> within the last one and half decades for peanut prices and glossy cases, have ruined the credibility of the <i>single ended amplifier</i> topology to a final stage. But it is more than worth to give it another try.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLLKACVqIJKGiS0DeC0sdaL1aaCA15mE8I2oIPD3pUgMTbVFGslBkL2hugiA4KcUOdzyvF3yJrASwYL_ICcZfLWCO9vYPP6matfsiY2vzBOP_1bsgCUZXPopbjv85AT293O10-_65nvkX-/s1600/NewSE_I1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="789" data-original-width="1200" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLLKACVqIJKGiS0DeC0sdaL1aaCA15mE8I2oIPD3pUgMTbVFGslBkL2hugiA4KcUOdzyvF3yJrASwYL_ICcZfLWCO9vYPP6matfsiY2vzBOP_1bsgCUZXPopbjv85AT293O10-_65nvkX-/s640/NewSE_I1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">For some it might look chaotic, others know direct solldering to the tube socket is the best sounding variant, highly improved to any series production board or printed circiuts. Here the decisive coupling capacitor from nos<i> Bosch</i> production, some carbon composition resistor and Rosenthal non inductive ceramic wire wounds.</td></tr>
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In <i>Sound Practice Issue 14</i> Herb Reichert stated in an article about a completely transformer/choke coupled push-pull amplifier, the so called "<i>Feral Eye</i>": <span style="font-family: inherit;">"<span style="background-color: white; color: #3f3f3f;">This amp, ... has what I call a <i>lubricated</i> clipping characteristic. It has a sort of <i>James Bond</i> like poise </span><span style="background-color: white; color: #3f3f3f;">... </span><i style="color: #3f3f3f;">The Feral Eye</i><span style="background-color: white; color: #3f3f3f;"> plays music very differently than most of us are likely to have heard before. It sounds more full, whole and complete than any traditional PP amp I have experienced. " Since I have finished my single ended amp I can state a similar experience here, a lubricated fluidibility, which I have never experienced before in such a scale. I am absolutely convinced about the fact that the reason for such attidude, just can be found in the improved coupling of <u>only two tubes.</u> Such a majestic attidude is hardly found in other amplifiers, this rare effect, it is prominently credited to transformer coupling. I can state that this particular bahavior for me </span></span><span style="background-color: white; color: #3f3f3f;">justified </span><span style="background-color: white; color: #3f3f3f; font-family: inherit;">within all my built preamplfiers, the employment of output transformers and plate chokes as to be higly superior for that reason to any other solution. It is a interesting fact, that now here the same advantages popped up with a precisely optimized conventional topology. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMDF8ta_jT0rJWNTmSB2xmo7lsdMRcbDtYBmQk0L3LkdlPxd-Eeddyu2oAkaojDzXgk3_gB9hJRZtX2XCUPbsMP7yA429NJwDgh9mAPCON_wKONeyGcR3aYr0LNyaOWpMwbsYYg_z6kMRx/s1600/NewSE_I2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="780" data-original-width="1200" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMDF8ta_jT0rJWNTmSB2xmo7lsdMRcbDtYBmQk0L3LkdlPxd-Eeddyu2oAkaojDzXgk3_gB9hJRZtX2XCUPbsMP7yA429NJwDgh9mAPCON_wKONeyGcR3aYr0LNyaOWpMwbsYYg_z6kMRx/s640/NewSE_I2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Low impedance filter section with huge paper capacitors and and smoothing choke – a must. Solid wire as well.</td></tr>
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<span style="font-family: inherit;"><span style="background-color: white; color: #3f3f3f;"><br /></span></span>
But I have to regret, when I started to finish my <i>Cary</i> wrack after years of convinced ignorance (again religion), I didn't expect anything special. I had no need to change my always winning team for something different. Recently my mood grow to realize it, it was laying around for so long: "You have bought some output transformers some 15 years ago, now just do it. If it fails your claims, it will be sold in the bay next year.<br />
I never anticipated such an outstanding amplifier, which has already set my long time favourites, the <i>Leak TL12.1</i> into retirement, and this happened with every respect and so well deserved.<br />
If we weren't already a dying group of white old men with strong established attitudes and a lot too much possessions, I would go as far and try to realize in a small edition a series of amps, based on this experience with Taiwanese copied WE91A chassis/housings/cases, with tetrode tubes and <i>Lundahl</i> iron inside. An amplifier for those who need to find the final thing for a final chillout on an island, – but this idea looks like another Christmas fairytale in the wrong religion group.<br />
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For everybody a well shaked coming year 2018 with lots of wishes becoming <u>true</u><br />
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<br />
P.S.: <span style="background-color: white; color: #3c4043;"><span style="font-family: inherit;">"Tamensi movetur!", Galileo Galilei, Pisa, 22.6.1633</span></span><br />
<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-22639010244438067822017-03-13T04:11:00.001+01:002017-03-13T09:03:41.063+01:00Revisiting my Favourite SoundsHello everybody,<br />
<br />
reading on here. Today I want to describe a revisit to my favorite audio set. In a former series of articles I did describe Mikes setup as a typical LineMagentic/Western Electric installation with 22a-horn, 555-telephone, 597 hf-unit in combination with a h-dipole enclosure (with compliments to the original WE TA-7331) incorporating Klangfilm KL-405 low frequency-speakers (<a href="http://truefi.blogspot.de/2014/02/incredible-close-to-musica-fascinating.html" target="_blank">Incredible close to Music I – The System Matching</a>).<br />
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This particular shown audio installation has set the pace for years in several audible terms for me. One rarely found effect was the general ability to play any sort of program material without any inherent preference. Typically the mass of better audio sets shows mostly such preferences, i.e. like intimate small scaled classical or jazz music, or large scaled orchestra and opera music or as third option, a clear distinction into electrical amplified rock or pop music. Mikes set was frankly said immune to any sort of compensation its inherent sound destinction. It always made me speechless when he played large orchestral music and switched to a pop band like Yellow, both played with almost 100db loudness without any sort of compression or other typical widely known errors...<br />
For years Mike tried to improve a little here and there, some minimal changes did happen, but in general he seemed to follow a deep insight, made with this combination of components after 30 years of testing and changing. This particular combination marks a solely found apex, where everything seem to match perfect in balance and maximizes in colaboration to each other in a certain degree of quality. I always reminded him saying:"Never change a winning team"! To often we all had bitterly learned the lesson, when in order to improve the things, we change only one component and had lost it all – audio mikado!<br />
I did know since two years that he was interested to test the original design of the low frequency dipole from Western Electric made in the early 1930ties with TA-7331. He always said: "I want to know how it really does sound". The attentive reader might know that in the early 1930 years in cinemas the sound was more or less telephone quality, maybe a good 200 to 5000 hz aka voice standard, far from todays audio quality, where everybody demands a minimum utopia of 20 to 20.000 hz as a result of 60 years of commercial advertizing promize.<br />
Mikes lf-derivate dipole is a good portion smaller than its role model, made to match the sizes and preferences of the 22a-horn asthetically and made from different woods and is with best arguments a good lot less stiffer realized. The original WE-drawings are available and give perfect insight into construction, material, sizes and dimensions of the vintage enclosure. So Mike tried to copy a perfect close sample of this product. Northem hemisphere coniferous woods are today in Europe not so easy to find, but he did. He tried to copy the original design as close as possible and with some help of his friend Norbert Gütte he matched with unbelievable acurateness the historic role model into a today made reality.<br />
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<tr><td class="tr-caption" style="text-align: center;">inside different cut out adapter boards can be mounted </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Both dipoles side by side, from left the derivate incorporating two Klangfilm KL-405 drivers, next the exact copy of the WE 7331 with cutout for 18'' drivers and adapter board mounted to hold a 15'' driver. The WE design is a good 20 cm deeper and almost all material strengths of wood are almost doubled.</td></tr>
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With his long term established installation he did incorporate a pair of 14''-drivers in dipole constellation in order to find enough low frequency energy for his set, till he uses just one simple 300B-SE-amplifier to drive the whole installtion in a passive way per channel. After testing several other 15'' driver options from Altec and Isophon in the past he did finalize with two KL-405 some years ago.<br />
His beloved one and only power amplifier Shindo SE-300b mono amplifier drives his three way installation alone. Other fellow warriors incorporate active tube or other amps dviding for the higher frequencies in order to find enough control for the low freqency part. The Shindo amp is a true WE91A derivate, so it does convince with phantastic medium frequency tone realism and a rare fluedity as a result of a quite small Triad output transformer. The other side of this medal is a less prominent bass response, not exceptional loud nor far deep, comparing these rarities to other 300B-amps. In order to compensate this effect Mike did use the two Klangfilm 8 ohms units in parallel to find the right energy level as low frequency support without compromizing the higher frequencies using autoformers. This combination gave him unparalleled service for years.<br />
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With the new, stiffer and bigger TA-7331A dipole enclosure Mike is well prepared for examination of different driver options with matching adapter boards. Since years he has held a pair of LineMagnetic BA-15 field coil 15'' drivers in storage, which now get another chance to come into service. Independend from this pair he tried first to match only <u>one</u> of the 14'' Klangfilm KL-405 with than 8 ohm impedance, mounted to a adapter board into the new enclosure. A vintage Jensen or a replica 18'' fc-driver with lightweight cone and 16 ohm impedance might be actualy still on his wish list. The search for other drivers is hardly limited to paper rolled surrounds and extremely thin paper cones with ultimate cone mass of 120 grams for the 18'' versions and of course even less for the smaller variants. Such determination is result of long term evaluation with low powered single ended tube amplifier devices .A well known classic in the 15'' range is the TA-4151A or its bigger 18'' TA-4181A LineMagnetic brother will be classic aproved partners of this type of enclosure.<br />
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<h3>
The evaluation </h3>
First of all it was very interesting to listen for me to only one of his classic Klangfilm drivers in the new enclosure comparing it to the older smaller enclosure with two of them. The first impression is well known, one driver delivers generally a thinner low frequency response than two. The doubling of the cone surface adds the physical fact of doubling with three decibel the bass energy.<br />
But not only, one driver in the new the structure sounds a good bit better defined, foremostly in the upper registers of its frequency cut. Here we are talking about a 6 dB cut off at around 300 hz. This effect is very little, but seems to support the general transparency of the whole system up to middle frequencies.<br />
Comparing it directly to still existing other enclosure beneath, confirms the listened new result. The double driver cabinet gives more low frequency energy, but it is less colourfull and less transparent portrayed, and sounds a bit overtoned. At this early beginning of our audition we weren't save about the reason. Is it the size of the new enclosure with its lower possible physical response, or is it's rigidness, which gives a more uncolored deeper response? Or might it even be the higher impedancy of 8 ohms, which betters the power amplifiers ability to control the chassis? The extremely low impedancy of 4 ohms is not a ideal load for the Shindos, we have seen several other amps here with a complete break in!<br />
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The mounting of the bigger LineMagnetic 15'' driver might give answers to such open questions. First of all we talk here about a field coil driver with coated paper cone, paper surrounded, but not as lightweight as the vintage German Klangfilm cone. Another aspect is the higher impedancy of 16 ohms. From all my experiences in history it was absolutely clear that a 15 ohm speaker is always a better load to any tube amplified transformer coupled device, even when there are different secondary options at the output transformers for lower loads. A slightly bigger cone surface brings in another extra for deeper frequency response.<br />
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<tr><td class="tr-caption" style="text-align: center;">The LineMagnetic BA-15 with its dedicated adapter board inside the TA7331</td></tr>
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The prepared adapter board was quite fast mounted to the enclosure, cabling to match the tungar power supply were as well ready to go. The built in passive crossover with Tango stepped intuctor coil made the quick change possible, a perfectly matching value was just a new contact of its coil.<br />
With the first tone the sound changed dramatically. We had suddenly the feeling not any longer to listen to the same audio set, we did do for so long. Something completely new happened and shifted the overall soundstage to a former unknown domain. The sound got dramatically more dynamic with a real load of better resolution and scale. The low frequency response got extremely better articulated, still a bit withdrawn in terms of energy, but exceptionally better defined. It sounded 100% better resoluted even in the middle frequencies. Here the 22A-horn was a lot better intercepted, its enormious qualities in resolution and dispersion of the micro dynamic detail seemed to be extremely improved by now. Coming from the single Klangfilm driver, it sounded double dynamic and unbelievable better defined in the most frequencies of the complete soundstage.<br />
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What made this exceptional step forward possible? Again, do we talk about size or rigidness of the enclosure? Do we talk about a better energy transport inside the enclosure structure? Or is this step mainly build on better matching impedancies of the chassis to the power amplifier? Actualy it looks of course that it is a product of all attitudes together, but I am quite safe about the fact, that it is not the deeper and bigger size of the enclosure. It seems to be mainly solved by the rigidness in combination to the improved impedancy of the chassis as driveable load. The tungar power supply and the field coil magnetic unit might be as well in count for such a difference, but this question needs further investigation. Another options of 16 ohm drivers might be be tested soon to get safe insight. As well 18'' chassis will be in evaluation soon.<br />
After this experience we switched the set back to its long term standard low frequency support, the doubled KL-405 in its smaller enclosure. The first impression was, there must have gone something faulty, it cannot be! It is sounding completely failed, indifferent detailed with too much upper low frequency energy, which is overlaying the horn and influencing its abilty to express and resolve in finest micro detailed structures. It is unbelievable that this sound was the <i>highly aproved state of art for some years</i>!<br />
Yes, it sounds unbelievable stages better defined and with extremely better resolution over the complete tonal scale. Its dynamic articulated attitudes seem to be doubled, the projected scale of information has got widen to an extreme. Everything is there a whole lot more...<br />
Can this be? What is the secret to double your income without more work to do? Were do you get the double output of something without changing the input? Might it be a classic case of illusion?<br />
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Yes and no. We are still considering all aspects. A rigid enclosure helps to perform higher energy levels with less contributing side effects. Different than ordinary other enclosures, which need to handle middle or even high frequency drivers, the low frequency dipole works very different in terms of resonance distribution. Here the rigidness does not influence negatively the response of the higher registers, instead the rigid construction enables a deeper response of lowest tonality without resonant effects. The weak smaller enclosure brings in a lot of unwanted resonances influencing the exceptional abilites of the 22A through thinner boards and less stiff bracing. Supported by the better handling ability of the power amplifier of a higher chassis impedancy and as result a much improved sound structure, the stiffness adds up to a extremely better articulated refined sound in general. </div>
Mike is actually very impressed by such a differend result and will continue the evaluation process with other low frequency loudspeakers to find out more about such improvements.<br />
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But no sunshine without shadows. My personal rating is a bit more complicated. First it needs to be examined how a better postitioning of the units, which is actually not ideal to the listening place, will influence the result? Actually the sound stage is very complex and inhomogenous. Its difficult to find a smooth projected imaging of the music with naturally scaled instruments. Listening for more than two hours to music showes me several other inconsistencies. The former unbelievable attitude to play any sort ot music programe has gone. Instead the system shows up with very clear preferences to some small scale arranged music. Larger scaled classical orchestral music is played (let me say it carefull) with several problems. The sound structure is exquisitly detailed but at the same time shows tendencies to dry out and starts to get a bit cheeky. The low frequency response is extremely articulated but does not really seemless intergrate into the huge soundstage. It might be a problem coming from its physical ordered placing side by side of the other components. In former times the units were placed in optimal triangled composition in Mikes listening room, now they are far more positioned in distance to each other. The soundstage was before completely three dimensional holographic in a small centered listening position. It took not even minutes to forget about its coming into being in terms of technical realisation. I was able to forget completely its artificial sensation and accept it like a naturally released sound from an instrument. Actually in the suboptimal positioning of the new enclosures, the sound is some sort of disintegrated and dismantlet. Horn, tweeter and dipole seem to come from different origins, a problem very common with such horn installations, but again before completely unknown here, now very prominent.<br />
To me such little defects are more or less inacceptable, till I am used to my Tannoy Dual Contentric units which are almost point sources and are able to convince with a lot bettered homogenous projection and a almost holographic sound stage. If you get used to such a speaker you are extremely sensitive for any sorts of phasings and time incorrections. Mikes new set has lost some of his former major qualities of a holographic soundstage in exchange with much improved dynamics and far better resoluted micro detail. I hope he will readdress these lost attitudes to his new system some day again.<br />
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But as well our audition has shown several unknown new facts, which need further investigation.<br />
My personal conclusion would be a stiffer baffle board for his smaller old dipole enclosure and I would search for some fast and expressive, hard edged light weight paper coned 15'' chassis with 16 ohm impedance; if it needs a permanent magnet or a field coil is a still open question? As well the 18'' driver needs to be evaluated some time, if it can sing, we never might know – the answer is going to be a bit expensive. The main question is for me, is it worth to give all the positive cooperative results away for just a little better resolution and dynamics? But it is like always, once heard, it is difficult to struggle back.<br />
With such dipole enclosures the bass chassis can give very different sound directions into the whole system. It is a bit like a typical wine tasting process, there will be some extremely different tasting candidates out there. Each of them will shift the general sound stage to other illusions and its just like the wine, you need to find your personal favorite...<br />
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Some people prefer beer against some wine, the active driven solution is just a whole own story to find ways into heaven. i am sure it will take years to find a way...<br />
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Read on soon,<br />
Volker<br />
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-8469519819796173632017-02-25T11:39:00.001+01:002017-02-25T11:41:15.983+01:00Lessons of History – Japanese AchievementsHello to everybody reading on,<br />
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today I would like to respond to a rare experience with seldom seen tube audio equipment from a japanese manufacturer. Here in Europe it is normally impossible to evaluate different handmade japanese audio products, which were made over there within the last 40 years for a highly exclusive market of experts. Ken Shindo's line of products is quite well known in Germany (i.e Central Europe) since the care of Auditorium 23/Keith Aschenbrenner and his introduction about more than 25 years ago has <i>Shindo</i> established as a top line of tube amplifiers. Major other products are hardly seen outside Asia, a known problem derivating from culturel differences in language and scripture. So even today, 20 years of information blow out through the internet, our knowledge about different audio brands in Japan has been improved only a little. But to own personal experiences with such handmade products is still almost impossible.<br />
I got the rare chance to evaluate a complete set of products from the Japanese manufacturer P&C, i.e. a so called pair of PP 50 power amps and their dedicated preamp together with P&C-version of the legendary WE 618B step up transformer.<br />
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<tr><td class="tr-caption" style="text-align: center;">P&C 50 PP mono amplifiers based on WE 86 B amps, here with EML 300B mesh anode tubes and<br />
a pair of type 27 triodes as two step amplifier stage (1. shielded) interstage transformer coupled in <br />
combination with a pair 5U4 rectifiers forming a bridge in gray hammerite paint.</td></tr>
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<a href="http://www.pandcamp.com/menu_e.html" target="_blank">P&C amp</a> is a audio business, which was found in Tokyo 30 years ago, in the days when the reinvention of historical tube audio culture was main topic there. Toshiaki Kurashima started a main business with the rewinding of original Western Electric cores of the 1930ties from junk telephone equipment. Made with their original winding instructions for audio use in order to find sources for modern build amplifiers on the tradition and superiority of famous vintage Western Electric designs. Through the years he managed to replikate all major magnetic coil components like output-, input-, stepup- and power-transformers in order to rebuilt a wide range of vintage WE-amplifier designs. On top he completes this range of original designs with modernized and and variied own types of amps with similiar topologies and a wide varity vintage tubes. Some people might remember my article about the Hong Kong based <a href="http://truefi.blogspot.de/2016/04/western-electric-in-hong-kong-visit-at.html" target="_blank">Mr. Wu</a>, who is doing a very similar business with some main designs from Western Electric over there. We do learn that in Eastern Asia some people highly prefer old vintage iron cores about modern recipies of manufacture, like glassmetal or other armorph core materials. The published arguments are always the superior naturallity and coherence as quality argument, which never got matched by more superficial contemporary materials.<br />
My first impression of the build mechanical quality of these amps is just amazing. Their physical size, their weight and their appearance is a top notch product – Bentley quality in tube amplifier terms. All switches and contacts are massive and solid made, plated to highest standards. All knobs, stepped switches and attenuattors are highest quality Seiden switches. The incorporated parts like resistors and capacitors is the best possible vintage range, like 2-3 watts Allen Bradley carbon comb resistors, together with vintage Sprague PIO caps and Mallory sealed electrolytics. All these parts are hard to find in NOS qualities today. The sheet metal used for the enclosures is more than solid, 2,5 mm carbon sheet steel ist used throughout. One of the mono amps weights a good 25 kg at a size of 50x30x25cm. Two of them need real space, the preamp is a monster with another 50x15cm front plate and good 40 cm enclosure depths. Before you start to listen you may need to find longer interconnects to get proper connections in between.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH2C99RokYUwl5ntbvwP8TGDr_OSkGbEjMpeFe2xRLG5EPNjxbINc3bWsYme6aNR22iuibi39NDJkFq-t9RPNPhZeFsAaxsBlYHq3NeVCX55WoPRI_qugpJuEpxDWWSCJAypoVInaVrF75/s1600/_DSC4722.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH2C99RokYUwl5ntbvwP8TGDr_OSkGbEjMpeFe2xRLG5EPNjxbINc3bWsYme6aNR22iuibi39NDJkFq-t9RPNPhZeFsAaxsBlYHq3NeVCX55WoPRI_qugpJuEpxDWWSCJAypoVInaVrF75/s640/_DSC4722.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">P&C preamp</td></tr>
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Some might argument the preamp is ugly, but some can as well say it is shining in a foremost technical intended appearence and renounces any sort of decorativeness, which is common with other more commercial distributed audio equipment, like golden knobs or shiny face plates. Inside the P&C's a almost professional finalisation of hardware is shown, only known from vintage studio amps. Such a modular design offers a wide option of combinations, here you see three functions: first a power supply module with tube rectifier and C-R-C-filtering, second line amplifier module with two WE 396 tubes, transformer coupled with vintage Triad output transformers to 600 Z output impedance.<br />
The phono stage is a two step R-C-Riaa design module, based on triode connected WE 403A tubes. The output stage here is as well transformer coupled to the line stage. Such a topology with output transformers coupling is generally rarely realized topology for audio components and foremostly again found in professional studio equipment of the tube age. Today seen as another rare delicassy, this preamp features sound shaping components, very different realized comparing classic variable R-C-filter designs known from consumer audio components, which always degrade the sound quality. Here the potentiometer acts as a variable resistor in the feedback loop, so the sound can be opened up in scale, resolution and presence by adjusting the pot. Additionally it features a certain potentiometer to adjust a low frequency boost. Both options feature a rare luxury to adjust the general sound shape to individual preferences or to match room dispositions.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhquHky9xb_gfwmNC14E00w_lVb91lmCKpLU7RfrM1h6wYp9fJNiuLoE_KXuttZRQglxds9__HgENnE69ApLWeOkBdU2f0GDhLf_b9XFaLn_4pg4_KRLCoNR-eR-WaS3dIcAy_KB-NZIwii/s1600/_DSC4724.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhquHky9xb_gfwmNC14E00w_lVb91lmCKpLU7RfrM1h6wYp9fJNiuLoE_KXuttZRQglxds9__HgENnE69ApLWeOkBdU2f0GDhLf_b9XFaLn_4pg4_KRLCoNR-eR-WaS3dIcAy_KB-NZIwii/s640/_DSC4724.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Modular design, all stages transformer coupled with vintage Triad OPTs, all tubes vintae WE types</td></tr>
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This preamp sounds very lush, easy and with a bit of tenderness, but without compromizing any detailed information nor forgetting to keep the timing aspects in a naturally embedded flow. The general sound is extremely gentle and noble, maybe a typical japanese attitude and so it makes the listening to any sort of music program material to a luxury event of restrained purity, similar to the taste of freshest cut <i>yellowfin tuna</i> fish for the traditional sushi event. Unfortunatly this preamp is not any longer made, since its vintage components are out of stock. But P&C offers other unique models, one is equipped with in Japan famous LCR-RIAA module, of course based on a WE-design featuring vintage WE-iron for the important inductor coils!<br />
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Coming to the pair of 300b PP mono blocks. My first impression of their sound was quite unexcepted. I did expect a warm and detailed typical 300b-tube-sound. In push-pull configuration these little monsters should power a good 15 watts output and such energy should be able to drive any vintage efficient loudspeaker, so my 15 ohm Tannoys should find a perfect matching partner. These amps are able to drive even less sensitve speakers than mine pefectly, they show up with a very distinct rounded soundstage with a absolute main intention into the warmer side of the tonal spectrum. This particular topology seem to be aimed to optimize drivability. But this impression has to be seen together with the used type of 300B tubes, I did listen to Emmission Labs 300B Mesh's. Other tubes might change the sound texture of these amps totally, since the design is completely build on transformer coupling, one option to keep capacitor degrading influences as low as possible. Otherwise these amps might be adjusted to a the range of vintage Altec products, to keep their sometimes over prominent performance in presence back into control. From P&C's web side it is known that vintage Altec speakers are used in their workshop for all sorts of evaluation processes. Neverless these amps perform well with a clear overall refinement in their music representation, which is hardly found in more typical to western worl taste tuned american commercial tube equipment. These amps feature all the goodies from the historical Western Electric range, here the transformer range of the WE86B push pull version of their 300B amps. Reedited output- , interstage- , input- and power- transformer, together with choke, rewound on original vintage Western Electric cores, make this amps a rare and unique option in the global range of 300b-tube amplifiers. These powerfull amps are a perfect solution for those who are looking for more control than the typical WE 91A single ended amps are able to deliver and do prefer some more lower and upper bass energy than its historic role model. P&C does recommend modern made Emission Lab tubes for those who don't be able to run the value of a medium sized car for daily service in audio with vintage Western Electric tubes. The EML 300b's Mesh are some of the best modern replacements for the crazy priced vintage originals, I personally like them better than any Asian make.<br />
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As a exceptional delicassy some of the vintage transformers from Western Electric are sold for sky rocketing prices. So the input devices WE618A/B/C/Ds are the most expensive input transformer range used for moving coil step upt. The WE618B with a ratio of 1:20 is a ideal step up transformer for the popular Ortofon SPU's and similar cartridges. Originals are sold for 5000 to 10000 $ per piece and chanel, due to their rarity with no limmits in comming future. So it did make sense even some decades ago to find other ways to get hold of a pair of this particular design. P&C did find out about the used core materials, original winding instructions and evaluated expertise to find the right cores in other vintage components. Mainly old telephone equipment from Bell Laboraties did use the same core packets with other winding schemes. For example the WE 111 splitting line transformer incorporated the same iron core like the WE618. These cores rewound to the exact winding scheme of the vintage WE618-types gives ways for modern samples of the hard to find originals. Now I had a first chance to listen to one of these replicas made from P&C in my own chain.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX6Wk6XKspeaVL1cKKrjBocQJOeON0ZhdMwKFdVlkVjllNJleER9G4y7BLD7dpqRbrNEDBke_jf5U0IxCAFvcaQTOnkJDtlYsALM-lkKm1mapj3YEY0p8go_Kv1cwJgpuSVu_2IEHpE7_K/s1600/_DSC4728.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX6Wk6XKspeaVL1cKKrjBocQJOeON0ZhdMwKFdVlkVjllNJleER9G4y7BLD7dpqRbrNEDBke_jf5U0IxCAFvcaQTOnkJDtlYsALM-lkKm1mapj3YEY0p8go_Kv1cwJgpuSVu_2IEHpE7_K/s640/_DSC4728.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">P&C version of the legendary input transformer, used as step up transformer for moving coil cartridges</td></tr>
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The replica sounds amazing in several terms. With a exceptional ease and flow this step up transformer represents the tonal attitudes and a wide spectrum of the Ortofon SPU to the ear. A certain stage of refinement in flow and delicate resolution, most other step up transformers hardly can match, make forgetting the process of tracking a vinyl groove. A naturalness of refinement make it exceptional easy to follow the internal energy of musical intention. At the freqency ends it is loosing little bits of energy comparing amorph cored competitors, but its exceptional homogenous presentation of the main frequencies is its beating counter argument. It declares the most other products to a second rated choice and it is operating absolutely <u>hum free</u>. Only a few rare step up transformers will be able to keep competition with this little wonder. Based in MU-metal cases and equipped with sturdy RCA-contacts, this device is a real option for those using SPUs, all other moving coils cards may need to look for the brother 618A with differenet step up ratio. With around 1.5 K$ cost in Japan both transformers are still in the payable range ...<br />
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The P&C components which I could inspect and listen to, are so well made that they seem to offer a lifetime value of perfect service with exceptional musicality. Their sturdyness and physical presence is without equal, you just need some tubes fom decade to decade. Make sure to have enough in stock.<br />
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Read on soon,<br />
Volker<br />
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-42968956706851490002017-01-10T13:06:00.001+01:002017-01-10T16:25:54.667+01:00Audible Drugs – Valvozepam or Tubalkaloides for the AddictHello to everybody in new 2017!<br />
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From time to time I will try to publish this year some new articles within my blog when there are some interesting topics about vintage audio are comming up. I hope to publish another "deep interest"-interview with Michael Fountain, son of Guy R. Fountain, founder of the Tannoy Company in the early 1930ties of the last century. I am looking forward to publish this in spring time with some unknown insights into the design and development of the famous Tannoy Dual Concentric Loudspeakers.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqzirVn2umgi1P1Yrc7tB8GgHu85kRRO79R695gSaIiq4MPM-5FAfXXaiZhseG8Y64b2BYptKDi6R2JBheXhuknSibQ5rM-Z5_Y13Qu-VLEI_qhTL6X-FkoF3gQgNXluclz4XNZxUbCXXf/s1600/_DSC4597.tif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqzirVn2umgi1P1Yrc7tB8GgHu85kRRO79R695gSaIiq4MPM-5FAfXXaiZhseG8Y64b2BYptKDi6R2JBheXhuknSibQ5rM-Z5_Y13Qu-VLEI_qhTL6X-FkoF3gQgNXluclz4XNZxUbCXXf/s640/_DSC4597.tif" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Typical GEC KT66 from late 1960ties production</td></tr>
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For today I am resuming my expedition into beam- and power- (pentode/tetrode-)tubes of the 6L6 family in order to find valuable replacements for classic KT66 tubes, the by far the best sounding power output tube of this type, unsurpassed from any modern replacement. All members of this family show up with amost identical electrical operating points and might differ sometimes in heater consumtion and all around construction details, but are more or less compatible, but may need adaption of their socket. The british GEC KT66 is the crowning archivement of the golden age of tube amplification, so it is today the most sought after power output tube for the standard push pull amplifier types. These "<b>K</b>inkless Beam <b>T</b>etrodes" have been used with loads of classical tube amps, independant if we are talking about audio-, pa- or guitaramps. Within 20 years world wide sales through the internet and ebay the actual price range for original GEC NOS tubes has been sky rocketed through the roof and in particular guitar players seem to pay any price to make their amps <b>sing</b>. But as well in the audio world the original tubes are famous for their incredible sound opportunities, never matched by any modern replacement in audible terms. This might explain that a quad of four NOS GEC tubes is priced beyond the 1000 $ line, no question that it will explode into the 2000 or 3000 $ range within the next years, when they get even more scarce. This market mechanism can be observed for decades when looking to the price development of the legendary original Western Electric 300B tubes from all different production times between 1930 and 1988. This might give an idea for the coming future of vintage audio tubes. No question, vacuum tube business is getting comparable with drug dealing, in terms of profit and as well in dealer attitudes, but it is still legal?! Valvozepam, Tubalcaloide, who has the one and only pulp?<br />
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How can it be, that since 30 years of business in reproduction and replication of tubes made in China, Russia and from former East European Countries, which are sold for a fraction of the price of the original vintage tubes, – fabricted with all modern knowledge, sometimes at the original production machines, – not even one tube did match the standard industrial production quality of the business back in the 1950ties? And to be honest, not one of these tubes matches the magic, refinement, spacousness and natural dynamic atttudes of the vintage originals. You can get <b>two new</b> <b>quartets</b> of chinese replica KT66's (looking totally identical in physical terms), for the price of <b>one</b> <b>single</b> used original tube? What is the true hidden secret of the industrial age of the 1940ties technology, if it can not be transfered into todays production process in China or somewere else?<br />
People pay tremendous amounts to get the original GEC tubes after they have evaluated modern substitudes, because not one of the modern reissues matches 50% of the tone coming with the "drug-like" originals.<br />
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Today I want to publish some of my experience with other vintage tubes, which show up with a rare quality range and ability to replace the phantastic soundung GEC KT66 into a seemless matching sound texture with only very little restriktions. The only difference is in common the mechanical matching of the tube socket. For this reason there is already a commercial solution, if you want to use a "tube-socket-adapter" to match your original octal socket, these are available for amost any tube and their dedicated socket from a dealer in Taiwan selling these on Ebay for about 20 bucks per piece.<br />
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<tr><td class="tr-caption" style="text-align: center;">GEC KT8c from 1940ties production with blacked anode plates and ceramic B5 socket</td></tr>
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The first tube which I want to present today as a "better than original" replacement for the GEC KT66, the second world war production GEC KT8 or KT8c. The "C" marks the ceramic socket, where the standart KT8 tube shows up the a classic bakelite socket. The tube is equipped with a widely used 5-pin Euro socket or more internationally spoken, a B-5 socket. Additionally this tube is equipped with a anode cap on top of the shoulder shaped glass envelope. This tube is extremely similar in construction and internal design to be found in the first "coke-bottled-VT75 tube", the forerunner of the standard KT66/CV1075 as known today. These KT8 tubes have been made as british answer to the US-american 807 beam tetrode for the use in plate modulated RF-amplifiers. But the KT8 failed the aimed quality in particular in the 125MHz operation target comparing the american 807, which was already a standard in this type of application in these days. This fault is our luck today, the KT8's are still available in a small amounts as NOS tubes from several british tube stockists (Langrex, Colomor, Billington, etc.) for about 60 EUR a piece. Their hf-fault does not matter in the audio range and so for that amount you will get a wonderfully made vintage tube, which ressembles the MOV/GEC KT66 originals in more than perfect matters for audio use. These tubes are all little gems soundwise within standard 6L6-applications, like in push-pull audio or guitar amplifiers and match the lengendary first "coke-bottled- KT66 made by <b>M</b>ullard-<b>O</b>sram-<b>V</b>alve-Company, indicated by the legendary oval etching at the glass. These first KT66 tubes are exorbitant rare and they are together with the Western Electric 350B's the most sought after type of all 6L6's, reflected in their actual prices at 800-1000 $US per tube.<br />
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<tr><td class="tr-caption" style="text-align: center;">One GEC KT8 and one KT8'c with Taiwan socket adapters to match the classic octal socket</td></tr>
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Another very good option to replace the KT66's are the exceptional cheap NOS 807 tubes equipped with a another tube socket, made by a wide variation of different manufacturers. These tubes do sound all around very close to the before described KT8 tubes, but are cheap as peanuts and they are available in big amounts. Out there are as well NOS Russian types from the 1950ties, but I don't have any personal experience with these. The 807's are as well beam tetrodes like the KT8's and they do sound phantastic as well. A little bit different in the general sound attitude, but as well very refined, detailed and show up with exceptional natural dynamics, light years better than any modern replacement. The experimental intended user might be interested into a british loctal 5B/254M tube type made by the famous STC (Standard Telephone Company). This small glass enveloped tube is a direct replacement for the 807 tubes with a loctal socket and they are cheap. But there are no ready made adapters available from the Taiwanese supply on Ebay, here the adapters have to be self made.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ_kkw3Jnai9jcqXRvs2Ztxh3wsUP7CK1egMaCvE7XVlq6HDlJF7ejRlqKZ82VTUn28KPMp_Mjr69r06yVFrku__BzDmSK2Y-6t7scKduW2Ucd_cu2F3Jc5RGRMRnWcEKbwS3cB-014BTU/s1600/_DSC4607.tif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ_kkw3Jnai9jcqXRvs2Ztxh3wsUP7CK1egMaCvE7XVlq6HDlJF7ejRlqKZ82VTUn28KPMp_Mjr69r06yVFrku__BzDmSK2Y-6t7scKduW2Ucd_cu2F3Jc5RGRMRnWcEKbwS3cB-014BTU/s640/_DSC4607.tif" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Two different NOS 807 tubes with octal adapter sockets</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTihdG2tRj6vjCdmclhMwT83MrljooQwh5mSldFTn-B_n7mzEFzxLz16QImLLTnBlf7z3k-vR641RcZSpcktxI8HS1c73FqdBPq6R_IQdTfGwe2r7xIZGUDu9e2c-C3Sp-p2D_2fXpl3U3/s1600/_DSC4610.tif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTihdG2tRj6vjCdmclhMwT83MrljooQwh5mSldFTn-B_n7mzEFzxLz16QImLLTnBlf7z3k-vR641RcZSpcktxI8HS1c73FqdBPq6R_IQdTfGwe2r7xIZGUDu9e2c-C3Sp-p2D_2fXpl3U3/s640/_DSC4610.tif" width="420" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">STC 5B254M tube with loctal socket, here the interested needs to make own adapters<br />
in order to match the 807-replacment to any other socket type.</td></tr>
</tbody></table>
<br />
All these vintage tubes show up properties only vintage tubes come along with: finest micro detailed resolution, open refinement and fast translucent sound structures with exceptional natural dynamic attitudes, together with a today unknown sweetness in tonality. These 10 to 20$-tubes make any modern 6L6-replica sound like a audio diet or degrade them to placebos for the addict.<br />
<span style="color: red;">If you are planning to substitude in your vintage gear your 6L6-type tubes with vintage equivalents like the here shown tubes, you must first check your actual limits of heater currents in your amp. The filament current might differ within different tube types and make sure that your amp will not be set to swallow or even more will get damaged by increased heater currents!</span><br />
<span style="color: red;"><br /></span>
I might continue the series about tube rolling with some Bendix 6889 tubes or some 5881 tube types of different origin. Anyway they will be at the payable side of life and do compliment the here shown tube line very well.<br />
<br />
Read on soon,<br />
Volker<br />
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-2633948344584736742016-05-24T13:48:00.000+02:002016-05-25T16:30:29.825+02:0030 Years of Revelation VII – The ResumeHello fo everybody reading on in my blog.<br />
<br />
<br />
When I temporally did end last year this series of articles with an interview with Keith Aschenbrenner, I did hope that my time in Hong Kong will extend my knowledge about the Asian audio culture, but it didn't come out as I expected. My time in Hong Kong did not deepen my insight into Asian audio practice, this city seem to be focused generally into other values and times. So I will try to continue where I did take a brake and deliver now the resume.<br />
<br />
As already in several former articles stated, Japanese aficionados were in a foremost stage the founders of the vintage audio culture with more than 40 years of extensive practice. Japan was the pioneering Asian country of electronic mass products in the 1960ties. Their typical cultural behavior in a tireless seek of perfection have forced a trailblazing economical success at a global scale. This success <span style="background-color: white;"><span style="font-family: inherit;">entailed on the other opposing hand an incomparable range of handmade specialist audio products employing a stage of expertise incomparable to second. Enabled by the respectful highest degree of mastermind culture in order to find the last and tiniest compromising aspect in a given audio playback system.</span></span><br />
Japan was followed by the Korean economic and cultural catch up, where audio enthusiasts did try to follow as well in the same fields of expertise. Almost time contemporaneous attended by some exclusive <a href="http://truefi.blogspot.de/2015/11/30-years-of-revelation-iv.html" target="_blank">audio entrepreneurs</a> in Europe (F, I, GB, D) while in the same time almost completely ignored in the motherland of its technical origin the US, only noticed by a handful of radical enthusiasts (<i>NY Triode Gang</i>).<br />
<br />
Today the situation is more comprehensible. The Japanese movement laid once the track for a highly sophisticated organised replica industry of former unavailable vintage equipment made at Chinas working bench. Focused to form a advanced reproduction process copying original products from the US-brand Western Electric and their subcontractors, aimed to be an economic business for luxury needs. Today almost any necessary product for a highly collectible and advanced historic cinema set up is available from several Asian companies directly from the storage shelf. All products are made as faithful precise replica of the vintage original or even made as a revised product. When the interest into historical products started in the early 1970ties, the most Japanese forerunners needed years or even decades to find out about things and important interrelations; and of course first they needed to find the vintage products for a first hand personal evaluation. Modern Chinese production processes in combination with Japanese and Korean supervisisional knowledge about the original products and their inherent qualities, have made possible a reissue production line of such quality level.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGL0SvlDga7CD35i0VuX9xSk7dKVh4UpFuhahQTPAX4YmGwp-X3Lboe_HwCS6Iocf2YvWCt99rVMxyNYfPWggXmDIGab0Pe0QQnu6CFAas7JrqukLZTkGRqawslzhLpueNcr6nxV7qcFq/s1600/pic_we15-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGL0SvlDga7CD35i0VuX9xSk7dKVh4UpFuhahQTPAX4YmGwp-X3Lboe_HwCS6Iocf2YvWCt99rVMxyNYfPWggXmDIGab0Pe0QQnu6CFAas7JrqukLZTkGRqawslzhLpueNcr6nxV7qcFq/s640/pic_we15-1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The typical <a href="http://www.westernlabo.com/we15a.html" target="_blank">Western Labo Co</a>. set up.</td></tr>
</tbody></table>
<br />
Companies like <i>Line Magnetic, PandC, Western Labo, Victor, Kanno, GIP, Wu, </i>etc. are all courting the same small group of customers, who are willing to spend a 50 to 100k amount (for a start) into a catalog of seamless dedicated replica products based on the 1930ties WE-cinema-sound-systems with all-time favorite repeating same components:<br />
<br />
1.<b> large</b> wide band horn transducers (WE <b>12, 13</b>, 14, <b>15, 16,</b> 21, 22 /A replicas or similar other horns)<br />
2. large open baffle or dipole low frequency extension cabinets (incorporating TA4181, Lansing 15AX FC or other similar Jensen FC replica speakers or even arrays of them) with more or less<br />
3. the same tweeter (WE 597/A).<br />
4. Up to personal taste of the customer and available room for the dedicated listening space, different amplifier conceptions are available to match perfectly (here legend started with 300B tubes). Several replicas from Western Electric originated amplifier designs, like WE 89A, 91A , 121A up to completed cinema racks (WE41A) featuring 211 and 805 PPP tube amplifiers are repetitively copied for a common sales strategy.<br />
Any legendary WE-transformer from history is reproduced already, rewound to original cores (171A, 618A/B, etc.) rigged out at electro junkjards in mainland China. Of course on sale are replicas of all typical dedicated power supply designs, like Tungar, Selenium or tube regulated are offered for a authentic completeness and aural superiority. If you only take the aural distinction of tungar low voltage power supplies to the fields coils of the 597/555 drivers in mind, it is almost a sensational effect on itself. Once aural internalized you will not do without anymore...<br />
Every vintage exceptional product you might need for such a sophisticated sound texture is on sale by now, – you don't need to research anymore for yourself, no more need to find experienced knowledge, nor there is a need of building diy skills for absolutely unavailable products. – You just need money and a dealer of your trust. Google will do the rest...<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIYTrcoFVX85EiJMngGXtn_f-eWOUJpGc4IBlyPNFT46mqag6nFlGxxUcRcu-wbQ2sPrwrbfnAJOJhj0Wm0FjrJLzzwWwpRX2z-WrbBM0n0SR8oLkazePvZrkRxajAxZyQFfVUhamVSqT8/s1600/20080129_151754%252B1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIYTrcoFVX85EiJMngGXtn_f-eWOUJpGc4IBlyPNFT46mqag6nFlGxxUcRcu-wbQ2sPrwrbfnAJOJhj0Wm0FjrJLzzwWwpRX2z-WrbBM0n0SR8oLkazePvZrkRxajAxZyQFfVUhamVSqT8/s640/20080129_151754%252B1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">WE91A replica with original WE cores by <a href="http://www.pandcamp.com/menu_e.html" target="_blank">PandC</a></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx6-bQzsHLLhz8hPAKWDfJ1wwroRgRHKyzysyHFkXB4CCJGlZWHPjCKU8jt3Bx_xinohAfnI73YP7KJOxQ805pI00COXCV2l3ytkDnUm0JrAu81Kmh4qmrRV1i-PepKe7IwJggjNintvtP/s1600/GIP12A+%252816%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx6-bQzsHLLhz8hPAKWDfJ1wwroRgRHKyzysyHFkXB4CCJGlZWHPjCKU8jt3Bx_xinohAfnI73YP7KJOxQ805pI00COXCV2l3ytkDnUm0JrAu81Kmh4qmrRV1i-PepKe7IwJggjNintvtP/s640/GIP12A+%252816%2529.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.gip-laboratory.com/index.html" target="_blank">GIP</a> 12A horn replica with GIP 555/A receiver GIP 597A tweeter </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyTUCfqKvWqH3I1Sw5D-Mu_W21cWiD-pRVESvYjZZAwUetXKL7NOhZQbfwSZOOXLp57eKsfKKy2ujKAwnPOE8UsaahWzcyyFebfI3D4AOK9Vo0XM4OJSZhTpmK9OEVJDB0S1O4d5gCtYpv/s1600/A1716_I2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyTUCfqKvWqH3I1Sw5D-Mu_W21cWiD-pRVESvYjZZAwUetXKL7NOhZQbfwSZOOXLp57eKsfKKy2ujKAwnPOE8UsaahWzcyyFebfI3D4AOK9Vo0XM4OJSZhTpmK9OEVJDB0S1O4d5gCtYpv/s640/A1716_I2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A incredible speciality of Western Labo in Japan is the improved 21A horn design,<br />
with 84 x 79cm opening and a good 40 cm longer development, the 21A is <br />
the almost perfect match for wide band operation in typical living room sized environments.<br />
It is extending the lower frequency end of the 22A to useable 150 Hz and since its longer <br />
development up to 6000 Hz at its physical end of performance (with 555/A receivers).</td></tr>
</tbody></table>
It seems to be almost global consensus within a experienced community, that such historic given arrangements with Western Electric inspired remakes are the state of the audio art today. Of course they mark the top of any audio desire, since the originals never have been available to a private market, the most components were even in their professional time only available as a rent product.<br />
To my own references from 30 years with vintage tube based audio equipment, I must state these <a href="http://truefi.blogspot.de/2014/02/incredible-close-to-musica-fascinating.html" target="_blank">wide band horn installations with 555 receivers</a> are unsurpassed in any audible discipline. When absolute refinement in tonal realism, dynamic distribution and natural audio perception is to be aimed, there is nothing coming even close. Period!<br />
Any paper cone based loudspeaking unit made through such 70 years of history, independent of its magnetic technology, does not have the slightest chance, in physical and as well in audible terms to match the sparkling naturalness of tonal resolution of these first wide band horn loudspeakers. If you have got the matching amplifying devices, you will be rewarded with unparalleled obsessive attitudes.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_PJSaIZO5ihOyI0ExQAgNkW5VqYfMW3rd4UH_Tzo-VCZSRgGSq_NsN37oUdxo_DbdzKNJdGEqWOzN7UFKVMioMZKVpbBuBFyMiMO223znxWbe4L9NLccJbbmgfNkOqF3UaMvp9xZalvKd/s1600/LM555W.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_PJSaIZO5ihOyI0ExQAgNkW5VqYfMW3rd4UH_Tzo-VCZSRgGSq_NsN37oUdxo_DbdzKNJdGEqWOzN7UFKVMioMZKVpbBuBFyMiMO223znxWbe4L9NLccJbbmgfNkOqF3UaMvp9xZalvKd/s640/LM555W.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Line Magnetic LM555 mounted at LM22A horn</td></tr>
</tbody></table>
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These qualities of wide frequency horns seem to have widely established in global scale. Those users with elaborated listening experience prefer loudspeaker concepts without limiting enclosure types. In audio history different design conceptions did establish in order to use the backward radiated waves of the cone to extend the total low frequency energy; like backloaded horn enclosures, enclosures with conducted port or reflex enclosure types. But even with large sized and damped sealed enclosure types unwanted energies together with unfavorable effects to the cone are always present.<span style="font-family: "arial" , sans-serif; font-size: x-small;"><span style="background-color: white; white-space: nowrap;"> </span></span>All this common used concepts are more or less a hefty compromise to a quality intended lf-response. The open baffle concepts from the early beginning show up with a tremendously improved performance and by far with lowest negative side effects to the sound structure. They are fast and open, they are room covering, but not very efficient in terms of radiated energy, for adjustment you might add cone size for improved efficiency. If you don't have the room for such a huge installations with large woofer (arrays), you better should forget about a historical cinema installation for your own.<br />
<br />
A typical Western Electric cinema based installation shows up with properties unknown to ordinary commercial audio products. Because of their time related technology, they were once constructed with a main focus to optimize the acoustic-physical efficiency in mind. They are aimed to overcome the typical limitations of 1930ties audio performance, i.e. limited power output of the existing amplifying devices. They needed to perform in cinema halls with seats for several thousand people. So arrays of extra efficient horn speakers, have been for a long time the only technical solution to succeed with a handful of watts of output power. The physical approach intended to resolve the best possible loudness energy ratio together with the best audibility to a given output power. The early ingenious solutions incorporated highly efficient mechanical transmission systems to couple the electro dynamic movement/energy of a small scaled coil to a maximal amount of air. Customized to different tasks, i.e. long low frequency or short high frequency waves were different treated. The low frequency drivers are in a foremost stage the graves for the supplied energy. The size of the radiating cone decides about its lowest transmitted frequency, its physical weight determines the necessary electrical energy input. As everybody knows the size of the baffle limits physically the longest wave where the radiated wave parts from both sides of the cone distinguish each other. With a funnel like shown here from WesternLabo a particular part of the radiated frequency will be transmitted to better ratio, here it might be 1:1,5 for frequencies upper 100hz. With a 18'' woofer such a system brings a certain lot of air into movement, much more than the driver alone.<br />
When you look at the immense ratio of the wide band horn development between opening and mouth you will find a ratio of one to several thousand. This system covers not only the most important and delicate frequency range, it determines decisively the tonal character of the whole installation. The extremely light weight diaphragm/driver mechanism 555 is designed to cover a frequency range of 100 to 7000 hz. The mounted horn development (like WE15a 100-3000hz, WE22a 250-6000hz) with its limiting parameters decides if such a horn can cover the complete range of the human voice or just the range of a common trombone. The immense mechanical amplifying ratio of the horn development animates additionally a huge amount of moved air into the sound structure, a tremendous lot more than modern small scaled based speaker systems will do. I believe the amount of animated air is the most typical and shaping effect for their incomparable sound structure.<br />
This rarely iluminated aspect is to my personal experience the most important reason for the unique sensation of trueness and natural scaled instrumentation. To my perception this effect creates a fundamental physical difference into the final soundstage, a extra spacious and defined stage of sound. As well the listening ability is a lot easier at the ear than with small scaled drivers with long stroke radiated wavefronts, known from typical hifi speakers, but as well from professional studio monitors. Even here, when the overall sound structure might be extremely similar in tonality, the physical definition of the projected sound stage is completely different. The loss of air between instruments is a remarkable criteria.<br />
<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjcKEUnzPwIEVtrW6uLKVvihoIqJS1E6MLc-s3xc1lfNDkP7LSlhhl4iz7jdzcd6LEP3th41WQY10_gIGH_8pGmc2CaKTW6srKrmw7CWzEMRa0Y7tYZQl5eNoeDl1ifcHVaPwYahRPyzJ/s1600/gcode_ne15a-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjcKEUnzPwIEVtrW6uLKVvihoIqJS1E6MLc-s3xc1lfNDkP7LSlhhl4iz7jdzcd6LEP3th41WQY10_gIGH_8pGmc2CaKTW6srKrmw7CWzEMRa0Y7tYZQl5eNoeDl1ifcHVaPwYahRPyzJ/s1600/gcode_ne15a-1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A typical Western Labo set up in detail</td></tr>
</tbody></table>
<br />
Today ownership is not anymore a challenge, it is just a question of money and room. If you can accept to spend 2 to 4 K $US for shipping costs from Asia to Europe or into the US, you can order such complete sets directly from several Asian homepages. Certain manufacturers and companies are selling more or less the same replicas in similar qualities and confusingly same appearances for more or less similar price ranges.<br />
Alternatively in Europe if you are adventurous and gifted with hand craft you can ask for some custom made support for the woodwork <a href="https://13audio.com/western-electric-13a/" target="_blank">here</a> ore <a href="http://www.audioanthology.com/" target="_blank">here</a> with additional options for necessary decided equipment. For all others it might better get in physical contact first with your more or less locally operating drug dealer. There you can get some real impression of these favourite products, of course coming along with additional charges but as well guarantees. In Germany you will be perfectly served by a institution and pioneer for such questions: Keith Aschenbrenner from <i><a href="http://www.auditorium23.de/" target="_blank">Auditorium 23</a>. </i>Together with a highly extended amplifier range from Shindo-Labs and some unique own products like LM-based speaker designs, unique stepup-transformers, tonearms and cables, you will be opposed with several Line Magnetic components from the here shown classic WE-replica-speaker-portfolio. Within the American continent there will be Jonathan Halpern‘s associated network of <i><a href="http://www.toneimports.com/" target="_blank">tone import</a></i> dealers would be happy to do serve a similar request for the interested aficionado.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj-wOGniv3X5qoUTK9CnY3Qna96NCHWvNFd2ZgWuoYi6Rb9LaX5sTwQJhioch_KSGPWg5o42x672KL3dHZaqIW6AgxFk7qzHmU7SWwwrHTVpy5KBRbgoi8aBjKE5dRP1i_97C7m52_1IpK/s1600/GIP-7331system-main.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj-wOGniv3X5qoUTK9CnY3Qna96NCHWvNFd2ZgWuoYi6Rb9LaX5sTwQJhioch_KSGPWg5o42x672KL3dHZaqIW6AgxFk7qzHmU7SWwwrHTVpy5KBRbgoi8aBjKE5dRP1i_97C7m52_1IpK/s640/GIP-7331system-main.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GIP 7331 with TA4181 and GIP 597 and GIP403A with 594A. The dipole enclosure for the 18'' field coil low frequency radiator</td></tr>
</tbody></table>
<br />
The resume is sobering, after 80 years of audio development (?!) and certain stages of redefinition of state in audio technologies, like its included 30 years of digitalization of the music signal and by now the superior panacea of digital signal shaping with its benefits for consumer claims and applications, <b>the earliest beginning technology has never been matched in overall performed quality again.</b><br />
The first wide band receiver unit, the WE555A is by far the best sounding compression speaker mechanism for wide band use ever made and will be the central component in such a set up. It is the key component and performs by far better than any of his technically glorified successors. The simplicity of such a acoustic principle, the small lightweight diaphragm acting as wide band unit, mechanically amplified by a carefully designed exponential horn development to cover the widest possible frequency range (again WE 12/13/14/15/16/22/A) is by far the most delicate, refined, fast, naturally detailed and dynamic loudspeaker principle ever made. The WE597/A is its perfect hf-extending companion for the best high frequency response money can buy, as its lower end counterpart the 18'' TA4181 FC driver will perfectly round up the lower end. Such sets are a extreme statement of input and as well a challenge for the performed music material.<br />
<br />
The most enthusiasts of such sets are hardcore analog addicts with a deep conviction about the supremacy of vinyl. For my own conviction and belief I must state here again, that just such incomparable qualities of the here described sets have shown myself the first time in my life the limitations of vintage analog recordings stored on vinyl. For a long time I did ignore completely the outstanding qualities of modern digital recordings (past 2000), – it may not be too influential, if you put five-figure euro sums in first released vintage vinyl jazz records – you must suffer from a disease well spread in such circles. In order to feed my own hardcore analog addiction before 2010 such first releases of vinyl from the golden age were the only acceptable program material. Personal wrong interpretations of unlimited varying recording qualities in terms of broad tonalities, captured dynamics and refinement of resolution did confirm my completely wrong interpretation of richness and realism. The exceptional smooth, refined and natural response of such historic horn installations with its incomparable amounts of balanced micro textured informations, showed me first how wrongly I did misinterpret the typical inherent variations of vintage recorded vinyl. This experience made a completely new evaluation of digitally recorded music for me five years ago possible again. I had made my basic experiences with digital music at the beginning of the 1990ties. Mainly justified by transcriped CD's from originally analog recorded music, I decided to ignore for the next 20 years the digital medium completely. These early cd releases showed not only limited sound qualities, they showed on top like any other step of reproduction as well a even greater limitation of the widely varying analog originals. Such limitations are completely absent with actually completely digital produced program material (past 2000). The digital source is now on par with the best recordings on vinyl and the best thing about is that the tremendous differences between recordings known from analog times are almost obsolete.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicuKjRYf-aEySdV0OggWJY0QuThxDlGRLk_Ig4IhIsmyfXXFQ8TEiXXJ04RkXQi3bVbk71wW2FSMBZB-SDZST3ai_a9HjDupnt0-eg-yAxmuSPlRVyIjyl_WgcIH_JH2mL3k0IUQTh_-MC/s1600/SME_Con2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicuKjRYf-aEySdV0OggWJY0QuThxDlGRLk_Ig4IhIsmyfXXFQ8TEiXXJ04RkXQi3bVbk71wW2FSMBZB-SDZST3ai_a9HjDupnt0-eg-yAxmuSPlRVyIjyl_WgcIH_JH2mL3k0IUQTh_-MC/s640/SME_Con2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SPU Gold in a SME3012 on Platine Verdier, for 20 years my gospel to audio heaven.</td></tr>
</tbody></table>
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With this final part about the last 30 years of audio history I have reached as well at a end of my planned blog activities. Sometimes when I think back and talk to my self, it reminds me to my youth when I did listen to my Grandpa. I feel quite similar now when talking about such exalting audio sets like he did permanently refer about his deep affection by two world wars, a topic nobody liked to follow 20 years later... Being poised by such extravagant and room expansive audio installations, I feel in a similar situation. In particular when I see my students happily using Bose's bluetooth speakers with their mobile phones... And they are right, the Bose Soundlink mini is a exceptional milestone in history of audio, quasi the physical complementary product for today of the here shown Western Electric installations, but equally breathtaking impressive for what it is. If you are thinking instead of Western Electric horns about downsizing your former hifi life, this product might be your future...<br />
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.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh32njzSB-2zhBGxR6cAsXhdeuHdceuk9zjvz6_MvnJ_xoRijV3Z853LGjg3Sk6dD8M5KEI259CXyfRAsHWLrN_315WLAVGDrYW_boSJkmDFDJMKjxSn33R8AHKuUxP3X40o7J8Yqd4ws7O/s1600/bose-soundlink-mini-best-price-review.jpg" imageanchor="1"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh32njzSB-2zhBGxR6cAsXhdeuHdceuk9zjvz6_MvnJ_xoRijV3Z853LGjg3Sk6dD8M5KEI259CXyfRAsHWLrN_315WLAVGDrYW_boSJkmDFDJMKjxSn33R8AHKuUxP3X40o7J8Yqd4ws7O/s320/bose-soundlink-mini-best-price-review.jpg" width="320" /></a><br />
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-20613879576383764412016-04-29T02:52:00.003+02:002016-05-01T04:40:14.403+02:00Western Electric in Hong Kong – A visit at Mr. Wu's workshopHello to everybody reading on,<br />
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finally it did happen and I got one of my contacts working in Hong Kong. I did meet with <i>Mr. Western Electric of Hong Kong</i>, better known as <u>Mr. Wu</u>.<br />
In these days of mobile internet any business address is available at a fingertip, in particular here in HK, where the people run crazy with mobile web. Everybody is permanently online with a minimum of two cell phones at once, independent of age, just to prevent not to miss any incoming message. In these days businesses are getting rare without a web page or a email address. When Google will provide any information worldwide on a fingertip, you need to accept that there are still some people existing which are hiding to such digital ease. If you want to meet Mr. Wu, you need to know somebody who might be able to give you his physical address. He does not have a business card, a web page or a any other registered form. There is neither a telephone book in Hong Kong, nor other options to find the location of his company – wonderfully out timed.<br />
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Wu is located at the very end of the <span style="background-color: #dd2c00; color: white; font-family: "roboto" , "arial" , sans-serif; font-size: 13px; font-weight: bold; text-align: center;"><a href="http://www.mtr.com.hk/en/customer/services/system_map.html" target="_blank">荃灣線 -line</a></span> (Tsuen Wan Line) of Hong Kongs MTR (Mass-Train-Railway/Subway) in a remote industrial area. With other words, just another 300 m distance and you will match the western end the urbanized territory of this megacity. It is a 30 minute foot walk from the subway station through warehouses and fabrication units, when you will end up in a place of nowhere. A 30 level warehouse with a entrance corridor of 100 meter length and maybe 500 stainless steel mailboxes at the wall. At the 4th floor, at unit L in the remote dark end, round the corner, a very little workshop is hidden, secured with extremely rigid and solid locks. Just lettered with a tiny golden "Western Electric"-sticker at a metal sliding door.<br />
To here loads of Japanese and Korean audio enthusiast did pilgrimage in order to get some of his famous Western Electric Amps. That's the way to do it and it is the only way to meet him, bring a trolley for the long way back, – no Paypal.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyp2M8N7KOcumubzc_2-6JOsUN_YtqO6a0FDCXjR96zWaFmPmALiJNEWzYtgd0Lx1XADo1kCFVSDCG6UEGL_ckMOj0Qy9r8oNSpP8Bpb21B2fDUXCGu1fyrzDGbKQ0yPZ79gjtHF27Ek4O/s1600/WU_P2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyp2M8N7KOcumubzc_2-6JOsUN_YtqO6a0FDCXjR96zWaFmPmALiJNEWzYtgd0Lx1XADo1kCFVSDCG6UEGL_ckMOj0Qy9r8oNSpP8Bpb21B2fDUXCGu1fyrzDGbKQ0yPZ79gjtHF27Ek4O/s640/WU_P2.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hong Kong's Mr. "Western Electric" – Wu</td></tr>
</tbody></table>
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His workshop is so small that three persons are blocking each other already in movement, so one needs to get outside, to get space for the two others. I would estimate, may be 15 square meters for two sections in one room, where the storage shelf will be the dividing wall to the heavy metal work bench.<br />
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Mr. Wu is a extremely warm, nice and simpathetic man, he doesn't speak any word of English, but he laughs a lot for compensation. He did originally work as an electrical engineer for a Chinese Company. When this company did move back to China mainland, he decided to set up his self employment and started to restore vintage Western Electric amplifiers like the 91A or the 124's and their variants and derivates. The rising interest in the growing asian vintage audio markets pushed him fast into the position, that he needed to find other resources for original vintage amps and unreplaceable spares. So he decided to make replicas of famous Western Electric -transformers using original WE cores, -amp parts, covers and bodies in order to reissue the original designs and their matching to the original specifications. He found lots of vintage Western Electric military and telephone equipment, originally sold as rubbish from US Government to China to get rid of the metal trash in the 1970ties. He did work out that some of this trashed transformers were made with identical iron cores than many famous audio transformers like the legendary old WE 171A (the output transformer of the WE91A), the 618A/B input device or several others dependent designs. As a main idea of his business he rewinds these vintage WE- cores and this gives hime the opportunity to build up amplifiers with almost identical attitudes than the rare vintage originals. Original is a funny word, the western meaning is unknown to the asian culture.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFJ7c3W2zPMPXVS8yBfMJt1LydVlPPZOVMKSrHxqQbhkZWZQ2dwbK-ePVaap3p5DrWlZUp2sLQmjWTb9kgRqVpkrDlutjq4EM3JlWT9xYvm6yXnZOWaHonoRlBB1FhHnJAuSIkkxqwvWM/s1600/WU_7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFJ7c3W2zPMPXVS8yBfMJt1LydVlPPZOVMKSrHxqQbhkZWZQ2dwbK-ePVaap3p5DrWlZUp2sLQmjWTb9kgRqVpkrDlutjq4EM3JlWT9xYvm6yXnZOWaHonoRlBB1FhHnJAuSIkkxqwvWM/s640/WU_7.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some of his power amplifiers, on top the 124's, in the middle the 91A, beside some<br />
kits for different layouted preamps</td></tr>
</tbody></table>
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In the western world we have a completely different understanding of "originality" than in Asia. The foremost asian countries like Japan, Korea and China do practice a cultural tradition since more than 1000 years, which is called <i>Shanzhai</i>. Shanzhai means a permanent improvement through copying the best, practiced with art, skills and as well with commercial products (a well known problem, where the western copyright ends in its own set limits). In such basic tradition any product can be optimized when ressembled with all necessary improvements supplied.<br />
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So Mr. Wu did start to make replicas of famous WE-amps, like the WE 91A, the WE 124A's, at the beginning mainly directed to Japanese customers. Later the Koreans got as well interested, as some Hong Kong residents together with some people from the western world got supplied by him. All his transformers, a wide choice of input-, stepup-, interstage- and output transformers, create a fundamental base for a wide spread range of different pre- and power amplifiers. He orientates the finish as well to the rare and obsolete vintage originals in designs in color and built quality. His famous preamp line, featuring the direct heated WE-tennisball tubes (from the 100 and 200 DHT line), has been discontinued for several problems with vintage tube stock. Now Wu just offers kits for different preamp designs including all necessary transformers and body parts for the interested, of course in WE-gray.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhBbX4WEP7z82q-Qm8rK6SlWOaK6F-8XfKrHcu_8QClKxQKVBqit6MBRkXPVb139Gp1cTJtkF1HcjL71CDNjs9WOpJzzWTtOMUG-mu411-BiEhnNh8pJgYL_DkFsifgVCEgCJzsphInZJp/s1600/WU_3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhBbX4WEP7z82q-Qm8rK6SlWOaK6F-8XfKrHcu_8QClKxQKVBqit6MBRkXPVb139Gp1cTJtkF1HcjL71CDNjs9WOpJzzWTtOMUG-mu411-BiEhnNh8pJgYL_DkFsifgVCEgCJzsphInZJp/s400/WU_3.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The rewinding gauge, the central work space<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmKJan6ghp94FK6hMglwix2dH0Y_Bsnxa_LXDgvvOqfCsCC29os4eTKm7MiH_iIZQaKWhbMPljXac9CwY5spTL_3ypKM9Qdzlcb4pJ-6fqcovkq01gvL877YuPeGe8MqeNQJPaQvviFRsV/s1600/WU_4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmKJan6ghp94FK6hMglwix2dH0Y_Bsnxa_LXDgvvOqfCsCC29os4eTKm7MiH_iIZQaKWhbMPljXac9CwY5spTL_3ypKM9Qdzlcb4pJ-6fqcovkq01gvL877YuPeGe8MqeNQJPaQvviFRsV/s400/WU_4.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Heavy metal workshop for body work, actual 2,5 sqm space. <span style="font-size: small; text-align: start;"> </span>.</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl11o0XPGfhAM7kqC53MV6XKbD7cG2JYdeU445HzN9oYF2coliPZYzb7jZLv2A_m9aInr4Wh49sWtRBHpa27FjqxYMUmQk77eTvBMGwBzQcQ4PeV8AIQLCFLZ9ZflZBCjef_SxzgpiklMg/s1600/WU_6.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl11o0XPGfhAM7kqC53MV6XKbD7cG2JYdeU445HzN9oYF2coliPZYzb7jZLv2A_m9aInr4Wh49sWtRBHpa27FjqxYMUmQk77eTvBMGwBzQcQ4PeV8AIQLCFLZ9ZflZBCjef_SxzgpiklMg/s640/WU_6.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Storage shelf for ready made WE-amplifiers of different dedication.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQvwyzxmGguldvUDDtGEVJ_NWKRgRL6b1DV7X9IMN-fow9sYQ4_5JINpkDP-RRKi4w6IgdTU2AHfDofhHNeQ40uk26j4QEkjpqVUB06NULFAVMC3-8RO92nezVDsFmCHiExTe4LsRcvDkl/s1600/WU_5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQvwyzxmGguldvUDDtGEVJ_NWKRgRL6b1DV7X9IMN-fow9sYQ4_5JINpkDP-RRKi4w6IgdTU2AHfDofhHNeQ40uk26j4QEkjpqVUB06NULFAVMC3-8RO92nezVDsFmCHiExTe4LsRcvDkl/s640/WU_5.jpg" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This is Mr. Wu's set for the demonstration, a set of his legendary preamps driving two <br />
driver amps, ending into power triode booster amps, able to bring<br />
30 watts to his Heathkit speakers, all strictly separated into two monophonic rails.</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ooP6EczTWVDxu8XaUaKqv5pdXMokwnpvEUBABimH6dXqcMIG5wkd1t2cIMtxXUN-1n2yUnByBH1pkSxbSFZDizFf3eZZ3oFxDotFo2SWZ_NCro_T8FGYS7qYu-EsZOgDHPw8MGXIMz_8/s1600/WU_8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ooP6EczTWVDxu8XaUaKqv5pdXMokwnpvEUBABimH6dXqcMIG5wkd1t2cIMtxXUN-1n2yUnByBH1pkSxbSFZDizFf3eZZ3oFxDotFo2SWZ_NCro_T8FGYS7qYu-EsZOgDHPw8MGXIMz_8/s640/WU_8.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One patient waiting for service to complete the demonstration set up for stereo.</td></tr>
</tbody></table>
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It is already time again that lots of audio enthusiast will visit Munich for the coming High-End-Show soon. You can be safe about the fact, that you won't see any product from Wu there. This typical battle for attention of techno audio addicts or the all around "bling-bling"-audio from mainland China will be there. But refined intimate made products with a sustainability like the here shown products you will not find at such events anymore.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbGrP7tWNVgNyxb5XOIEht4YKD5G-IbYYY1gKjsM5mOPjgW_5KWROSmh0ItmxDf3YXsofUNKb_8UpMyUJRFjEhyphenhypheneMfbd2O-hiKCxVhjuliwLQWD1B5yM_OTldcczL73SO6jnrkLZqvdbXj/s1600/WU_P1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbGrP7tWNVgNyxb5XOIEht4YKD5G-IbYYY1gKjsM5mOPjgW_5KWROSmh0ItmxDf3YXsofUNKb_8UpMyUJRFjEhyphenhypheneMfbd2O-hiKCxVhjuliwLQWD1B5yM_OTldcczL73SO6jnrkLZqvdbXj/s640/WU_P1.jpg" width="426" /></a></div>
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For this you might need to get into the old-school habit of a real personal visit to this unique place. If you are interested into Mr. Wu's audio creations, you need somebody to bring you there or you will need a precise description to find him in Hong Kong, I will be able to provide such.<br />
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Read on soon, Volker<br />
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-81694542840715736732016-04-13T12:15:00.000+02:002016-04-13T12:25:20.541+02:00Extending my last PostingHello to everybody,<br />
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I know that my blog is hardly neglected since I am in Hongkong. But to be honest it is extremely difficult to find issues about vintage hifi products here. To me it seems to be a hermetic sealed community, which has some interest into such things, but no interest to get in contact with foreign people. Hongkong, a city tremendously believing into the future with a hard limited affinity to history, is not the place for such themes.<br />
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So I visited again my "friend" at the flea market in <a href="https://www.google.de/maps/place/318%E7%8E%A9%E5%85%B7%E5%BA%97/@22.3293752,114.1551644,16z/data=!4m2!3m1!1s0x0000000000000000:0x4a512ab4ddf81e19?hl=de9)" target="_blank">Sham Shui Po</a>, who everyday sits there and assembles his own tube amps made from vintage parts. Last weeks he has got a new sets of WE input transformers with a ratio of 1:10. When I was there he installed a pair into his standard tube amp. After perfect matching he did play for me some some classical piano music, – I was sitting in the perfect hot spot of his speakers at his stand, and I was very surprised about the sound coming from his Japanese speakers from the 1970ties (maybe Sansui or similar). Maybe it was as well because of his open stand, without any side walls, but it did sound extremely balanced and natural.<br />
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A little late round the next corner I did have the chance to listen to another set with Uesugi brothers preamp and some Japanese vintage mono tube power amps in combination with some quite ordinary JBL speakers of the 1970ties. No, not the well known 4000 series of studio designs, some more ordinary floor standing three way units with 12'' woofer and particle board enclosure. This set was not even able to bring half the authenticity and life of the flea market set up into performance. I would expect for 10 times the money...<br />
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Last not least I would like to get you some idea of the situation here about hifi. Just look at this image it will tell another story for the analoge enthusiast. But to be honest, I did find a record store in town, – with exactly the same new high end releases known from Europe, and that of course for the same amount of money.<br />
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Stay on, I will com back quite soon and maybe I will bring another interesting entry?<br />
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Volkertruefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-64574919053369929102016-03-14T11:05:00.002+01:002016-03-15T01:45:03.617+01:00My First Hong Kong PostHello to everybody,<br />
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reading here. Before I came to Hong Kong I did try to use several sources to get some personal contact to the extremely vivid Hong Kong vintage audio scene. I would estimate that almost 70% of world wide vintage audio products sold at the platform Ebay since 2000 did strand in Hong Kong. I follow since the early 2000nd years at the Review33 platform such activities with fascination. So I do know quite well what was going on here. I could verify the most interesting figures of the scene over the years within this forum. Beside this scene several people in Europe did mention important people living in Hong Kong to me, which I <u>needed definitely to meet... </u> So I started already a year ago to establish contact lines using email, forum mail, etc.. Some of them I did try to contact several times. At the end of the day I had not even one response when I left Germany two weeks ago. It was absolutely frustrating for me coming here and not to be able to get in contact with some of the interesting figures living here. So if here no coincidence will happen, I will not be able to report about this interesting scene here within my blog.<br />
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Today I went to a market in Sham Shui Po, a very typical Hong Hong street market were lot of things for every day needs are sold. Clothes, vegetables, meat, animals, short the well known market offers. At one very far end this market shifted suddenly to some sort of flee market with a tiny couple of stands selling typical flea market goods. Suddenly I did realize in my canthus some tubes on top of a case, designated with a golden relief inscription 6SN7.<br />
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I made a side step into that stand. There was a man sitting and welding tube amplifiers together from used parts. Actually he had a 300b amplifier on the bench equipped with Audio Note output transformers driven by EF37A tubes, – well, not the worst topology.<br />
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<tr><td class="tr-caption" style="text-align: center;">Vintage tubes, paper caps good transformers and a matching diagram are good choices to start audio romance...</td></tr>
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With a second look I could realize that he had a whole bunch of Chinese output transformers from the 1960ties lying around. These were looking extremely well made, almost identical to early Tango or Tamura iron with porcelain perls as isolators and Copper cans. These types were Shanghai brand 9K PP primary and 4/8/15 ohms at the secondary with a power output of 20 watts. These were really nice looking. I did try to get in contact with the guy. Unfortunately this ended like always here, the guy did not speak the slightest word of english. But I persistently did try on to communicate with him, since somebody else came and tried to support his friend. This man was able to difference the words yes and no in English. It took a whole while till I realized to take a pen and paper and I did write down some unmistakable synonyms like Western Electric, WE15A, WE91A or LeakTL12.1. Reading such words opened the mind of this guy, he did realize that I exactly did understand what he is doing. I gave him my blog address and told him to come back after he might have informed what I am doing here.<br />
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Being in Hong Kong now for two weeks I have learned that this city rejects any sort of history. The most architecture is new, all historical has been demolished and resembled with modern buildings by the Chinese Government. Of course they have an interest to make the British time forgotten. I cannot imagine anything older than this period to be desired by typical Hong Kong inhabitants today. If you walk through the streets you will not see private cars older than two years, everybody has always the newest smartphone, mostly two, computer and all architecture rejects any historical form. It seems to be fact, that history is a strange smell for the Hong Kong Chinese. I have never before seen people acting so deeply history forgot than here.<br />
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Read on soon, Volkertruefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-40917206030973546802016-02-08T02:59:00.000+01:002017-03-27T11:17:10.552+02:00The TrueFi Tannoy Speaker – What others say<h3>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Andreas V. wrote at 27th of March 2017: </span></h3>
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Visiting Volker and listening to his 15” Tannoy Reds based speakers was quite exciting for me. I was really curious. Not too long ago I was way into Tannoy sound. Once you get accustomed to this warm, mellow and space-filling sound you can get from a 15”- or 12”-Tannoy alnico driver, it is hard not to get addicted to the Tannoy sound. The coax offers you all of the musical fidelity and liquidity you need to have to understand the musical massage. In this sense Tannoy alnico driver are very unique surpass many other conventional speakers. On my way through the Tannoy world I owned many Tannoy speakers mainly older alnico models and some other modern made Tannoys, like Turnberry, Kensington and the mighty Westminster SE. Frankly speaking, I almost owned them all, some of them even more than once. My personal interest belonged to Arden, Berkeley and Cheviot from the HPD series that I untypically combined with tube amps. Obviously I finally run out of space to store the cabinets. I found that the special sound delivered from Alnico driver with older crossovers was one reason for the typical sound, but I also had to learn that the soft Tannoyplas built in all HPDs (all but Eatons) suffered from control and texture in bass, at least when fed by meager powered tube amps. Solid state amps make a different picture and mostly gain control on HPDs, but on the other side lack of refinement and brilliance compared to fine tube amps. On my way to the high fidelity Mount Olympus I found after all more attended to full-range speakers like Salaberts or Line Magnetic replicas of the Western Electric 755a. The coherence and homogeneity of these fine full-range speakers is incomparable to all others. But they don’t quite offer the brilliance and deep bass as of an excellent coax system can offer. So I found that you have to decide which side you want to belong to. </div>
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After visiting Volker I realized that he managed to create a speaker that incorporates the best of both worlds. His speaker offers the liquidity and musicality a good coax combined with the coherence and homogeneity of the world finest full-range speaker. We listed to a lot of his vinyl collection. The speaker’s bass is totally incomparable to conventional bass reflex speaker. It is so precise and naturel that it is almost shocking. Trebles are present, but never disturbing. Thereby never distracting from the music, but rather focusing on the essence. Actually, you totally lose interest in pinpointing criteria, like soundstage and treble or bass-qualities. Not saying they don’t perform well, the opposite is true, you rather stop counting beans and start enjoying records. And that’s what it should be all about, shouldn’t it? I personally realized after spending some hours of fulfilling listening time with Volker’s set what capabilities his speakers offer. </div>
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So if you are looking for a very special speaker aside from mainstream high fidelity, skillfully hand-crafted, that has the capabilities to unleash the musicality, I honestly recommend that you listen to Volker’s speaker.</div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Patrick Leuba, owner since February 2016: </span></h3>
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<span style="font-kerning: none;">I know Volker since quite some time, mainly via e-mail contact, but I’m so happy I finally met him. For about 3 years we were regularly exchanging e-mails on many different topics, but always keeping a focus on audio subjects, beside cooking, Italian kitchen, mushrooms, and other subjects. Volker helped me a lot in many areas of the improvement of the reproduction of an audio signal, finally he even guided me through the DIY built-up of a tube pre-amplifier, an excellent piece of sound. But this is a different topic.</span></div>
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<span style="font-kerning: none;">Quite some months ago, I do not remember the details, but somehow I asked him, if he would agree to build a pair of his Tannoy dipole speakers for me, the ones described in his blog. I never had heard them, but I had the feeling, these speakers have a great sound quality. After some hesitation, he finally agreed to this project. The set-up, the source of the wood, the right colour, the bending facility of the front horn, everything had to be found, defined, produced. It took quite some time to Volker, but he managed to find a suitable solution for every production step.</span></div>
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<span style="color: #272727; font-family: "helvetica"; font-size: 13px; font-weight: normal;">Finally, one day, I got the news about the termination of the building process, but, a bit frightening, also news about a big difference in sound compared to his own speakers. Volker was concerned, but quickly realized, that by adding hour on hour of playing, the performance improved. It needed a few days of intensive playing to bring the new speakers to a comparable performance. I never would have expected such a long play-in time for such "old" speakers. Came the day, Volker confirmed that their performance was now as expected and asked me to pick them up. Volker, staying more than 600km away from my living place, how to bring them to me? Fortunately enough, my wife still owns from her father a 20 year old Volvo 850, in this the Tannoys fitted perfectly.</span><br />
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<span style="font-kerning: none;">So, I and my wife decided to drive to Volker. On a Thursday we started, arrived in the late afternoon in Düsseldorf and went for dinner together with Volker. It was a very pleasant evening, excellent Japanese food, in one of the biggest Japanese communities in Europe, a new experience.</span></div>
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<span style="font-kerning: none;">Next morning we met at his place and he started to play music on these speakers. Firstly, I was surprised on all the musical details, the depth, the stage I could identify out of the music flow. I really never encountered such a musical reproduction, especially out of a single speaker. I have some experience with broad band speakers, but this experience was really surprising. Not a single minute I felt any doubt on my decision to ask for such speakers.</span></div>
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<span style="font-kerning: none;">The final comparison was only possible at my home, in my listening room, where I was able, to easily distinguish the sound differences compared to my old speakers. And now, after a few weeks of intensive listening, I can only repeat above statement. I usually listen with CDs or vinyl as source, mainly rock, jazz, world music, and a bit modern classical music, especially piano. With my old speakers, I sometimes lost interest listening to music, or I had to turn the volume up. With Volker’s speakers I’m again listening nearly every day, at lower volumes and still all kind of different styles, they reproduce any music in an excellent way. I re-discovered many of my older recordings. Their sound is different from anything I heard before, pleasant, detailed, rich, dynamic, including a wide and deep stage, where you can identify the placement of almost every instrument. The frequency range is well balanced, a tight bass, going very deep, a very clear midrange and sharp heights. There is no special frequency range dominating or popping up. Everything very well balanced. The placement of the speakers as well is quite uncritical. My listening room is quite high, with a lack of damping materials. The effect is none compared to my previous speakers. Good recordings sound terrific. No need to judge bad recordings, they just remain bad. With Volker’s Tannoys, it’s becoming difficult to listen to other speakers. I got with these speakers a true gem! Volker has such a great experience in testing items, combined with a clear vision for a good sound. I have a great respect on his judgement capabilities for sound. He really knows what a good sound is. And his speakers sound accordingly. Great! And they look beautiful. A masterpiece of craftsmanship.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Hans Andreas Schiffer did say at the 7th of February 2016:</span></div>
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"Ich empfinde es als wohltuend, das zunehmend mehr Menschen sich an die Werten historischen Konzepte erinnern und dabei deren Vorteile beibehalten und auch ganz in diesem Sinne weiterentwickeln. Nachdem ich mehrmals den Lautsprecher bei Dir hören konnte, bin ich nicht nur von den überragenden Qualitäten der alten Tannoy Chassis überzeugt worden. Überraschend gute Transparenz und Schnelligkeit für eine 15-Zoll-Pappe und als Ergebnis eines H-Dipol ähnlich dem berühmten WE7331. Dies kombiniert mit den Qualitäten des Ausnahmehochtöners des Tannoy und durch einen vorgesetzten Trichter anzubinden, machen das System so verblüffend. Es erinnert mich in seinen positiven Eigenschaften erstaunlicherweise mehr an meine <a href="http://truefi.blogspot.de/2014/05/incredible-close-to-music-iv-evaluation.html" target="_blank">LM-Installation</a> als so vieles andere, das sich meist in ungeordneter Bemühtheit verliert. Chapeau!"</div>
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<span style="color: black; font-family: "arial" , "helvetica" , sans-serif; font-size: 18.719999313354492px; font-weight: bold;">Mike Thomas did say at the 19th of January 2016</span><br />
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<span style="font-kerning: none;">Ich höre mit einer Horninstallation (siehe Artikel in diesem Blog) und empfinde Volkers Lautsprecher als wirkliche Alternative.</span></div>
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<span style="font-kerning: none;">Die herausragende Homogenität und Geschlossenheit paart sich mit einem farbigen, federnden Grundton und Bassbereich. Die Wiedergabe über diesen Lautsprecher gestattet einen einzigartigen Zugang zur Musik. Historische Tannoy Lautsprecher zu hören war immer schon ein besonderes Erlebnis, vor allem der Hochtonbereich hatte immer eine Qualität, die man bei praktisch allen anderen Lautsprechern vermisst. Volker hat es geschafft mit dem Rest des Lautsprechers an diese überragende Hochtonqualtität anzuknüpfen.</span></div>
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<span style="font-kerning: none;">Zum klanglichen Erlebnis kommt eine optische Ästhetik die den Lautsprecher zu einem wunderbar verarbeiteten Möbelstück macht.</span></div>
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truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-17066828747239348772016-02-01T06:37:00.000+01:002017-03-21T12:53:00.073+01:00The TrueFi Tannoy Enclosure – The ManufactureHello to everybody,<br />
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continuing reading here in the new year 2016. So I will start with a new article about my Tannoy speaker design. Still I cannot believe how exceptional these speakers in such a cabinet design do work out, even after two years of every day use I do not miss anything. People who know standard alnico versions from Tannoys classic or prestige range (mostly with reflex designs and a more or less too small scale volume) do not have a close perception of what this speaker is able to do. Almost refined and rich textured invisibility with fast transient response, due to its dipole design, combined with finest detailed natural musical resolution show a stage of musical completeness, tannoy normally are not known for. The typical bold, hardly textured and more than rich sound of historical Tannoy speakers, has been improved to a before unknown level for such 15-inch speaker. They remind me a lot more to the typical cinema horn installations with their impressive refinements in micro acoustic terms. Of course such a speaker is not able to show the same degree of micro acustic resolution, its physically handicapped to do so, but you never will ask for anything missing. A exceptional homogeneity, hard to obtain with such complex horn installations, has indeed more affinity to small scale full range speakers, but with a much improved dynamic ability. So these speakers do mark a full unique alternative option in size, living room ability and performed quality, last not least seen from the money point of view. The only natural predator in this league might be <i>Voice of the Cinema</i>-types of speakers, which would be from certain points no alternative for me...<br />
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The by now first manufactured samples are finished and are in deliver to their new owners. I have spend a good amount of time of the last year to find refinements for the production and manufacture process. The front loaded dipole enclosure is some sort of ultimate cabinet for the 15-inch Tannoy Dual Concentric speaker with the 15 ohm hard edged version of cone, i.e. Monitor Black, Silver, Red and Gold with 8 ohms. Almost any detail of my <a href="http://truefi.blogspot.de/2015/03/the-tannoy-15-enclosure-for-enthusiast.html" target="_blank">prototype cabinets</a> got improved for the series production.<br />
The most problematic detail is still the curved front horn extension. It is made from solid layers of 3 mm mahogany veneers, each glued to the next within a specially made press form, to a final thickness of 18 mm solid wood. Mahogany wood is a ideal material, since it is grown in long strong fibers, which will be bendable in a perfect way and will give the necessary elastic stiffness for preferred sound values. I still hope that FSC certified tropical wood is not only a placebo for the conscience of the consumer and will give some extended sort of sustainability.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOoMOt8UB48eQkd9TYCbbNgRX9Uvf6xnsrCkJ6N8YiSIDRE7aC00cjILp60V3o7Cg4MoknYM9VBQg5vzfB4Iugio18osuPX6bb16beQv9NSXzM2qIhLjHkGAMAauvsmLsnsyKLcYAPOdbt/s1600/NT_3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOoMOt8UB48eQkd9TYCbbNgRX9Uvf6xnsrCkJ6N8YiSIDRE7aC00cjILp60V3o7Cg4MoknYM9VBQg5vzfB4Iugio18osuPX6bb16beQv9NSXzM2qIhLjHkGAMAauvsmLsnsyKLcYAPOdbt/s640/NT_3.jpg" width="426" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4WDjFqOU-8VVupsqT_rfcP34xCYbxkJIVw2dF-pvC_57zlxg7jRE4guEKUmIPM5qvRmgsiUIdrdSu85hU3s-hyXDZpVD7KZYVnDeyREtmEgK8CIXJaAkrIzs4ApqAhYYVK91PgoR89zDY/s1600/NT_Front_d.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4WDjFqOU-8VVupsqT_rfcP34xCYbxkJIVw2dF-pvC_57zlxg7jRE4guEKUmIPM5qvRmgsiUIdrdSu85hU3s-hyXDZpVD7KZYVnDeyREtmEgK8CIXJaAkrIzs4ApqAhYYVK91PgoR89zDY/s640/NT_Front_d.jpg" width="420" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Different stained fronts are available to customer requests</td></tr>
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The front of this speaker design is exceptional important design feature, since it is acting as a relevant extension of both different speaker units. The HF-compression part will be extended to lower frequencies, since the LF-cone will be supported in the important lower mid frequencies of 400 to 1000 hz. In the same time the fronts are acting as frontal part of the well known h-dipol design (original WE 7331), they need to mount mechanically the more than 10 kg heavy Dual Concentric speaker to the enclosure with all known advantages and problems. This is a highly delicate question to solve and one main issue bringing vintage alnico equipped Tannoy speaker enclosures into a refined singing mode. Within a misunderstanding of this little detail lots of generations of Tannoy speakers from last 40 years didn't reach their inherent built world class smooth expression.<br />
The open back needs to be completely lined with 10 mm woolen felt in order to minimize direct reflections inside the cabinet, the extension cases are lined with low density boards. These extension cabinets are just movable only for transportation reasons to keep the enclosure sizes small.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF64e-yK8u7VHxh0sGLRs8t7SfwxF2car7qmR96_cRIuzDQHiRuSnC9NN97bO7x9dmzNBXfbvSJI7WDgTMX-CIixHG_6J5GUoVSvwfVAWL90XKB0c40rGZ2l2bPVUDGiHa68WOGIzzepFm/s1600/NT_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF64e-yK8u7VHxh0sGLRs8t7SfwxF2car7qmR96_cRIuzDQHiRuSnC9NN97bO7x9dmzNBXfbvSJI7WDgTMX-CIixHG_6J5GUoVSvwfVAWL90XKB0c40rGZ2l2bPVUDGiHa68WOGIzzepFm/s640/NT_2.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here shown with slightly stained and oiled oak veneer for the main corpus and dark brown <br />
stained color for the extension enclosure in the back.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB0QBR365kxFV2slvKc4I5eq92Cvqhl0kZAKKxZoIUgfWcdTpPldEhuLow44BicRMwWyB-I4l2ZI2ufE7jAzfqRJX4oYsz9HhK1PSsGCE3aMn3gSUZTGr0NhTZc8IijZ5Gs7fKcmvgRkxk/s1600/NT_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB0QBR365kxFV2slvKc4I5eq92Cvqhl0kZAKKxZoIUgfWcdTpPldEhuLow44BicRMwWyB-I4l2ZI2ufE7jAzfqRJX4oYsz9HhK1PSsGCE3aMn3gSUZTGr0NhTZc8IijZ5Gs7fKcmvgRkxk/s640/NT_1.jpg" width="430" /></a></div>
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All veneers are thick types of minimum 2mm thickness to give the enclosures a robust surface<br />
and a solid wood appearance since they are made from lumber core plywood, the best sounding<br />
wooden boards for speaker enclosures.</td></tr>
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Listening to these Tannoys shows a well expected improvement in the naturalness and liquidity of the typical tonal impression, comparing these with my plywood cabinets. The coniferous solid wood inside sounds better articulated with less resonant edges in the tonal accuracy. They will improve within the next month even more, when they get played in, a process known well from a typical wooden musical instruments.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Et8XLpn151NdhvfgTSUbaJsT19nV02nWfK6AhU4oWQhY676k3dbLSSSOj7MzKGIXotjoCT0LdjiQ6rSx2Aa7XF-lhPOqCLbWOqBcb16IvqOAJNLESgFKktEWQ7abrU8uKkDsi9we9sT_/s1600/NT_7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Et8XLpn151NdhvfgTSUbaJsT19nV02nWfK6AhU4oWQhY676k3dbLSSSOj7MzKGIXotjoCT0LdjiQ6rSx2Aa7XF-lhPOqCLbWOqBcb16IvqOAJNLESgFKktEWQ7abrU8uKkDsi9we9sT_/s640/NT_7.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">10 mm woolen felt is my preferred damping material inside enclosures, in order to minimize<br />
reflections inside cabinets. pine strives of 10mm thickness add some controlled strength to<br />
cabinets. These are arranged in proportions of the the "Golden Cut" to find the best dispersed<br />
reconance distribution.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqLDkGO7-m0X4_WCgwjoYMs-ciOiVVKbEnkQ3a9XhYf9D-W1Bgehvp3OKocuvUuB3x7urz6wEHRg2AmMmThGQnDV0pNHbAPAc_197myIZhKPbtYr7yD5MVqLBU6wkd5YqTCmDPtvp_v1-/s1600/NT_8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqLDkGO7-m0X4_WCgwjoYMs-ciOiVVKbEnkQ3a9XhYf9D-W1Bgehvp3OKocuvUuB3x7urz6wEHRg2AmMmThGQnDV0pNHbAPAc_197myIZhKPbtYr7yD5MVqLBU6wkd5YqTCmDPtvp_v1-/s640/NT_8.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNDnzYjXP-uo9qKiJ1Kbc84FBxvJXf1S9_ir5G8wj70td61r29owVL-CtneizD52W5S1Shns5obtxZxk67Rx-uRmosBK4U90255sYXPtSsilYi4wB6aOdNveX-PNpP0awvhDskQOQwc9g/s1600/NT_6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNDnzYjXP-uo9qKiJ1Kbc84FBxvJXf1S9_ir5G8wj70td61r29owVL-CtneizD52W5S1Shns5obtxZxk67Rx-uRmosBK4U90255sYXPtSsilYi4wB6aOdNveX-PNpP0awvhDskQOQwc9g/s640/NT_6.jpg" width="426" /></a></div>
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I was almost shocked when I did refurbish the first pairs of chassis with original "recone kits" supplied by Lockwood Audio. These typical preassembled units (paper cone with surrounds, centering unit and voice coil) don't make a lot of problems to the experienced and get perfectly installed into the well known chassis of the dual concentric loudspeakers. It struck me down when I did a first listening test after the reconing process, I was save about the fact that both high frequency units are defunctional. Even if I did measure them before, I stopped the listening test and reopened the tweeter for a second inspection. I was quite save that the didn't work by listening. But I was wrong, the paper cone was absolutely not able to perform its dedicated frequency ends, i.e. the lower frequencies below 150 hz, as it could not resolute the frequencies above 500 hz. So these units over roared with 200 to 500 hz frequency parts so loud, that it was impossible to hear the hf unit or some lower bass.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNeU4UdfpmamdmHZBkRlBcvVEMtWtjj8Doc1Bi4GYxanAzpXxAunYkpV138QnO5VPWO02whUNh3M3wgb3WEz2NNkOa7kVo7BoC7kfAvebwRv9tUQ7x7a9mNt7nmj3KqKE0FMhmbc8X5EVx/s1600/NT_17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNeU4UdfpmamdmHZBkRlBcvVEMtWtjj8Doc1Bi4GYxanAzpXxAunYkpV138QnO5VPWO02whUNh3M3wgb3WEz2NNkOa7kVo7BoC7kfAvebwRv9tUQ7x7a9mNt7nmj3KqKE0FMhmbc8X5EVx/s640/NT_17.jpg" width="424" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Variants of the enclosure in different stained color and again with retractable back.<br />
This option needs a precise felt gasket between outer and inner case-</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJM07-PvF6eyapF0O2Gw5nXOLgiSPZhRqM6c3wAldlTzhlTxt0nWAKWKRd1_HfSnFg8aH3d0oGr7GRzzvkTlhYEMawEHSWOH439HcpsFNUGzOrcermn-0BCh0L18ES16xLMeoV-KPK9LNJ/s1600/NT_18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJM07-PvF6eyapF0O2Gw5nXOLgiSPZhRqM6c3wAldlTzhlTxt0nWAKWKRd1_HfSnFg8aH3d0oGr7GRzzvkTlhYEMawEHSWOH439HcpsFNUGzOrcermn-0BCh0L18ES16xLMeoV-KPK9LNJ/s640/NT_18.jpg" width="426" /></a></div>
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After almost 4 hours of first playing the music started to open up and was already sounding in a way which did remind me a bit to the typical Tannoy sound. After 50 hours play from radio they started to sound quite well, still with a reserve of resolution of 5 % to match. It will show in future, I think it will need another good 100 to 200 hours till they will show their best attitudes.<br />
As well the cabinets itself need a extensiv cuing in process very similar to wooden musical instruments. At the very early beginning they don't sound refined. Quite edgy and inharmonious in their musical behavior within the first hours, they start to brake in after eight hours play of music. After another 20 hours play in time, they show some first musical insight and convince with some first harmony distribution. I expect them after 100 hours playing time to reach their final exceptional transparency and harmony in a stage, where thy are already acoustically invisible. This process seem to be very similar to the run in process of wooden instruments. Interesting, normally when you build a speaker one time, you can not realize such effects. But if you listen to a new sample of your well known speaker, you are able to observe even the smallest changes.</div>
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The crossovers are made from copper foil inductors and oil-paper capacitors and solid 2mm copper wire. They have got a metal housing, close in design to the original crossovers known from the legendary Tannoy Monitor Silver and Reds. So I have spared no effort to take care about any technical but as well optical detail to match the original or better standard these speakers were known for. I think it might be a pleasure for the future customer to see how much attention has given into any detail of these speakers. Details which haven't been seen for more than 50 years from commercial sold speakers, even if they were manufactured in low amounts. I did try to make one of the best loudspeakers in history even better and keep its almost legendary standards to the highest possible level. Like several other recently issued remakes from history, like the LineMagnetic series of speakers or the Western Electric 15A horn replicas from Aldo in Italy, I try to manage a similar idea of reissuing with a main interest to a before unavailable quality with vintage Tannoy speakers. I am happy to present with such speaker a stage of improvements, which was never available before, nor it can be found in in their current own pricy legacy releases known as "Prestige Series".</div>
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<tr><td class="tr-caption" style="text-align: center;">Fresh reconed chassis are looking like new</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitcnJqgfri0f1MAn9pMLUb-GV9SjZbtGVWDhJy8nm30QLPZI-kmntNmumgBS7bxlEpgHFPmA8dDuxrbEIP58S4CT4GMpTM7bJyrPmcT_zyVqN8JOK-w4C_do4drCEk4w7PBsR8Xlemc-cy/s1600/NT_12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitcnJqgfri0f1MAn9pMLUb-GV9SjZbtGVWDhJy8nm30QLPZI-kmntNmumgBS7bxlEpgHFPmA8dDuxrbEIP58S4CT4GMpTM7bJyrPmcT_zyVqN8JOK-w4C_do4drCEk4w7PBsR8Xlemc-cy/s640/NT_12.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Of course they have got the TrueFi logo</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK_xQE807NHel4Y1YblL_4vs2Dlx5DBrQjiRlVvspJQrvJiAwPD5OE50T2tDW1i1IUSopQpBUNqZrwXCzxxC2SJaYwaueoXXrZQ7IB2UucLsHrN6X3Oj1JeFx3bFIz3Rceb1NQ20DOOWvZ/s1600/NT_13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK_xQE807NHel4Y1YblL_4vs2Dlx5DBrQjiRlVvspJQrvJiAwPD5OE50T2tDW1i1IUSopQpBUNqZrwXCzxxC2SJaYwaueoXXrZQ7IB2UucLsHrN6X3Oj1JeFx3bFIz3Rceb1NQ20DOOWvZ/s640/NT_13.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I prefer felt gaskets like known from the early Monitor Silver, better than the later<br />
introduced high density foam in black or white (shown in one image above),<br />
known from Monitor Red, Gold or HPD.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoEYaILu0boWct1OFujg8proaQ9vaYOSt4AR1RO8I-v4jFh84urQvoKwol39qHQTvhOe6hGXBoL5nRVJLLhMrCfQIQUfZX9pwsN_5DHUX8ch8XQpmIco0tF7sOuTsk1IttRFuP3zIV9sDh/s1600/NT_14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoEYaILu0boWct1OFujg8proaQ9vaYOSt4AR1RO8I-v4jFh84urQvoKwol39qHQTvhOe6hGXBoL5nRVJLLhMrCfQIQUfZX9pwsN_5DHUX8ch8XQpmIco0tF7sOuTsk1IttRFuP3zIV9sDh/s640/NT_14.jpg" width="640" /></a></td></tr>
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These speakers are available to order as complete loudspeakers equipped with refurbished Red units or can be alternatively equipped with own speakers from the Tannoy Monitor Silver, Red or Gold line. They can be made with different veneer types as they can be customized in several details on request.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkajoNfgt-elxsN0XXuw0QPVZWy_R-C3wOvAr4rKH6-AKlonlP5tOOQafq3Mk55tMMNOHBvnKo9HNt3xizOSC2RGRdyfKG4u3XtoZfvKMDnQujv8FJrYY1MAQZigQcrKmNVxXlq2UuZhGp/s1600/NT_15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkajoNfgt-elxsN0XXuw0QPVZWy_R-C3wOvAr4rKH6-AKlonlP5tOOQafq3Mk55tMMNOHBvnKo9HNt3xizOSC2RGRdyfKG4u3XtoZfvKMDnQujv8FJrYY1MAQZigQcrKmNVxXlq2UuZhGp/s640/NT_15.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It's always good to have some spare Reds in house, you never know what will <br />
happen...As well some spare recone kits might give safety.</td></tr>
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Read as well what other <a href="http://truefi.blogspot.de/search/label/TrueFi%20Tannoy%20%E2%80%93%20%20What%20others%20say" target="_blank">say</a> who have listened to this speaker!</div>
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Sizes and technical informations:</div>
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95cm high to 60cm wide, with a minimum of 65cm depth variable extendable between 45 to 80cm.</div>
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Made from 18mm lumber core plywood, veneered with 2mm furniture veneers.</div>
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Funnel made from solid mahogany 3mm veneers.</div>
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All used solid wood from coniferus sorts between 1.5 to 6 cm strength.</div>
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Soft rubber rollers integrated in the base.</div>
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Total weight 52 kg each equipped with speaker and crossover.</div>
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Read on soon,</div>
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Volker</div>
truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-81723675488094117722015-12-24T13:07:00.000+01:002016-01-02T08:25:56.877+01:0030 Years of Revelation V – Culture of ListeningHello to everybody,<br />
<br />
reading on this series of articles. First I did try to explain the Japanese findings of the 1970ties, later than their introduction into the European audio culture through Jean Hiraga with the <i>Maison de L'Audiophile</i> in Paris through the 1980 years in my last article. So I will try today to show some sort of its aftermath as gateway into the following decade of the 1990ties.<br />
<br />
Reading history from today shows clearly that the lessons of delight opened different paths for some forthcoming into the future of the early 1990ties. Based on technical outmoded principles of the wired age, i.e. the tube amplified music perception with historic analogue appliances like record players, tape recorders and horn speaker systems, created a new spearhead as some sort of niche culture for the general audio business. For the affluent, interested and well propertied audio aficionado tube sound with vinyl based program sources got the "must have". After three decades of audio culture aimed to be principled by "higher faster further-values", some sort of wear out of attraction of such was obvious.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1onkyHFFqthCmkn3uz3PlvSoJXUknnLvDql4ATwXakKqVJASveLl9nYMRV4cozDs7K8mHl4w3r1siPos-rOmTeCjWFfXAOid84hpMK0leWLAH78Q3Vw9igKWV1Q22eaAHtuGCBNw7Bm4R/s1600/wmaq_0901.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1onkyHFFqthCmkn3uz3PlvSoJXUknnLvDql4ATwXakKqVJASveLl9nYMRV4cozDs7K8mHl4w3r1siPos-rOmTeCjWFfXAOid84hpMK0leWLAH78Q3Vw9igKWV1Q22eaAHtuGCBNw7Bm4R/s640/wmaq_0901.jpg" width="640" /></a></div>
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<span style="color: #9fc5e8; font-family: "arial" , "helvetica" , sans-serif;"><strike>The End of purely technical Verification </strike>"Ècole L'Audiophile"</span></h3>
A manifesting of a completely different appreciation of audio handling took slowly place for a specialized minority of audio enthusiasts. <i>Maison de L'Audiophile</i> did learn us to question any detail in a audio chain as necessary option. We did learn to trust as well our human senses and to interpret datasheets as questionable relicts of an era of well trust. Far offside commercial consumer hifi products, but as well independent from written theoretical superiority, we did learn that precisely defined physical and mechanical relevant execution processes will lead to exceptional valued audible differences. We did learn about human psycho-acoustic properties and our individual digestion preferences. <u>As we did learn finally a basic distinct of natural harmonic integrity within the audible sensation to be the outstanding reference for a peripherally and complete appropriation of music.</u><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrKiH3RBCkUs_x-A7oWFRooKSq6zv1s3ZzJ715uqWfPWUEpTv28-5QWLPLO7dPkran9XHnSjyKlptxPuZc13cbAEpf-PLD0WsqrQ4SNdx5wAoARRyTeWORJIi91wbbX_LVblS5H8HZjPmx/s1600/DSCF1656.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrKiH3RBCkUs_x-A7oWFRooKSq6zv1s3ZzJ715uqWfPWUEpTv28-5QWLPLO7dPkran9XHnSjyKlptxPuZc13cbAEpf-PLD0WsqrQ4SNdx5wAoARRyTeWORJIi91wbbX_LVblS5H8HZjPmx/s640/DSCF1656.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Tube rolling" somewhere in Honkong today. Shown here with a pair of WE124 replica tube amps in front of a pair of Telefunken V69 amps flanked by a pair of Goodsell Williamson Amps. </td></tr>
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In the early 1990ties a important position took place in audio business in Europe. Keith Aschenbrenner of <a href="http://www.auditorium23.de/" target="_blank">Auditorium 23</a> integrated at his beginning some major findings of <i>Maison de L'Audiophile </i>into his own business model of an audio shop<i>. </i> He distributed several of their products, kits, their magazine and brought several other related processes into force. One example: the "Platine Verdier"record player, which never would have seen commercial success, if Keith wouldn't have given a initial push with the first order for a small manufactured series (<a href="http://www.auditorium-23.de/Verdier/Platine.html" target="_blank">read at his web page about</a>).<br />
But furthermore Keith Aschenbrenner played a immense role within Germany and Europe with his open minded and and well educated understanding of audio perception. He acted as a wide spreading communicative platform for the ideas coming from the <i>Maison. </i>This knowledge made him curious about its origin in Japan. So it didn't take a long time to find some contact to some of the major figures over there. His early contact to Ken Shindo and his long time friendship with him for almost 25 years, gave him the chance to get some insight into his Japanese hidden soul, knowledge and his understandings. Ken Shindo was of one of Japans foremost audio masters from the early 1970ties. So each of his products keeps a exquisite developed stage of own trueness in its heart and keeps a naturally delighted soul inside, both incomparable to any other tube based amplifier design realized in history. Deeply involved into such quality Keith got to be a staunched distributer of <a href="http://www.shindo-laboratory.co.jp/Front/indexe.html" target="_blank">Shindo's <i>Sound Creator</i></a> products from the early 1990ties on. The products gave him the opportunity to set up precisely dedicated and refined components, which work in a chained addition with a higher degree of synergetic attitude than ordinary well made tube amplifiers. His deep insight into Ken Shindos fundamental different understanding of relational knowledge about harmonic distribution inside audio related products gave him a chance to create analogical orientated ideas for his own products. Here a complete loudspeaker line must be reminded, mainly based on a juxtapositioned understanding of the functionality of the enclosure. Based at the historical role model of the classic open cased "radio receiver" or <i>Volksempfänger</i> of the 1930ties, he did establish a complete line of more or less resonant wideband speakers with dipole enclosure types. Here the enclosure mostly works as mild support of the typical 8-inch wide band speaker in order give some low frequency support, a very similar introduction of this problem comparing musical instruments.<br />
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<h3>
<span style="color: #9fc5e8; font-family: "arial" , "helvetica" , sans-serif;">Interview with Keith Aschenbrenner</span></h3>
<h3>
<span style="color: #9fc5e8;"><span style="font-size: xx-small;">For a translation from German language into English please use Google translator or a similar software:</span></span></h3>
<h3>
<span style="font-weight: normal;"><span style="font-size: small;">TrueFi: Mitte der achtziger Jahre bist Du zusammen mit Norbert Gütte das erste Mal mit 300B-Verstärkern und Hornsystemen der frühen Kinotechnik bei ersten Besuchen des französischen Maison de L’Audiophile in Paris in Berührung gekommen. Diese auch damals schon altehrwürdige Technik wurde durch Jean Hiraga seinerzeit erstmalig außerhalb Japans in Europa nach ihrem Niedergang in den 1940er Jahren wieder präsentiert.<br />Die eigentliche Wiederentdeckung war zuvor bereits in den frühen 1970er Jahren in Japan geschehen, wo Jean Hiraga damals gelebt hatte. Riesengroße mechanisch schallführende Hornsysteme mit leistungsschwachen Röhrenverstärkern der Initialgeneration wurden von ihm dann in den 1980ern in Paris bei den jährlichen Vorführungen eingesetzt. Diese Techniken bemühten Prinzipien aus der Frühzeit öffentlicher Aufführungspraxis der 1930er Jahre. Solche Vorführungen fielen in eine Zeit, da die gängige Audiotechnik bereits ihren technischen Zenit auch hinsichtlich ihrer Verbreitung flächendeckend erreicht hatte. Was genau hat Dich an dieser alten Technik faszinieren können?</span></span><br />
<span style="font-weight: normal;"><span style="font-size: small;"><br />Keith Aschenbrenner: <span style="color: #134f5c;">Ich kaufte und sammelte damals die Hefte von <i>L'Audiophile</i> – auch fast alle der sehr frühen Hefte – war damals mit dem deutschen Vertrieb von Focal partnerschaftlich verbunden, Jaques Mahul war Autor für L'Audiophile, einige seiner Bauvorschläge für Lautsprecher waren in den Heften appliziert. Passend dazu gab es die fertigen Geräte der “Les Réalisations de L’Audiophile“ in Frankreich. Das war die Zeit von <i>20 Watt Hiraga, Kaneda DC1, Le Tube</i>, Geräte die ab etwa 1983 auch in Deutschland angeboten wurden, Kurt Hecker hatte sich um den Vertrieb bemüht. Ich war von der Struktur des A23 immer an den DIY-Konzepten der <i>L'Audiophile</i>-Hefte interessiert und so kam es über eine ganze Zeit zu einer Zusammenarbeit zwischen K. Hecker und A23 – einige der Lautsprecher für Messen und Ausstellungen wurden von A23 gefertigt – z.B. <i>Petite Audiophile</i> mit Fostex FE 103 S, auch als Kit mit allen nötigen Hilfsmitteln von uns angeboten. So kannte man die Leute aus der Mannschaft von <i>L’Audiophile</i>, Philipp Viboud, Jean Hiraga, William Walter, Gerard Chretien, besuchte deren frühe Vorführungen in Paris und bekam mit deren musikalischen Events einen eigenen Schlüssel “umgedreht“, wusste, für mich geht es nur so, kaum anders. In dieser Zeit besuchte auch Norbert Gütte A23 und seine erstaunlichen holzhandwerklichen Eigenschaften ermöglichten – so zielgerichtet auf Hifi – uns zu besprechen, wie man die konzeptionelle Idee <i>L'Audiophile</i> nach Deutschland bringen könnte. Das war Mitte der 1980er Jahre. Aus dem Umstand, dass sich die “Realisations" und K. Hecker vertrieblich trennten entstand unsere Zusammenarbeit mit der “Maison“ und wir hatten als Vertrieb plötzlich in der Hand, wovon ich Anfang der 80er nur leise zu träumen wagte. Es war die Zeit, in der bei den “Realisations“ die JH 50 entstand und etwas früher, doch fast parallel in der “Maison“, die 8 Watt Le Monstre Endstufe, Nemesis, VT 52 und 300 B – wir hatten damit sozusagen vertriebstechnisch freie Hand für alle DIY-Konzepte der “Maison de L'Audiophile“. Die damaligen Vorführungen waren entlang der Onken 360 L, der VOTT, der ersten WE15 A (Mono) Konzepte (in einem Kino in der Nähe der Place Pigalle) mit Kaneda 50 W oder JH 50, mit Nemesis- oder 300 B-Verstärkern, aktiv in drei Wegen über 300 B und VT 52, oder einwegig Stereo/JH 50 mit Doppelonken, 15 A, Onken 500-Horn und Onken Tweeter immer wieder so musikalisch spannend, so in die Musik führend, so unvermittelt nahe, dass dies zum Schlüsselerlebnis wurde.<br />Es ist die Arbeit der beteiligten Personen, es ist “Edition Frequence“ mit der Herausgabe einer Publikation entlang genau dieser Ideen, es ist Jean Hiraga, der so viele der Ideen und Arbeiten japanischer Enthusiasten nach Frankreich brachte und damit natürlich auch in den europäischen Raum. Entscheidend war, dass die Leute eben auch vorführten, was sie als Bau- oder Kaufvorschläge in den Heften vorstellten, man sich über diese klanglichen Eigenschaften im “Klaren“ sein konnte – wenn man, wie schon oben gesagt, den passenden Schlüssel dafür in sich hatte. Für mich gab es da kein zurück…. eine Voice war mir vielleicht lieber als ein Onken, ein Mono WE15 A “erwischte“ mich mehr als ein vollaktives Doppelonken-System – aber das waren persönliche “Befindlichkeiten“, weniger ein Einteilen in besser und schlechter. Klar wurde immer wieder: Wenn gute 3-5 Watt wirklich ausreichen, dann leisten die richtigen Lautsprecher daran etwas Besonderes.</span></span></span><span style="color: #134f5c;"><br /></span>
<span style="font-weight: normal;"><span style="font-size: small;"><br />T: In der Zeit zwischen 1985 und 1995, wurden nicht nur ganz allgemein wieder neu Röhrenverstärker beachtet, sondern in erheblicher Breite erfuhren historische technische Errungenschaften wie Hornlautsprecher, Breitbänder, frühe Movingcoil-Systeme auch wieder mehr Zuwendung. Du hast daran auch nicht unerheblich mitgewirkt, diese zuvor als rückständig verpönten Techniken wieder zu rehabilitieren. Über viele Jahre hast Du Lautsprechersysteme angeboten, die mit Breitbändern bestückt, das aus frühen Röhrenradios bekannte Prinzip des Dipolgehäuses nutzten. Worin sahst Du dabei die elementar eigenen Qualitäten solcher Produkte, die im HiFi-Vokabular von „höher-schneller-weiter“ (z.B. einer JBL DD55000 Everest) und monatlichen „Überreferenzen“ das genau gegenüberliegende Ende des Bewertungskanons zu markieren vermochten? Also deutlich weniger als mehr, was war das Mehr für Dich?<br />KA: <span style="color: #134f5c;">Richard Faust, Journalist von “Das Ohr“, schrieb 1989 seinen Bericht “Wo find ich in Deutschland eine Mono-Triode?“ Ich schmücke mich sicher nicht mit fremden Federn mit der Annahme, einer der ersten in D gewesen zu sein, der single ended Trioden-Röhrenverstärker wieder ans Licht geholt hat, die Bausätze von L 'Audiophile machten das möglich. Das geschah aber tatsächlich nicht aus rein kommerziellen Erwägungen, Verstärker wie diese waren damals zu exotisch als dass man hoffen durfte, die Hifi-Welt würde eine 180-Grad-Drehung spielend hinlegen. Und so war es auch. Die oben erwähnte JH 50 mit ihren gut 40 Watt hatte es da schon etwas leichter angenommen zu werden – um sich an vielen falschen Lautsprechern letztendlich den Ruf stehlen zu lassen.<br />Lautsprecher mussten damals schmal und hoch sein – “Tall Boys“ – da passten wir mit unseren VOTs nicht ins Bild. Da uns mit den gegebenen Verstärkern und Lautsprechern aber klar war, dass es keine monatlichen Überreferenzen geben kann, macht es Sinn, sich auf weniger spektakuläre aber langlebigere Qualitäten zu besinnen und das war für uns mit den “alten“ Konzepten gegeben. Es war uns bewusst, uns damit in einer Nische zu befinden mit limitiertem Markt, aber das war für uns so in Ordnung.<br />Was war das Mehr für mich? Diese Anlagen reproduzieren Musik auf völlig andere Weise als wir es bis dato kennen gelernt hatten. Es hat mich umgehauen, als ich in einer der legendären Vorführung von <i>L’Audiophile</i> in kleinen Theatern in Paris zum ersten Mal das 15A WE-Horn hörte. Es war faszinierend zu erleben, wie zart und intim, auf der anderen Seite kraftvoll und energisch ein solches System zu spielen in der Lage war. Das Entstehen und Verklingen eines Tons passiert auf gänzlich andere Weise über solche Systeme als mit herkömmlichem, gewohntem HIFI. Sie ziehen einen auf eine Weise in die Musik, wie man es von modernen Anlagen allzuoft nicht erfährt. Gut 25 Jahre nach <i>L 'Audiophile</i> finde ich es großartig, dass seit einigen Jahren Mr. Chung auf der <i>High End</i> in München einem großen Publikum die Möglichkeit gibt, solch alte Systeme aus seiner Sammlung einmal zu hören, die aus dem Beginn des Tonfilms stammen und heute noch in der Lage sind, ob ihrer Qualitäten zu verblüffen. Ich bedaure dabei leise, dass der Focus oft mehr darauf gerichtet ist, welche Dynamik sie in punkto Lautstärke zu leisten in der Lage sind und weniger, wie subtil und feinzeichnend sie auch sein können. Sicher ist es immer noch leichter so zu überzeugen; auch wir hatten in unserer <i>L 'Audiophile</i>-Zeit heftige Musikbeispiele, um die immer wieder auftauchende Frage “sind 3 Watt denn genug?“ zu zerstreuen.<br />Jean Marie Piel, ein sehr renommierter französischer Musikjournalist und früher Mitautor von <i>L'Audiophile</i>, schrieb einmal im Editorial der Zeitschrift “Diapason“ ein Essay mit dem Titel ”Eine Frage der Nuancen“: “Unseren Entwicklern sollte zu denken geben, dass die fruchtvollste Dynamik die ist, die sich auf die Stille zu bewegt statt auf den Lärm.“<br />Und genau da setzten eben diese alten Hifi-Hilfsmittel so gut an, da kann ein SPU A verbindlich abtasten, ein langer Arm Tugenden zeigen, ein guter MC-Trafo seine Qualität ausspielen, eine Röhrenvorstufe tatsächlich wahrhaftig klingen, ein Röhren-Kleinleistungsverstärker seine Größe zeigen.</span></span></span><br />
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<span style="font-weight: normal;"><span style="font-size: small;">T: Die Verstärker und Schallwandler der lange verschwundenen Unternehmen <i>Western Electric, Klangfilm, Zeiss-Ikon, RCA</i> etc. waren auch damals längst auch nicht mehr einfach zu finden und erwerben. So stiess auch in Europa die <i>Maison de L’Audiophile</i> ganz nach japanischem Vorbild eine Welle von Nachbaumassnahmen klassischer historischer Verstärker und Lautsprecher an. Die französischen 300B-Legend Verstärker waren dazu ein erster Schritt und damit auch ein Weg, die Qualitäten von Single-Ended-Konzepten auch einem breiteren Publikum und auch als Bausatz zugänglich zu machen. Wie schwierig war es damals quasi als „Falschfahrer“ gegen einen komplementär ausgerichteten kommerziellen Markt gegenzusteuern?<br />KA: <span style="color: #134f5c;">Der Ausdruck “Falschfahrer“ trifft es ziemlich gut. Wir wurden nicht einfach betrachtet als Typen, die es halt für sich und die, die es auch so mögen, lediglich anders machen. Die Reaktionen waren teilweise schon als feindselig zu bezeichnen. Nachdem in “Das Ohr“ erste Artikel erschienen waren, gerieten wir in den Focus einer größeren Öffentlichkeit. Die Fachpresse beklagte, dass wir ja nicht einmal die HiFi-DIN-Norm 45500 einhalten würden und bezeichnete uns mit unseren 5-Watt-Verstärkern als Scharlatane. Zu unseren Hornlautsprechern formten die Fachmänner ihre Hände vor dem Mund zur Tüte und tröteten ”Hörner verfärben“. Wir erzählen ein wenig unseres Werdegangs auf unserer Website in den “Innenansichten“, “Außenansichten“ und “Kommentaren“. Gut, daran hat sich vieles geändert….. manch einer, der damals „spinnefeind“ war, schwört heute ohne Erinnerung an frühere eigene Statements auf genau solche Hilfsmittel zur Musikwiedegabe und “Röhre“ ist seit Jahren Trumpf. Die Gegensteuerung kam aber eher von den Mitbewerbern, die sich zu uns in die Nische begaben, erst wenige, dann viele. Heute ist der Markt unüberschaubar groß – die 300 B hat Gattungsbegrifflichkeit bekommen – im Nichtbesitzen von originalen WE 300 B’s und gegebener Vergleichbarkeit ist solche Verwaschung verständlich.</span></span></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeMjJKxxA50U1aHL7qx8ib-6xn2AWgsnuLrlsZ0Jcou2M2dX6hbr7u3XDOpOGMSKRKgh1KczEcaZl424bX5a577QerXpb9RkWeP8S1XPujJjsXiAGSn7ZauUxbIM82AR-f2k_rGqCANXbQ/s1600/Rondo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeMjJKxxA50U1aHL7qx8ib-6xn2AWgsnuLrlsZ0Jcou2M2dX6hbr7u3XDOpOGMSKRKgh1KczEcaZl424bX5a577QerXpb9RkWeP8S1XPujJjsXiAGSn7ZauUxbIM82AR-f2k_rGqCANXbQ/s400/Rondo.jpg" width="312" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rondo - A 23 Speaker with PHY Salabert</td></tr>
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<span style="font-weight: normal;"><span style="font-size: small;">T: Erfolgreichster Deiner wirkungsgradoptimierten Breitbandlautsprecherkonzepte war dann später die „Rondo“, die geformt und gebaut wie ein Saiteninstrument, also wie eine Gitarre; oder auch die „Provence“, die gebaut wie ein Schlaginstrument den Treiber jeweils auf unnachahmliche Art unterschiedlich ergänzen konnten. Beides wurde dann mit einfachen Radiolautsprechern ausgerüstet zigfach kopiert. Trotzdem konnten selbst diese einfachen Nachbauten die grundsätzliche Idee einer „umfänglich harmonischen und weniger technisch vordergründigen Musikdarstellung“ zur weiteren Verbreitung verhelfen. Du bist auch Überzeugungstäter, zusammen mit einem entwickelten Sendungsbewustsein ist das ein Erfolgsrezept das sich wie ein roter Faden durch Dein Leben zieht. Niemand im Land hat sich dermassen deutlich für eine sensible und entwickelte Hörkultur eingesetzt und auch nachhaltig durchgesetzt, nicht zuletzt auch mit eigenen Interessen. Würdest Du von einem Kultur des entwickelteren Hörens reden wollen?<br />KA: <span style="color: #134f5c;">Ich bin sicher als Überzeugungstäter wahrgenommen worden; richtiger ist, dass all unsere Produkte in erster Linie für uns selbst entstanden sind. Aus Ideen, die man hatte und umsetzte zu einem einzigen Zweck: Um es zu wissen und daraus zu lernen, um Rückschlüsse zu ziehen. Das Projekt mit <i>Rondo</i> zog sich über fast 2 Jahre hin und hätte auch im Nichts enden können. Es gab Rückschläge und es entstanden etliche Prototypen – ganz sicher mehr als die Kopierer je aufzuweisen haben, hatten sie ja unsere „endgültige“ Umsetzung vor Augen. Diejenigen, die teilweise in Serien das Gehäuse kopierten und mit aus geschredderten Radios gerupften Chassis bestückten, haben gar nicht verstanden, worum es bei dem Konzept ging, sonst wären sie es anders angegangen. Und “erfolgreich“ bleibt ein schwieriges Wort...<br />Mein sogenanntes “Sendungsbewusstsein“ speiste sich immer aus der Verantwortung gegenüber den Herstellern, die mir ihre Produkte anvertraut haben, ausnahmslos kleine Familienunternehmen, Jean Constant Verdier, Ken Shindo, Bernard Salabert etc…ihnen durch unachtsame Herangehensweise nichts kaputt zu machen war mir wichtig. Und meine eigenen Produkte habe ich immer nur als “Accessoires“ betrachtet. Die <i>A 23</i> Lautsprecherkabel gibt es seit 25 Jahre fast unverändert, ebenso die Trafos für Denon 103 und Ortofon, die NF-Kabel auch schon seit etlichen Jahren. Ich habe diese Produkte nie großartig werblich ausgelobt, die weltweite Akzeptanz freut mich dennoch, besonders die Tatsache, dass auch Ken Shindo meine LS-Kabel für seine Vorführungen benutzte.</span></span></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrF3gyZu60l6Kf5Pf1cNmxkvep8yyBumOEBxdXoMHTmDV8GXIJmrRcS0V-stV9AF5QIaA4ozkH8phnYEEpCNFwc_ib9WwtAToiAEN_GvKyQsEwRG8CEQnqZJSXPfGcSyg9dSfzn7jd1oM/s1600/Shindo_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrF3gyZu60l6Kf5Pf1cNmxkvep8yyBumOEBxdXoMHTmDV8GXIJmrRcS0V-stV9AF5QIaA4ozkH8phnYEEpCNFwc_ib9WwtAToiAEN_GvKyQsEwRG8CEQnqZJSXPfGcSyg9dSfzn7jd1oM/s640/Shindo_3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shindo Labs Show room, from Hifi Choice 8/1991</td></tr>
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<span style="font-weight: normal;"><span style="font-size: small;"><br />T: Anfang der 1990er Jahre konzentriertest Du Dich auf genau diese Verstärker von <i>ShindoLabs</i>. Unmittelbar danach begannst Du diese als Vertrieb außerhalb Japans in Deutschland zu etablieren und nahmst gleichermassen Abschied von den früheren Konzepten. Welche Überzeugung hat Dich zu diesen Geräten geführt? Zu diesem Zeitpunkt war die Rückbesinnung auf frühe Technologien in Japan bereits über zwanzig Jahre vertieft worden, das Niveau dieser Beschäftigung dort und deren Resultate zeitgemäss entwickelte Produkte ergänzend zu historischen einzusetzen ist bis heute absolut maßstabsetzend. Wie kam es dazu Verbindungen in die dortige Szene zu führenden Figuren dort zu suchen und damit Geräte zu importieren, die hierzulande völlig unbekannt waren?<br />KA: <span style="color: #134f5c;">Ausschlaggebend für meine Orientierung nach Japan waren die sich abzeichnenden Veränderungen bei L’Audiophile. Der Verlag war verkauft worden und es war unsicher, wie sich das weiter entwickeln würde. Die Rahmenbedingungen hatten sich stark verändert, Lectron wurde verkauft, <i>Maison L'Audiophile</i> von William Walter übernommen.<br />Ich bezog schon sehr lange japanische, sehr spezielle Audio Magazine. Die dort gezeigten Artikel, bzw. Fotos, waren für mich äußerst spannend, Bilderhefte, quasi Hifi-Mangas – wer kann schon japanisch? Ich sah Insertionen japanischer Firmen, war von den Geräten einer kleinen Firma namens Shindo Laboratory fasziniert, der Art der Präsentation, den dekorierten Accessoires: Garrard- und EMT Studiolaufwerk, Studer CD-Player, Altec Hörner, Tannoy Chassis, Siemens Lautsprecher… das war mir bekannt, war meine Welt, ich fühlte mich zu Hause und beschloss, diese Leute zu kontaktieren. Das Internet bestand noch nicht, ein schlichtes Fax wollte ich auch nicht senden und so schickte ich ein altmodisches Anschreiben auf die Reise. Es dauerte lange, bis ich Antwort erhielt, ich lud Ken Shindo nach Deutschland ein und der Rest ist Geschichte.</span></span></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhhVlvWoB57ZqzJnslxQpyQ21IuSLxZt4L0PhKnZtZz0rY1ih7jSbsiYDKzSkg7I1f4O4-c_znRuxh23nDQry6vhnk_tZMEbQQ8wYVgX88PfX1yuOPPXc57xJsbNO7UsbVyZ580k_GLhzo/s1600/Shindo_2.2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhhVlvWoB57ZqzJnslxQpyQ21IuSLxZt4L0PhKnZtZz0rY1ih7jSbsiYDKzSkg7I1f4O4-c_znRuxh23nDQry6vhnk_tZMEbQQ8wYVgX88PfX1yuOPPXc57xJsbNO7UsbVyZ580k_GLhzo/s640/Shindo_2.2.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from Shindo Labs Flyer</td></tr>
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<span style="font-weight: normal;"><span style="font-size: small;"><br /><br />T: Wenn man sich die Geschichte der von Ken Shindo entwickelten Verstärker ansieht, dann ist augenfällig, das er von Beginn an, also seit Ende der 1970er Jahre Verstärker um bestimmte Röhren herumgebaut zu haben scheint. Ist es so, dass er die Fähigkeiten und Eigenschaften bestimmter Röhren als entscheidenden Ausgangspunkt für seine Entwicklungen benutzt hat und somit die umgebende Schaltung als deren unterstützendes Transportvehikel verstanden hat? Oder wie würdest Du Ken Shindos Ideen und seine Ziele beschreiben?<br />KA: <span style="color: #134f5c;">Shindo hat zu einer Zeit begonnen Geräte zur Musikwiedergabe zu bauen, da der hiesige Markt noch nicht wusste, dass der Röhre per se nochmals soviel Bedeutung zuteil werden würde. In den frühen 70er Jahren fing er an Geräte anzubieten, die es zudem (und da sind wir wieder beim Anfang dieses Interviews) in zwei Versionen gab, als Bausatz und als von Shindo aufgebautes Fertiggerät. Teilweise farblich verschiedene Gehäuse unterschieden Kit zu Fertigprodukt. Was ich lange nicht wusste: Vor seiner Zeit als Hersteller war er Anbieter für historische Bauteile – historisch aus heutiger Sicht, damals durchaus noch Teile aus Tagesproduktion.<br />Seine Geräte waren immer davon getragen, aus Röhrentypen nicht hierarchisch das Beste zu machen, sondern eher z.B. einer Siemens Ed oder WE 300 Wesentliches zu entnehmen, so ist auch zu verstehen, dass es z.B. von E2d über F2a kleine bis große Push-Pull Leistung gibt, um dann mit WE 421 PP in einem System zu bauen, zu 349 A in PP mit kaum 8 Watt, auch EL 34 zu verwenden - sozusagen jeder dieser Röhren Eigenschaften zu entnehmen, die über die bekannten, zugesicherten hinaus gehen… Erstaunlich, aber seine Geräte schaffen es, versöhnlich ein paar Stunden KT 88 PP/Triode hören zu können, um dann z.B. an eine PX 25 zu gehen und zu sagen: Ja, auch das ist Shindo-Klang.</span></span></span><br />
<span style="font-weight: normal;"><span style="font-size: small;"><br />T: Eine einzigartige Audiokultur mit ureigensten Kriterien und Maßstäben, höchstem Anspruch an Musikwiedergabe und deren Eigenständigkeit konnte sich in Japan als Wesensmerkmal einer elitären Gemeinde neben einem Massenmarkt mit konventionellen HiFi-Ansprüchen fest etablieren. Ken Shindos Produkte waren und sind ein repräsentativer Teil dieser unvergleichlichen Kultur, die eigentlich von jeher von aussen betrachtet hermetisch verschlossen wirkte. Und auch durch das Internet hat sich daran nur wenig geändert, Kultur und Sprache/Schriftzeichen stellen zusätzliche Hindernisse dar. Ich glaube zu wissen, das der regelmässige Kontakt und Austausch mit Ken Shindo Dein Verständnis vom Hören ganz allgemein, das von Audio-Komponenten und deren Eigenschaften grundlegend verändert hat. Wärest Du in der Lage einige Erfahrungen auszuführen?<br />KA:<span style="background-color: white;"><span style="color: #134f5c;"> Na ja, ohne die sog. „École L'Audiophile“, ohne diese oben genannten Schlüsselerlebnisse, wäre ein Zugang zu Shindo und seinen Herangehensweisen auch nicht einfach gewesen, aber es stimmt, die Sprache, die Kultur, die nicht vorhandene sprachliche Kommunikationsebene durch das Fehlen einer gemeinsamen Sprache, machte es nicht leicht. Wir haben damals viel gezeichnet, piktogrammartige Lösungen für die Kommunikation gefunden, manchmal machte er bei Besuchen komplette Eingriffe an seinen Geräten, Änderungen die im Ergebnis verwunderten, bestätigten, wie sehr er sich zu dieser Zeit mit dem Ausprobieren weiterer Schaltungszüge beschäftigte. Shindo war keiner der Hersteller, der sich mit dem einen gelungenen Gerät zufrieden zurücklehnte und von da an viele hunderte solcher Modell gleich und gleicher baute…. Mich erinnert sein Schaffen mehr an Vincent van Goghs Sonnenblumenbilder, immer wieder Sonnenblumen, und doch jedesmal so faszinierend anders, neu, bekannt und unbekannt zugleich…. Mit all dem Bauteilebestand, dem Röhrenbestand, den Trafos, die er zur Verfügung hatte….. es war zu Shindos besten Zeiten wie Überfluss an Ölfarben. Und Leinwand. Und Rahmen. Bei den aktuellen Preisen könnte er heute alleine vom Verkauf der Bauteile gut leben, die er Zeit seines Lebens verbaute, alleine der Röhren – und würde dennoch seine Geräte bauen. Auch konnte er aus einem Erfahrungsschatz schöpfen, den man in Europa kaum noch findet; er hatte nie aufgehört, Röhrenverstärker zu bauen, selbst in der Zeit nicht, als aus Japan die prestigeträchtigsten Transistorgeräte nach Europa kamen.<br />Er hatte Einblicke in Geschichte und Zusammenhänge der renommierten Hersteller einer Zeit, auf die man lächelnd als obsolet zurückblickte: Western Electric, Siemens, Westrex… Manche Ideen, die in unsere Produkte einflossen, resultieren aus Anregungen von ihm, z.B. den Einsatz bestimmter Bronze an den richtigen Stellen. Was in Deutschland wie immer reflexartig zu Spott führte: Glockenbronze! Und heute? Auch die wohldosierte Resonanz bei Lautsprechern war eine Anregung von ihm. Rondo hat von dieser Denke profitiert, eine dünnwandige Voice ebenfalls, umgekehrt hat uns gefreut, dass er damals seine Lautsprecher Lafite so sehr an Rondo anlehnte, nachdem er hier sie hier gehört hat. Nach asiatischer Lesart war das ein großes Kompliment für unseren Entwurf.</span></span></span></span></h3>
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<span style="font-weight: normal;"><span style="font-size: small;"><br />T: Inzwischen haben Dir äußere Bedingungen wie die RoHs-Konformitätsregelung die Möglichkeit genommen solcherart hochwertig handgefertigte Geräte hierzulande zu vertreiben. So warst Du der Schlüssel-Komponenten Deines wohlgewählten Portfolios beraubt und musstest Dich komplett neu ausrichten. Wie geht so etwas überhaupt, wenn gleichwertiger Ersatz nicht zu bekommen ist?<br />KA: <span style="color: #134f5c;">Es stimmt. Mit dem Verlust der Elektronik konnten wir unseren Kettengedanken nicht fortsetzen. Wir konnten mit den vorhandenen Geräten noch vorführen, worauf es uns ankam und wie sich die einzelnen Komponenten vom Laufwerk über Tonabnehmer, Kabel, Verstärker bis zum Lautsprecher als Gesamtanlage darstellen. Um Ersatz habe ich mich nie bemüht. Im Laufe der Jahre waren immer wieder Kunden zu uns gekommen, die ihre Geräte an unseren Lautsprechern hören wollten, was mir die Gelegenheit bot, unterschiedlichste Elektronik zu erleben, mit der ich sonst gar nicht in Kontakt gekommen wäre. Es war nichts dabei, was mich so reizte, mich um den Vertrieb zu bemühen. Ich wurde oft gefragt, ob es nicht doch Ersatz gäbe für Shindo. Ich hatte zu Zeiten unserer Vertriebstätigkeit immer wieder gesagt, dass es für mich zu Shindo keine Alternative gäbe, ich wäre doch unglaubwürdig, würde ich nun einfach irgendetwas anderes aus dem Regal ziehen, im Wissen, dass die Endlichkeit der großen Zeit alter Bauteile durch Rohs eingeläutet ist. DIY-Leute können da freier arbeiten, Gutes erreichen, aber als „In-Verkehr-Bringer“ hat man sich an gegebene Regeln zu halten.</span></span></span></h3>
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<span style="font-weight: normal;"><span style="font-size: small;"><br />T: Du vertreibst nun mit LineMagnetic-Lautsprechern präzise gefertigte Kopien alter Western Electric Systeme und erschließt damit einer kleinen elitären Gemeinde die Möglichkeiten derer unvergleichlichen Musikwiedergabe, an die noch vor wenigen Jahren niemand gedacht hätte. Vehement Groß, unglaublich aufwendig, entsprechend teuer, komplex und rückwärtsgewandt stellen diese Systeme das genaue Gegenteil von Universalität und Pflegeleichtigkeit dar – und das in einer Zeit in der eine junge Generation für das Musikhören weder Räume, Geräte noch Trägermedien benötigt. Siehst Du da Zusammenhänge?<br />KA: <span style="color: #134f5c;">Ich habe mich um LM-Lautsprecher bemüht, weil diese Replikate mir ermöglichen, Lautsprecher-Konzepte zu bauen, die ich immer auch selbst besessen habe, aber mangels allgemeiner Verfügbarkeit nicht in Serie bauen konnte. LM war der erste Anbieter von WE 555 Kopien, gut gemacht zudem. Es gibt in Japan und Korea mittlerweile Alternativen zu den chinesischen Replikaten, aber man muss auch das Preisgefüge im Auge behalten. In einem Fertiglautsprecher verbaut ist das ein immenser Kostenaufwand, ich kenne kaum andere Hersteller, die mit derartig teurer Bestückung hantieren. Mit unserer Lautsprecher-Linie sprechen wir in erster Linie den amerikanischen Markt an, wo Shindo-Geräte noch verkauft werden können – und damit die ideale Kombination bilden.<br />Und es ist halt spannend nach PHY mit Provence, Appassionata, Rondo als Breitbandkonzepten wieder mal anders zu arbeiten, den anderen Anforderungen der LM Chassis andere Antworten zu geben, zu erproben was geht.<br />Ich glaube nicht, dass die von Dir angesprochene Gruppe der i-Generation sich mit derjenigen, die sich von unseren Konzepten angezogen fühlt, überschneidet. Oder… das eine muss das andere nicht ausschließen. Was wir aber öfter erleben, ist das Erstaunen der i-Generation über die klangliche Darstellung solcher “vintage“ Anlagen. Aber ich zweifle nicht daran, dass wir eine aussterbende Spezies sind. Und: Die, die am spontansten mit DIY-Konzepten bei LM-Ideen dabei waren, waren im übrigen die “uralten“ Freunde aus der L‘Audiophile-Zeit in den 80ern, von denen Du ja einige persönlich kennst.</span></span></span></h3>
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<span style="font-weight: normal;"><span style="font-size: small;"><br />T: Auch in Japan ist das Interesse an solcherart aufwendigen Gerätschaften zum Musikhören inzwischen stark rückläufig. Es ist nicht zu übersehen das dies auch eine Generationenfrage ist. Ein Wachstumsmarkt mag eventuell noch der amerikanische sein, der deutlich später als andere sich für solcherart Geräte geöffnet hat. Auch in China sind die Wachstumszahlen für HiFi auch wieder rückläufig, nachdem vermutlich in Hongkong der umsatzstärkste Markt der vergangenen Jahre zu beobachten war. Siehst Du noch Möglichkeiten für eine weitere Entwicklung in qualitativer Hinsicht?<br />KA: <span style="color: #134f5c;">Den Liebhabern von Röhrenverstärkern, mit passenden Lautsprechern, den bekannten Armen und Systemen an Laufwerken von EMT, Neumann, Garrard, Thorens ist über die Jahre das Hobby, die Leidenschaft dazu, nicht abhanden gekommen, die Beschreibungen von Anlagen in den Sonderheften von Stereo-Sound belegen das.<br />Aber natürlich sind das alles Leute, deren Lebensumstände es zulassen solche Installationen auch zu benutzen, wir reden nicht von Leuten mit kleinen Wohnungen in den engen Zentren der großen Städte. Und natürlich werden in einem Land, in dem man so früh anfing zu sammeln, was erst heute weltweit als sammelnswert gilt, die Altersstrukturen solche Sammlungen sprengen. Vieles, was heute in Japan zu verkaufen ist, geht nach Korea, in die anderen asiatischen Länder, ist meist “Vererbtes“, das neue Besitzer findet. Amerika hat die eigene Geschichte in Fortschritt und Suche nach Moderne immer schnell vergessen, High End-Audio in USA war immer etwas anders als in Japan, welche Entwicklungen die eigene Historie dort haben wird, ist schwer zu sagen. Der Markt in HK ist mir nicht bekannt, er wirkt von außen betrachtet sehr vielfältig; von Mr. Wu mit seinen WE-Nachbauten bis zu deutschen Tidal-Lautsprechern findet alles seine Abnehmer.<br />Qualität kann heute mehr als früher nur durch Absatz entstehen. Hersteller, z.B. Psvane oder LM, müssen für ihre Produkte auch Abnehmer finden. In Zeiten, in denen das äußere Erscheinungsbild einer Anlage oft wichtiger ist als deren “qualitative Werte“, kann ich nicht sagen wie sich was wie durchsetzen wird. Wenn, wie oben gesagt, das Erbe der Alten an die “Mittelalten“ verkauft wird, dauert es noch lange, bis bei den Jungen ankommt was die Eigenschaften alter Hifi-Konzepte ausmacht. Ob das für's Bestehen von Qualität reicht…. ich weiß es nicht. Ich rede hier aber nur von dem mich interessierenden sehr spezialisierten Markt, nicht von den allgemeinen Entwicklungen mit den gegebenen Techniken aktueller Zeit.</span></span></span><span style="color: #134f5c;"><br /></span>
<span style="font-weight: normal;"><span style="font-size: small;"><br />T: Heutzutage implodiert auch noch der neben Downloadplattformen übriggebliebene Markt für Tonträger im Monatsabo der Streaming-Cloud. Vermutlich wird sich sogar die gute alte Vinylschallplatte noch am nachhaltigsten gegenüber diesen Entwicklung als Nischenprodukt behaupten können. Mit dieser Art des besitzlosen Audiokonsums geht ein weiterer Verlust individueller und authentischer Musikaneignung einher. Schon in wenigen Jahren werden all die wundervollen Geräte obsolet geworden sein, die das Hören unserer Generation so nachhaltig geprägt haben. Wie gehst Du damit um?<br />KA:<span style="color: #134f5c;"> Ich finde das bedauerlich, werde es aber nicht ändern können. Aber vielleicht dreht sich ja der Wind auch wieder mal, so wie zur Zeit ein zunehmendes Interesse für die Konzepte von WE, Vitavox, Lansing, Siemens etc. entstanden ist. Hier ist das Web sicher befruchtend, Informationen vor 30 Jahren waren Kopien von Kopien, heute findet sich fast alles zum Download – der selben Technik mit der man auch Musiktitel über den Computer hören kann….. Obsolet? Shindo-Geräte werden schon heute gerne aufbewahrt, gesammelt, erfreulich für die Besitzer dieser Geräte. Vielleicht dreht sich das irgendwann ähnlich dem Oldtimer-Mark, wer weiss.</span></span></span><span style="color: #134f5c;"><br /></span>
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<span style="font-weight: normal;"><span style="font-size: small;"><br />Keith ich danke Dir für das Gespräch.</span></span><br />
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<span style="font-weight: normal;"><span style="font-size: small;">I wish everybody a nice christmas holiday break and a happy new year. Read on next year, Volker</span></span></div>
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truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-6490164199884640382015-11-25T19:33:00.000+01:002015-12-03T03:27:21.479+01:0030 Years of Revelation IV Hello to everybody following,<br />
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today I want to illuminate the distribution process of decisive Japanese findings within the 1970ties described in my last article.<br />
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<span style="color: #9fc5e8;">La Maison de L'Audiophile</span></h3>
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<tr><td class="tr-caption" style="text-align: center;">14, Rue de Belfort (Foto: N.Gütte)</td></tr>
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A small group of audio aficionados gathering under the name <i>La Maison de L'Audiophile </i>in Paris deserves the honor of publishing first the Japanese research results. Jean Hiraga and several other figures, like head Gerard Chretien, William Walter, Philippe Viboud and several more published audio tweaks, conceptions and recipes about unusual audio ideas with a foremost intention to open up a window for new interests into quality based do-it-yourself made audio. Before these days High Fidelity has got widely saturated with Japanese mass products of similar quality and many people were looking for different inspirations as its result.<br />
One major field in audio never got occupied by Japanese products in Europe, – speakers. Here in a foremost dimension British and US-American makes like Lowther, Tannoy, Kef, Wharfdale, Jordan Watts, Altec, Jensen, Electrovoice, JBL and some more, had already established a DIY kit idea. Since finished cabinets were a costly factor of market pricing, they sold their established speakers as well as kits within the 1970ties. From that point of view a DIY-mentality broke ground and here <i>Maison de L'Audiophile</i><i> </i>established in incomparable ways a highly improved level of self built quality with serious, reliable and substantial manuals for Europe.<br />
The general abundance and wide spread saturation with everyday products wasn't already common these days in Europe, so several people kept their investments low for such less essential things like audio products, for those the diy idea was a essential solution to stay in competition. No wonder that such concepts did work out again, was it so that at the beginning of the golden age of commercial audio production in the late 1950ties several US-American brands had marketed already their products as well as kit products, like the well known Dynaco, Eico and Heath<u>kit</u> tube amps.<br />
With <i>Maison de L'Audiophile </i>in Paris the most complete field of investigations and informations about audio in general terms found a home for the enthusiast. They published construction differences, design variations, material research and its physical evaluations in their central magazine publication <i><a href="http://www.asrr.org/biblioteca/Revue%20Audiophile/INDEX" target="_blank">L'Audiophile</a></i>. They additionally published drawings and schematics of amplifiers, speakers, enclosures and crossovers and construction details, which was noticed as a welcome enrichment, even when they were published in French language. And even more important, as a exceptional addition they <u>performed</u> such ideas within real life auditions. They caused history with what they did, Keith Aschenbrenner from Auditorium 23 as contemporary eye witness, did name it right on point: <i>Ecole</i> <i>L'Audiophile. </i><br />
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Some excerpts from the magazine:<br />
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<tr><td class="tr-caption" style="text-align: center;"> Nouvelle Revue du Son No. 156, 1992</td></tr>
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Central figure, as already described in my first part of this article series, was Jean Hiraga, a half Japanese and half French born person. His in Japan deeply verified experiences with Japans self contained audio culture showed completely incomparable detailed aspects, insights and conceptual unusual ideas. This knowledge advantage has been as well his base of his head start as audio journalist in France. He acted like a wide spread collecting reservoir for before unknown informations outside its origin and a rich treasury tank of incomparable informations. He did refer about amplifier designers, -topologies, speakers, drivers, components, transistors, tubes, PSUs and speaker enclosures (i.e. Anzai SRPP in 1977, WE 300b in 1979, recherché de Ms. Iwata in 1982, Onken LF enclosures - Koizumi in 1977, etc.) in a time when nobody else outside Japan did take care about such ideas. The Western Electric single ended triode 300B for example, the preferred tube driving efficient horn speakers in Japan, was in these days almost unknown in Europe (STC 4300B was its British made replacement) or completely forgotten about. When he did publish his first articles about Anzai's single ended 300b amplifier in 1979, even in its original intended culture in the US, the technology was completely forgotten about. It took another five years even in Paris till the ground was ready prepared for a wider public to understanding what it was meant to be, when he again tried to show the exceptional qualities of this technology in 1985. In the homeland of its technical heritage in the US, it needed another seven years till Joe Roberts in Sound Practice Magazine in 1992 took public care about this tube and its dedicated amplification concepts, just 20 years after Japanese audio gourmants did value these products to be absolute cult.<br />
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<tr><td class="tr-caption" style="text-align: center;">Hiraga designed transistor amplifiers (Foto. N.Gütte)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Selection of tube amplifiers at Maison de L'Audiophile's public auditions for performance. (Foto: N.Gütte)</td></tr>
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Hiraga made a living as eloquent author for audio magazines (<i>Revue du Son, L'Audiophile</i>), such position did help him to release his own amplifier lines branded as Hiraga, JH, Lectron and similar products marketed throughout the <i>Maison de L'Audiophile. </i>The later well known amplifiers like Legend 300B, Monster 8W, Némésis and LeTube are examples of his enterprises. It was him all the same to feature as well active multichanel driven systems with typical transistor power amplification from his friend Akihiko Kaneta, at the same time evaluating finest sound differences of vintage direct heated triode tubes like VT52, AD1, RE604, R120, PX4, 211 or 801.<br />
<i>Maison de L'Audiophile</i> referred about vintage speakers, tube amplifier history and design variations, transistor topologies, power supply technologies; but as well about psychological aspects of music perception, physical preferences for recording or ethical preferences of brain constitution for best listening abilities, always targeted to quality aspects without a clear commercial designation.<br />
(Chapeau! What wonderful times without neoliberalism market distinction of our today culture...)<br />
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Their attitude to perform such findings in real auditions gave the interested a chance for a real personal impression of their featured design researches. So tube amplifier technologies, speaker enclosure designs variants, record player conceptions (don't forget the <i>Platine Verdier </i>was always present for their public audio performances), comparisons of recording and storage technologies could be personally verified. They performed with original Western Electric 15A wide frequency horns and combined them with <i>Onken</i> low frequency support enclosures within little cinemas in the 1980ties and driven by SE 300b amplification. Some years later they completed to a similar built, but physically smaller realized Sato horns with mixed active multichannel transistor <u>and</u> tube amplification. These guys rolled the European red carpet for a forgotten, or better said a <i>new</i> old listening culture, which made single ended tube amplified music reception with 300b tubes to what is grown today. (More than 10 different modern copies of these tubes are today made in China, Russia and elsewhere, this fact will show the result of such pioneering enterprise.) And don't forget about my former explanation (<a href="http://truefi.blogspot.de/2015/10/30-years-of-revelation-ii.html" target="_blank">part II</a>) about Japanese hedonism, the French culture is as well not a developing country in such hedonistic terms...<br />
Within their yearly public performances in cinemas they have brought a remarkable range of efficient speaker conceptions to life. They started at the beginning with than actual hifi concepts from Focal and Fostex, the early small scaled <i>Petite L'Audiophile</i> for private users, over the real US classics with alnico magnet equipped Altec's <i>Voice of the Cinema A7</i> to original WE15A's. They followed such ideas about huge speaker installations based on M. Eijiro Koizumis Onken enclosure designs and dedicated horns and drivers from Japan. If you ever will have a chance to listen to such sort of Sato/Onken installation with active powered four way amplification designed by Kaneta, you will notice a dynamic ability and performance realism, were 99% of other equipment cannot compete with. The 1970ties and 80ties have been as well a peak time when physical reliable approved knowledge made the definition of truth in audio. And so it was a time that resonant side effects were completely separated as unwanted in theory and praxis. Concrete walled enlosure designs, or as minimum preventive action, sand filled double wall designs, have been favored above the known historic technically simpler realizations with plywood enclosures or boards (Western Electric and Klangfilm used in the 1930 to -40ties large baffle boards or folded dipole designs).<br />
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<tr><td class="tr-caption" style="text-align: center;">WE15A with Dauphin-Horn and Onken W-LF-enclosure with Westrex Acoustilens 20 80 driver<br />
with passive four way crossover at audition in cinema Espace Kiron (Foto: N.Gütte)</td></tr>
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Always on stage: the Platine Verdier here shown with Maisons standard tonearm SME 3012 with outside lead cabling and <i>Autographe</i> prepre amplifier with Taitsu coupling capacitors in the underneath, on top at the rca contacts a Maki prepre with orange Shizuki capacitors and 2SK170 transistor. (Foto: N.Gütte)</td></tr>
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If you can imagine how complicated it is to realize such shown double walled enclosure types with sand filling, just imagine their form and size, you might understand the effort and its unbelievable amount of handcrafted input to succeed. It was intended to overcome any inherent resonances for final improvements of audible superiority as result. Such giant installations never could be successful market products, but in terms of audible superiority, these guys wanted to set the pace in the western world. The 300b tubes from that time on, as their dedicated Western Electric 89 and 91 amplifiers have grown legend in the world and got to be the crowning achievement of tube audio history in the meanwhile.<br />
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But even the <i>Maison de L'Audiophile </i>has got history by now. After several failures it did finally close its doors in 2010. Ironically in parallel a wider interest in global scale (with the knowledge distribution of the WWW ) has grown to such early horn installations. This particular interest corresponds to the rising market of several replicas of Western Electric horn designs, like the WE15A, WE22A, WE13A, WE16A, mainly made in asian countries.<br />
But the Onken and Sato loudspeaker concepts, which have been widely featured by <i>Maison de L'Audiophile, </i>still don't have been rediscovered by a wider public interest, only some intrepid connoisseurs did realize these as home made products, there is not one commercial company which did take care about such ideas.<br />
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<span style="color: #9fc5e8; font-family: "arial" , "helvetica" , sans-serif;">Not quite...</span></h3>
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<i>"The year is 2015 AD. Gaul is entirely occupied by Western Electric and its modern copies. Well, not entirely... One small place of indomitable Gauls still hold out against the invaders. And life is not easy for the legions..."</i></blockquote>
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Norbert Gütte is a eyewitness of the Maison de L'Audiophile and visited some of their auditions in Paris, which created a general change of his understanding about audio performance. I thought it would be a good idea to interview him about this time. He is a woodworker with exceptional skills, but on the other hand he is as well a person who does want to create huge theories about such things. So he didn't want to make an interview and responded to my basic questions about the importancy of facts, influences and standards, which shifted his ideas in these early days in Paris with the simple words: "Just more real, thats it"<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEz51g10eNm3VcHdKmoxm_5TMUmaTgcD-D1lRqD3gPHU9HC47R7JpWWL6FsPSE9ati5hZ9EVj1gezu-gkK3Xat9aZNjNW4KG_dZwEkgai_zAvvNimiQteFILJD94RJHsCAMzeLxHOXi27M/s1600/G2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEz51g10eNm3VcHdKmoxm_5TMUmaTgcD-D1lRqD3gPHU9HC47R7JpWWL6FsPSE9ati5hZ9EVj1gezu-gkK3Xat9aZNjNW4KG_dZwEkgai_zAvvNimiQteFILJD94RJHsCAMzeLxHOXi27M/s640/G2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gütte did realize <i>Voice of the Theater A7</i> (with wings) enclosures for his personal use in 1987 after his visit in Paris</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZlaVMWe7OAG3hb7TgoZT_aHKbH81RGcQAWTZcV2x-F2I-zUkE6cr37jziP3P7v9U2cp3FZ_nUJ2b4vYAXj8GQbyaJbBW7G6wKGteNi9BfLkmj-ST-RuLh4vz0BhoDPGCc-qMd-OMgXg2-/s1600/G1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZlaVMWe7OAG3hb7TgoZT_aHKbH81RGcQAWTZcV2x-F2I-zUkE6cr37jziP3P7v9U2cp3FZ_nUJ2b4vYAXj8GQbyaJbBW7G6wKGteNi9BfLkmj-ST-RuLh4vz0BhoDPGCc-qMd-OMgXg2-/s640/G1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Another realization of VotT A7 in 1998 for a customer</td></tr>
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Norbert Gütte founder of <i><a href="http://www.lignolab.com/de/home/" target="_blank">LignoLab</a></i> was one of the early followers of such idiosyncratic loudspeaker conceptions. He visited in the 1980ties some of the public performances by <i>Maison de L'Audiophile </i>together with Keith Aschenbrenner. He realized that these speakers and dedicated sets were to be exceptional well matches of his audio conception in mind. He told me that he always wanted to realize for more than twenty years such complex systems with double walled sand filled enclosures for a wider audience. A lot of people know him for the perfection of woodwork he did manufacture with <a href="http://www.auditorium-23.de/Album/Einleitung.html" target="_blank">Auditorium 23</a> and its loudspeaker range, like the well known Rondo, Solovox or Provence. All named for a completely opposite understanding and technical realization of the enclosure function and discipline. These were designed to use a mild support of the enclosures resonant properties as extension of their full range drivers (PHY Salabert) harmonies and tonalities, in a way only acoustical instruments can show up with as to be these speakers typical unique qualities.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcljAPuQAhibzfCjJMx5eG36z9rGe2qM2-KwoJWd3QyyC7aABU7Hx4GAhjZ_Ug12Du1PYDi_pZL4ltpR3Dco5hdsiXFdfFl2tpRJAUh3EVcAAyGNQ3xo1VPi1mGW0eXMDToiz8XSlH-65g/s1600/Onken360l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcljAPuQAhibzfCjJMx5eG36z9rGe2qM2-KwoJWd3QyyC7aABU7Hx4GAhjZ_Ug12Du1PYDi_pZL4ltpR3Dco5hdsiXFdfFl2tpRJAUh3EVcAAyGNQ3xo1VPi1mGW0eXMDToiz8XSlH-65g/s640/Onken360l.jpg" width="473" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">360l Onken LF-enclosure with <span style="font-size: x-small;">pneumatic decoupled <br />sand filled Four Cell Horn (Onken design realized by Lignolab) and JBL HF-unit </span></td></tr>
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Norbert Gütte offers with LignoLab a full line of loudspeakers dedicated to the estate of <i>Maison de L'Audiophile </i>conceptions and their authentic heritage in actual form. The above shown 360l Onken enclosure is combined with a precisely pneumatic decoupled and sand filled Lignolab four-cell-horn for the upper mids and JBL 075 ring radiator with bronze horn extension for the hf-range. Such a speaker is seen in terms of the Ecole L'Audiophile as a medium sized concept for people with limited room preferences! Güttes realized manufacturing and finishing quality of such speaker line is dramaticly improved, such perfection was never before available.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTv1QJA7CIG9sFm0tY6MMjOTM3u6GAbS1v9jnu70IZFuCwuI3pn9Vo0F5zpVOg-RWW6Wvn1LCKCyFfI6ESoirzqXyW7HzmJ2t8G0cSHNVg8d7ys6TmtNEhUK1CptcXGB-l-261lhWMbhsL/s1600/IMG_2732.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTv1QJA7CIG9sFm0tY6MMjOTM3u6GAbS1v9jnu70IZFuCwuI3pn9Vo0F5zpVOg-RWW6Wvn1LCKCyFfI6ESoirzqXyW7HzmJ2t8G0cSHNVg8d7ys6TmtNEhUK1CptcXGB-l-261lhWMbhsL/s640/IMG_2732.jpg" width="426" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEholk6iZjjQF7cbgNY6vytsn7hJQEkJgWFQSM2IzC2qQ5g4F-fh6F1H4-J2yBvgfyQYqNq0eEbJgoeCqdC-9QQi4Pq8TqyD4auW0wdoWcVM37ymDiAtu-WrSMZ3nvaOU-cTvh_3XJDGSBNm/s1600/Ligno_1_4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEholk6iZjjQF7cbgNY6vytsn7hJQEkJgWFQSM2IzC2qQ5g4F-fh6F1H4-J2yBvgfyQYqNq0eEbJgoeCqdC-9QQi4Pq8TqyD4auW0wdoWcVM37ymDiAtu-WrSMZ3nvaOU-cTvh_3XJDGSBNm/s640/Ligno_1_4.jpg" width="426" /></a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Pneumatic decoupled construction to isolate the Sato horn from LF-resonances. </span><br />
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Norbert Gütte himself didn't want to compromise his own audio set with room restrictions. He himself prefers the largest installation known from these early days in Paris, because of its uncomparable dynamic attitude. A combination of a sand filled Onken W cabinet, featuring two 15'' drivers together with a sand filled Satohorn of roughly one square meter opening for the lower medium frequency range and a additional sand filled <span style="text-align: center;">Lignolab 4C-500SF (Four-Cell) -Horn</span> for the upper mid frequencies, both pneumatic decoupled from the lf-enclosure. Additionally extended for highest-frequencies with the same JBL ring radiator, supplied with his own bronze horn extension for a tremendous improved harmonic radiation. All components are mechanically isolated with his complex low frequency decoupling damper system, adjustable for different weights and size. This system is absolute unique in efficient elimination of resonant effects and there is no other <a href="http://truefi.blogspot.de/2015/04/refinements-of-certain-stage-low.html" target="_blank">product</a> like this worldwide.<br />
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Of course he performes for his customers with a maximized regard to authenticy. As with <i>Maison de L'Audiophile</i> he uses a Platine Verdier turntable with magnetic isolated platter for his demonstrations, a long SME 3012 tonearm with outside fixed thick cabling and Denon DL103 cartridge with his own supplied bronze case. In difference to the parisian performances in history Gütte introduces additionally different pneumatic isolated component racks and systems to improve his active four way Kaneta amplifier system and different program sources to maximum refinement.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG1R3kgwJv2SCgRziyqhzv4vZI0fRYOZVW0PruTMdk2CRr0lrBw7eUH2S0EUFdByWjtmwgi_7E6psERUk6uKKbttsaRhmcXperfFT2KDEhFzFXssDWKzZeBd9OMl9YUGQmTinL3C33uf2q/s1600/Ligno_2_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG1R3kgwJv2SCgRziyqhzv4vZI0fRYOZVW0PruTMdk2CRr0lrBw7eUH2S0EUFdByWjtmwgi_7E6psERUk6uKKbttsaRhmcXperfFT2KDEhFzFXssDWKzZeBd9OMl9YUGQmTinL3C33uf2q/s640/Ligno_2_1.jpg" width="640" /></a></td></tr>
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<span style="font-size: x-small;">Pneumatic decoupled JBL HF-unit with bronze horn extension</span></div>
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Such a Onken-Sato-installation has a quite good space preference 1.13 x 0.87 meter for the footprint and a solid 2.45m height for the final position. (Other people need space for their car collection, their yachting or their planes....)<br />
<span style="text-align: center;">A small scale edition comparing such installation ist the sand filled double walled Altec Voice of the Theater A7 enclosure, again combined with sand filled Lignolab 4C-500SF (Four-Cell) -Horn and JBL ring radiator, both pneumatic decoupled from the LF-enclosure.</span><br />
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And last not least there are some other components showing some influences of <i>Maison de L'Audiophile. </i>He uses a fully active driven four way Kaneta amplifiers with modern technology DSP instead of analog crossovers to find control about these monster speakers.<br />
If you are interested to follow such classic but improved installations with the most perfect finished enclosures money can buy, than you should give Norbert from <a href="http://www.lignolab.com/de/home/" target="_blank">LignoLab</a> a ring. And of course in french tradition like in the early days in Paris, he is using a Platine Verdier with outside cabled SME 3012 and Denon DL103, but not with lead housing like in Paris, instead a bronze housing will be his standard. Bronze, why bronze? That is another article following...<br />
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Read on soon, Volker<br />
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<span style="font-size: x-small;">Note: All black and white reproductions (if not otherwise declared) shown with respect to the archive of the magazine L'Audiophile, Paris, France.</span><br />
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-15015090606242657422015-11-08T11:15:00.001+01:002015-11-10T18:05:31.256+01:0030 Years of Revelation IIIHello to everybody following,<br />
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today I want to find more and further explanations about the fundamental historical change initiated by Japanese audiophiles in the 1970ties. Before such comprehensive evaluation based on extensive human sense perception was brought into culture, a typical pure technical analytical understanding of logic measurement arguments was state of audio fidelity perception. Even the mode of highly professional products with a necessity for definition and standards, for the broadcasting and television industry was mainly defined by ingenious superiority of their designers and their compliance to a purely technical understanding of audible processes. Here Japan didn't constitute any exception like everywhere.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCSf-vXSpOslW7pF3Uft-fCYMMH5VqvDMzeznUWdOUcEC8LmDe6qxSdVb79LcKc9xUCyCbqlnvPOOYXHV13jPw6Jfzk5BzAZUmSdNcYWpd06VZysjqRRLd37GfC9qDzMX7EWh_xj5AwAIS/s1600/denon-table.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCSf-vXSpOslW7pF3Uft-fCYMMH5VqvDMzeznUWdOUcEC8LmDe6qxSdVb79LcKc9xUCyCbqlnvPOOYXHV13jPw6Jfzk5BzAZUmSdNcYWpd06VZysjqRRLd37GfC9qDzMX7EWh_xj5AwAIS/s400/denon-table.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Denon turntable unit from 1970ties for the Japanese broadcast industry</td></tr>
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Listening experience and aural competence never have been a natural given qualification of mankind, it is as many other refined human senses are a result of intensive training of abilities. The ear is a sense organ, which relies in a tremendous grade to a wide spread individualized experience search. A conductor of a complex symphonic orchestra for example acquired his listening competence, i.e. the opportunity to difference out several dozens of singular instruments at once, just because of his regular training. This might have trained him as well a ability of distinction for tonal refinement, which will be up to a factor of 10 higher than ordinary people will show, let's say by a bus driver. The typical daily noise floor might have effected here the ear into opposite direction.<br />
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Several hundred years of man made insistent experience with acoustic instruments, equally with their evolution in design, manufacture and performance, have created a deeply rooted sense for natural originated tonalities and detailed harmonic structures in almost any culture. "Unplugged (i.e. without electrical amplification)" musical performance practice with solely acoustical arranged instrumentation is a perfect base for such training and improvement of the own listening ability. Serious practice and internalizing of these senses bring us straight into all limitations within musical recordings, these are inherent to any form of acoustical reproduction and are so typical with audio playback technologies. Here a always more or less prominent compression of the general dynamic attitude together with a loss of detailed expression of micro harmonic details are the foremost problems of all forms of audio reproduction. Such losses have been accepted traditionally more or less over decades as to be typical, so a overcoming of such limitations was one major intention of the early evaluation shoot outs in Japan of the 1970ties. Early sound transducing units from the 1930ties cinema installations like the Western Electric Horn Systems together with their dedicated amplifying units with direct heated triode tubes demonstated in these days a highly graded superiority in almost any case of such former explained attitudes. Well experienced and typically <a href="http://truefi.blogspot.de/2015/10/30-years-of-revelation-ii.html" target="_blank">Japanese cultivated listeners</a> detected apart from commercial market mechanisms within such old technologies a stage of aural realm and refinement within music reproduction, which never again reached a similar successfully completed level again in history.<br />
The technically seen most simple stage of early amplification, a single ended tube amplifier with one power triode, namely the Western Electric 300B in cooperation with its dedicated designed receiver unit (WE555A compression driver) using a wide band horn transducer telephone, outperformed any newer, <u>technically advanced</u> technology in many terms. The horn development with its wide range frequency dispersion (between 70 and 5000 hz) and its dedicated compression driver unit works physically seen like a typical acoustic instrument in giant form. It shows the typical attitudes known from such wind instruments (and the typical efficiency in dynamic and loudness response), which have physically seen different properties than a wave radiated by a paper cone. Fed by the advanced organized harmonic signal structure of a direct heated triode, such a system can convince with a by far less technical appearance in its tonal structure. Lot more naturally radiated wavefronts and even exceptional micro dynamic performances did make the much higher THD (typically 5% for directly heated triodes) of such systems to a forgettable incidence. From these early days of rediscovery in Japan in 1970 the Western Electric Systems obtained cult status first in Japan and Korea, before their legend started as well in Europe. The WE300B triode got in the coming 20 years to be a synonym for direct heated triodes, may be even to a synonym auf audio tubes in general. But within these days vintage original Western Electric made original tube samples had been still available in useful amounts and were even still in production together with other US brands like Cetron till the end of the 1980ties. Their disappearance gave way for more and more Chinese, Russian and other remakes, all unable to perform at a similar advanced level of properties which is inherent with NOS original tubes.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimeienxxcxSZFPztLeUKYLwO4dsUx1Uspp13FMburoT_fDMjIvr8zvkfD5BgoSRq3BSN2HD85_tMVSGo5rUIA6PajWNsOA5APwOteZL_Ey1cpRq8eKK-ZN_c_NFNfJToIWRz3wtwDh9jrQ/s1600/red16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimeienxxcxSZFPztLeUKYLwO4dsUx1Uspp13FMburoT_fDMjIvr8zvkfD5BgoSRq3BSN2HD85_tMVSGo5rUIA6PajWNsOA5APwOteZL_Ey1cpRq8eKK-ZN_c_NFNfJToIWRz3wtwDh9jrQ/s640/red16.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Typical installation of a WE16A (in untypical colored red) in a traditional Japanese timbering house.</td></tr>
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From today it clearly can be seen that in Japan in these days a drastic change of music perception did take place. It took two decades to influence the listening attitude of audio aficionados all over the world and to create interest for more individualized sensations as listening preferences. The definition of quality with electric amplified music reproduction was not any longer evaluated by a printed superiority of technical data sheets. Instead a human emotional significance and sensitiveness as general base of audible evaluation criteria broke ground outgoing from a small group of <a href="http://www.stereophile.com/interviews/597kondo/index.html#8Uvv2KvjtS6m0Jwj.97" target="_blank">elitist circles</a> in Japan (Read the interview with Hiroyaso Kondo to understand). There in such a fondness hedonistic culture exceptional vintage horn installations did find a nutrient-rich soil to set out. Allocated to the small scaled size of the country Japan and its typical high density of population and resuming minimalistic apartment sizes in its metropoles, a incomparable audio culture did find exceptional unique preconditions for its solely <a href="http://noxrpm.com/post/911005984/sakuma-san-and-mono-tadashi-san-maira-kalman" target="_blank">hedonistic</a> realizations of historical intended audio installations.<br />
So former cinema horn installations got installed into tiniest rooms. A exceptional developed collecting mentality of rarest items forced such preconditions to sometimes unbelievable peaks and drove iridescent flowers.<br />
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Who does not remember the widely published under earth build horn developments, which ended with their drivers far outside in the garden? Additionally a highly advanced sense for product qualities exaggerated some of the most interesting, elaborated and unrestrained audio installations existing in the world, even within smallest space conditions for its realization.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpM8OLYd9bCcAinMB7WVHNorCYwyOzbG29bPrTRoOHg2AlLKGIwN97gxLV5EYvf-bDo4gaBYxTjBTbXAM6E1EiH83obTflVKCyQFRPyaKWsliwAcWwCRQqo7S0UtfAJGEXRmDt-UoSEUhR/s1600/f0068878_17421949-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpM8OLYd9bCcAinMB7WVHNorCYwyOzbG29bPrTRoOHg2AlLKGIwN97gxLV5EYvf-bDo4gaBYxTjBTbXAM6E1EiH83obTflVKCyQFRPyaKWsliwAcWwCRQqo7S0UtfAJGEXRmDt-UoSEUhR/s640/f0068878_17421949-1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">WE16A matching perfectly the widths of the room</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyw-U5ZP5WdD4v8FVr17oIArvGycOW0wOAM-KmQB6BzHRjWqrNmIxeRRW94GQkd1SIXJEwT1KaE6pqDSYBCfjXiRUcvLPCs1NGk7E8zw7cT66-OlATcSGCd6y1GszHPc7gaIaOr_h02v0A/s1600/hon+3402.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyw-U5ZP5WdD4v8FVr17oIArvGycOW0wOAM-KmQB6BzHRjWqrNmIxeRRW94GQkd1SIXJEwT1KaE6pqDSYBCfjXiRUcvLPCs1NGk7E8zw7cT66-OlATcSGCd6y1GszHPc7gaIaOr_h02v0A/s640/hon+3402.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">WE16A in a Japanese apartment</td></tr>
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A small selection of images (only three rooms from altogether six are shown here) with respect to one of the most interesting collections of vintage audio arranged as a private museum in an apartment of Dr. Takeshi Mikami (<a href="http://www.gokudo.co.jp/" target="_blank">images with respect to</a> <a href="http://www.gokudo.co.jp/">gokudo</a> ) in Japan:<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Mastery of Meaningful Listening </span></h3>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">or: </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-style: italic;"><span style="font-size: small;">like hearing took back to emotional </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; font-style: italic;">integrety of music</span></h3>
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Looking at the above shown images shows very clearly that a completely different understanding of audio culture did have taken place in Japan after the 1970ties. The interest of such lively, vivid and intense scene still existing in Japan, created incomparable products made with the highest degree of mastermind culture in order to find the last and tiniest compromising aspect in a audio playback system.<br />
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Such research was objectivated to a major intention of finesse and ease, both typical adjectives with natural instrumentation. It was the base for such evaluations to give them a almost religious inspired mission of perfection. Their resulting amplifiers didn't explore "the" common targets of standards, than to find individual definitions of least incomparable qualities and subtile harmonic expression. The amplifier "shootouts" (name est. in the US-american english) reminded me more to the traditional wine or food tasting events in the western world, than to typical technical evaluations with precisely arranged target lines and a resulting hierarchy as quality reference i.e. better selling argument in commercial terms which is the common practice over here.</div>
In Japan as well a wide spread community established a do-it-yourself made audio product culture to before unknown levels of refinement (speakers, amplifiers, crossovers, etc. and fed by a comprehensive accessory business with transformers, enclosures, components and almost any part of high quality). This scene was mainly intended to overcome the typical limitations of commercial mass market products and to find alternative solutions of highly increased quality preferences and not, like in the western world established definition of diy, as a "low cost side business". It was said in the 1980ties that more than 100.000 people were involved into such movement. It was a energetic market, that even internationally acting audio companies like Lux-Corporation (Luxman), tried to establish from specialized branches high quality products. At the same time lots of small accompanying side businesses, like Yoshimura Labs, GOTO, GIP, Onken, Tamura, Tango, etc., established with highly focused product ranges of dedicated parts. Several individual figures acting as forerunners of exceptional sophisticated audio standards defined individuality as unique position and as highest claim in amplifier design (read the interview with <a href="http://www.monoandstereo.com/2011/07/exclusive-interview-with-mr-matsumoto.html" target="_blank">Mr Matsumoto</a> of Mactone.Co for better understanding). Names like <a href="http://www.japantimes.co.jp/community/2002/07/14/general/gimme-that-old-time-hi-fi-sound/#.VkACaYS9Xhs" target="_blank">Morikawa</a>, <a href="http://www10.big.or.jp/~dh/" target="_blank">Sakuma</a>, Anzai, <a href="http://www.shindo-laboratory.co.jp/" target="_blank">Shindo</a>, <a href="http://www.stereophile.com/interviews/597kondo/index.html#8Uvv2KvjtS6m0Jwj.97" target="_blank">Kondo </a>or <a href="http://www.geocities.jp/ph7833/dc_amp/DCFILE.htm" target="_blank">Kaneta</a> established as to be exceptional significant designers or better said sound creators of mostly handmade instruments. They were respectively connoted to a highly valued master degree like the typical Japanese cultivated graduation "san", instead of been evaluated with the adjective "best".<br />
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Read on soon, Volker<br />
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<br />truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0tag:blogger.com,1999:blog-8167256698462810317.post-67315988599033173232015-11-01T14:37:00.001+01:002015-11-02T14:58:46.825+01:00AAF Krefeld<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Eigentlich hatte ich mir fest vorgenommen dieses Jahr, und dies im Gegensatz zum <a href="http://truefi.blogspot.de/2014/11/analog-forum-krefeld-2014.html" target="_blank">letzten</a>, die Veranstaltung Analog Audio Forum in Krefeld nicht wieder mit kritischen und doch auch amüsanten Beschreibungen zu kommentieren. Aber nach meinem Besuch gestern komme ich dennoch nicht umhin, einige der dort angestellten Bemühungen zu hinterfragen. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Um einiges zu dreist gepriesen und das auch im vollen Bewustsein um die dargebotene Minderqualität des Produktes, scheinen einige Aussteller den "<strike>un</strike>bedarften Interessierten" hinter die vielzitierte "Fichte führen zu wollen". Diese unverblümten Methoden von Überrumpelung erscheinen mir als typische Verteilungskämpfe eines schnell alternden und schwindenden Geschäftsfelds, wo scheinbar das Heute schon nicht mehr an ein Morgen glaubt... So versuchen nun es noch einige, koste es was es wolle, – also um jeden Preis, also auch den des Kunden selbst, ihren Kram nur noch loszuschlagen. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Im zurückliegenden Jahr beschrieb ich das Prospekt der gesamten Veranstaltung folgendermassen: </span><br />
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<span style="color: #636466; font-family: "arial"; font-size: 13px;"><i>Das Analog Forum ist eine Veranstaltung der Analog Audio Association, einem Verein der schon vor langen Jahren mit dem Ziel gegründet wurde, den Artenerhalt der aussterbenden Spezies</i> <i>"Vinylschallplatte" mit </i></span><i><span style="color: #636466; font-family: "arial"; font-size: 13px; text-decoration: line-through;">der</span><span style="color: #636466; font-family: "arial"; font-size: 13px;"> Nachhaltigkeit </span><span style="color: #636466; font-family: "arial"; font-size: 13px; text-decoration: line-through;">und sektiererischen Frische von Spielzeugeisenbahnherstellern und deren typischem weltoffenen und innovationsfreudigem Habitus Profit zu schlagen</span><span style="color: #636466; font-family: "arial"; font-size: 13px;"> mit einem Forum entgegen zu wirken.</span></i></blockquote>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Dem kann ich erst einmal nichts Neues und damit Wesentliches hinzufügen. I</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">m sich abzeichnenden Niedergang der Musikträgerformate wird vermutlich die Vinylschallplatte als einziges nennenswert überleben können. Dementsprechend breit war dann auch das Angebot an entsprechenden "Drehapparaturen". Technisch betrachtet waren diese ähnlich konzipiert und von formalem Dilentantismus in meist verwechselbare Gestalt gebracht. Ein immer gleicher Materialmix aus Edelholz, Metal und Glas, zunehmend mit immer größer werdenden CNC-gefrästen Ikons veredelt, soll helfen die Wohnzimmerkultur über ein Mindestniveau von Selbstbauapparaten zu erheben. Ich frage mich wann es mehr Anbieter von Laufwerken geben wird, als der Markt noch Käufer für Schallplatten anspricht.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Aber schön der Reihe nach</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">So erfreute ich mich auf dem Weg nach Krefeld; und dabei wurden tief verschüttete Kindheitserinnerungen </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">an folgender aufwendig inszenierten Installation </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">geweckt; als ich im Hauptbahnhof </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">(!!!)</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Neuss beim Umsteigen etwa 15 Minuten Aufenthalt hatte</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">:</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Alles dreht sich, alles bewegt sich...</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Einige Zeit später erreichte ich dann das Gelände des Mecure-Tagungshotels in Krefeld Traar bei allerbestem Oktoberwetter, genau wie schon im Vorjahr hätte man die letzen sonnigen Tage vielleicht besser nutzen können... Bereits auf der Zufahrt zum Eingangsbereich entdeckte ich folgendes Fahrzeug mit auffällig doppeldeutiger Beschriftung: </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">"Fast Audio, das kann ja heute wieder heiter werden", dachte ich mir, wenn dieses "claim" sich durchziehen sollte. Aber es sollte schlimmer kommen... Ich habe jetzt keine Lust ausführlich zu beschreiben wie einige Aussteller unverhohlen nachlässig vorführten, teilweise weit jedem audiblen Mittelmass entrückt wurde Standartriegelware als "audiophilen Feinkost" angepreist, – und natürlich selbst diese war kein Sonderangebot.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><i>Aura</i> aus Essen legte die Stange dann auch gleich ganz oben auf, da wurde in der Einführung zur Demonstration der bekannten <strike>Plastiktröten</strike> CD-Hörner von Avantgarde Akustik darauf verwiesen, dass der zugehörige Vollverstärker im reinen Class-A-Betrieb ein volles Watt erzeugt und damit nun der gesamte Kleinsaal beschallt werden würde. Der aufmerksame Betrachter fragte sich allerdings warum an den Tieftonmodulkisten jeweils eine Leuchtdiode den Betriebzustand anzeigte? Dem auch mit blauen Leuchtdioden zur optischen Aufmerksamkeit verholfenem Abtaster von Soundsmith (USA) wurden geradezu magische Kräfte von </span><i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Aura </span></i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">attestiert. Das mit Druckaufnehme</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">rn bestückte Tonabnehmersystem soll dermassen linear den gesamten Frequenzband wiedergeben, dass eine Entzerrung nach RIAA Standart nun gar nicht mehr notwendig sei. Hallo, was habe ich denn jetzt nicht verstanden? RIAA Emphasis in der Schneidekennlinie? Wie kann man mit Linearität diese, eine äußerst krumme Kurve wieder gerade biegen? Aber egal, fragt ja eh keiner, Hauptsache Eindruck und Welle machen, </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">dafür ist man ja da. Man muss der Vorführung zumindest attestieren, dass sie zu den besten an diesem Tag dort gehörte. Dennoch, die betont sparsam und farblos spielenden </span><strike style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">Plastiktröten</span></strike><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Kugelwellenhörner (</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">waren </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">dafür umso farbiger orange lackiert) </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">überzeugten zwar mit vergleichsweise dynamischen Mitteltonatributen, erreichten aber nicht im Geringsten die harmonisch souveräne Musikalität die anderen großen Hornsystemen der </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Vergangenheit zu eigen ist. Im Vergleich zu solcherart erwachsen klingenden Hornsystemen, vornehmlich aus der Blütezeit des Tonfilms der 1930er Jahre, wirkte die Installation wie Plastikspielzeug.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Für mich einer der absoluten Höhepunkte der Unverschämtheit* war die Vorführung des Veranstalters selbst. Mit aktuellen Modellen der Tannoy Prestige Reihe wurde am Modell Canterbury GR eine Orgelmusikaufnahme vorgeführt. Nun, ich muss mich nicht als Freund der frühen 15-Ohm-Tannoy Lautsprecher an dieser Stelle outen, Menschen die diesen Blog verfolgen, kennen bereits meine Interpretation des Tannoy-Chassis. Ich persönlich kenne die Canterbury der ersten Prestige Serie nur zu gut, diesem mit damalig modifiziertem HPD Chassis bestückten Model war bereits Ende der 1980er Jahre eine eindeutige dynamische Trägheit und damit verbundener Mitteltonauflösungsverlust im Vergleich zu früheren Versionen beschieden. </span><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Aber das was gestern dort </span><span style="font-family: "helvetica";">im Raum „Klarheit“</span><span style="font-family: "helvetica";"> (!) vorgeführt wurde, schlug dem Fass den Boden aus. Die heutigen Modelle mit keramischen Magneten und mit Schwingspulen für 600 Watt Heizleistung optimiert, verhalten sich zu den von mir geliebten </span><span style="font-family: "helvetica";">Chassis mit einer Belastungsgrenze von 30 Watt, wie die heute verbreiteten SUV's zu einem 1970er Lotus Super Seven. Das vorgeführte Orgelkonzert klang unterirdisch, geradezu grausam – eine Folter für das gebildete Ohr. Triefend schwerfällig und dabei laut, mit matschig vorgetragener Mitteltonauflösung demonstrierte diese Vorführung die typischen Einschränkungen moderner kommerzieller Audiokomponenten mit Nachhaltigkeit. Man muss diese Vorführung schon fast als Affront an die anwesenden Zuhörer werten, schon gar wenn man die AAA als Verantwortliche im eigenen Auftrag versteht.</span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-family: "helvetica";">Man ist heute schnell geneigt zu sagen: "Früher war alles besser". Das glaube ich aber inzwischen nicht mehr so ganz, zumindest was den Zeitraum meiner eigensten Erfahrungsuche im Audio-Bereich angeht. Ich glaube zunehmend, dass die über dreissig jährige Beschäftigung mit diesem Thema mich selbst durch vielfältige Erfahrungen verändert, verschoben und geprägt haben. Das ich dabei schon lange nicht mehr an die selbstheilenden Kräfte eines Marktes glaube, muss ich nicht mehr betonen. Das ich dabei vielleicht auch die Kompatibilität zu einem Massenmarkt zugunsten andere Qualitäten aufgegeben habe, ist ebenfalls richtig. Schon seit langem bin ich des Niederganges kommerziell "verschlimmbesserter Produkte" überdrüssig, führt mein Weg ins Glück nur noch zu ganzheitlich verständlich produzierten Dingen mit nachhaltiger Wirkeffezienz. Produkte die sinnliche Erfahrungen optimieren und dabei auch den Funktionszusammenhang bewahren, solche die individuellen Ansprüchen Raum zugestehen und gleichermassen dem zunehmenden Verlust an Sinnstiftung unser Gegenwart zuwiderstreben. </span><span style="font-family: "helvetica";">Im konkreten Fall und Anlass reden wir über Audiokomponenten, die es vermögen ein Musikgeschehen noch in seiner Ganzheitlichkeit zu erfassen, wirken zu lassen und die technische Komponente ihrer Konstitution vergessen zu machen. Solche Geräte gab es natürlich einmal mehr nicht zu hören in Krefeld, aber wenn ich ehrlich bin hatte ich das auch nicht erwartet. Aber wenn nicht dort, wo denn dann?</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">* aus dem Duden:</span><span style="background-color: white; font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Ärgernis, Dreistigkeit, Frechheit, Gemeinheit, Respektlosigkeit, Schamlosigkeit, Skandal, Ungehörigkeit, Ungezogenheit, Unverfrorenheit, Zumutung; (gehoben) Ungebühr, Ungebührlichkeit; (bildungssprachlich) Impertinenz, Insolenz; (umgangssprachlich) dicker Hund, Hammer; (umgangssprachlich, oft scherzhaft) starker Tobak; (abwertend) Infamie; (umgangssprachlich abwertend) Pampigkeit, Patzigkeit; (salopp abwertend) Chuzpe; </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><br /></span>truefihttp://www.blogger.com/profile/18197073710915113770noreply@blogger.com0