Well I guess I have to spell it all out in full detail including pictures for some people. First, my recommendation didn't involve the Aikido circuit. Second, I would only have attenuation after the passive tone control circuit, if needed.So, one Aikido with too much gain , attenuate the amplified signal, then a tone control, then an Aikido again with too much gain. All connected to a power amp with pretty much gain.... You tube guys are funny. No wonder differences are heard
If you have too much gain you can skip the whole device (or add a passive undesirable tone control). All together it's like adding a fifth wheel to a fine running 4 wheel car.
You probably have to as half words/sentences are clearly not enough. Certainly on an international forum with non native speakers trying to understand dialects and broken sentences. Not everybody is born speaking english (or what is supposed to be english).
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Thanks everyone! I need tubes in my system as the midrange digital glare is unbearable at times on piano and orchestral CDs. Unity gain buffer stage sounds enticing since gain is not a priority. I am curious, if low gain ~3dB can be obtained from the ACF-2?...
I'd like to make the Tetra Phono preamp too after the LS.
Taking your recommendations, I'll try using Dale resistors, and 320V B+, and Russian PIOs... However, I do have Rike Audio PIO S-Caps too, but indeed they're expensive! As far as resistors and coupling caps go, I 'unfortunately' can hear the difference. My ears are sensitive to timbral and tonal characteristics in sound.
I am not sure what the sonic signature will be from the power supply. Any recommendations for solid state or tube rectification? Choke filtering in a CLC configuration with oil caps (as in my SE 6N1P/KT88)? How are you guys powering your preamps?
Thanks!
I'd like to make the Tetra Phono preamp too after the LS.
Taking your recommendations, I'll try using Dale resistors, and 320V B+, and Russian PIOs... However, I do have Rike Audio PIO S-Caps too, but indeed they're expensive! As far as resistors and coupling caps go, I 'unfortunately' can hear the difference. My ears are sensitive to timbral and tonal characteristics in sound.
I am not sure what the sonic signature will be from the power supply. Any recommendations for solid state or tube rectification? Choke filtering in a CLC configuration with oil caps (as in my SE 6N1P/KT88)? How are you guys powering your preamps?
Thanks!
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It sounds like you're looking for EQ rather than a flat, low distortion gain block like the Aikido.
SY, I don't particularly like EQ as it changes the harmonic content of the music. I tried it. The eVe speakers are flat to +- 1.5 dB from 200Hz-15kHz. The fact is I don't have any tubes in the chain, and I thought that a preamp might be the easiest approach to make the sound more analog and add that tube magic with some lush, spacious, and holographic sound.
In general, I find that CDs do a disservice to piano, orchestral, and opera music as the sound is etched with glare. Maybe it's my 10gauge OFC cables, or somewhat analytical sounding Cambridge 640 CDP?... In any case, I thought a tube preamp mated to a SS might give me the best of both worlds.
In general, I find that CDs do a disservice to piano, orchestral, and opera music as the sound is etched with glare. Maybe it's my 10gauge OFC cables, or somewhat analytical sounding Cambridge 640 CDP?... In any case, I thought a tube preamp mated to a SS might give me the best of both worlds.
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Nonetheless, that's what you're trying to do, since you're unhappy with the tonal balance. A flat, low distortion gain block won't give you the effect you're looking for. It will sound like... nothing. You might want to consider one of the so-called "buffers" that run on a low voltage.
In my experience, a transformer loaded line stage sounds better than a simple cathode follower + capacitor. It also lowers gain and output impedance and it opens up ground loops! Of course it costs more, but if you want quality, it's a good investment.
I built an Aikido when I was a beginner, I thought it sounded good, but I did much better since.
I built an Aikido when I was a beginner, I thought it sounded good, but I did much better since.
Agree - it's a good first timer project.
Might even be worthwhile finding a used one to play around with.
The Broskie Low Voltage kit is very good, and with a 12BH7 you can have very low gain and low plate voltage and have a lot of fun without frying...
Thanks Vincent77 and lordearl! At this point, I don't know of any DIY circuits that are better than Aikido that would be considered world class?...
I once overheard a recording engineer say that "tubes and transformers are what make the sound." I am curious, however, if there are DIY LS or buffer circuits which rely on the virtues that wideband transformers can provide?...
I once overheard a recording engineer say that "tubes and transformers are what make the sound." I am curious, however, if there are DIY LS or buffer circuits which rely on the virtues that wideband transformers can provide?...
There's lots of them. The Aikido is a good circuit, no better or worse than many others, but it has the virtue of being easy to assemble with Broskie's boards. But again, there's no preamp as transparent as "no preamp," and from your system description, you don't actually need one. If you want an effects box which will change the sound, the Aikido won't do that, other than to degrade signal to noise by having to knock down gain, bring it back up, then knock it down again.
Given your expressed desire to alter the sound, I'd strongly advise looking elsewhere.
I am very interested in circuits that can show up the differences in capacitors. Can you post a schematic of your preamp?
Cheers
Ian
Sound advice. It seems that one wants to "cover up" errors elsewhere in the chain by adding an effect box. 88man better starts with the source, the Cambridge 640 CDP. Either mod it or add a decent DAC. The internal DAC chip is quite good and if one can avoid the SPDIF output one must do so. Please be aware that there are various versions of the 640 that are diferent technically.
The cambridge 640 uses a WM8740 which can be exchanged for the slightly better WM8741 if one has the courage (I would hesitate as the board quality is unknown by me). It also uses the perfect measuring but absolutely non appealing sounding NE5532 opamps. Changing the opamps would be the first I would do. OPA2604 will do a good job but we can fill pages with "this type is better" info. The Cambridge will immediately benefit from better decoupling of the power supply lines to the DAC chip and the opamps. Please don't use very low ESR caps directly after the regulators as done in the link below. High risk of oscillation ! You can use very low ESR caps directly at the DAC chip but this all is too much info in this thread.
Adding tubes ala Lampizator in this CDP is for the truely desparate it seems. Although I like tubes at the right spots the true addicted even want their coffee machines running on tubes/valves. Any superfluous component in the chain is eh..superfluous be it tubes, caps or solid state stuff. Remember Musical Fidelity X10 ?
So the source can be made better, only then it can be determined if an effect box must really be added. For years I have thought that HiFi was about fidelity in sound, not using effects to make sound bearable but feel free to do what you like.
If the 640 needs to be changed to a brittle affair:
http://lampizator.eu/lampizator/references/Cambridge Azur/Cambridge Audio Azur 640C ALmpizator.html
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Do you think this is a wise idea have pentode (eg. 6688, EL84, etc) for the plate load section of Aikido and have the 5842 for remaining position?
It should be clear by now that the Aikido is totally redundant in 88mans setup. AFAIK it is his thread how to solve the apparently non satisfying sound quality of the source or power amps, in other words his HiFi chain. Gain and/or Aikido are the least he can use. True, the thread title and problem description are backwards and inappropriately chosen.
But 6SN7 octal + 5842 as second tube on 320 V B+ on a CLC power supply with 10 H coil and 2 x 470 uF 400V and Obbligato gold foil caps for coupling and pure silver wire will definitely make the Aikido a winner in his setup (not).
Even a passive preamp would probably be enough. If tubes are unavoidable for sentimental reasons ("there MUST be a tube in the chain or it won't sound good" dogma) then this quite OK non gain, so let's call it a buffer, low cost device might be a solution:
http://www.ebay.com/itm/6N3-5670-Valve-Tube-Buffer-Amplifier-DIY-Kit-Stereo-No-Tube-/221217551721
If this appeals to you please be aware that GE5670 performs way better than the chinese/russian 6N3 version. Ordering it without tube seems more practical as GE 5670 is easy to find. This buffer has high input Z and low output Z and no gain so 1 V in means 1 V out. The weakest link in the chain still will determine the final result so, as always, one has to take the bull by the horns and solve the weakest link first.
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Thanks everyone! This thread evolved from infusing some tube magic to correcting weaknesses in my system. I realize that without addressing the source, no amount of cosmetics can smoothen the sound without amplifying upon the weaknesses as well.
I don't think my preamp, amp, speakers, or the room is the cause because I've also tried various <$400 CDPs, <$3k amps, <2$k preamps, and <$3k speakers. The midrange glare or sheen is only found on CDs or iPod from 900-3kHz. Acoustical sources, especially piano, orchestral, and opera CDs can be harsh and edgy. I've compared the same recordings on CD and vinyl, and the vinyl is devoid of any midrange edginess and glare. I also make my own recordings on the same Steinway, so I am drawing conclusions comparing the natural source with what I hear from the recorded sound.
Modding the Cambridge 640P might be worth a shot with the OPA2604. I think the Lampizator might be too much. But, how does one decouple the power supply going to the DAC and OP amps? How else can I add a DAC if I shouldn't use the SPDIF outs on the Cambridge 640P? Perhaps a DAC with tube buffer outs might be the ticket???...
My current preamp is an Odyssey Tempest Extreme which has about 13dB gain, so the volume never goes beyond the 11 o'clock position with my Odyssey Dual Mono Stratos with 31dB voltage gain and 1V sensitivity. Even my current preamp sounds redundant except for its phono section. A passive or a buffer preamp to infuse tube magic might be the way to go after addressing my CDP.
I don't think my preamp, amp, speakers, or the room is the cause because I've also tried various <$400 CDPs, <$3k amps, <2$k preamps, and <$3k speakers. The midrange glare or sheen is only found on CDs or iPod from 900-3kHz. Acoustical sources, especially piano, orchestral, and opera CDs can be harsh and edgy. I've compared the same recordings on CD and vinyl, and the vinyl is devoid of any midrange edginess and glare. I also make my own recordings on the same Steinway, so I am drawing conclusions comparing the natural source with what I hear from the recorded sound.
Modding the Cambridge 640P might be worth a shot with the OPA2604. I think the Lampizator might be too much. But, how does one decouple the power supply going to the DAC and OP amps? How else can I add a DAC if I shouldn't use the SPDIF outs on the Cambridge 640P? Perhaps a DAC with tube buffer outs might be the ticket???...
My current preamp is an Odyssey Tempest Extreme which has about 13dB gain, so the volume never goes beyond the 11 o'clock position with my Odyssey Dual Mono Stratos with 31dB voltage gain and 1V sensitivity. Even my current preamp sounds redundant except for its phono section. A passive or a buffer preamp to infuse tube magic might be the way to go after addressing my CDP.
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