300b lovers

I have been an owner of Don Sachs gear since he began, and he modified all my HK Citation gear before he came out with his own creations.  I bought a Willsenton 300b integrated amp and was smitten with the sound of it, inexpensive as it is.  Don told me that he was designing a 300b amp with the legendary Lynn Olson and lo and behold, I got one of his early pair of pre-production mono-blocks recently, driving Spatial Audio M5 Triode Masters.  

Now with a week on the amp, I am eager to say that these 300b amps are simply sensational, creating a sound that brings the musicians right into my listening room with a palpable presence.  They create the most open vidid presentation to the music -- they are neither warm nor cool, just uncannily true to the source of the music.  They replace his excellent Kootai KT88 which I was dubious about being bettered by anything, but these amps are just outstanding.  Don is nearing production of a successor to his highly regard DS2 preamp, which also will have a  unique circuitry to mate with his 300b monos via XLR connections.  Don explained the sonic benefits of this design and it went over my head, but clearly these designs are well though out.. my ears confirm it. 

I have been an audiophile for nearly 50 years having had a boatload of electronics during that time, but I personally have never heard such a realistic presentation to my music as I am hearing with these 300b monos in my system.  300b tubes lend themselves to realistic music reproduction as my Willsenton 300b integrated amps informed me, but Don's 300b amps are in a entirely different realm.  Of course, 300b amps favor efficient speakers so carefully component matching is paramount.

Don is working out a business arrangement to have his electronics built by an American audio firm so they will soon be more widely available to the public.  Don will be attending the Seattle Audio Show in June in the Spatial Audio room where the speakers will be driven by his 300b monos and his preamp, with digital conversion with the outstanding Lampizator Pacific tube DAC.  I will be there to hear what I expect to be an outstanding sonic presentation.  

To allay any questions about the cost of Don's 300b mono, I do not have an answer. 




These amps are still prototypes and being tuned as we speak.  So what Cloud wrote was in reference to the first prototype a year ago.  Spatial Audio Lab had that amp for maybe 6 months.   The mono amps are probably 25-30% better at least.  @whitestix  has a pair, and Lynn and I are still tuning them and have improved them since that pair went out.  What will be shown at the Pacific Audio Fest in Seattle will be very close to the final circuit, but there will probably still be a bit of tweaking after that.  I would expect production and sales to be Q4 of this year and maybe Q1 of next.  We have to see how it goes.   Again, I hope lots of people can hear them in Seattle and give an honest opinion.  They will come to market, I promise, but we want them to sound as good as they can first.

When I was having a Bespoke Valve Input/Output Phonostage Built for me.

The designer builder was running two builds parallel, with the only differences being one had more RCA Inputs and my one had a Single RCA Input.

The Designer Builder invited me to listen once more to the design, but I could not get my head around it, there was still too much perception of weight, which was a a assessment put forward during the demo's done prior to what was supposed to be the final demo' prior to completing. 

I told the designer/builder, it was time to introduce Foil Resistors and Alternative Cap's. After some toing and froing, we got there in principle. Z Foils and a selection of Copper Foil Cap's was bought in.

The impact these had on the Sonic was from my assessment something very very special, even the designer /builder was on board and had their eye on this as a Upgrade Package on the Phon's if they were to be produced in increased numbers My later investigations which resulted in the addition of Vintage Tubes selected as a outcome of Tube Rolling experiences, was the addition that is the Cherry Garnish on Top.

The Tuning/Tweaking has the capacity to produce a sonic that is very different in the attraction/likeability generated to a earlier version. 

@pindac   Exactly my friend, exactly.   Once the power supply is right,  all the operating points are right and there is some serious listening, then the tuning begins.   We are almost there...

@atmasphere  very interesting Ralph. What are some amps you’ve heard with high feedback that you’ve enjoyed? I’ll have to check them out.  I’ve seen the measurements for the Purifi and its distortion is incredibly low, to the point it’s at the limits of what the AP analyzer can measure. It does have raising distortion in the treble but if I had to surmise, it is most likely low order as I find the purifi a touch sweet in the treble. I do run it without an input buffer as my preamp is up to the task of driving the Purifi module directly. 
I have yet to hear the new Gan stuff that is specifically designed for audio. I know yourself and AGD specifically designed yours for audio applications unlike many of the other brands. Are you guys going to be at the pacific audio fest? I’d love to come hear your Class D amps and hear how it compares to the 300b statement monos. 


Are you guys going to be at the pacific audio fest? I’d love to come hear your Class D amps and hear how it compares to the 300b statement monos

That would be terrific!! Even if not heard in the same system. Still worthwhile to hear the GAN class D amplifiers and how they compare with the new 300b push-pull amplifiers. My sense is that Don and Lynn’s amplifier is something quite special.