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torley · 8 months ago

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Timeless Organic and Vintage Reverb Spring reverbs are highly sought-after vintage audio equipment, but their rarity and high cost can make them inaccessible to many. Known for their unique, warm, characterful and organic tone, these reverbs have forged a sonic identity that spanned from the ‘50s to the ‘70s, and is back in vogue today. Pulsar Primavera is a 6-in-1 reverberation plugin that includes devices heard on countless hits throughout the ages. From lo-fi to hi-fi, each tank precisely emulates the original units' electronic and mechanical behavior. Furthermore, exclusive spring tension and excitation controls offer a wider sound palette than typical convolution models. The software is a complete reverb chain plugin with integrated saturation, filters, presence, and ducking controls. Get the signature “twang” tone that shaped music history, packed with next-gen features and a user-friendly interface. Realistic Spring Reverb Emulation Most digital spring reverbs sound flat and are poorly configurable because they sample real units rather than modeling them. With real-time physical modeling, Pulsar Primavera breaks free from these limits and allows manipulation of physical reverberation parameters, like spring tension or excitation, for unique and creative sound design possibilities. Hit and Shake the Springs! The ringing behavior of the springs can be influenced either by hand or via modulation (and automation), and used as a creative sound design effect. More than just a fun and interactive way to play with reverb springs, this feature allows the potential for some really interesting effects. A Complete and Versatile Reverb Chain Tension, Excitation: The Tension knob changes the reverb's character by adjusting the physical model of spring tension. Stretch them more or less to get a "softer" or a more "high-pitched" characteristic. The Excitation knob dynamically triggers the well-known sound of exploding springs, adding a creative touch to your sound design. It simulates subtle strikes on the springs as the instrument attacks pass through the plugin. Ducking, Presence (Output): The Ducking control allows you to create dense and prominent reverbs that never conflict with other elements in your song. This knob reduces the level of reverberation based on the input volume of the plugin (or the sidechain input), clarifying the overall signal when the audio kicks in and preserving space between musical phrases. Furthermore, they added a Presence tonal control that boosts a specific frequency range carefully chosen to make the reverb stand out in the mix. Decay, Width, Predelay: The Predelay and Decay knobs offer precise temporal adjustments to the reverb effect. Predelay enhances clarity with a delay before reverb is applied, and Decay tailors reverberation length for varied musical scenarios. The Width control allows you to adjust the reverb's stereo image. Drive, Tube, EQ (Preamp): Easily blend or sculpt the reverb to your taste with the built-in EQ filters. Adjust the presence of the tube circuits responsible for a pronounced high-frequency saturated sound with the Drive knob. You can also switch between two saturation modes if you want to add some grit to the reverb tail – Germanium corresponds to the transistor preamplifier of a well-known reverb used in dub music, and Tube to a warm pentode-type tube amplification. 6 Signature Spring Tanks Great British Spring: Produces a very dense and open sound. This is the cleanest reverb in the plugin’s selection, and is ideal for vocals and other elements that need to shine above the mix. HR12: A very lo-fi type of reverb built in Japan in the late '60s. Perfect for those who seek a vintage color, and the characteristic “boing” sound of the springs. Simple, dirty, and effective, this tank has very little low-end, which means that the initial attack of the springs is clearly heard, giving it that special lo-fi flavor. SR202: Built on a legendary hi-fi consumer reverb, this tank sounds dark, with prominent beats in the reverb tail. It’s the least dense reverb of their selection, with a vibey “flutter” color, perfect for adding realism to a source. RE201: Based on the classic Echo RE201 from Roland, this tank is maybe the most versatile compared to the other choices. With dense and diffuse reverberation tails, it can adapt to any source in any genre. It’s well suited on a lead vocal if you’re looking for some added excitement and color. Tubby: If you're looking for the color of old-school dub music, this tank gives you a very round and watery sound, with big beats. Great for adding subtle variations to your tracks by sending some sources into a bus with this reverb on it. A nostalgic effect that works really well on brass, skank keys, or guitars. Twang: For this tank, they took our inspiration from the guitar amps that popularized spring reverbs. Widely used in Fender and other classic instrument amplifiers, this reverb gives you the lo-fi sound that you’d expect from vintage gear, with tons of character and color. Diverse Presets, Artist-designed Pulsar Primavera comes with hundreds of presets for a solid starting point or quick inspiration. Apply polish and invention to your sounds with presets meticulously crafted by producers and mixing engineers. With so much choice at your disposal, they highly encourage some careful digging to find the right sonic treasure within. How Does it Sound? Drums: You've likely heard many recordings with spring reverb on snares, particularly in reggae and dub music. This effect later influenced rock bands, leading to springy snares being used in various styles. You can use Primavera’s predelay to knock down the transient and tame the sound if you want softer results. Beautiful drum-type sounds can also be made by kicking the springs! Pair it with delay, gate envelope, and other effects to achieve a unique sound design. Vocal: The deep, metallic timbre of spring reverb brings a raw edge to the sound. As a result it's a popular choice among rock bands for adding grit to vocal tracks. Additionally, using a spring reverb on the vocal is a wise choice when you need to place it in a separate space than the other elements in your arrangement. Guitar: For those seeking the timeless vintage electric guitar sound, Primavera is the ideal choice. Spring reverbs play a significant role in achieving a realistic guitar tone, and their plugin could be the missing link, or another possible color, in the perfect guitar sound you're after. Synths: If you're a Moog fan (or of any synth in this genre), spring reverbs can be an instant vintage preset that will quickly reinvent and add texture to your tracks. On VST synths Primavera introduces a subtle and natural grit for a more organic vibe. Features Drive and Saturation Mode: Adjust the level of saturation applied by the input preamplifier with the Drive knob. The Tube/Ger selector allows you to choose the preamplification circuit used before the reverb; a pentode-type tube amplification, or a Germanium transistor preamplifier. Uniquely, this saturation is also applied to the Dry sound. Tension: The Tension parameter alters the tension of the simulated springs to change the reverb’s character. Increasing tension stiffens springs, and this speeds up beats in the reverb tail, emphasizing high frequencies. Conversely, low Tension softens the feel, slowing beats and emphasizing bass frequencies in the reverberated sound. Excitation: The Excitation knob allows you to simulate springs shaking, similar to when clicked on with the mouse, but this time automatically. When this feature is activated, the springs are shaken in response to the transients in the input sound. This enhances the characteristic "boing" effect of the spring reverb, and enables creative sound design effects. Ducking: For those who are familiar with the kick/bass sidechain technique that is carried out with a compressor, the Ducking knob applies the same concept. It controls a compressor that reduces the reverb level when the instrument or voice passes through the reverb to clarify your mix easily. Vibrating Springs: You can get the characteristic "boing" sound of spring reverbs by “kicking” the springs with a mouse click, resulting in unique textures and sound design options. This feature perfectly captures the spirit of spring reverb units, allowing you to play with the device and find inspiration in a fun and rewarding way. Predelay and Decay: You can control the length of the reverb tail, short or long, by using the Decay knob. Or adjust the delay between the original signal and the start of the reverberated sound with Predelay. Higher values on the Predelay knob provide better separation between the direct sound and the reverberated sound. Width: Pulsar Primavera comes with a Width knob to let you control the stereo image of the reverb. A setting of zero will make the reverb mono, while a value of 10 corresponds to the maximum stereo width of the selected springs tank. Controlling width can help to keep things sound realistic and more "intact", according to the instrument the effect is applied to. Presence: This knob creates a slight emphasis on the upper mids of your reverberated signal, enhancing the reverb's presence in the mix. Keep the original signal unchanged, or push the treble to make the reverberation tone cut through the other elements in your track and become more audible. External Sidechain: The Ducking can optionally be set to use an external sidechain signal. In this case, another audio track must be routed to the plugin sidechain input in your DAW, and that track will be used to calculate the ducking of the reverb. One possible use for this is to make a guitar's reverb more subtle when a synthesizer is also playing, freeing up space. Filters: A choice of built-in 12dB/octave High-pass and Low-pass filters are also available to clean up your source before sending it into the reverb. These filters are processed just after

#pinterest #Sound & Music

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teardownit · 11 months ago

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Simple DIY tube guitar amplifier

Vacuum tube technology always means bulky, heavy cases, dangerously high voltages, and complex multi-channel power supplies. Or does it?

This little amplifier is powered by a 12V wall-wart AC/AC transformer adapter. Its anode voltage is only 56 volts. It's high time to learn how this voltage is created from 12V and how a simple tube amp actually works.

We will also see on the oscilloscope screen that that unique tube sound signature is loved by audiophiles and musicians, especially guitarists. And then, we'll talk about the difference between long and short vacuum tubes.

The amplifier uses two 6BA6 pentodes. One can also use 6BD6, European EF93, and Chinese 6K4. In today's experiment, I specifically used 6K4s because they are inexpensive and easy to get.

Instead of pentodes with long characteristics and long bodies, one can use short ones like 6AK5, EF95, 6J1, and 6J2. They will also sound great but in a different way.

To understand the difference between a remote (long) cutoff and a sharp (short) cutoff of a vacuum tube, let’s check the principles of their operation.

The simplest vacuum tube is called a diode because it has two electrodes: a negative cathode and a positive anode. They are both contained in a glass or metal container with air pumped out of it so that its molecules do not interfere with the movement of electrons.

The silverish substance at the top of the flask is a gas absorber. It removes residual gas particles from the lamp that haven't been pumped out during the manufacturing process or those released due to heating.

The cathode is usually a nickel straw coated with barium or strontium oxide. The oxide coating is necessary to enhance electron emission.

Inside the tube, there is a heater—a tungsten spiral, like in an incandescent light bulb. The spiral is electrically isolated from the tube, which allows several tube heaters to be powered by a single source of current. The cathodes of those tubes can have different voltages and different signals at the same time.

The most common tubes are designed for heater voltages of 6.3 and 12.6 volts. The model numbers of American and Chinese tubes, unlike European ones, begin with one or two digits of the filament voltage. For example, 12AX7, 6BA6, and today's 6K4.

There are also directly heated cathodes, which are just tungsten spirals. They are typically used in battery-powered tubes. For example, 1N34, 2L34, and their Chinese analogs 1A2 and 2P2. This cathode is easier to heat and keep heated, which saves battery life.

The anode is usually a metal box covering the cathode. The anodes of low-power tubes are made of nickel or iron, and those of high-power ones are made of molybdenum, tantalum, or graphite, as they can withstand higher temperatures.

The surface of the anode is often made black and ribbed to radiate heat efficiently. The tube's electrode cannot transfer heat through convection because no air is around it.

The thermal conductivity of the electrode standoffs that complete the electrical loop to the output terminals is tiny. So, the only way to transfer heat from the inner parts to the outside environment is through thermal radiation.

The heated cathode emits electrons, and a cloud of electrons forming around it is called space charge. Like charges repel, space charge prevents further emission of electrons from the cathode.

Suppose the anode has negative or zero potential relative to the cathode. In that case, nothing happens, and the current won't flow through the tube from the cathode to the anode. But, the positive potential of the anode attracts electrons. They will fly towards the anode, and the current will flow.

Thus, a vacuum diode allows current to flow in only one direction—from the anode to the cathode. After all, the direction of the current is always indicated by an arrow from plus to minus; this direction is for the movement of imaginary positive charges.

In P-type semiconductors, charge carriers are indeed positive; in electrolytes, both positive and negative; and in metal wires and vacuum tubes, negative electrons.

So, a vacuum diode can be used for rectifying AC current (then the tube is called a kenotron), detecting an amplitude-modulated radio signal, and for many other purposes where current needs to be passed in only one direction.

Things get much more enjoyable when, between the cathode and anode, the mesh is added. Such a tube with three different electrodes is called a triode.

When the mesh is negatively charged relative to the cathode, it repels electrons. It makes it harder for them to reach the anode until the flow is completely blocked.

When the mesh's potential is positive relative to the cathode, it attracts electrons from the cathode. Some electrons are captured by the mesh wires and never reach the anode. They create a grid current, a very small one because the wires are thin and the gaps between them are huge.

Therefore, most of the electrons attracted from the cathode and accelerated by the positive potential of the mesh fly right through it and reach the anode. The anode current is much greater than the mesh current.

However, any tube circuitry must have a so-called grid leak, an electrical loop, usually just a resistor between the mesh and the cathode, ensuring the return of electrons from the grid to the cathode. Otherwise, electrons will accumulate on the insulated mesh, and a significant negative potential will occur, which will block the lamp.

So, a vacuum triode is a device that controls the anode current by changing the grid voltage. Suppose a resistance is included in the anode or cathode circuit. In that case, the voltage drop across it will correspond to the anode (or cathode) current according to Ohm’s law.

Thus, we get an amplification of voltage, current, and power. A small change in grid voltage with a tiny grid current controls significant changes in output voltage and current.

This way, one can amplify the signal from a microphone, the pickup of a vinyl record player or guitar, radio waves from an antenna, and so on. And if a transformer with a loudspeaker is connected to the anode circuit, we get a loud-speaking sound amplifier.

The usual mesh of a regular "short" tube has an equal distance between the wires. Or should we say coils because the wires are actually coils winded around the mesh posts.

The image shows how the negative potential of the grid shields the positive electric field of the anode, preventing it from attracting electrons from the cathode.

The mesh of the “long” tube is wound unevenly, with different distances between the turns. And this is not a sign of carelessness; it was done intentionally.

In those places where the distance between the wires is wider, the electric field of the anode does not immediately switch to the grid. Still, it continues to reach the cathode, attracting electrons. This allows for the extension of the characteristic of the tube, which is the main difference between a remote (long) cutoff and a sharp (short) cutoff.

What is the nonlinear transfer characteristic of the tube needed for? Doesn't it distort the signal? And the answer is yes, it distorts, and when applied to guitar amplification and music reproduction, this helps to get interesting results.

However, remote cutoff tubes were originally intended for circuits with automatic gain control. The dependence of the amplification factor, or µ (Greek letter "mu"), on the grid bias voltage, allows one to make a voltage-controlled amplifier (VCA).

And suppose this offset is set by an amplitude envelope detector (like the one in VU-meters). In that case, we get greater amplification of the strong signal and less amplification of the weak one, that is, compression and stabilization of the signal level. This can be very useful and necessary in many cases.

So, let's get started with our amplifier. I took a popular tube buffer board for a home audio system as a base for my project; only a couple of modifications were needed. Here is the diagram for this board.

The amplifier consists of two identical stages. Pentodes here are used as triodes; the second mesh is connected to the anode. The tubes are connected according to a common-cathode circuit.

R13, R18—grid leak resistance. R14, R19—cathode bias resistances, providing a negative grid potential relative to the cathode. R15 and R20 are anode load resistors outputting the amplified signal.

The cathode heaters are connected in series since the supply voltage of the circuit is 12 volts alternating current, and the nominal filament voltage of each lamp is 6.3 volts, so the total is 12.6 volts.

In this scheme, the heaters are powered by a smoothed direct current. This is an ideal way to power them because it eliminates the possibility of AC mains hum remaining in the output signal.

The voltage for powering the heaters is provided by a half-wave rectifier D1 and a pulsation-smoothing RC filter R1 C13 after it.

The tubes are beautifully illuminated by blue LEDs (LED1 and LED2). Since LEDs cannot withstand reverse voltage, they are powered by direct current from the filament rectifier D1. R10 and R11 determine the LED current.

An anode supply of 56 volts is obtained using voltage quadruples consisting of two doublers: positive voltage +28V D2, D3, C1, C2, and negative voltage -28V D4, D5, C5, C6.

Two capacitance multipliers are assembled on capacitors C3 and C7 and transistors TR1 and TR3. Another name for such a circuit is an electronic choke.

The capacitance multiplier is an emitter follower with a capacitor at its input. At the output, the repeater will maintain a constant voltage smoothed by a capacitor.

Thus, the capacitance of the capacitor is multiplied by the transistor gain plus one, β + 1. The minimum gain of the 2SD667A-C and 2SB647A-C transistors is 100.

Thanks to the capacitance multiplier, we have the equivalent of filter capacitors with a capacity of over 4700 microfarads. This ensures almost perfect filtration of the anode power.

Current limiters are assembled on transistors TR2 and TR4. Suppose the voltage across the resistor R4, through which the anode current flows, reaches a value sufficient to open TR2. In that case, it opens and bypasses the base junction of TR1, closing it.

Current protection TR4 R8 works in precisely the same way. And resistors R5 and R9 form additional RC filters with capacitors C4 and C8.

To get a two-stage monophonic guitar amplifier from a single-stage stereo amplifier, connect the left channel output to the right channel volume control input.

Apply a sinusoidal signal with a frequency of 500–3000 Hz to the input of the amplifier, and you'll see a pure sine wave on the oscilloscope screen.

Increasing the signal level, we widen the upper half-wave and narrow the lower half-wave.

This waveform is characteristic of the sum of a sine signal with its second harmonic, the same sinusoid, but with double the frequency and half the amplitude.

These even harmonics are the secret to the beauty of the tube sound that we adore so much. They can be obtained without a tube by digital or analog simulation. Still, in tube stages, they arise naturally with no trickery.

The amplifier board was originally intended to act as a buffer between components in a home stereo system. That is, to match the high output impedance of a signal source (for example, a player) with the low input impedance of a receiver (for example, an amplifier).

It also eliminates the influence of connecting cables. It slightly enriches the signal with tube harmonics, which add crispness and beauty to the sound of individual instruments in a composition. High gain is not required from such a tube buffer; the signal level at both the input and output is linear.

I will use the amplifier as a guitar one, so I'll solder a couple of 100 uF 16V capacitors in parallel with the cathode resistors R14 and R19, positive terminals to the cathode of the lamp.

This will ground the cathodes for AC without changing the DC bias. The gain of the amplifier will increase.

Now, when the volume control knob comes close to the right-most position, the upper half-wave acquires a flat top with no sharp bends, indicating a soft tube limitation.

The tube preamp is ready for testing. As a power amplifier, we will use a board based on the TDA2030 chip in standard configuration as an electronic load with Cabsim, Torpedo Captor X.

Connecting the Squier Bullet Mustang HH guitar directly to the amplifier, as well as through a homemade Landtone Phoenix Song Overdrive pedal (we have a separate post on it),

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Connecting the Squier Bullet Mustang HH guitar directly to the amplifier, as well as through a homemade Landtone Phoenix Song Overdrive pedal (we have a separate post on it),

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The first sound test of this small amplifier made me smile. It has an unexpectedly pleasant, clean sound and a nice light overdrive. Higain, of course, will require additional equalization and power amp simulation.

I will get my hands on sharp cutoff pentodes in the upcoming future and compare their sound as well as the oscillograms of sinusoidal signal processing.

Thank you for your time!

#diy #Youtube

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labotronicsscientific · 1 year ago

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Ion Chromatography

Ion Chromatography LB-11ICG unit is a chromatography system used for high precision cation and anion analysis. It is incorporated with PEEK (Polyether ether ketone) flow path system, ensuring chemical resistant at high temperature. Features pentode or bipolar circuit conductivity for identification and measurement of analytes. Built in single channel and double channel detection mode for efficient separation.

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takmiblog · 5 months ago

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(http://www.op316.com/tubes/myamp/6f603.htm)

SRPP回路応用編「ハイゲイン・ローインピーダンス回路」(SRPPレポートその２)です。同種の3極管を上下に2本重ねたおなじみのSRPP回路では、利得は3極管そのままに、出力インピーダンスを低くできることはみなさんもよくご存知だと思います。これを、5極管と3極管を上下に重ねてみたら、利得は5極管並になって、出力インピーダンスはSRPPらしく低くならないだろうか、と考えたわけです。もしかしたら、利得は3極管、出力インピーダンスは5極管なんていう失敗作になってしまうかもしれませんが。

ところが、思惑は大当たりで、5極管(またはFET)の上に3極管を乗せた応用SRPP回路では、容易に高い利得と低い出力インピーダンスが得られ、最大出力特性もすぐれていました。この回路は、私が宣伝していることもあって、ニフティサーブのFJAZZフォーラムでもっぱら「ぺるけドライブ(私のハンドルネームをぺるけといいます)」と呼ばれています(図)。

5極+3極SRPPドライブ（ぺるけドライブ）6F6GT全段差動ppアンプ

Pentode & Triode SRPP Drived 6F6/6V6/6L6-pp All Stage Diffential Amplifier

３．どんなアンプにするか

by　ぺるけさん

#tetsu kimura #木村哲 #ぺるけ #ぺるけ式 #ぺるけドライブ #diy audio #srpp #tube amplifier

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apn-music · 1 year ago

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Fuse Audio Labs release VPRE-72 vintage tube preamp for free

Fuse Audio Labs release VPRE-72 vintage tube preamp for free.

RECORDING HISTORY

Some pieces of classic studio equipment just don't need an introduction: Here is the VPRE-72! The archetypal preamp was released in the early 1950s and built by several iconic brands such as Maihak, TAB, Siemens and TFK. A legend in itself to the present day, the V72 also became the blueprint for the later V76 and the classic REDD.47 preamps used on numerous Beatles sessions.1

THE REAL THING

Divine and subtle – this is why you hear the magic of this aerial tube pre on countless kicks, snares, vocals and basses all over the world. The VPRE-72 catches the exact spirit with a faithful emulation of the input and output transformers, the dual EF804s pentode circuit with its peculiar feedback structure, as well as the heavy output choke which produces a subtle touch of air.

AND THEN SOME

The VPRE-72 is as straight forward as it gets: Use the Drive control to apply as much tube circuit glory as your signal needs, or even push it a little further for some gentle and truly musical saturation. No matter how far you go, the gain is always compensated, and the added V76-style low and high cut filters let you shape the results to your liking in no time at all.

THE BEST PRES…

…in life are free? Certainly not – especially in the case of highly sought after vintage devices. The VPRE-72 is a different story, though, since we're offering it completely for free without any ifs or buts. Enjoy it, and make sure to not miss our tried and trusted grouping feature, which comes in super handy when using the preamp as the first insert across your session. You can download via Fuse Audio Labs website. Read the full article

#free #fuseaudiolabs #preamp #vintage

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subwooferstereos · 2 years ago

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Quad VA-One+ Amplifier with Wharfedale Linton 85th Anniversary Speakers SalonAV magazine

At first, you don’t even know what claims to be the leading role in this set - new three-way monitors in a cool vintage design, released in honor of the 85th anniversary of Wharfedale, or a low-power tube Quad integrated circuit from the One series, modestly standing on the top shelf of a system rack. By the way, it is also new - it is endowed with a more advanced DAC.

TAKE FOR LIVE

This summer we already listened to one "old-school" Quad/Wharfedale tandem, made up of a Vena II transistor amplifier/DAC and two-way Denton 85th Anniversary bookshelves. When, a few months later, another representative of the Wharfedale Heritage line arrived in Moscow - twice as heavy and impressive Lintons, we expected to listen to them along with the second Vienna. But by this time, the delivery of the upgraded tube Quad VA-One + arrived in time and curiosity began to disassemble: isn’t this miniature amplifier best suited for creating a “classic” stereo system?

We look at the Linton 85th Anniversary data. The sensitivity of 90 dB with the current “market” standard of 87 - 89 cannot be called small. Bring a power of about 8-10 watts to such speakers and you can already count on a sound pressure of a hundred decibels (which, by the way, is even higher than the declared SPL for Dentons)! The nominal resistance of the three-band model is not 4, but 6 ohms, that is, they can be considered lighter and according to the "load" criterion. True, Wharfedale recommends connecting the Linton 85th Anniversary to an amplifier with at least 25 watts, and the tube Quad VA-One + does not have that much output - its "maximum sine" is only 15 ...

But that doesn't mean it won't fit. Acoustic manufacturers often overestimate the lower limit of the recommended power, since there have been cases of driver failure due to too sharp clipping, which can occur in low-power transistor amplifiers even at a relatively low output voltage. There is no such risk with tube amplifiers - they limit the amplitude of the amplified signal softer. And that is why on the official Quad website the VA-One + amplifier in the illustrations poses in tandem with Quad S-1 monitors, which, according to the company's recommendations, should also not be connected to amplifiers weaker than 25 watts.

In the meantime, we can only judge indirectly about VA-One +. Its predecessor VA-One never appeared in editorial tests, although reviews from music lovers are almost entirely positive. The upgraded model features a front panel design and a new digital-to-analog conversion unit. Like the PA-One+ headphone amp, the unit has an advanced 32-bit Saber ESS9018K2M converter instead of Cirrus Logic's standard 24-bit converter. Such a replacement radically raised the PA-One in the class, and in our case we can count on the same effect.

In terms of features and basic circuitry, the plus model is a replica of the amp that Quad released back in 2016. It has only one line input, which is almost directly connected to the volume control. The remaining four inputs are implemented on a digital switch, which allows you to receive a signal via coaxial, optical, USB, and Bluetooth. And that's what a classic Quad amp should look like for today's music lover - combining the "most original sound" of tube technology with today's sought-after PC and mobile connectivity. The amplifier can also be listened to through headphones and controlled via the remote control.Despite its small size, the VA-One+ is quite heavy and is a traditional transformer push-pull with three stages: pre-amplification is provided by ECC83 triodes, followed by an ECC82 dual triode driver that extracts the differential component, and then the signal is already symmetrically fed to the output pairs of pentodes EL84. The point of such textbook circuits is different: in the organization of power supply and the depth of environmental protection, in the control of lamp modes and output transformers, but Quad engineers prefer not to talk about this.

Linton acoustics repeat Denton 85th Anniversary conceptually, but its design is sharpened for playback with a much larger dynamic range (SPL can reach 110 dB). The bass part is given to a 20 cm driver with a Kevlar cone. The 630 - 2400 Hz range falls on a lightweight 135 mm driver, the membrane of which is also formed from the proprietary Black Woven Kevlar composite. The tweeter is identical to that used in Denton - with a silk dome and ferrite in the magnetic system. Both phase inverter ports are brought to the rear panel. Single line connection.

Especially for this acoustics, Wharfedale also released stylish vintage stands - extremely solid, heavy, and, by the way, functional (you can store vinyl records in them). I would also draw your attention to protective anthers. The fabric, which is stretched over the frame (the latter is fixed on the front side in the usual way - on steel pins), does not just resemble an old one in texture. The selected synthetic material feels thick and springy to the touch - the unusual three-dimensional weaving certainly somehow has a special effect on the acoustic properties. And this was clearly visible already in the first installation session with the Vena II amplifier. When located away from the walls, Linton built the music stage correctly and quite deeply, but after installing the grills, the sounding space became even more “visual” - it did not lose small details and gained expressive imagery! At the same time, the fabric slightly softened and neutralized the middle register, which at first caught a slight “overplay” (although it didn’t look like a tint).

The upper band is reminiscent of "Denton" in character - the emphasis is not on ideal linearity, but on a less formal and more important for musical perception) quality - uniformity of resolution over the entire band. Microdynamics on HF is transmitted almost exemplary, and this is eloquently evidenced by the distinguishability of all instruments in this band. Starting to listen to something, you first catch small tonal tints in the sound on sonorous or noise spectra, which are typical for old-school tweeters. But after five or ten minutes of adaptation, the ear completely switches to the "relax" mode - now it seems that the sound is exactly as it should be: nothing is brought here, nothing is retouched ...

Bass is also good precisely for its clarity, and not for volume or “meat”. However, at high levels, Lintons can give out not only a biting punch, but also a powerful blow, and linearity in this part, judging by the recognizability of the color of drums and bass guitars, is at a high level. The main thing is that neither box nor bass-reflex overtones are heard.

Now, not without some timidity, we switch the acoustics to the tube VA-One +. He actually needs some time after switching on to enter the “voice”, but he shows his different, in principle, musical interpretation right away. Musical drive is expressed, for example, not through the “weight” of drums, the fury of guitar bells and whistles, but through the density and richness of timbres, through the lively bulge of the voice, through the isolation of hi-hats and air trails. The naturalness of cellos and double basses is impressive – they turn out to be very saturated, focused and therefore especially “acoustic”. The same, however, can be said about brass, piano or acoustic guitar - the tones are lively and open. Such a textured clarity of timbres in a wide range indicates a good consistency of the mid-frequency head on each flank - and with a high-frequency driver, and with bass. And at the same time - and about the excellent "coordination" of native racks with speakers. If you put your palm on the acoustics during playback, then the body vibrations are almost not felt even at high volume levels.

The Linton/VA-One+ combo is just as good at reaching low bass, despite the lower amp power and less stringent bass control. A trace of compression due to the limitations of the output stages can only be heard on some powerful thunder or crushing shots from cannons, and for most music tracks the range is enough for the eyes (except for places where dynamic contrasts are very strong). The HF pattern is interesting - it is woven from clear sonorous dominants and soft clean atmospheric plumes. However, it all depends on the sound track being listened to - it is she who dictates both the form and the content of this picture. If with transistor amplification it seemed that the system was introducing a drop of some kind of “gag”, now the questions for resolution have disappeared completely. If somewhere something is embellished in sound, then only in the middle band,

Everything written above refers to playing audio files from a laptop via USB, and therefore includes an assessment of the work of the digital part. The analog input of the amplifier is so transparent that it allows you to hear the "hardware" nuances of another source - for example, a more restrained, but at the same time more verified feed by the DAC of a network streamer. But the most valuable quality of VA-One + is that, showing in the smallest gradations the difference between different sources, it still produces an amazingly musical and lively sound, even when powered by a smartphone via Bluetooth.If the VA-One+ had a price tag below the psychological threshold of "stallnik", we would without the slightest doubt award it with the label "Good Buy". However, among lamp models priced up to 2000 euros, it already looks advantageous in many respects.

As for the Linton, this pair of systems in any case looks like an extremely successful acquisition - both on their own and in combination with their own optional racks.

SYSTEM

Sources

Naim NDX 2 network player

Naim Uniti Core music server

laptop Apple MacBook Air A1465

smartphones OPPO Reno, iPhone 8

Quad Vena II Integrated Amplifier/DAC

Cables

Digital InAkustik Referenz High Speed USB 2.0

interconnect RCA Atlas Hyper Grun Ultra

acoustic Atlas Ascent

power Atlas EOS and EOS Modular

Wharfedale Linton Stands

Quad VA-One+

Producer: Quad Electroacoustics Limited/IAG Group (Great Britain)Inputspair of linear RCA, TOSLink, Coax, USB Type-BexitsPhones 6.3 mmRCA input impedance50 kOhmSupported bit depthPCM up to 24bit/ 96kHz (for S/PDIF inputs), up to 32bit/384kHz and DSD256 (via USB)RMS output power2 x 12W (into 8 or 4 ohms), 2 x 15W (into 6 ohms)Distortion level0.5%Frequency range20 Hz - 50 kHz (-3 dB)BluetoothA2DP, aptX, SBCFinishinggray mattDimensions (W x H x D)180 x 164 x 285 mmWeight10.8 kg

Wharfedale Linton 85th Anniversary

Producer: Wharfedale/IAG Group Ltd (Great Britain)Configuration3 emitters, 3 bandsAcoustic designphase inverterFrequency response40 – 20,000 Hz (with +/-3dB flatness)Sensitivity90 dBMaximum SPL110 dBRated/minimum resistance6/3.5 ohmRecommended Amplifier Power25 - 200 WFinishingnutDimensions300 x 565 x 330 mmWeight18.4 kg (each)

#Quad VA-One+ Amplifier with Wharfedale Linton 85th Anniversary Speakers | SalonAV magazine

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thinkingimages · 1 year ago

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PHILIPS 'MINIWATT' TYPE UL41 ELECTRONIC VALVE

Electronic valve, 'Miniwatt', type UL41, remote cut off pentode, glass / metal, made by Philips, Holland, 1945

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kalliebolander · 2 years ago

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Mars Companion Integrated vacuum tube stereo amplifier. 100 watts of music when connected to your favorite loudspeakers. 3 selectable stereo line level inputs; ideal for DAC or streamer. Current production KT88 output tubes. 6SN7GT phase inverter/drivers. EF86 pentode input stage. Hear your music how it should sound. 420mm wide. Weight 38 kg. https://www.instagram.com/p/CoNQbg1KKrl/?igshid=NGJjMDIxMWI=

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audio-luddite · 3 months ago

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Chinese Tubes and stuff.

I have said this a few times. I work for a Chinese company. We make corrosion resistant chemical process equipment in fiberglass. Our engineering office is in Metro Vancouver. The factory is in China near Macau where it was put to avoid regulations regarding VOCs and to exploit low labor costs. Welcome to the global economy. So I have heard stories and been part of some. Lets just say you have to be very careful buying Chinese products even when you are in China.

So Vacuum Tubes and by extension electronic components. This is a follow up to my Spidy Senses comment last post.

There is a very good supplier of premium tubes in Alberta of all places.

Expensive, but they are very very careful and test everything. This is after getting a "good relationship" with the factories in China. They dealt with Shuguan, Psvane, and Linlai. Psvane was started by engineers that left Shuguan, and Linlai was started by people who left Psvane. Happy employees make happy products. "Premium" stopped selling Psvane when those guys demanded they not sell other brands. Though they did like the product. The Shuguan factory moved so for a time they only had Linlai types.

I relied on their website for this saga.

Generally Chinese manufacturers make good stuff, but cannot throw out bad stuff so that often ends up on Ebay, or Aliexpress. The reliable dealers like the above or my go-to, thetubestore.com, still check and evaluate EVERY piece they get from whatever source. Ebay not so much.

Thetubestore sells Shuguan brand Chinese tubes. They sell others including several Russian brands, and JJs from is it Slovakia or Slovenia? Apparently some of the best are the Shuguan. So good stuff is out there. By best they are credited with nice sound, but they may not last long.

When I saw that Galeon Amplifier I was interested until I saw that all the tubes were Psvane. Then that it was designed and made in China. Then it was an integrated amplifier with tone controls. Each was a step back for me. Tube amps are seductive beasts, but .....

The apogee of the classic tube era was the late 50s to early 60s. (20th Century to you young people). The Best may have been the Harman Kardon Citation II. It used video pentodes in the front end and a fully restored beast today will cost you less than the Galeon and will give you an honest 60 Watts per side. It does not have tone controls and has a more complex (advanced) circuit.

Without having one of each to compare I am willing to bet that HK would beat the Galeon in a fair fight.

If you are willing to accept that the various tube amps from Audio Research, VTL, Cary, and others made after the classic era are better as progress was made over an addtional 30 years then the HK and of course the Galeon slips farther down the desirable list especially as it is so expensive for a China made amplifier. I saw a couple of 60 Watt/ch KT88 chinese amps for around $1200 plus shipping.

So many questions. It would be fun to have the money to buy and compare these things. Until I win the lottery I have to speculate.

#audiophile #high end audio #audioblr #Tube amplifier

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