Lampizator Valve / Tube Rolling Review Thread
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+1, no, make that +10!!
I'm using a combo of mass and elastomer dampers as well on the chassis but my main deterrent is the good fortune of having the GG2 in a closed cabinet that helps reduce the sound directly to the DAC (and other front end components)
Sure. But don't ask me what half this stuff is on my GG2 as I don't know or can't recall. It's mostly stuff I had laying around in a drawer for years. Some sorbothane discs, some COMBAK wood blocks, some other gizmos, etc. Almost anything will work as long as it doesn't ring or obviously vibrate- just don't cover the ventilation holes on the chassis. Almost anything is far better than nothing at all. And whatever you do, please don''t waste a lot of money on these things. There's nothing "audiophile" about this. Just go around and tap your finger on the chassis. Where it rings the most with your finger tap, that's a spot that will benefit from light damping (at least for me).
Some thoughts of possible interest:
1) I have done extensive A/B/A between the KR 242 and the RK KR 242 on my GG2. I find the RK KR 242 superior in every way. Whether this is due to the thicker glass, higher vacuum or better anode material, or just "system compatibility" I do not know. Nor do I care. Better control and finesse and equally impressive dynamics. Of course, YMMV.
2) If you are using any of these DHTs or an EML 274b recti (as I am) without Herbie's tube rings, you have not heard these tubes at their best, especially if you play at volume. The Lampi's are very susceptible to microphonics due to the high gain of the DHTs as has been previously discussed. Herbie's tube damping rings help reduce this significantly! (as does damping the top and side plates of the GG2).
I strongly recommend their UltraSonic Rx tube dampers (65mm) for the RK-KR 242 output tubes. (Mildly spring-tempered titanium C-ring holds three modified PTFE isolation pads. Each pad holds a specially formulated polymer O-ring against the tube glass).
However, for the EML 274b regulators, which run very hot, the HAL-O III stabilizers (also 65mm) are the way to go, (spring-tempered titanium C-ring and annealed titanium isolation pads).
Tube Dampers
Virtually all vacuum tubes are prone to distortion caused by microphonic vibrations. To overcome audible distortions, a titanium C-ring holds microphonics-absorbing pads against the vacuum tube bulb. The tube's sound is made more clear and precise, less fuzzy and less harsh. Tonal qualities are...herbiesaudiolab.com
By the way, don't hesitate to play with ring position on the tubes. The sound can vary significantly with ring placement (although the middle of the tube is a good place to start and may work best).
I can concur that adding tube dampers to KR 242 tubes is significantly reducing the microphony. I did it following the advice of some members here.
I am trying to make a recap of the different combo ( output + recti) tested.
Based on my reading, seems the KR242 is leading the pack in terms of output tube. In terms of rectifier seems more balanced ( KR 5U4G RK, EML 274B Mesh, Tak 274B etc…)
On my side, in the PACIFIC DAC ( I did not try in any other models)
1) KR 5U4G RK + KR242. The caveat being the very high gain. If no volume control, finding a good matching preamp can be challenging…
2) KR 5U4G RK + KR242 RK. The 242 RK are relatively new. More « gentle » and refined than the non RK one. For the time being , I am finding the Midrange transparency and dynamics better on the non RK one.
Other recti and tubes tried : Acme 274B/ PX25RK and EML 300B XLS. Not in the same league than the first two.
Alex
Here's what I'm using. You may recognize these as looking an awful lot like HRS Nimbus feet, and they are an awful lot like them. A friend sent me some of his Nimbus to try some years back, and they seemed decent, but being cheap, and a rubber guy, I decided to make a bunch of my own. I traded some rubber fabrication "one offs" to a machinist friend as my favor, and he then machined up a bunch of the 6061 T6 aluminum "middles", as well as a two plate compression mold to make the outers. Analyzing the Nimbus rubber pucks, it is clear that it is a variety of silicone. So I tried out a few types of silicone (regular methyl vinyl, a phenyl type, and fluorosilicone type) and I have a large stock of these. So, that's what I reached for to do the deed on my B7, then my GG, and now my Pacific. Works a charm in this application!
I agree with Marty that it doesn't have to be anything purpose-built or expensive, and that the tapping test will surely tell you where they are helpful. I do it with the volume up to hear if anything is resulting from the taps. Mass loading and damping are all that's needed.
I also have the DAC, my TT, and my preamp all resting on a pair of Herzan active vibration canceling tables, which add a very nice dimension of control, as well. I have switched the DAC between fully resting on a single Herzan vs. "bridging" over the two, and I hear no difference. So, things get placed where cabling convenience dictates in this set up. I was shocked at how much the Herzan set up improved the sound of my SOTA Cosmos IV at the time I acquired them. It clearly removed a few resonances that were adding a consistent voice, and having that addressed was simply truer to the music.
Thanks for sharing your combo's and impressions.
Yes, I'm going to get some appropriate Herbie's for these tubes, pronto. They are just lovely sounding tubes! I concur with your observations: midrange transparency and dynamics are the keys, allowing for greater differentiation in all the fine elements of the music. Probably small in scope, but big in terms of that believable sense of transparency.
I've been using the RK Anniversary 5U4G with my RK Anniversary 300B's, and didn't bother yet to try any others with the 242's. I'll have to roll through my stock of rectifiers, once I've taken the measure of the RK PX-25's.
Telephone directories and thick books work well as temporary measures to see if you prefer a damped chassis...
TBH though they should come out of the factory in a decent non-resonant state by default.
Tesla AD1n and you don't need to worry much about how your chassis is damped or indeed using tube dampers. It's almost immune.
TBH though they should come out of the factory in a decent non-resonant state by default.
Tesla AD1n and you don't need to worry much about how your chassis is damped or indeed using tube dampers. It's almost immune.
With all this talk about tube rolling on the Lampi, I have to ask. I am newbie to digital and historically have preferred vinyl. So, is the Lampizator come close to hi-end analog? This is important to me as I listen to a lot of late 20th century and 21st century chamber music, all of which is only available on digital (streaming preferred). I currently have an iFi neo iDSD bluetooth streamer/DAC performing digital duties.
Based on my experience…
The quality of digital sound is highly dependent on 2 complements: the DAC and the server/transport. The Lampi plus a high end server should produce sound which will be emotionally engaging.
Conversely, a Lampi connected to a laptop will not be on the same level and any where as pleasing.
Yes, indeed. The server is just as important as the DAC for sound quality (and some posit that it might even be more so). With a Taiko Extreme feeding my Pacific, I really don't care which medium I'm listening to, they both are very engaging emotionally, if the recording has got it. My Pacific needed the Taiko's sourcing to really achieve tonal density and a fully developed harmonic envelope of sound.
Were I the owner of the top of the line Lampi, which I regard in the highest, I think that I might feel a little disheartened to be advised that it will take a 25000 to 30000 Euro server to achieve :
“ My Pacific needed the Taiko's sourcing to really achieve tonal density and a fully developed harmonic envelope of sound.”
“ My Pacific needed the Taiko's sourcing to really achieve tonal density and a fully developed harmonic envelope of sound.”
But all Taiko owners would say that with their respective dacs. That's why they bought the Taiko. Why else would you buy an expensive server if it did not further develop your sound (assuming sonic rationale)
Personally I don't see that as much different than needing a really good preamp to get the most out of great amps. I didn't take @dminches comment to mean that is the ONLY way. It might be, I don't know. I've never heard a Taiko. But I do know that I share much the same feeling with my GG2 and Aurender N30SA.
Ok ... let me phrase this another way.
Are Lampi Pacific owners pleased to be informed that their fine DAC is incapable of “achieving tonal density and a fully developed harmonic envelope of sound” *Without a high level of server as source*
Are Lampi Pacific owners pleased to be informed that their fine DAC is incapable of “achieving tonal density and a fully developed harmonic envelope of sound” *Without a high level of server as source*
Not all of them. I am cold blooded considering equipment and got the Taiko mainly for two reasons - sound quality and peace of mind. I carried a few experiments with DIY servers and other servers and it was clear for me I was dealing with something I was not able to master and deal efficiently. Emile of Taiko Audio was the only guy who could explain to me technically how he was mastering the server issues , so I ordered it without listening. I am happy I got it and IMHO my system sounds really great with it, but no way I will say it is the best digital source in the world or an indispensable part of of my system. But I consider that life is too short to be spent experimenting digital path variations, particularly as they are almost infinite, accessible, easily available and hard to evaluate sonically!
BTW, as I have the DCS Vivaldi CD/SACD transport I am able to have a digital reference source.
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