This ‘integrated’ single-ended 300B kit amp was introduced by Audio Note UK in the mid 1990s. This example was built by me in 1997.
The standard Kit One looks plain and unattractive, so I dressed it up with some Kondo-copper aesthetic!
Not inexpensive (around GBP799 in 1997), this was however a quite good sounding 300B SE amp. Continue reading
The McIntosh MR71 vacuum tube FM stereo tuner was in production from 1963 to 1969 and retailed for US$399. (Today a good MR71 can still command a price 5 times that!)
The MR71 was the last tube tuner made by McIntosh and, together with the earlier MR67 model, is regarded as the best tube tuner that McIntosh made. Continue reading
This Japanese single-ended, vacuum tube amplifier can be purchased in ‘kit’ form or fully assembled.
Power output is 3.5 watts/channel. Supplied with Russian Sovtek tubes – 2A3 (2), 6SN7 (2), 5U4G (1). Amplifier weight is 16 kgs.
Input Sensitivity is high (150mV), so with the in-built volume controls, this amplifier will accept Line level sources easily. Continue reading
When I first listened to DACs, I concluded quite quickly that ‘multi-bit’ DACs sounded more like music to me, than ‘bitstream’ DACs – more dynamic & ‘alive’.
The TDA1541 was originally developed by Philips (in 1985) as a high performance stereo DAC. The ‘A’ version was manufactured between 1989-1995. It was (is still?) regarded as one of the best sounding DACs ever made. This chip was used in almost 100 different CD players Continue reading
This 2A3 Push-pull amplifier, built in 2009, has proven itself to be an excellent performer. Compared with Single-Ended amps, I am happy about the additional watts and improved bass control.
The design of an amplifier is more important than parts quality – don’t waste $$ on expensive parts in a poor design.
However, I think it is worthwhile to spend some more time and $$ on this amp. Continue reading
Real music has dynamics. Macro-dynamics – with unrestricted headroom in crescendoes. Micro-dynamics – with subtle low-level information.
Music should be reproduced also with a ‘time’ dimension. Not just tempo, but each sound accompanied by an harmonic ‘envelope’, where overtones are produced and decay naturally – providing a sense of ambience, dimension and space. Continue reading
Diego Nardi published his φ42 (Phi 42) Phono Preamp in Sound Practices magazine, issue 14.
This is an all-tube (valve) circuit, designed without (global) negative feedback. Continue reading
