New tape pre-amp king!!

most fun I ever at a live outdoor concert was with the Count Basie Big Band - spaced pair of omni B&K mics on the horn section. The power of the horn section could lift you off your feet!
The absolute cleanest mic I have ever heard is the Grado condenser
 
I hear that. Taping was work, especially when you had to go stealth for those bands it was required for. I still have one of my portable DAT machines and AKG 568EB shotgun/hyper card hybrid mics I used when in taping sections for bands behind the soundboard. The schoeps always required a great seat in front of the soundboard for them to perform best. I am dabbling with the idea of taping some symphonies during the summer but that would require me to purchase another set of mics and a Sound Devices 702. Maybe I will get back into it. There is no better souvenir from a concert than a well recorded tape to enjoy it again in the comfort of your home.

Hey Christian, aren't you like 6'8" or something? I'm sure that comes in quite handy when stealth mode recording but dang, I'd hate to be seated behind you at a concert. LOL!
 
Added a back shelf to the Studer to hold the power supply.

Doing more tape transfers tonight and swear this is the best I've ever heard!


Doshi.JPG
Doshi2.JPG
 
most fun I ever at a live outdoor concert was with the Count Basie Big Band - spaced pair of omni B&K mics on the horn section. The power of the horn section could lift you off your feet!
The absolute cleanest mic I have ever heard is the Grado condenser

How does the ST-250 Soundfield mic compare? For that matter, how is the newer ST-450?
 
How does the ST-250 Soundfield mic compare? For that matter, how is the newer ST-450?

In my experience, the AMS ST-250 stereo/Ambisonic was the best live capture mic I ever heard taping a concert (electrified). That included experience with B&K 4011, Schoeps CMC series and Neumann KM series.
 
In my experience, the AMS ST-250 stereo/Ambisonic was the best live capture mic I ever heard taping a concert (electrified). That included experience with B&K 4011, Schoeps CMC series and Neumann KM series.

My opinion also, that's why I asked.
 
(...) Doing more tape transfers tonight and swear this is the best I've ever heard!

Do you transfer to DCS5.6 using the Grimm ADCs? I would love to listen to one of your transfers carried using the Doshi in a Vivaldi stack. Will it outperform vinyl or even a tape played using the A80 standard electronics? :confused:
 
Do you transfer to DCS5.6 using the Grimm ADCs? I would love to listen to one of your transfers carried using the Doshi in a Vivaldi stack. Will it outperform vinyl or even a tape played using the A80 standard electronics? :confused:

The Grimm only does DSD64fs, but does sound better than DSD128fs recorded through the Korg. I'd go as far to say it rivals the standard electronics in an A80.
 
Doing more tape transfers in the studio today and had a moment to compare stock (modified?) Studer electronics against the Doshi.

First the biggest difference I heard was noise... or lack thereof in the Doshi. I could turn the volume up to max and just hear a whisper in the speakers. With the Studer electronics at max volume I head noise, sounding like pink noise, about 12-15 dB higher than the Doshi.
Playing music though the Studer electronics is sometimes a little big and bloated. It's certainly fat with a big bottem end, but sometimes makes it feel sluggish. It certainly sounds good and you can hear all the good properties that we all hear with tape. Very soothing.
With the Doshi, everything seem to be a little tighter. Transiets are a little snappier, no more sluggish feeling. Guess audiophiles call that PRAT.
Mids are a little crispier and you can clearly hear and understand vocals. Playing Dylan or Petty, sometimes they slur their speach, though with the Doshi you can make out what they're actually saying.
Highs are clear as a bell... .literally. Sometimes with the stock electronics, cymbals, bells and other percussion get a little washed out, especially with multiple hits. With the Doshi, each strike is clearly delineated.

Now back to your Saturday afternoon festivities!
 
Doing more tape transfers in the studio today and had a moment to compare stock (modified?) Studer electronics against the Doshi.

First the biggest difference I heard was noise... or lack thereof in the Doshi. I could turn the volume up to max and just hear a whisper in the speakers. With the Studer electronics at max volume I head noise, sounding like pink noise, about 12-15 dB higher than the Doshi.
Playing music though the Studer electronics is sometimes a little big and bloated. It's certainly fat with a big bottem end, but sometimes makes it feel sluggish. It certainly sounds good and you can hear all the good properties that we all hear with tape. Very soothing.
With the Doshi, everything seem to be a little tighter. Transiets are a little snappier, no more sluggish feeling. Guess audiophiles call that PRAT.
Mids are a little crispier and you can clearly hear and understand vocals. Playing Dylan or Petty, sometimes they slur their speach, though with the Doshi you can make out what they're actually saying.
Highs are clear as a bell... .literally. Sometimes with the stock electronics, cymbals, bells and other percussion get a little washed out, especially with multiple hits. With the Doshi, each strike is clearly delineated.

Now back to your Saturday afternoon festivities!

It is only speculation or coffee-talk, but my mind can not stop wandering. Will your transfer to DSD made with Grimm and the Doshi, played through a top DSD player, sound better than the same tape played in the A80 with standard electronics?
 
It is only speculation or coffee-talk, but my mind can not stop wandering. Will your transfer to DSD made with Grimm and the Doshi, played through a top DSD player, sound better than the same tape played in the A80 with standard electronics?

Well hopefully soon I can post some files using both and you can hear the difference!
 
Would like to do some tube rolling later. I need (6) 12AT7 / ECC83 and (2) 12BH7 / ECC99

Myles suggested some Mullard CV4024 Platinum or better yet, the Tele ECC801S for the 12AT7 replacements. But, what about the 12BH7 tubes? I can't find any or have any clue what to try?

Anyone got any suggestions?? How about THIS?
 
Last edited:
Bruce,

The Tape stage uses the 12BH7/ECC99 as a follower and tube rolling that portion will probably have less effect on sound that the 12AT7 sections. The GE's in there are ok, but Myles is right and the Siemens ECC801's are really good. No harm in trying different tubes. The way i have set the unit up is that one triode section in each eq stage does the amplification and the second triode section drives the passive eq, so you end up with two 12AT7 per channel, one for each eq type per channel. Since you have individual level controls, matching is not required. The spot where you want to have matching (around 10% - 30% is fine) is the final output amplifier section. (the pair of tubes to the right of the 12BH7/ECC99).
HTH
 
Bruce,

The Tape stage uses the 12BH7/ECC99 as a follower and tube rolling that portion will probably have less effect on sound that the 12AT7 sections. The GE's in there are ok, but Myles is right and the Siemens ECC801's are really good. No harm in trying different tubes. The way i have set the unit up is that one triode section in each eq stage does the amplification and the second triode section drives the passive eq, so you end up with two 12AT7 per channel, one for each eq type per channel. Since you have individual level controls, matching is not required. The spot where you want to have matching (around 10% - 30% is fine) is the final output amplifier section. (the pair of tubes to the right of the 12BH7/ECC99).
HTH


I starting to salivate here Nick as I read this. Any idea yet on ETA this month

(How about putting those Siemens ECC801's in mine :))
 
Bruce,

The Tape stage uses the 12BH7/ECC99 as a follower and tube rolling that portion will probably have less effect on sound that the 12AT7 sections. The GE's in there are ok, but Myles is right and the Siemens ECC801's are really good. No harm in trying different tubes. The way i have set the unit up is that one triode section in each eq stage does the amplification and the second triode section drives the passive eq, so you end up with two 12AT7 per channel, one for each eq type per channel. Since you have individual level controls, matching is not required. The spot where you want to have matching (around 10% - 30% is fine) is the final output amplifier section. (the pair of tubes to the right of the 12BH7/ECC99).
HTH

Thanks so much Nick... I'll get them ordered!
 
Some guys have all the fun :D
 
"Got the tubes in and umbilicals connected. Love the soft glow of tubes!!"

Bruce I'm starting to think that you are a "tube guy".

Bruce in PA
 

About us

  • What’s Best Forum is THE forum for high end audio, product reviews, advice and sharing experiences on the best of everything else. This is THE place where audiophiles and audio companies discuss vintage, contemporary and new audio products, music servers, music streamers, computer audio, digital-to-analog converters, turntables, phono stages, cartridges, reel-to-reel tape machines, speakers, headphones and tube and solid-state amplification. Founded in 2010 What’s Best Forum invites intelligent and courteous people of all interests and backgrounds to describe and discuss the best of everything. From beginners to life-long hobbyists to industry professionals, we enjoy learning about new things and meeting new people, and participating in spirited debates.

Quick Navigation

User Menu