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About LarryC

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  1. Naturally I'd agree with this (see admittedly pricey equipment list) but would add Basis. They have a very nice, pure, musical sound, impeccable construction that lasts forever, etc. Their tone arms are truly world class. Robert Harley of The Absolute Sound is over the moon about the line. Sadly, AJ Conti, the analog genius behind the line, wasn't even 60 when he passed away just a few years ago. - Larry
  2. Rage by Bob Woodward. Woodward's methods and "secrets" are well described there and elsewhere. The result is extremely credible and extraordinarily easy and quick to read. You'll breeze right through it. Informative detail on numerous puzzling stories you've heard over the past year. https://www.simonandschuster.com/books/Rage/Bob-Woodward/9781982131739
  3. Very interesting and good to hear. No, no provision to change the class. What wattage output at 8 ohms do you estimate for mine? What do you think might be the sound difference between A's and mine? - Larry
  4. Very interesting, Backfire! What db output would be generated by a couple of watts into Class A? I don't believe any schematics are available for a Joule OTL, which makes them very difficult to repair. I use Rich Brckich of Signature Sound in Liverpool, NY, the one who worked with Jud for many years. Yes, they do sound superb. -- Larry
  5. Thanks, Backfire. Mine have been described as very esoteric (they probably all are!). Jud called them "class A SET" (they may not be SETs). They do sound like class A as well as like the OTLs I have heard. Where are you located? I'd be glad to have someone stop by for a look-see if desired. Below is Jud Barber's writeup of the design of the circuit you wanted. Do you know of another amp designed like this one? There are those, like Harry Pearson, who have stated this is one of the best amps they have ever heard: "The Joule Electra VZN-100 is a single ended triode power amplifier that does not need an output transformer. The output stage consists of asymmetrical pairs of paralleled triodes, three tubes per half, which are driven out of phase and then paralleled resulting in cancellation of the DC component in the output of the amplifier. This type of design requires very careful layout and attention to the multiple power supplies required for proper operation of this circuit. The circuit is referred to as a bridge configuration, but the similarity stops there. The overall circuit design takes advantage of numerous tweaks. The circuit is biased full Class A at 100 watts into 8 ohms. The design goal was to drive specified speakers with an average input impedance of only 3.2 ohms." (The K-horn bass driver has 3.2 ohms impedance as I recall.) Other circuit details are provided in narrative form. I doubt that I can answer any questions, but I can refer you to a capable tech who worked with Jud for over a decade. -- Larry
  6. Thanks Backfire. Mine have been described as very esoteric (they probably all are!). Jud called them "class A SET" (they may not be SETs). I'll dig out Jud's description and post it some day. They do sound like class A's as well as OTLs. Where are you located? I'd be glad to have someone stop by for a look-see if desired. -- Larry
  7. My understanding is that the output tubes are NOT necessarily capacitor-coupled to the speaker in an OTL. That apparently was the case with very old designs such as Futterman, but not more modern designs such as my Joule Electra. There, my repair guy is emphatic that there are no capacitors in the Joule output signal path. He thinks the speaker is directly connected to the plate of a 6C33B. Jud Barber, who designed and made Joules, felt strongly that music detail is lost in an output transformer. That may well account for why Joules are extraordinarily transparent, and very linear to my ear. However, it is very difficult and costly to design an amp without an OPT. Otherwise there would be more of them! Disadvantages are high current consumption and heat output. My heat output with only 12 OP tubes is tolerable but does need A/C. Joule 100-watt OTLs have a rather high 10 ohms output impedance, so that the sound is a little thin and light in the bass. I try to compensate some with component selection including speaker wire, but by and large my system is very well balanced IMO. My Joule VZN-100's have six 6C33B's on each side. Like Atma-Sphere, the issue is addressed by having more tubes to reduce impedance than you would need in a P-P. -- I just don't have as many as Ralph K. does. I would put my amps up against any that I have heard. -- Larry
  8. Off-topic, to Dave Mallett: Weren't you going to move to Beltsfile, MD or some place like that? Where are you located at present. I live very near there and would like to chat. Garymd lives not very far from there, and would want to do the same. email me at larryclare@aol.com. Thanks. -- Larry
  9. What a fascinating collection of ingenuity and expertise! My avatar (qv) is one of a pair of Joule Electra 100-watt OTL monoblocs. Jud Barber had a wonderful sense of design, and I find there amps very attractive. He apparently wasn't a great circuit engineer. I have a JE preamp which has always been my favorite preamp. Jud has long faded from the scene, and his products are now very hard to find on the used market, for good reason. Of course, I can't tell you a dam thing about them, -- Larry
  10. Micro, is this the same fundamental design, or iteration, as the "London" cartridges from the 1960's? I've never heard one since then, but recall they had a great, very clear, and rich musical sound, perhaps the best of any cart then available. However, like too many carts of that era, record scratch and wear that occurred on virtually each playing were all too audible, and no one wanted to lose their record collections that fast. The Fairchild 232 (MC, w/transformers) also had a first-class musical sound, but audible wear, with each playing. It took the top-quality Shures and ADCs, and better tonearms, to get around the record wear problem, though they never equaled good moving coils IMO. How are the Londons now on record wear? Thanks, - Larry
  11. I know nothing about the salaries or demands of city managers, but there must be some market forces at work to cause this, such as unusual talents in finding good people, keeping things cool and making things work right politically, etc. Some would be surprised that, with a certain amount of high-priced talent in the uppermost reaches of an excellent symphony orchestra, the highest paid musician is often the conductor, although many would assume he or she only has to wave their arms just so. But that's what a community sometimes has to do to get someone they like in that job. Same sort of thing? Funny thing is, good conductors are frequently very well liked, and aren't begrudged the money, if so. -- Larry
  12. The higher grade outlets I used came in orange, gray, or white. I wondered if the orange versions weren't necessary for commercial use, but to help builders and stores spot them quickly. The color wasn't required by anyone. -- Larry
  13. LaScala if it fits. I don't think a K will, and it looks like the Cornwall won't either and perhaps not a LaS. Better measure and make sure your eye's aren't fooling you. You also need room for all that stuff. You might want to go the latest Heresy, since they are now ported for better bass. You never know how anything will send in a room like that, and we can't even see what's behind you in the pic. -- Larry
  14. Ain't that the truth that $10,000 is quickly spent! Also, you can see how much trouble is involved with shipping carts around for "retipping" compared to just getting a fine MM to begin with. From what I've heard myself, high-line Ortofon MM's have a great sound and may outstrip something like the opaque sounding Glider -- JMHO. (I don't like hi-output MC's anyway). At least in the past, Needle Doctor has been a good source of advice and online purchase, unless you have an outstanding local store. -- Larry
  15. Moving coil, especially low-output, is in a different world from MM because of the much greater demands placed on electronics and associated equipment by LOMCs on preamps and electronics, by greater gain differences between models, and greater clarity and transparency from good moving coils. These considerations can wash through the choices made through your entire system! LOMCs have a much greater range of gain choices than MM, which can be very difficult to deal with and require more careful matching to maximize benefits and minimize noise. Better turntables and tonearms will show up more with a more transparent cartridge. A system's cost may be greater with LOMCs for these reasons. It may be best to purchase from those with active experience in selling and putting together systems. Be sure to listen as much as possible before buying if you can. Component synergy can make a real difference in your system. The three components of LP player quality -- turntable, tonearm, and cartridge -- all need to be considered. Tonearms have been a tad underrepresented in this discussion so far, though there may be a little less to say about them, but tonearm quality should not be underrated in your decisions. -- Larry
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