Friday night listening

[Addicted to hifi]

Hello Carlos,

I admire your exuberant passion and meticulous and incessant pursuit for maximising your pleasure that you derive from your multiple systems. Your knowledge in the domain of valve equipment and exotic speaker drivers is well-documented and acknowledged and I would never dare "step on your toes" in these matters.

However, I would like to make a corrective comment about the fleeting references to electrostatic speakers and the much abused and misguided comment that is nonchalantly thrown about by a number of basically conventional box speaker owners. As an owner of them for well over twenty years and having critically listened to a plethora of box speakers, I think that my comments have some validity.

Firstly, may I remind you that, just like you rightly consider OTL topologies to be more NEUTRAL and LINEAR ( I agree as I had done some direct comparisons with mic preamps, choosing Millennia as a result ), SO ARE electrostatics ( in my case Martin Logan CLXs ) compared to box speakers. The "meat on the bone" is a colouration, mostly in the mid bass. Of course you have every right to prefer it but it does NOT cease to be an induced artefact imposed by the speaker. Your inference implies that it is a negative trait of the electrostatics ; and by the way, they do much, much more than "snap and crisp" as you claim. On the other hand, the fact that you used them as a reference to exalt the virtues of your electronics is indeed an endorsement!

You spend so much effort, time, mind and heart optimising your own set-ups. I can assure you that if you did the same with electrostatic speakers, in terms of micro and macro amplification ( and not only ), these misconceptions \ presumptions will cease to exist, especially in view of your OTL observations. In a sense, there is a bit of a contradiction here; I'm sure you can detect it!

By no means do I intend to be antagonistic or aphoristic. In this hobby, we all choose imperfections in the false belief that we are attaining a non-existent perfection. I had long concluded that I would rather live with the imperfect "perfections" of the CLXs rather than the perfect "imperfections" of box speakers, to put it rather provocatively!

Finally, none of what I have said negates your right to like or dislike anything at all. I was compelled to make these comments because I sensed a void of rationality in your fleeting references to electrostatics which you may have made inadvertently and most likely in good faith......but we all know that faith is usually blind.

Be always well and enjoy your systems. Cheers, Kostas.

Agree about the meat on the bone is a colouration.I have had people say the same think to me when listening to my Magnapan 30.7s.I get excellent bass from these speakers but without that mid bass coloration.

 

[Carlos269]

Hello Carlos,

I admire your exuberant passion and meticulous and incessant pursuit for maximising your pleasure that you derive from your multiple systems. Your knowledge in the domain of valve equipment and exotic speaker drivers is well-documented and acknowledged and I would never dare "step on your toes" in these matters.

However, I would like to make a corrective comment about the fleeting references to electrostatic speakers and the much abused and misguided comment that is nonchalantly thrown about by a number of basically conventional box speaker owners. As an owner of them for well over twenty years and having critically listened to a plethora of box speakers, I think that my comments have some validity.

Firstly, may I remind you that, just like you rightly consider OTL topologies to be more NEUTRAL and LINEAR ( I agree as I had done some direct comparisons with mic preamps, choosing Millennia as a result ), SO ARE electrostatics ( in my case Martin Logan CLXs ) compared to box speakers. The "meat on the bone" is a colouration, mostly in the mid bass. Of course you have every right to prefer it but it does NOT cease to be an induced artefact imposed by the speaker. Your inference implies that it is a negative trait of the electrostatics ; and by the way, they do much, much more than "snap and crisp" as you claim. On the other hand, the fact that you used them as a reference to exalt the virtues of your electronics is indeed an endorsement!

You spend so much effort, time, mind and heart optimising your own set-ups. I can assure you that if you did the same with electrostatic speakers, in terms of micro and macro amplification ( and not only ), these misconceptions \ presumptions will cease to exist, especially in view of your OTL observations. In a sense, there is a bit of a contradiction here; I'm sure you can detect it!

By no means do I intend to be antagonistic or aphoristic. In this hobby, we all choose imperfections in the false belief that we are attaining a non-existent perfection. I had long concluded that I would rather live with the imperfect "perfections" of the CLXs rather than the perfect "imperfections" of box speakers, to put it rather provocatively!

Finally, none of what I have said negates your right to like or dislike anything at all. I was compelled to make these comments because I sensed a void of rationality in your fleeting references to electrostatics which you may have made inadvertently and most likely in good faith......but we all know that faith is usually blind.

Be always well and enjoy your systems. Cheers, Kostas.

Kostas, thanks for your comments. The “meat on the bones” was used as a descriptor as clearly stated in my post. If it came across as a condemnation of the traits of electrostatic speakers, and I can see how it could have been interpreted that way, that was not the intent. I do not agree that “body”, “chestiness”, and “heft” is a coloration by other types of loudspeaker transducers. Those sonic elements that you refer to as “colorations”, are real artifacts of microphone’s captures or retrieval’s, specially with closed mic’ed vocals and musical instruments, and are “real“ physical sounds of low level details captured and possibly enhanced by the microphone’s amplifiers used or intentionally, or unintentionally, by sound processing equipment in the studio during the mixing or mastering processes and intended to add to the portrayal of a sense of intimacy, enhanced as part of the sound engineer’s artistic process.

I’m not sure if you noticed that one of my systems is based on Martin-Logan CLS-II’s and not by accident. Out of all the CLS models I prefer the CLS-II version the best over the CLS, CLS-IIA and the CLS-Z’s. With the right amplifiers the CLS-II sound sublime. I enjoy my CLS-II’s very much and I accept them for what they are and nothing else. Enjoy your CLX’s and see if you can investigate my above comment about microphone capture and retrieval of low level details, that include cavity resonants, as they apply to the human body, musical instruments, and room space cavities.

 

[KostasP.]

Kostas, thanks for your comments. The “meat on the bones” was used as a descriptor as clearly stated in my post. If it came across as a condemnation of the traits of electrostatic speakers, and I can see how it could have been interpreted that way, that was not the intent. I do not agree that “body”, “chestiness”, and “heft” is a coloration by other types of loudspeaker transducers. Those sonic elements that you refer to as “colorations”, are real artifacts of microphone’s captures or retrieval’s, specially with closed mic’ed vocals and musical instruments, and are “real“ physical sounds of low level details captured and possibly enhanced by the microphone’s amplifiers used or intentionally, or unintentionally, by sound processing equipment in the studio during the mixing or mastering processes and intended to add to the portrayal of a sense of intimacy, enhanced as part of the sound engineer’s artistic process.

I’m not sure if you noticed that one of my systems is based on Martin-Logan CLS-II’s and not by accident. Out of all the CLS models I prefer the CLS-II version the best over the CLS, CLS-IIA and the CLS-Z’s. With the right amplifiers the CLS-II sound sublime. I enjoy my CLS-II’s very much and I accept them for what they are and nothing else. Enjoy your CLX’s and see if you can investigate my above comment about microphone capture and retrieval of low level details, that include cavity resonants, as they apply to the human body, musical instruments, and room space cavities.

Hello again Carlos,

Of course I have to agree with your comments, from experience, about the influence of mike types and techniques and subsequent manipulation \ processing in the "construction " of the desired final sound, which is the culmination of technical AND musical considerations and preferences.

The more contentious issues are those broadly referred to as distortions \ colourations ( i.e the reproduced deviations from the recorded information ) and you mentioned "body, "chestiness and heft", which by the way I did not mention in my post at all. Despite the verbal descriptions, it is ultimately spectral information. Enclosure resonances \ crossover choices \ driver characteristics WILL influence these frequencies \ descriptors. It is my contention that if there is "body, heft and chestiness" in the recording the CLXs will reproduce it more neutrally, linearly and unadulterated than box speakers, with their inherent resonances and stored acoustic energy, driver mass and integration \ crossover implementation problems. One may of course prefer the box rendition; this is choice and I am not disputing it. You can NOT assign these artefacts to choice of microphones and post-recording manipulations ONLY, as you dismissingly did in your reply above.

Notice that I am talking about complete box speaker systems; you only mention "loudspeaker transducers". Why is it that the same transducer will sound different in an open baffle configuration than in a box enclosure?! A rhetorical question perhaps. By the way, I am fully aware that your own speaker adventures (and not only) deviate totally from the norm.

I apologise for my oversight for not noticing that you have Martin Logan CLS-IIS. In my green but spoilt years in the mid eighties I auditioned them and was mesmerised by them but I already had the TYMPANI 1-Ds and QUAD ESL 57s. Subsequently, two other iterations of QUADs 2805s and 2912s and for four years now the CLX ART only. Undeniably, my modest system is absolutely dwarfed by your exotic collectibles!

Oh yes!...The "capture and retrieval of low level details" as you say. I don't think we can go wrong with the CLX and CLS-II "sisters"!

Keep well; cheers, Kostas.

 

[Carlos269]

I use a Manley Neo 300b preamp as a driver stage for the Wisdom/Bohlender 75 inch ribbon to great effect. I got the circuit diagram, and it accommodates 183, 182b (both ancient 5V versions of 45), 6a5g (indirectly heated version of 2a3 with 6v cathode), 6b4g (directly heated version of 2a3 with directly heated 6v cathode). Along with several types of 300b. these all sound great and all have a different flavor. The 183,182b tubes do manage to convey a slice of the 45 type sound to the amp, though 45 amp itself is best overall for the 45 mystique.

The type 45 tube sound is so far my ideal balance between detail & resolution and a euphonic organic presentation. The treble is vibrant, the bass articulate and the midrange while not as full bloomed as a 300B is fully fledged & full body. What more could one want?

 

[Carlos269]

Tonight I finally got to listen to a system configuration that I have been wanting to hear for a while but didn’t think that it would be possible to this degree.

For the past couple of months, I have been listening to the original version Supravox 215 2000-EXC field-coil full range drivers mounted on Open Baffles powered by the Transcendent Sound T16 OTL amplifier and have been very impressed as reported earlier on this thread, but I have been wondering what the system would sound like with SET DHT amplification.

The dilemma with this being that to optimize the Supravox drivers for Open Baffle mounting by raising the Qts parameter by lowering the field coil’s drive voltage to 6 Vdc decreases the efficiency of the driver from 102dB to 98dB. While I can use any of my 845, 211, 300B and 2A3 SET DHT amplifiers to drive them at the lower efficiency it was not going to work with my more cherished 46, 45, 801A or AD1 SET DHT amplifiers because 1.25 Watts to 2 Watts isn’t going to be enough power to drive them properly.

I knew of only one SET DHT amplifier with one of those power tubes that can produce enough power to drive the Supravox field-coil full-range drivers mounted on Open Baffles properly. An amplifier based on my favorite tube, the mighty Type 45. From the creative mind and skillful work of Radu Tarta came a Susumu Sakuma sans like-drives-like inspired Emission Labs EML-45 drives an Emission Labs EML-45B monster that Radu named the “Turbo 45” and which produces between 4 and 5 Watts of beautiful organic and intimate Type 45 tube sound magic. And this massive monster also features Jack Elliano’s new and latest Electra-Print Low IMD output transformers to add to the smorgasbord of features of this very special one-of-a-kind SET DHT amplifier. This unique amplifier is now part of my stable of special amplifiers and has been making beautiful music and answering questions about the sound of field-coil drivers, OTL and SET DHT amplifiers all night during this extensive Friday night listening session:









Listening impressions and more to come……

 

[KostasP.]

Tonight I finally got to listen to a system configuration that I have been wanting to hear for a while but didn’t think that it would be possible to this degree.

For the past couple of months, I have been listening to the original version Supravox 215 2000-EXC field-coil full range drivers mounted on Open Baffles powered by the Transcendent Sound T16 OTL amplifier and have been very impressed as reported earlier on this thread, but I have been wondering what the system would sound like with SET DHT amplification.

The dilemma with this being that to optimize the Supravox drivers for Open Baffle mounting by raising the Qts parameter by lowering the field coil’s drive voltage to 6 Vdc decreases the efficiency of the driver from 102dB to 98dB. While I can use any of my 845, 211, 300B and 2A3 SET DHT amplifiers to drive them at the lower efficiency it was not going to work with my more cherished 46, 45, 801A or AD1 SET DHT amplifiers because 1.25 Watts to 2 Watts isn’t going to be enough power to drive them properly.

I knew of only one SET DHT amplifier with one of those power tubes that can produce enough power to drive the Supravox field-coil full-range drivers mounted on Open Baffles properly. An amplifier based on my favorite tube, the mighty Type 45. From the creative mind and skillful work of Radu Tarta came a Susumu Sakuma sans like-drives-like inspired Emission Labs EML-45 drives an Emission Labs EML-45B monster that Radu named the “Turbo 45” and which produces between 4 and 5 Watts of beautiful organic and intimate Type 45 tube sound magic. And this massive monster also features Jack Elliano’s new and latest Low IMD output transformers to add to the smorgasbord of features of this very special one-of-a-kind SET DHT amplifier. This unique amplifier is now part of my stable of special amplifiers and has been making beautiful music and answering questions about the sound of field-coil drivers, OTL and SET DHT amplifiers all night during this extensive Friday night listening session:

View attachment 82803

View attachment 82804

View attachment 82805

View attachment 82806

Listening impressions and more to come……

Carlos, it seems that everywhere you stumble in those rooms you step on gold. EURIKA!!!!

Enjoy, Kostas.

 

[Carlos269]

Thank you for posting videos. Without them there is no glimpse of how each system sounds. They certainly sound very different to one another. I enjoy your Lampi/TM/45 more than the DCS/TeleF/JE Lab. How a person prefers which is meaningless. The difference you show through videos is a great data point to further explore. I admire the way you have fun with this hobby. To me it is not just music or how reproduced sound should be, it is about exploration and fun learning different gears too.

Thanks for the nice comments. I have been enjoying the new equipment so much that I have not had time to video the new set-ups. In all honesty I like assembling new systems, as is clearly evident, but I have literally ran out of my allocated floor space in our house and my wife will simply not allow any of my equipment in her areas. The only common areas where my equipment and she coexist is in our formal living room, with the Goldmund monoblocks driving the massive Alon Wolf pre-Magico speakers, and in our home theater room, where I have assembled a great system.

I’m now relegated to component substitutions rather than system building and this has been enjoyable as I continue my deep audio explorations into the world of low power SET DHT tube amplifiers, and their variants, and high-efficiency loudspeakers, of different topologies.

Recently I have procured a number of new pieces that I have been enjoying very much, so much so that my listening session have been extending to 2 in the morning and later. By the end of these sessions I realize what time it is and that I need to get to bed so there have been no opportunities to sit back and make some videos but I will make some more videos in the near future as I agree that they best convey whatever feelings, analysis or conclusions I set in writing.

To end this post back to your comments, fun and enjoyment are the ultimate destinations with this hobby and to me the best way to achieve it is where I am today, which is fully liberated from the imaginary competition and hierarchy that the mainstream magazines and so-call online and forum audio gurus place on equipment. Equipment quality and sound performance is not confined to flavor-of-the-month components nor is it dictated by how expensive or costly a piece of equipment is, And lastly, nor is the latest and newest equipment always superior to “vintage” equipment. In audio there are simply no hard set rules and there are many paths to audio nirvana, which is different for all of us.

 

[Carlos269]

I use a Manley Neo 300b preamp as a driver stage for the Wisdom/Bohlender 75 inch ribbon to great effect. I got the circuit diagram, and it accommodates 183, 182b (both ancient 5V versions of 45), 6a5g (indirectly heated version of 2a3 with 6v cathode), 6b4g (directly heated version of 2a3 with directly heated 6v cathode). Along with several types of 300b. these all sound great and all have a different flavor. The 183,182b tubes do manage to convey a slice of the 45 type sound to the amp, though 45 amp itself is best overall for the 45 mystique.

I have been enjoying my custom Casper 45 monoblocks tremendously and have tried them with National Union ST 45’s, Radiotron Globe 45’s and solid plate EML 45’s. Of those, the solid plate EML 45’s are the best, to me, by far. I also have a new set of the Anniversary Emission Labs Globe Mesh 45’s that I have not tried on the amps yet. Dare I say, that I feel like the solid plate EML 45‘s are superior to vintage 45’s, both ST and globe. The EML solid plate 45 may very well be the best 45’s of them all; of course I still need to try the anniversary globe 45’s to hear their magic.

I read where Gordon Rankin did not approve of the use of the EML 45 on his amps at one time: “Those are not 45 tubes, they are some sort of hybrid. Just because the filament is 1.5A at 2.5V does not make it a 45 tube.”

Gordon may be right in that they are not the same but what I can tell you is that in all amps and preamps that I have used them in, the solid plate EML 45‘s sound better to me than all the other 45’s that I have tried and to me they might just be the greatest Type 45.

 

[andromedaaudio]

To end this post back to your comments, fun and enjoyment are the ultimate destinations with this hobby and to me the best way to achieve it is where I am today, which is fully liberated from the imaginary competition and hierarchy that the mainstream magazines and so-call online and forum audio gurus place on equipment. Equipment quality and sound performance is not confined to flavor-of-the-month components nor is it dictated by how expensive or costly a piece of equipment is, And lastly, nor is the latest and newest equipment always superior to “vintage” equipment. In audio there are simply no hard set rules and there are many paths to audio nirvana, which is different for all of us.

Amen

 

[andromedaaudio]

Thanks for the nice comments. I have been enjoying the new equipment so much that I have not had time to video the new set-ups. In all honesty I like assembling new systems, as is clearly evident, but I have literally ran out of my allocated floor space in our house and my wife will simply not allow any of my equipment in her areas.

Good one carlos

 

[andromedaaudio]

Speaking of subwoofers, with all of this free time around the house, today I spent the afternoon playing around and listening to the smaller of my two re-mastering systems:

View attachment 63388

This system is in one of my music/mastering/listening rooms. Although this is the smaller of my two mastering systems it has some really unique and special one of a kind and ultra rare equipment, including a pair of the massive Whise Profunder 624 subwoofers, and this particular pair came out of George Lucas’ home screening room:

View attachment 63390

But the Whise subs are not exactly the headliners in this system, that title goes to my SADiE 5 DSD8 Super Audio CD (SACD) authoring Digital Audio Workstation (DAW):

View attachment 63391

The SADiE 5 DSD8 and specially modified equipment send Raw-DSD to the original Meitner DSD DAC and gets input Raw-DSD from the original Meitner DSD ADC converters.Many of the original single-layer SACD’s were recorded on this very equipment.

View attachment 63392

For the purpose of an honest comparison of this system’s playback against my other systems on this thread, I kept the signal path short and straight forward and eliminated all the inserts/send-return to the mastering equipment.

View attachment 63393

The signal path is CD output in this recording to maintain the same source as on the previous videos: digital output into a Krell Audio + Video Standard processor in preamp mode feeding a pair of Avalon Design X-2 Class A monoblocks crossovers with external power supplies, to a reference mastering grade Penny+Giles 8-channel level adjuster driving the otherly massive and ultra mega rare MIDAS “The Brick” 1,000 Watts 4-Chanel power amplifier, the massive gold block in the middle of the bottom shelve, which powers both a pair of upgraded EAW MS-63 mastering monitors and the afore mentioned monstrous and ultra rare Whise Profunder 624 subwoofers:

View attachment 63394

Later I will video some playback of Raw-DSD through this system which is entirely on another realm, but not fair for the purpose of the comparison of the reference track across my multiple systems.

Unbelievable stuff you got .

Do you have a picture of those pre magico alon wolf designs .
I saw some large aluminium designs on the net somewhere years ago.
(Nevermind i found them on page 4)

Great name for a speaker / speakerbrand Wisdom audio / Adrenaline rush

 

[Carlos269]

Unbelievable stuff you got .

Do you have a picture of those pre magico alon wolf designs .
I saw some large aluminium designs on the net somewhere years ago.
(Nevermind i found them on page 4)

Great name for a speaker / speakerbrand Wisdom / Adrenaline rush

Yes, many one-of-a-kind, unique, rare and very special components in my collection. Will need to get with Sotheby’s and Christie’s at some point so that I don’t burden my wife.

Check out my post from 26 April 2020 for pictures and video of the pre-Magico Alon Wolf speakers in the link below:

pre-Magico Alon Wolf - Audio Technologies & Focal massive speakers powered by massive Goldmund monoblocks

 

[KostasP.]

Thanks for the nice comments. I have been enjoying the new equipment so much that I have not had time to video the new set-ups. In all honesty I like assembling new systems, as is clearly evident, but I have literally ran out of my allocated floor space in our house and my wife will simply not allow any of my equipment in her areas. The only common areas where my equipment and she coexist is in our formal living room, with the Goldmund monoblocks driving the massive Alon Wolf pre-Magico speakers, and in our home theater room, where I have assembled a great system.

I’m now relegated to component substitutions rather than system building and this has been enjoyable as I continue my deep audio explorations into the world of low power SET DHT tube amplifiers, and their variants, and high-efficiency loudspeakers, of different topologies.

Recently I have procured a number of new pieces that I have been enjoying very much, so much so that my listening session have been extending to 2 in the morning and later. By the end of these sessions I realize what time it is and that I need to get to bed so there have been no opportunities to sit back and make some videos but I will make some more videos in the near future as I agree that they best convey whatever feelings, analysis or conclusions I set in writing.

To end this post back to your comments, fun and enjoyment are the ultimate destinations with this hobby and to me the best way to achieve it is where I am today, which is fully liberated from the imaginary competition and hierarchy that the mainstream magazines and so-call online and forum audio gurus place on equipment. Equipment quality and sound performance is not confined to flavor-of-the-month components nor is it dictated by how expensive or costly a piece of equipment is, And lastly, nor is the latest and newest equipment always superior to “vintage” equipment. In audio there are simply no hard set rules and there are many paths to audio nirvana, which is different for all of us.

Hello Carlos,

Greeks ( and I assume others ) often say that having a wife, kids and a mortgage is the "full catastrophe"! Your set-up seems to be semi-catastrophic but this "semi-catastrophe" is also your salvation! Don't give up.

Cheers, Kostas.

 

[Carlos269]

Carlos, it seems that everywhere you stumble in those rooms you step on gold. EURIKA!!!!

Enjoy, Kostas.

Here are a few pictures of the latest gold nugget in my listening room:















This is a 4P1L PSE SET amplifier and its sound marries the positive attributes of the OTL and DHT amplifiers in my collection.

I will have more to say about this gem, from the hands of master Tarta, as I continue my listening. For the past three weeks, this amp has been a real revelation.

 

[Carlos269]

I have been enjoying my custom Casper 45 monoblocks tremendously and have tried them with National Union ST 45’s, Radiotron Globe 45’s and solid plate EML 45’s. Of those, the solid plate EML 45’s are the best, to me, by far. I also have a new set of the Anniversary Emission Labs Globe Mesh 45’s that I have not tried on the amps yet. Dare I say, that I feel like the solid plate EML 45‘s are superior to vintage 45’s, both ST and globe. The EML solid plate 45 may very well be the best 45’s of them all; of course I still need to try the anniversary globe 45’s to hear their magic.

I read where Gordon Rankin did not approve of the use of the EML 45 on his amps at one time: “Those are not 45 tubes, they are some sort of hybrid. Just because the filament is 1.5A at 2.5V does not make it a 45 tube.”

Gordon may be right in that they are not the same but what I can tell you is that in all amps and preamps that I have used them in, the solid plate EML 45‘s sound better to me than all the other 45’s that I have tried and to me they might just be the greatest Type 45.

Emission Labs Anniversary Mesh 45 Globes installed and ready to go for this weekend’s listening sessions:

 

[Carlos269]

Another listening sessions lasting to 2 this morning. The Mesh 45’s improved last night but maintained the same character, which is a spacious sound but sound diffused compared to the EML 45 solid plates. The mesh plates soften the presentation and everything is less well defined. Kind of like a camera that is not perfectly focused where the solid plates sound focused and clearly delineated.

Did not give up on the mesh plates and kept them installed to see if they improved the last couple of weekends but right now prefer the solid plates for their exacting presentation.

I can see how some may prefer the spaciousness of the mesh plates specially for vocals but for me , they soften everything too much. Hopefully they will continue to burn in and improve as they look awesome.





The mesh plate 45’s will have to wait for another opportunity to shine because I’m back to listening to the EML 45 solid-plates and the magic is back. Will need to try the mesh 45’s on the 45 DHT preamp or on the Turbo 45 amp as drivers for the 45B,s when I get some time, but for now the custom Casper 45 monoblocks are sounding better than ever with the solid-plate EML 45’s.

 

[Addicted to hifi]

Another listening sessions lasting to 2 this morning. The Mesh 45’s improved last night but maintained the same character, which is a spacious sound but sound diffused compared to the EML 45 solid plates. The mesh plates soften the presentation and everything is less well defined. Kind of like a camera that is not perfectly focused where the solid plates sound focused and clearly delineated.

Did not give up on the mesh plates and kept them installed to see if they improved the last couple of weekends but right now prefer the solid plates for their exacting presentation.

I can see how some may prefer the spaciousness of the mesh plates specially for vocals but for me , they soften everything too much. Hopefully they will continue to burn in and improve as they look awesome.

View attachment 85394

View attachment 85395

The mesh plate 45’s will have to wait for another opportunity to shine because I’m back to listening to the EML 45 solid-plates and the magic is back. Will need to try the mesh 45’s on the 45 DHT preamp or on the Turbo 45 amp as drivers for the 45B,s when I get some time, but for now the custom Casper 45 monoblocks are sounding better than ever with the solid-plate EML 45’s.

I don’t own anything with tubes but I must admit I love the look and glow of them.

 

[bonzo75]

Mesh sound better for vocals in the Lampi but in preamp and power amps the solid plate have lower noise and more inflections for violin etc, so I prefer the solid plates.

 

[Addicted to hifi]

Mesh sound better for vocals in the Lampi but in preamp and power amps the solid plate have lower noise and more inflections for violin etc, so I prefer the solid plates.

I agree with you bonzo.

 

[Addicted to hifi]

Another listening sessions lasting to 2 this morning. The Mesh 45’s improved last night but maintained the same character, which is a spacious sound but sound diffused compared to the EML 45 solid plates. The mesh plates soften the presentation and everything is less well defined. Kind of like a camera that is not perfectly focused where the solid plates sound focused and clearly delineated.

Did not give up on the mesh plates and kept them installed to see if they improved the last couple of weekends but right now prefer the solid plates for their exacting presentation.

I can see how some may prefer the spaciousness of the mesh plates specially for vocals but for me , they soften everything too much. Hopefully they will continue to burn in and improve as they look awesome.

View attachment 85394

View attachment 85395

The mesh plate 45’s will have to wait for another opportunity to shine because I’m back to listening to the EML 45 solid-plates and the magic is back. Will need to try the mesh 45’s on the 45 DHT preamp or on the Turbo 45 amp as drivers for the 45B,s when I get some time, but for now the custom Casper 45 monoblocks are sounding better than ever with the solid-plate EML 45’s.

Tubes require to much work for my tastes that’s why I have a all ss system.it’s much more convenient and consistent And sounds better to me.