Arkless Electronics-Engineered to be better. Tel. 01670 530674 (after 1pm)
Modded Thorens TD150, Audio Technica AT-1005 MkII, Technics EPC-300MC, Arkless Hybrid MC phono stage, Arkless passive pre, Arkless 50WPC Class A SS power amp, (or) Arkless modded Leak Stereo 20, Modded Kef Reference 105/3's
ReVox PR99, Studer B62, Ferrograph Series 7, Tandberg TCD440, Hitachi FT-5500MkI, also FT-5500MkII
Digital: Yamaha CDR-HD1500 (Digital Swiss army knife-CD recorder, player, hard drive, DAC and ADC in one), PC files via 24/96 sound card and SPDIF, modded Philips CD850, modded Philips CD104, modded DPA Little Bit DAC. Sennheiser HD580 cans with Arkless Headphone amp.
Cables- free interconnects that come with CD players, mains leads from B&Q, dead kettles etc, extension leads from Tesco
Not barred; as long as you say what you think once, and then let others who disagree do what they like afterwards, without being endlessly 'spanked' like silly schoolboys!
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & reg mods]. Funk Firm APM Achromat/Nagaoka GL-601 Crystal Record Weight/Isonoe feet & boots/Ortofon RS-212D/Denon DL-103GL in Denon PCL-300 headshell with Funk Firm Houdini/Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp/Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new, by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. LDR Stereo Coffee. Power Amps: Tube Distinctions Copper Amp fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.
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Also **SAY NO** to unjust 'vaccine passports' or certificates, which are totally incompatible with a FREE society!!!
This.
Plus, please be mindful that most of us still active in the hifi design and construction business would find it unpalatable offering criticism of others' work...the right minded amongst us simply wouldn't take part in offering such opinions on a public forum. There are many ways to skin a cat and there are many companies and individuals doing things their own way.
Now where there was a blatant example of marketing trying to deceive by lies or by claiming that magical nymphs power their box of tricks, it would be only too fair to point out that nymphs don't exist (sorry, block the eyes of any children reading, but neither does Santa) and to perhaps offer the truth behind a claim rather than to rubbish a statement outright. It is dangerous ice to tread on though. A little re-thinking might help. Perhaps something like a section to share technical articles or personal thoughts on design might be more appropriate?
I'll take up the cudgel (oops, sorry – thread) on this one.
Having an enquiring mind in matters of a technical nature I'm always keen to try to understand what causes changes to the sound we listen to.
One aspect that has puzzled me is the differences caused by valve rolling, after all the valve is usually being replaced by one of the same type/designation, though usually a different make.
I'll try to keep this simple so everyone can understand my thoughts.
Firstly some basics, no components are perfect, if they were there wouldn't be any difference in the sound of X, Y or Z amplifier models.
If only 'a straight wire with gain' was something that could be achieved, sadly not.
Gain in this instance is another word for amplification
The gain of a valve stage is dependant on the conditions it is operating under, primarily what voltage is across the valve.
The problems arise from the fact that it is not just the characteristic that determines the amplification (gm) that is non linear compared to the voltage across the valve, the 'equivalent internal resistance' (my terminology) of the valve, known as ra, is also non linear with respect to the voltage across the valve.
A resistor is a basic building block in all electronic circuitry, perhaps one type approaching 'perfect' being the Z foils, at affordable prices; http://www.hificollective.co.uk/comp...resistors.html
Now combine what may be a near perfect external resistor, the load resistor on the valve anode, with the non linear internal ra and differences can easily arise.
To quote from Keith Snook,
'The complex interdependencies changing internal gains and impedances within a triode amplifier as Va Ia and Vg change dynamically cause all kinds of distortion and colouration ~ Simply isolating one cause of distortion such as the non linearity of the Ia/Vg transfer function cannot fully explain the differences between the sound of similar or even the same type of valves'.
Full article is here: http://www.keith-snook.info/amplifie...cb-graphs.html
There are design techniques that can mitigate most of the non linearity of valve characteristics, used to great effect by the likes of Tube Distinctions (AnthonyTD of this very parish) and Shindo to name but two.
A majority of valve amplifiers may well use supply regulation to good effect but that only goes part way to negating the valve amplification stage non linearity, hence different sounds when valve rolling.
I use various techniques in my own design amplifiers, probably why they sound as good as they do