Post by optical on Aug 17, 2023 7:55:04 GMT
New addition to the stable (once again I seem to be collecting phono stages 
) . . . .
Been longing to try one of these for years, all the MP gear I've owned before has been absolutely top notch, the guy doesn't miss, so when a huge discount on one was available I had to jump at it or forever hold my peace . . .
Fully adjustable gain, adjustable loading for MC carts, two MASSIVE toroidal transformers, full dual mono construction, fully valve rectified circuit (one on each channel), a quad of Ecc83's and a pair of 6922's and can use a pair of GZ34 rectifiers, it literally ticks all the boxes.
The transformers really are quite large . . .
So why another phono stage? What's wrong with the BB3? . . . . Absolutely nothing, it's a killer stage. Just that a lot of the time I'm just 'spinning' records, ie not listening particularly intensely or critically. So I just wanted a valve stage perhaps 'approaching' that of the BB3 if possible. Putting miles on the BB3's valve compliment and indeed MC carts is always a sticking point for me, if I can have a setup with a TT and stage that is far more wallet friendly in the context of daily and constant use, I'll be more relaxed. Enabling me to fire up the BB3 and SP10 with a nice MC cart, when the mood takes me there.
Modifying:
Yeah, immediately pulled all the stock caps and valves from the chassis
. . . . I've had enough MP kit to know that what the designer uses is fine, but the package is built to a cost, and the bulk of the money goes into the design of the circuit. That's a good thing as far as I'm concerned especially as Garry (the designer) designs his products to be as modular (user upgradable as possible).
In go 6 Audyn MKP Plus caps . . . . apparently I can't count as it actually requires 8 . . . idiot. Luckily I had some very nice Jensen Paper caps of the exact value I was missing on hand to go in. I quite like having a slightly different cap in there for now, although eventually I'll probably put another MKP Plus in there.
Before:
After:
Swapping the upgraded caps in could not be simpler, two screws per cap, done. His DAC's/Preamp's are the same. Also gives you the option to change the voltage for the rectifiers to run 6X5 rectifier etc, although no need to use anything other than a GZ34 for me. In my experience the most reliable design of rectifier going.
A fresh set of TAD 7025 WA 'high grade' valves go in. Why new production and not NOS . . . well the simple answer is cost. I'm likely going to be using this stage an awful lot. I swap between this and the BB3 (which takes care of MC duties even though this handles MC just fine). The compliment of valves in the BB3 is fairly expensive and only getting more so.
I also chose the TAD's because these particular ones are known and tested to be very low in microphonics. The anode design and extra bracing means they are very quiet and do not ring/hum/rush etc.
TAD's GZ34's also reside in here, having directly compared them to the best of the best (NOS Mullard GZ34's) they weren't far off . . . . a pair of the Mullards is £250+ and rising, the TAD's are £25 each!
6922's are actually Reflektor 6n23p's (pretty much drop in replacement), not the 'EV's' though as apparently the cathode resistance is lower on them and in some circuits that's going to be a problem. Again, cheap and available.
Sound:
It's probably going to take a few hours for the new caps and valves to really settle (only had a few hours on it so far) . . . but initial impressions are extremely encouraging to say the least.
The big bass drivers on the Vaders are shifting more air, a lot more it seems. There is a proper analogue feel to the presentation which only the BB3 was able to tap into from other stages I've heard. I don't think this is quite as refined or digs quite as deep into the recording (at the moment perhaps) but what it is doing is making me listen to and really enjoy all my records. Not that I wasn't before, but this is with a lovely injection of valve fun without losing dynamics and details.
Oh and the noise floor is absolutely dead silent, even at maximum gain I can barely hear anything even with my ear to the speakers, quite an achievement from the designer.
So far I'm very VERY happy with the stage and it's only going to get better as things open up.
Oh did I mention, it's fricking huge . . . .
) . . . . Been longing to try one of these for years, all the MP gear I've owned before has been absolutely top notch, the guy doesn't miss, so when a huge discount on one was available I had to jump at it or forever hold my peace . . .
Fully adjustable gain, adjustable loading for MC carts, two MASSIVE toroidal transformers, full dual mono construction, fully valve rectified circuit (one on each channel), a quad of Ecc83's and a pair of 6922's and can use a pair of GZ34 rectifiers, it literally ticks all the boxes.
The transformers really are quite large . . .
So why another phono stage? What's wrong with the BB3? . . . . Absolutely nothing, it's a killer stage. Just that a lot of the time I'm just 'spinning' records, ie not listening particularly intensely or critically. So I just wanted a valve stage perhaps 'approaching' that of the BB3 if possible. Putting miles on the BB3's valve compliment and indeed MC carts is always a sticking point for me, if I can have a setup with a TT and stage that is far more wallet friendly in the context of daily and constant use, I'll be more relaxed. Enabling me to fire up the BB3 and SP10 with a nice MC cart, when the mood takes me there.
Modifying:
Yeah, immediately pulled all the stock caps and valves from the chassis
. . . . I've had enough MP kit to know that what the designer uses is fine, but the package is built to a cost, and the bulk of the money goes into the design of the circuit. That's a good thing as far as I'm concerned especially as Garry (the designer) designs his products to be as modular (user upgradable as possible).In go 6 Audyn MKP Plus caps . . . . apparently I can't count as it actually requires 8 . . . idiot. Luckily I had some very nice Jensen Paper caps of the exact value I was missing on hand to go in. I quite like having a slightly different cap in there for now, although eventually I'll probably put another MKP Plus in there.
Before:
After:
Swapping the upgraded caps in could not be simpler, two screws per cap, done. His DAC's/Preamp's are the same. Also gives you the option to change the voltage for the rectifiers to run 6X5 rectifier etc, although no need to use anything other than a GZ34 for me. In my experience the most reliable design of rectifier going.
A fresh set of TAD 7025 WA 'high grade' valves go in. Why new production and not NOS . . . well the simple answer is cost. I'm likely going to be using this stage an awful lot. I swap between this and the BB3 (which takes care of MC duties even though this handles MC just fine). The compliment of valves in the BB3 is fairly expensive and only getting more so.
I also chose the TAD's because these particular ones are known and tested to be very low in microphonics. The anode design and extra bracing means they are very quiet and do not ring/hum/rush etc.
TAD's GZ34's also reside in here, having directly compared them to the best of the best (NOS Mullard GZ34's) they weren't far off . . . . a pair of the Mullards is £250+ and rising, the TAD's are £25 each!
6922's are actually Reflektor 6n23p's (pretty much drop in replacement), not the 'EV's' though as apparently the cathode resistance is lower on them and in some circuits that's going to be a problem. Again, cheap and available.
Sound:
It's probably going to take a few hours for the new caps and valves to really settle (only had a few hours on it so far) . . . but initial impressions are extremely encouraging to say the least.
The big bass drivers on the Vaders are shifting more air, a lot more it seems. There is a proper analogue feel to the presentation which only the BB3 was able to tap into from other stages I've heard. I don't think this is quite as refined or digs quite as deep into the recording (at the moment perhaps) but what it is doing is making me listen to and really enjoy all my records. Not that I wasn't before, but this is with a lovely injection of valve fun without losing dynamics and details.
Oh and the noise floor is absolutely dead silent, even at maximum gain I can barely hear anything even with my ear to the speakers, quite an achievement from the designer.
So far I'm very VERY happy with the stage and it's only going to get better as things open up.
Oh did I mention, it's fricking huge
. . . . 
