NOS valves in a Croft preamp. A 'wow' moment!
Well, it is one of those rather rare 'wow' moments, when you do something, a small change, an adjustment, or anything and then out of the blue a major sound upgrade is achieved...
I've had this Croft SuperMicro II, which I purchased during my studies in the UK in 1989. When I purchased it after many auditions of equipment, I had the impression that the SuperMicro blew away all preamps at its price range and also many others costing many times as much. It was so open, transparent and convincing that I became a Croft fan ever since.
I have been listening to the SuperMicro with great pleasure, initially with a set of Musical Fidelity MA50 power amps (SS mono blocks, class A) and for many years afterwards paired with a Croft Series7. Almost one year ago, I had the preamp serviced by Glenn Croft and at the same time Glenn performed some upgrades, also bringing it to R-spec (R=regulated). That was a MAJOR upgrade! The sound became more composed, wider, tighter, with better imaging, deeper and yet more controlled bass. I was impressed (and very pleased, taking into account the cost-effectiveness of the upgrade).
Yesterday, a installed a pair of NOS Tesla E83CC in the phono stage of the SuperMicro. Nothing else. With only a few hours on the Tesla valves, two questions come to my mind:
1) Why had I never thought of this ever before? How can I have been missing this potential of the SuperMicro since 1989?
2) Why doesn't Glenn fit all his gear with high quality NOS valves? I am sure he is facing the hard reality of component cost, but then again there is so much more to be gained. Croft clients should be able to enjoy the full potential of the gear.
For the moment, I am getting much more detail than even before, with more resolution between instruments and voices but in a very relaxed manner. And the pace of the music is better. Yes, it is a cliche, but I am listening to records I've known all my life and I am discovering small things I never knew they existed on the record. The greatest improvement is on the realism of acoustic instruments and vocals. Buena Vista Social Club, Ella Fitzgerald, Neil Young, etc.
I hope my NOS Teslas will further improve, while breaking in. I will report again after 100h+.
In the meantime, the two further upgrades that I am planning for the SuperMicro are the following:
a) have the stock power supply upgraded to an external power supply (Glenn says it will give the sound more body and make it more lifelike. Can it be???)
b) substitute the stock GE 6463 valve of the line stage with an even better one. Any suggestions perhaps?
Phew, I had to get this 'out of my system' and share my upgrade experience. It was indeed one of those rare 'wow' moments. So gratifying...!
System1: Lenco L75 with custom plinth, SLAT, sph bearing, SG4 external power supply + Alfred Bokrand AB-309 tonearm + Denon DL103R (aluminum body) + Well Tempered 12" tonearm clone + Denon DL103R (wooden body), ASR Mini Basis Exclusive HV, Marantz CD6005, LAB12 DAC1 SE+, Hattor BIG passive + active pre, Lab12 Suono power amp, Falcon LS3/5a Gold Badge, LAB12 Gordian, Belden 8428, Black Cat Red Level Triode, LAB12 Knack MkII
System 2: Roksan Xerxes original (HiFi Inspire plinth) with Maxon ReMax motor + Audiomods Series6 + Ortofon Cadenza Black microridge retipped, ASR Mini Basis Exclusive, Marantz CD6003, Croft Micro25R + Series7R monoblocks (110W/ea), Harbeth SHL5 Plus 40th Anniv.
System 3: Marantz CD6003, Croft SuperMicroII ('R' spec by Croft, Tesla E83CC in phono)+ Series7, Snell Type EII (with bypass caps, new internal wiring, WBT nextgen 0703Cu), Mark Grant HDX1, Atlas Hyper 3.0