Audible Nectar

I want a phono but don't need an LOMC. MM would be fine here. And I would do 6dj8 family as I have plenty of stash NOS in that family of tubes. Not difficult to have Craig do the switch from 6H30 - OTOH having a phono added to a linestage only unit is apparently much more involved.

18 views so far? Somebody's thinking about it, LOL.....

Subject tells the story. If you have one you're willing to part with, let me know 🙂

These amplifiers are SOLD.

This is EXACTLY what I needed to hear. I think I'm gonna go with the 2x4HD version with the mic so I don't have to waste a perfectly good amp to drive the big twin pair of JBLs. Once here I might pick yer brain a bit😀

I’m really only looking at this as subs only I think. Will the HD version work OK with a pro. amp or do I need a different amp? I’ve had some tell me to get the balanced version. Every group/ forum I talk to gives me different answers on this without much detail.

If I have a pro amp (Crown) to drive the sub cabs should i be buying the balanced version(miniDSP 2x4 balanced)? It has a 2V and 4V jumper (Crown being 1.4V sensitivity)...

Who needs joints anyway??

I have the opposite issue. I am only selling this pair by way of having another pair - and we did discuss selling the core of the Mac tube system entirely (MX110, Thorens TD124, and Sonicapped versions of these along with this pair). We have the VRDs/Peach after all. But the recent additional playtime with the Mac setup with vinyl very quickly reinforced with me as well as her that the core Mac tube setup will stay. She’s even more of a keeper than the Mac tubes with vinyl and they arent going anywhere.

Thinning the herd on some of my NOS tube stocks. More will be added in the coming days, but we'll start here: Mullard GZ37 from 1962, NOS in Mullard original boxes and cigar rolls. 8 available, $100 each. Truly NOS and about as perfect as perfect can be.

For sale: Pair of McIntosh MC30 amplifiers, consecutively serial numbered (6E570, 6E571). These amplifiers were acquired in identical condition that you see here, some 10 or so years ago, and rebuilt by Craig Ostby (NOSValves) in Michigan, using Russian military PIO capacitors. Condition: While the pics do mostly speak for themselves, they are in very good condition, with two notable flaws. The original owner, as was commonplace in the era of production, engraved his personal ID number on them as "theft prevention", a convention of the day. They do have a slight bit of pitting on the top plating (again, as I acquired them) and have been lovingly preserved ever since. They appear as strikingly good in person as they do in the photos, with near perfect transformers, lettering, connection/control panels, and even the interior metal looks pristine. One other note re: condition - the sockets are as snug and "new feeling" as any vintage amp I have ever handled (including a number of MC30s) - it is my opinion that these had very little actual play prior to my ownership - and I have not used them a great deal as I have another pair of these. With home remodeling projects in the works and their relative lack of use, we have decided to offer these for sale here. These amplifiers are offered with the tubes you see. RCA blackplate 6L6GC (matched quad), Tele 12AX7 smoothplates in all appropriate slots, RCA blackplate single wing 12BH7, and RCA/Baldwin long greyplate 12AU7. As these amplifiers have always been most deserving of the vintage era tubes like you see here, I wish for the new owner to enjoy the sonics as these tubes provide. I will also give the eventual new owner access to backup tube stock for these if desired, at an additional cost. I have used these amplifiers for the month prior to this listing, to assure their proper operation, and to enjoy them for one final round before parting with them. Delivery: I really, really, really do not want to ship these, as I wish to make 100% sure they arrive to you in the condition you see here. As such, I offer a special proposition first: I will hand deliver these amplifiers to any location within eight hours' drive of my home in western IL. This includes most locations in MN, WI, IL, IA, MI, IN, OH, MO, NE, KY.....and might stretch that a little further. I know well how to pack them - but just prefer not to risk it. Had personal bad experience in this area and my hand delivery is much more risk free. If you're more distant - and you'll work with me as to not risk the couriers (meet in the middle/halfway??) I would work with you in that scenario too. Price: $3500 delivered as seen, with tubes shown, as described re: delivery. PIcs forthcoming.

Should I be buying the 2.0V max input version? It gives a choice of 0.9V or 2V max input level....

So did the responders here just get the basic version? Also did anyone use this for a total system EQ or just for the subwoofers only? Did anyone buy the microphone and have the software program the EQ? Getting ready to order up but was curious if there was a reason based on your experiences to go above the basic model and possibly the mic too......

Early Mac, Luxman, Nakamichi, all fit the bill, as well as the Nelson Pass and Accuphase gear. All stuff that has to be "sought out" and not mass marketed.....

Somebody finally got to the point. To quote Alex Trebek, "The answer is"......Most all of them. Not that it HAS to be tube, but should be a specially selected solid state amp for these speakers. The old Nak, Mac, and Luxman all made pretty good SS choices for Heritage.

Blu-Rays in a general sense (and with my unscientific observation) are MUCH more dynamic than the music counterparts. It reminds me of the early CD days when we figured out that VHS Hi-Fi VCRs were actually better than most cassette decks. We would record music for parties from various sources on VHS hi-fi and just let 'em run on playback. Why? Because it was more convenient as well as really great sounding. We had a TON of vinyl we would record onto VHS tapes, with high end machines that had audio input level controls, as well as a BUNCH of Grateful Dead and other live material that we would move over from Nakamichi cassette to VHS when we needed "The Long Form" or wanted to "mix it up". But we could do that effectively when the original recordings were worthy. Now, they aren't. So even if we used Blu-Ray, as an example as a way to record music it wouldn't matter when the studios don't care about the recording and mastering of the originals. It's much like CD: There's NOTHING wrong with the CD format - it's the recording and mastering. The R and M IS the "limiter". Then there's the matter of what happens in the studios with recording and mastering. The money is in live concerts now, not so much in selling music releases. So the studio effort gets shorted/done on the relative cheap in comparison. Then add to it the "mp3" format and the idea of listening to music on your phone (UGGGGGHHHH) and it's easy to see how the mass production of music for portables has pretty much done in the industry, because people who listen to music on smartphones don't really care much or even know about dynamic range. I pick the brains of the "younger set" on these topics all of the time, and on occasion a few of 'em end up in my house where they end up soiling their underwear when they hear what music CAN sound like. OTOH the film industry in many corners WILL put the effort into good sonics. In film, the movie IS the product. In music, the CONCERT is the product and the music file is the "advertisement". When you see concerts by big/popular artists getting hundreds if not thousands of dollars per ticket, and spotify can be had for free by putting up with ads, it's easy to see why little effort is placed on music file quality. One of my upcoming projects is figuring out a way/component/setup for these digital files and streams. I refused to sink any real money into that stuff because I figured it best to let that all settle out some. It's really putting the "hurt" to my newer/recent music library because I won't spend money on bad recordings, so I just quit buying the stuff. but I intend to do a research project of sorts to see just how this stuff might be overcome on some level, given that the "file" world is standard now.

Has anyone compared the Penta Labs KT88SC against any of these newer/fancier packaged KT88s? I bought a boatload of quads for my VRDs from Doug's some years back after he got a fresh shipment (and they were under $150 per quad - feels like I stole 'em now).... Not that I'm complaining at all, but do wonder if these have really changed much. I haven't had a need to try current smalls, as I have enough old types to get me through many lifetimes, but couldn't (and wouldn't) pony up for NOS power tubes given what they cost even 10 years ago. I am still kicking myself in the arse for not stocking up on the Winged C 6L6GCs, as I was busy sucking up every good example of other tubes I liked and figured I would get those later - then the St Pete SED plant went poof and never got around to doing what I did with Doug on the KT88s with the SED 6L6GC.