"snap" should be heard/felt at all listening levels, including low quiet levels. Natural sound has "snap" / fast transients at low sound levels. This is one of the challenges of many stereo systems that sound flat. The systems that sound flat only have "snap" at loud listening levels. A real attribute of a great / natural sounding system is having snap at all listening levels.
You could try with inserting more bamboo, especially under turntable and preamp. Try hard aluminum alloys or brass as well. Again under the turntable and/or preamp. Brass/aluminum brass/sheets/pieces.
When you say large, are you talking physical size only or inductance?
Adressing the OP's first post only.
What suggestions are appropriate really all depends on how interested you are in the electronics behind the sound.
If you're not that interested in soldering and exploring, have the money and want to focus on the arena of subtle changes/improvements then go for the chokes. If they don't float the circuit to a higher level of perfection then at least you have a spare set for use in the next project.
Personally, if looking for "more snap/liveliness to the sound" there's more to be tried than just changing chokes. First off, how about direct coupling the tubes. You can get the required extra few volts with a small capacitor in front of the first filter choke.
I don't ever recall reading that the C3g was noted for "snap". Linearity, yes. "Snap"? No. Maybe better as a pentode? In a Blöhbaum MTA or other augmented configuration?
Maybe try a different driver? Higher mu, higher gm? (like D3a etc)
Or, different output tube?
Or different circuit altogether!
Sorry, I got carried away . . . .
In short, there are many things you could try that will teach you a lot without spending very much money. It really depends on how much interest and patience there is.
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Be careful here, some of these speakers are famous for their dynamic sound but they have non-flat frequency response curves - and that's an understatement. I am mostly a full range single driver fan but I also have multi-way commercial speakers (e.g. PMC) and I too perceive more snap from the full range - but I don't jump to the conclusion that it's sensitivity that is the cause, I think the FR plays a part in it along with the big difference in phase behaviour that a multi-driver speaker has vs single full range.
My Ilumnia Magister speakers are single driver from 30hz to 5khz. Then a super tweeter kicks in. So in essence, a single driver. BTW: These are fantastic speakers and I hope to someday elaborate with a full review. The "floating", spiderless driver (patented) is very very good in my opinion.
A very nice omnidirectional speaker, but i would use an amp of 2x40W to get full benefits.
The bass 35Hz can make around 98dB/1m, with a pair you get 104dB. Even in 3m distance you can listen to a classical concert at original level(96dB), so you do not need to adjust the gain for pianissimo passages.
I also recommend rather a SS amp so the low distortion of the speaker is not unnaturally raised.
I use omnidirectional speakers since many years and have them more in the middle of the room at rather 45° and quite close. This makes a 3-dimensional picture with the speakers disappearing completely.
The bass 35Hz can make around 98dB/1m, with a pair you get 104dB. Even in 3m distance you can listen to a classical concert at original level(96dB), so you do not need to adjust the gain for pianissimo passages.
I also recommend rather a SS amp so the low distortion of the speaker is not unnaturally raised.
I use omnidirectional speakers since many years and have them more in the middle of the room at rather 45° and quite close. This makes a 3-dimensional picture with the speakers disappearing completely.
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A Ilumnia Magister review: hifi.nl/artikel/26263/Review-Ilumnia-Magister-luidsprekers.html (use google translate)
The reviewer used the Pass X250.5 - 2 x 250 Watt/8 Ohm.
His own loudspeakers: PMC fact.12 - a double woofer transmission line with a efficiency of 84dB / 8 Ohm.
Quote from testing Ilumnia Magister: The bias meter on my Pass almost never moves, now it does.
So they need more power than his own 84dB loudspeakers on the Pass X250.5 ??
Go and borrow a good tube PP amp, a SE 211/845 amp or a warm ss-amp to hear what your speakers sounds when proper power fed.
Sorry, but you are on cloude nine, when you think your speakers are a easy load for tube amps.
Your schematic from post 1:
- connect g3 from C3g to cathode not to ground.
- use the 550µF Kemet cap in C1 position.(with 0.1-0.2µF bypass cap)
- connect your Monolith S-11 opt direct to Kemet C1. Ripple will be higher than on C2, but you will not hear it.
You will have better dynamics + bass punch.
Your Monolith S-11 opt is build for the 300B-XLS tube - EML or KR.
- sweet spot bias: 86mA - 88mA at 450VDC
- you can get very powerfull 12-13 single ended Watts + a better damping factor
Will it be enough for your Ilumnia Magister ? No clue.
Johann
I typically listen to chamber music at 88-94db. When the music is much louder, then the speakers come to life and I get snap, transients, dynamics. I am trying to achieve the same "snap" at the lower listening levels.
Lausher - I implemented the C3g g3 to Cathode. It made a huge improvement. Everything seems to be more "alive" and the harmonics / tonality are dramatically improved. Very impressive. Again, this improvement is at the 88-94db levels. I have not tried the other ideas, yet. Possibly. Right now, the amps sound the best they have ever sounded. Someday I might try the 300B-XLS. Q: if the 550uF cap is moved to C1 (with bypass 0.2uF), does L2/C2 help isolate the driver stage from the output stage?
Lausher - I implemented the C3g g3 to Cathode. It made a huge improvement. Everything seems to be more "alive" and the harmonics / tonality are dramatically improved. Very impressive. Again, this improvement is at the 88-94db levels. I have not tried the other ideas, yet. Possibly. Right now, the amps sound the best they have ever sounded. Someday I might try the 300B-XLS. Q: if the 550uF cap is moved to C1 (with bypass 0.2uF), does L2/C2 help isolate the driver stage from the output stage?