I own the Coincident Super Victory IIs, which are a little less efficient (92.5dB) that the Total Victorys. I never really got the Supers to sing with the Coincident Frankensteins. I decided to give Atmasphere M-60s a try, and I am extremely pleased with the combo. They have been in service for about 6 months now, and I have no inclination to reinstall the Franks. My room is not large, 19 x 15 x 8. The Franks just couldn't do it in that room with those speakers, and as Ralph has pointed out, distortion got high enough to really be objectionable with any volume at all. I was very patient with trying to get the Franks to work with the Super Victorys, having found that they were just sublime with my Coincident Triumph Extreme II monitors. Especially with the Elrog 300Bs (don't get me started). I have heard the Franks drive the 94dB PRE's, and I did not sense that the Franks were struggling at all with the PREs. Charles loves the Total Victory/Frankinstein duo, Bill not so much. I almost think one is going to have to A/B to choose between an SET and an OTL.
Sonic qualities of SET output tubes?
Can you readily identify a 300B, 2A3, 805, 211, etc., amp’s sound with your eyes closed most of the time?
If so, I’sure would like to hear from you.
Amplifier design and the technology utilized within its confines decides the ‘voice’ or influence it will yield as much or more so than merely the output tubes the designer has chosen to use.
I get that part emphatically. One must hear the amp regardless the type of output tube technology on hand.
And yes, some Pentodes and Tetrodes are used as Triodes but are not indeed triodes by their specific architecture. That’s OK, just focus on their use as Triodes herein, please.
There are however certain tube types, irrespective of vintage which have basic undeniable sonic colors or characteristics, apart from their electrical aspects which keep attracting people to amps which use this or that tube in its output stage.
Some love 211s. some adore 300Bs. Some love EL34s configured to run as Triodes. I have an affinity for the latter. So far anyway. This topic could change my mind.
Has your own experience informed you what this or that output tube’s natural flavor regularly announces itself to be so you can have a reasonable expectation of its general presentation?
What sonic attribute continually attracts you to a particular SET tube design, 300B or some others?
Or, conversely, what is it about the sound that would bring you to covet a 211 amp over a 2A3, for example.
Why as another example, would you pick a 2A3 amp over one using 805s or 300B, 211, etc. or vice versa?
Removing ‘vintages’ and electronic or electrical qualities from the argument, what sonic attributes for the more popular S.E.T. amp output tubes have you determined seem to persist in their particular DNA?
I’m asking for input from those SET tube devotees to lend their experiences and knowledge on the subject of what tube sounds like what irrespective of the SET application, generally speaking.
My goal is to try getting a better feel for which SET Tube amp design, if any, I’d want to pursue and possibly invest heavily into going forward as the soul of a new system.
Tremendous thanks to all!
If so, I’sure would like to hear from you.
Amplifier design and the technology utilized within its confines decides the ‘voice’ or influence it will yield as much or more so than merely the output tubes the designer has chosen to use.
I get that part emphatically. One must hear the amp regardless the type of output tube technology on hand.
And yes, some Pentodes and Tetrodes are used as Triodes but are not indeed triodes by their specific architecture. That’s OK, just focus on their use as Triodes herein, please.
There are however certain tube types, irrespective of vintage which have basic undeniable sonic colors or characteristics, apart from their electrical aspects which keep attracting people to amps which use this or that tube in its output stage.
Some love 211s. some adore 300Bs. Some love EL34s configured to run as Triodes. I have an affinity for the latter. So far anyway. This topic could change my mind.
Has your own experience informed you what this or that output tube’s natural flavor regularly announces itself to be so you can have a reasonable expectation of its general presentation?
What sonic attribute continually attracts you to a particular SET tube design, 300B or some others?
Or, conversely, what is it about the sound that would bring you to covet a 211 amp over a 2A3, for example.
Why as another example, would you pick a 2A3 amp over one using 805s or 300B, 211, etc. or vice versa?
Removing ‘vintages’ and electronic or electrical qualities from the argument, what sonic attributes for the more popular S.E.T. amp output tubes have you determined seem to persist in their particular DNA?
I’m asking for input from those SET tube devotees to lend their experiences and knowledge on the subject of what tube sounds like what irrespective of the SET application, generally speaking.
My goal is to try getting a better feel for which SET Tube amp design, if any, I’d want to pursue and possibly invest heavily into going forward as the soul of a new system.
Tremendous thanks to all!
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- 136 posts total
- 136 posts total