best preamp ever - cost is no object

Carlos, I don't think the circuit topology must be innovative. It must be well implemented. As you say, the circuits are simple. While this may be true on one level, they are extremely complex on another. Otherwise one could simply copy a circuit and end up with the same sound. The complexity is the huge number of variables you face when you actually start to build. Given a simple schematic of a single tube amplifier it could be built an infinite number of ways when you factor in type of capacitor, resistors and other passive components, physical layout, grounding schemes, cabinet material and construction, wiring, etc.

There are thousands of different amps out there that have very similar circuits but all sound very different if you take the time to listen.

I have had my system evaluated by a reviewer, a high end dealer, and a high end manufacturer too and they were all suitably impressed, not that it means much of anything. Just another opinion in my book.

And yes, as far as ego goes you are dealing with facts. The fact is you have a huge ego. What impresses me is when people like Ralph put forth well reasoned ideas to support their positions, not when people like you tell me I should pay attention and tremble in your wake because you are "the bull."

Ralph,
Are you familiar with the many tube saturation devices in the Pro Audio world? These devices are design with just this purpose in mind. Beyond changing the tube saturation/distortion characteristics there are devices in the Studio world that go far beyond what is possible in the audiophile world.

It was my understanding that on top of being an audio designer you are also a musician so you should be familiar with devices like SPL’s Machine Head which let you change tube saturation and distortion characteristics in the digital domain. These are convolution devices but many devices are analog and work of the tubes’ originals saturation/distortion characteristics.

By the way, my experience and the experience of others that have opened up Cello equipment concurs with yours; they were over-priced boutique pieces which did not reflect their asking price. What I was simply trying to do was to show Ryan that although I do not make use of graphic equalizers many mastering luminaries do use them.

The top equalizers that I would recommend are: SPL PQ Mastering edition, Avalon AD-2077 and GML GM-9500 try to tell me that any of those mastering "parametric" equalizers are junk. I personally prefer psychoacoustic equalizers which is a different branch of sound processors.

Your approach of taking the tube variable out of the equation is the correct approach as your design should try to minimize the effects of different "vintage" tubes as much as it is possible.

Herman, Lets get together and listen to each other's systems and let's take it from there! Should we? Where are you located? Maybe I can pit stop at your place on one of my frequent trips to Shanghai, China.

>>09-04-07: Tbg
Bingo, Carlos, I choose not to participate any further is such nonsensical discussions<<

Correction. You choose not to participate further because it was called to your attention there was no disclosure taking products at a discount or even free, and then posting a favorable review on them.

Let's not be so self serving and tell the truth.

For once.

two things

1. It seems that everybody knows who Tbg is but me. How come there aren't any rules here that someone in the industry must reveal themselves? Who is this guy and which of the rest of you are insiders. It isn't hard to figure who Atmasphere is or others who use either real names or company names as monikers, but Tbg?

2. Carlos, as tempting as your offer is, my Mom won't let me invite people over that I meet in internet chat rooms.