Deang

eek: I would go with option one.

The thing I am curious about is how it is done. If the outputs are bridged to make it a mono amp, then it shouldn't be as 'clean' as a true mono. Of course, I am strictly speaking from my experience with bridging stereo solid state amps -- which sound like total crap when bridged. I don't know why they do -- they just do.

"I like SS diodes, especially for alternative music, but they are hard on the power tubes and power supply components. And without the addition of a stand-by circuit, their "instant-on" feature tends to kill the power supply electrolytics and strips the output tube cathodes." Somewhat curious information considering the reputation for reliability companies like Sonic Frontiers and Quicksilver have -- which both utilize the diodes in their products. I can definitely understand the thing with the lower tube life though. The solid state signature bit with diodes is somewhat confusing to me, especially considering how 'tubey' my Quicksilvers sound.

Found this: Kind of interesting. http://db.audioasylum.com/cgi/m.pl?forum=tubes&n=102301&highlight=converting+stereo&r=&session=

Bumped for Craig, who hopefully is looking for it.

"...been there myself." Well hell, no wonder my fridge is empty.

That's interesting Craig, I've been wondering for a while how that worked. So this ties in with what we were talking about last night on the phone. Do you you think the solid state signature on solid state rectified/diode tube amps is related to some AC ripple riding along with the outputted DC? Please check out my question in the thread I started below about stereo amps being converted to mono amps. Do you have any idea how this is done? Are the outputs just bridged together?

Hey, I just provide the lead, I don't do all the leg work! That bad huh? What a shame.

Getting better. She actually did some dishes, helped fold some clothes, and has pretty much emptied out our fridge.

Well heck Craig, that's why I provided the link. I figured it was messed up and would get sent to you anyways. Yeesh -- everyone knows you need the practice.

Easylistener -- The Fortes would sound excellent with the Scott and Eico vintage amps. Dee -- I could have sworn Craig gave me a lifetime transferrable warranty with that thing. As you long as you don't do the turn it on, turn it off, turn it on, turn it off thing constantly -- I wouldn't expect any problems with it.

If you guy the separates route, you should be mating your tube amp with a tube preamp. If on a budget, you should consider a nice integrated unit like the one I just sold. As you can see above, Chris Robinson just put his Eico up for sale for $600 -- which would be an outstanding option for you considering your musical tastes. Do you listen loud? The RF-3's are a very good sounding speaker. Heresies will give you more midrange at the expense of some low end. Both speakers are very good. I like them both about the same for different reasons.

There are so many wonderful sounding amps -- I think I could live indefinitely with almost any of them.

what kind of music do you listen to?

Well, well -- isn't that interesting. The old Scotts hold up pretty good after all. Just wait till those new cranky caps in the Scott break in.

I've been wanting to ask this for a while, but when a tube stereo amp is taken and converted to a monoblock amp -- is it a 'true' monoblock?

http://cgi.audiogon.com/cgi-bin/cl.pl?ampstube&1057236670&class&3&4&

If you weren't so damn big -- I'd stomp on yer foot.

Leo, did you ever find time to stuff the PIO's into the RF-7's? I know Craig had a nice batch jammed into his ST-70, and he literally hated the sound, causing him to almost give up on the thing altogether. In go the Auricaps, and the ST-70 is resurrected from the dead -- achieving a status just a notch below the MK III's he admires so much. I'm leaning more and more towards this idea that that are very few absolutes in this hobby, and that effects from even minor changes in the system will be for the most part unpredictable. Doesn't it just seem that the things that work so well for one individual, when applied in another instance or circumstance creates disaster? I do think mixing things up a bit prevents the system from leaning too far in any one direction. This goes for tubes as well as capacitors. A Mullard here, an RCA there, peppered with a couple of Blackgates, PIO's, and nice polypropylenes -- makes for a nice tastey recipe. When I was speaking with Mike Sanders on the phone last month, I asked him if he had ever tried the Jensens in any of his amps -- and the poor man groaned audibly through my ear-piece. It may be that there is something about the PIO's that add a quality to SET and 'triode' push-pulls that pentode push-pulls already possess, or just don't benefit from. I know I sure haven't minded having them in my triode preamps, and I sure don't seem to mind having nice polypropylenes as coupling caps in my amps. This combination seems to work well for me, as both my AE-3D DJH/ Apollos, and Cary/Quicksilver combos were/are setup this way. Sure wish Blackgate made 350uF and 750uF caps in 500VDC.

Craig, When you get a chance, you really should jump on the Scott Forum and ask if the 5751 is a suitable replacement tube for the 12AX7 in the Scott preamp section. The 5751 for the 12AX7, and 5963 for the 12AU7 are premium versions of these tubes -- and while everyone is hunting the Telefunkens to extinction -- these excellent sounding tubes abound for less than half the price. I will probably be running the 5963 in place of my 12AU7's in my Cary forever. These are excellent tubes. "This version was usually the one made for the US military. These have a lower gain than the 12AX7, but are otherwise totally compatible. Great hi-fi tubes, as the lower gain reduces noise and microphonics. These are all ruggedized and most can withstand a drop on the floor. The internal triode elements are matched as well. The early versions are more sought after as they usually have extra support rods and an extra mica spacer on top of the plate structure ("Triple Mica"), as well as blackplates, all said to contribute to low microphonics..." -- Brent Jesse 12AX7 users should probably read through this document. http://www.audioasylum.com/scripts/d.pl?audio/faq/joes-tubes.html#12AX7 The RCA Blackplates are killer:

O.K. Heritage Loons -- where the heck are ya. I can't do eBay from work -- I'll take a peek when I get home.

You 'lurkers' really should post more often. We need the new blood to keep it all going. Scott and LaScalas -- well, you'll finally be able to take the cotton out of your ears.

"Thank you. You both have pointed to simple information I was attempting to convey before Craig entered into his name calling and attempts to degrade equipment he knows little to nothing about." Actually Edmond, it was you who leveled the first slam - "Craig tends to discredit anything that involves a cost greater than he's willing to pay." As far as I know, Craig pretty much reserves this attitude for cable debates. I don't think this statement is fair to Craig. Now, Craig did follow up by calling you an "audiophile", which could be construed as derogatory. "I won't dignify your idiotic statement about Moondogs with a rebuttal. It's your standard, expected, lack of class to knock what you don't know about. All of a sudden you're "Mr. Tube amp Expert" ... I suggest you go pick on someone who's mind is as small as yours, since you seem neither prepared, nor capable, of discussing the merits of the issue at hand ... you remind me more of a tire changer claiming to have the knowledge of the engineers who designed the tire. You make grand attempts to be such a large fish in the little pond of this forum ... you're no circuit designer of anything ... you're full of ****. You're one big bull**** artist if there ever was one ... you and your business will self destruct on top of their own pile of crap and lack of merit if given enough time." I find most of this out of place and rather uncharacteristic of you Edmond. When did Craig ever claim to be a circuit designer? He claims to restore vintage equipment, which apparently he does quite well. He may have to peck at his keyboad with 10 thumbs, but he obviously has the aptitude and skill-sets necessary to bring most of the old stuff back to life. He is being mentored by one of the best minds to ever inhabit this forum -- and I'm quite sure Craig knows what he is talking about as far as how tubes relate to various parts of the circuit(s). Craig's response was in the context of a Dynaco ST-70, and other vintage gear utilizing push-pull pentode and pentode/ultra-linear circuits. Edmond, your response was in the context of your particular experiences. I had extensive conversation with Craig tonight, and as much as we have in common with music types and listening habits -- even we don't always come to agreement. This is one of those times. However, my experience is with rectifying tubes in preamps (both my now sold AE-3 DJH, and present Cary SLP-90/4. Both of these preamps use the EZ-81 -- and I hear a significant difference when I roll these tubes. You guys are listening to something I haven't experienced yet -- the rectifier in the amplifier. I do find it interesting that he admits a diode will change the sound, but that different brand rectifying tubes don't make much difference. Since both the diode in solid state rectification, and the tubes in tube rectification are both doing the same thing (changing AC to DC) -- , why should the diode sound different than the tube? At any rate, I think it makes a difference because I can hear it -- but only as it relates to my system. I have no problem believing there is no discernible audible difference in these tubes in the circuit originally being discussed, or many other circuits that haven't been discussed. I also have no problem believing there are very big differences in the sound when these tubes are rolled in SET amps, and again -- other amps that haven't been discussed. We all need to be very careful in make ANY absolute statements. Haven't we learned anything in the last two years? We are all working from a different frame of reference -- our listening rooms, choice of recordings, and synergism between components. Basically, the only thing I've learned is that most changes are completely unpredictable. As a side note, Craig and myself do not habitually listen to music at 110db. We both listen around 90-95db. Personally, I'm worried about Craig and Edmond both. Craig thinks my music sucks, which means he will soon gravitate towards elavator and little girl with guitar music, and Edmond's getting cranky as hell and doesn't like it when I use my charge card while owing him money.

Craig, We only think this forum is dead on the weekends. We forgot about our resident lurkers. Sold! I have recieved several emails about the Cornwalls, and one member has already agreed to my asking price. He emailed me about your offer John, which is very nice of you. The mailer said he was O.K. with me taking you up on your offer -- However, you would have to match the offer of $950. Seriously though, the way things are going right now -- it would take two years to buy them back:)

LOL -- good one. Tis your Yonkyo I'ze wuz thinkin bout.