I know there is enough gain on the TSE to build without using a preamp. Is using a preamp preferred if multiple sources need to be selected? I was thinking of building a Transcendent Sound Grounded Grid along with a TSE. I can just as easily build the TSE with a selector switch. Will the right preamp in front of the TSE help with dynamics?
Walt
Walt
Yes, definitely and a lot! The important word in your question is the word "correct". Once you hear a DHT preamp in front of your TSE (or SSE as I have both), I will venture to say that there is no turning back.
I also had great results with type 76 preamp as well as a type 6SN7 transformer coupled preamp(Supratek Chenin).
I also had great results with type 76 preamp as well as a type 6SN7 transformer coupled preamp(Supratek Chenin).
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Good point. More circuits one adds, more chance it will loose transparency.
What about this comment from another person for a very similar subject :
http://www.diyaudio.com/forums/tubelab/252911-sse-se-used-passive-pre.html
This has been tried before with less than perfect success. If you look at how preamps are wired the volume control is always before the circuit. Even some sources and preamps would benefit from and good output buffer and then adding cables and a volume control in the middle what could happen is a source that does not have enough current to overcome the variable impedance of the volume pot and capacitance of the following cables.
I am considering this with a switch and PEC volume pots as a base buffered circuit. I built RJM's VSPS 300 phono and is well engineered. The power supply regulator is on the board you just add a small toroid and a couple of diode bridges.
RJM Audio - The B-board Buffer Stage
http://www.diyaudio.com/forums/tubelab/252911-sse-se-used-passive-pre.html
This has been tried before with less than perfect success. If you look at how preamps are wired the volume control is always before the circuit. Even some sources and preamps would benefit from and good output buffer and then adding cables and a volume control in the middle what could happen is a source that does not have enough current to overcome the variable impedance of the volume pot and capacitance of the following cables.
I am considering this with a switch and PEC volume pots as a base buffered circuit. I built RJM's VSPS 300 phono and is well engineered. The power supply regulator is on the board you just add a small toroid and a couple of diode bridges.
RJM Audio - The B-board Buffer Stage
Honestly, I don't know that I follow everything they're saying. But, yes, if the sources can't drive the pot and cables, then you need a buffer. A preamp would work, but a buffer would be more appropriate, and generally give you a far more useful volume control since you're not knocking down a ton of gain you didn't need in the first place.
Though, if you've modern sources and a 10K - 25K pot with driving less than 6' of quality interconnect, I can't imagine ever having an issue.
As an aside, I've never seen an instance, buffer or preamp, where the pot was placed after the active stage. Usually it's source -> pot -> pre/buffer ->.
Though, if you've modern sources and a 10K - 25K pot with driving less than 6' of quality interconnect, I can't imagine ever having an issue.
As an aside, I've never seen an instance, buffer or preamp, where the pot was placed after the active stage. Usually it's source -> pot -> pre/buffer ->.
Transparent does not mean dynamic! The OP said multiple sources. Goodluck matching each and everyone of them to drive your amp using a "single wire".
IMO, it will be difficult in having a 10K or a 25k pot, using multiple sources, driving an amp. I doubt it if the result will be great because your source will have a hard time driving the a 10K pot or a 25K pot. If you say around 100K, then that is a different story.
Search for "Type 26 preamp" and you will find source----> preamp----> TVC/or pot. It is not uncommon.
For the record, I tried TVC (S&B Tx-102), LSA(Light Speed attenuator), active preamps (tube and SS), and attenuators (resistor type). For my system, I prefer DHT preamp on my DHT amps.
IMO, it will be difficult in having a 10K or a 25k pot, using multiple sources, driving an amp. I doubt it if the result will be great because your source will have a hard time driving the a 10K pot or a 25K pot. If you say around 100K, then that is a different story.
Search for "Type 26 preamp" and you will find source----> preamp----> TVC/or pot. It is not uncommon.
For the record, I tried TVC (S&B Tx-102), LSA(Light Speed attenuator), active preamps (tube and SS), and attenuators (resistor type). For my system, I prefer DHT preamp on my DHT amps.
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That depends on what multiple sources are. If they are modern consumer gears, there won't be a problem unless the interconnect cables are over 3' long (I keep mine at 2' or less).
Agree! I assume a phono using low MC cartridge is one of them in my response above.
As I said, it depends on what the OP wants out of their system. You say dynamic, I say effects box. The OP didn't state what they were after, so I'm simply providing the another perspective.
Its not hard to determine what load the sources are capable of driving. None of mine have any issue driving a 10K stepped attenuator followed by 6' of home made IC's with Mogami wire. My tube MC phono stage is one of those sources. The TSE will do fine with a 50K pot according to George.
Its not hard to determine what load the sources are capable of driving. None of mine have any issue driving a 10K stepped attenuator followed by 6' of home made IC's with Mogami wire. My tube MC phono stage is one of those sources. The TSE will do fine with a 50K pot according to George.
You say transparent, I say bland. Of course it all depends on what the "listener" wants and I am providing MY perspective to the OP too.
I do not have expensive phono preamps, but I tried a PEC 25K and a 100K in front of each one at a time and there's a difference in sound for the better using 100K. My phono preamps are Wright Sound WPP100C, Hagerman Cornet 2, RCA design 6SL7 DIY, and Hybrid SuprateK MC using 6C4 then 12AU7.
But George listens to heavy metal hahaha!
What "transparent" in audio electronics means is the neutrality. As unaltered signal as possible is how the quality is judged. If some component alters ("coloration") the signal enough to be audible, then that's not considered a good quality in this context. That is unless the component is specifically designed for it such as equalizer.
Understood! My point is transparent does not really mean great sounding or dynamic sounding all the time.
I'm out! regards!
I'm not criticizing your personal preference. To each own, as they say.
In the context of high-fidelity field, the term "transparency" as I described is the judging criteria for the quality of the products. It's the semantics.
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