Panicos K said:Problem with amplifiers is that many are too good for the recordings we are given to play through them.Oscar Peterson's Night Train and one million others will sound the same no matter what
I have a different experience. A first, the problem is with speakers + listening rooms in combination. Second, with microphones. Third, with amplifiers. Fourth, with mixing consoles. Fifths, with all that outboard gear (no matter if it is software) connected to console. Sixths, with audio engineers that use that outboard gear. Seventh's, with artists.
What is under our control? Rooms, speakers, amplifiers. What is not under direct control we can choose since cost of one CD is incomparable to costs of good speakers and room acoustic.
...or, we can record ours.
bereanbill said:Wow!!! This thread took a left turn at Albequerque....ring me up when (if?) the Mullards show up !
Do you mean sweet creamy Mullard?
Too much replay compression these days. A little bit of give with expansion can do wonders with musicality, if your hyperfi system can cope....unfortunately that implies my favourite 7+7W tuber feels the pinch.
Someone mentioned a min 100+100W poker is required. Quite right! and my amp fitted with xxx EH EL34's as triodes is probably the closest it gets to originality. Could Blackburn Mullards change the picture ? Nup..Na..
richy
Someone mentioned a min 100+100W poker is required. Quite right! and my amp fitted with xxx EH EL34's as triodes is probably the closest it gets to originality. Could Blackburn Mullards change the picture ? Nup..Na..
richy
Yvesm said:
what the hell is "mastering"
It is such a technology: when they record they don't mix inputs from microphones and instruments; they just record them on a multitrack device, then putting all together blending them, making balance, adding reverberation, EQ, compression
again, to make the final stereo record. They are often looking for "glue": to "glue together" channels on the mix, as if they were made in a single environment, in a single reverberation, often adding intermodulations for such a purpose.It is like making a movie: they shot scenes from several positions, then cut and paste.
I don't do that; I work like I make a reportage from an unique venue trying to capture all details, including original reverberation and interactions of artists and a public.
Alastair E said:
They are probably pretty sure they have no need to cooperate with you; instead, your customers someday will demand from your equipment to contain "Sweet, smooth, creamy Mullards!"
Wavebourn said:
It is such a technology: when they record they don't mix inputs from microphones and instruments; they just record them on a multitrack device, then putting all together blending them, making balance, adding reverberation, EQ, compression
It is like making a movie: they shot scenes from several positions, then cut and paste.
I don't do that; I work like I make a reportage from an unique venue trying to capture all details, including original reverberation and interactions of artists and a public.
TNX !
I beleived that "mastering" was a step applied on the already mixed material !
Years ago, discovering Beattles records, I supposed that Abbey Road engineers did not simply mixed the Paul's and John's voices but rather used one the modulate (intermodulate ?) the other.
I unsuccefully tried to reproduce this behaviour using analog multipliers
Yves.
It's pretty expensive, but somewhat less expensive than I initially expected. Still the market for the tube at that price is going to be pretty limited. They should be handing out review samples left, right and center in order to generate some word of mouth.
I hardly ever use 12AX7A in my new designs, and can't see using them as error amplifiers in my power supplies so unless I spring for some for the ReVox I won't be trying them anytime soon.
I hardly ever use 12AX7A in my new designs, and can't see using them as error amplifiers in my power supplies so unless I spring for some for the ReVox I won't be trying them anytime soon.
oldmanStrat said:
No, not entirely there are just much better tubes for some specific purposes. The 12AX7A was meant to be competent, small, and inexpensive - there are better tubes for most applications it covers if expense and availability are not an issue. It's still a reasonable choice for many applications particularly as it is still made.
As an aside the 12AX7A offers fairly high mu which lends itself well to applications that use significant amounts of global feedback to set gain and other circuit parameters. I don't feel compelled to use global feedback and therefore choose types that suit my end purpose.
For example I use the D3A in the front end of my phono stage, it provides a mu of about 70, has a plate resistance of 2K or less triode connected, and noise performance that ~ 20 12AX7A sections (10 tubes) in parallel could just match - all in a single tube.
I use low mu dhts and idhts in my line stages again with no feedback other than sometimes a few dB of local feedback - this generally to manage gain.
I use 12AX7A as voltage amplifiers in my power supplies where their high mu gives me reasonable open loop gain for use in output error correction and lowering output impedance particularly at low frequencies..
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