Deang

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.

A little over 20 watts. Plenty. Measurements? You mean as in 'size', or 'specs'. Specs won't measure up to solid state. It's not about how much distortion -- but what kind. Tube distortion doesn't give you the bends the way most solid state does. Size wise, it's probably about the same size as your Yammerhammer.

I'm not in the biggest hurry to move it -- I figure the bills won't start hitting until June. Anyone have any idea what my Cornwalls are worth?

My wayward 22 year old showed on our doorstep last week. She was a mess. I need money to get her professional help and pay the Dr. Bills. Don't ask me to go into detail -- it's painful enough as it is. Pictures all over the site of this thing, I'll supply the links when I find them. Craig can fill you in on the details of this amp if he is up to it. Basically, he knows what a headbanger I am, and tends to go a little nutty on my stuff. $680 shipped. 1974 Cornwalls in walnut may be next -- stay tuned.

Nice thread. Having owned some Magnepans for well over a decade, I think the biggest problem with Planars and electrostatics is that in spite of the nice image they throw -- the music just doesn't sound very natural. Someone mentioned their wonderful dynamics, which I thought was strange -- because I always felt this was certainly one of the areas they had trouble in. I do think we need to differentiate between a speaker's ability to fill a room with natural, open sound -- and their ability to image. I think of imaging as the ability to lock instruments and vocals in their place from left to right and front to back. Many speakers image, or soundstage better than horns -- but at what cost? My Magnepan 1.5QR's were unseated by the diminutive RB-5! What you realize after you listen to horns for a while -- is how freaking compressed and dead everything else sounds. I always thought the Maggies were killer, but after hearing the RB-5's -- the Maggies sounded like someone threw a towel over them. I think horns just fill a room with nice, open, natural, uncluttered music. Dynamics are intact -- and things just sound "right". Who the hell ever went to a live event and said, "Oh my, I love the way those violins hang left of center."? It's simply not something one cares about -- so why does it become of interest when people buy their system. Well, gee -- I guess you gotta get something in return for giving up the dynamic life of the music. Also, those Planars and electrostatics are dipoles, and the soundfield tends to be a little diffuse, -- I think this adds to their problems. Horns image good enough. With very little work, I was able to get a nice stable center image -- and the music never seems like it's hanging only two inches from the front baffle. Horns get out of the way of the music -- anything else is just...well...you know...B.S.

What are you using it for?

http://www.a-msystems.com/physiology/products/wire/coatedsilverwire.asp $352 gets you 100 feet of the real thing, and it's already teflon coated. With tubes and horns, you can get by with very little -- you don't need the thickness of jumper cables. This basically gets you eight, 22 AWG, solid core, 12 foot lengths. Pair them off and twist them together. Done. Actually, I was wrong earlier about the Homegrown cables. I wasn't aware they put so much into them. Conisidering they use 300 feet to make an 8 foot cable pair -- it's really an outstanding value. I wonder where in the hell they're getting their silver?

$400 of 6 feet. Uhg. Colin, you have Klipschorns right? I'm at work right now -- when I get home I'll find you the link so you can buy it in bulk from a distributor. You can terminate it yourself. Do your Klipschorns have binding posts or screw terminals? $400 -- give me a break.

Yes he did. He also just bought some Vertical Cornwalls. Which he may actually get someday. Thanks for the music tips Clu -- I can't seem to get into the Foo Fighters -- but I heard Three Doors Down is excellent.

Actually, a proper crimp is superior to solder. Solder is a poor conductor. If the crimp is done properly, it will be a gasless connection -- which is a good thing.

The only 'real' connection is a gasless one. Connectors are more a matter of convenience, and practicality. A proper crimp, or solder -- is the only way to achieve perfect, gasless connectivity. The advantage of spades over bare wire is their uniformity. They fit even and level against the post material, and you can really tighten them down good provided one uses a post wrench. Bare wire tends to shift and squirt around when tightened. It's also hard to manipulate without touching the ends (exposed copper). The real problem with bindings posts is that most of newer ones are too big. There is simply much mass. Some believe they add unwelcome resistance between the crossover and amplifier.

Do your Mac's look like this: Here's the link Craig -- Good luck!! http://personales.ya.com/lcardaba/schematics/mcintosh_mc60.htm

That must be why the Belles are often referred to as "the cat's meow".

Craig, that's hiliarious! It sounds exactly like something I would do! Yeesh, people have no sense of humor anymore. Easier to get forgiveness than permission.