SETs vs. Push/Pull

Go find an Audio Note dealer with a pair of Audio Note E type speakers set up. They are simply wonderful, do not require a sub, and will work very well with only 8 watts of quality 300b power. They start at about 3000/pr and go up to the 20k region for the top of the line with external crossover (and 98db efficient). The Audio Note speakers (type K, J, and E) are designed to mate with SET tube amplifiers and the impedance varies between 6 and 8 ohms which is about as perfect as you can get for a SET amplifier.

The Audio Note AN E/SPe (or SPx) models are probably the best value in that you get much of the performance of the top of the line (20k) for much less money. Last time I checked there was a pair for sale on Audiogon around 2500.

You really should have a listen to these speakers. I moved my Spendor 2/3 speakers out of service and put a pair of AN J/L (entry model of the J type) speakers into use and never looked back. They work well with higher powered solid state amps, too.

They can also be placed against the walls for more bass or in the more traditional position away from reflecting surfaces (which I prefer as more neutral sounding).

With these speakers you are not limited to any amplifiers with one exception: cheap amps. These very efficient speakers will reproduce any noise from your amp and will also reveal any weaknesses in your system.

I've been curious about Audio Note speakers for some time but never had the opportunity to audition. I'll keep an eye/ear out for them. In meantime, think I'll look for a relatively inexpensive P/P tube amp to roll with. Or, if i could find a 6-7 yr old 25wt Accuphase (don't remember the model number but it was current in their line at that time)for a real good price I'd probably go for it.

There is a pair of used Accuphase amps for sale right now. They can operate in pure class A and make 30 watts at 8 ohms. In AB mode it puts out 130 @ 8. In bridged mode you get 110 watts at 8 ohms. Lovely amps.

Tom,
Several years ago I owned a Conrad Johnson 11-A tube amp and the Cary 2A3 monoblocks (5/watt per ch.), which I used with a variety of friendly set speakers. I would listen to one amp for a few weeks to a month and then switch to the other etc. In the long run, although both are good amps, I decided I liked the sound of the set (Cary 2A3) better and I still use them today. I'm not sure which P/P amp would work best for your ProAc 2.5 Response Speakers since it is evident that you want to keep them, but good luck in your quest and be sure to post your findings.

Hi Lak. I can certainly understand your apprehension here. I am a giant fan of any of Stewart tylers response series speakers and have set up more than a few of them for myself, family and friends.I personally use a pair of the response 4's in one room at my studio and I am currently running a pair of response 2's in my family room at home.A close friend runs the 2.5 in his 16ft x 28ft basement room with an 8 ft ceiling and drives them with my old CJ 52 {completely stock}.I have used an assortment of set amps... wright 2a3 monos, wright 300b monos,a highly tweaked pair of 22 watt ASL 1006 845 monos, as well as my 60 watt ASL 1009 "parrallel 845 set" monos and a modified KR 18bsi employing the kr 300 bxl tube". Current Push pull amps for comparison purposes are a highly tweeked pair of el-34 based Vac PA 90c monos,a pair of MFA 120 monos wired in triode employing KT-88's,and my old trusty CJ mv-52 mentioned above employing nos mullard el-34's. I am sure you are well aware of the proacs synergy with tube amplification due to their benign impedence load, and to be candid here:in my honest opinion, it is the only way to drive them. I have to concurr with Edle regarding set power. The Proacs are beautiful with just about any quality tube amplifier however, in my experience, the 2a3's based amps are tremendous here but tend to run out of steam on a lot of classical and many live jazz and blues works. The 300 b based amplifiers are mezmerizing in what they do capture musically but can tend to be somewhat soft or bloomy, lack the bass resolution and power of the better push/pull amplifiers and are perhaps a little rolled off at the very top as well. I must admit... I have never heard the Air Tight 300b, however... based on my experience with the Air tight 3 monos.. I can only assume they must be one of the industry's finest. If it can be adjusted to accommodate the KR 300 bxl it would surely drive the 2.5s to perfection. Do not discount this tube, it can be biased to give you around 18 watts of output. The bottom end of the KR bxl is incredible in resolution and drive capability, and rivals any of my push pull amps in this area. The ASL 1009 monos are parallel 845's pushing 60 watts each,they are far and away the best amplifiers in my stable and are employed exclusively to drive a tweaked out pair of 98 db efficient Tannoy Westminsters in huge soundroom at my studio.That said: the KR 18 bsi "modded to remove its preamp stage" rivals the big ASL 1009's in its drive capabilty and has the more resolute bass to boot.It is my amplifier of choice for the proac 2's at home. I do have to concurr with above poster {jeffreybehr} regarding the recommendation of the el-34 based CJ amps as they do have a magical "very set like" synergy with the proac and when adjusted with good nos tubes,the MV 52 makes for a very engaging musical experience for very little money. As a matter of fact...when outfitted with the rare genelex KT-77"read insanely expensive here" the little CJ must be heard to be believed and will embarrass most anything out there under $5k or more. Unfortunately, a quad of Kt-77's are insanely expensive, comparable in cost to a quad of Western Electric 300b's. The kt-77 is a drop in replacement for the el-34 pentode however,its is actually a beam power tube [like a kt-88]and posses a similar bass response to the kt-88. Geez Lak..... I think I'm getting a little carried away here. Hope this helps and all the best in your endevour. Cheers David