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What's the greatest bargain in SET these days?

Hi, Gang,
I response to my recent review of the Reference 3A De Capo BE speaker, someone wrote that if you really want to hear them sing, you should try them with a SET amp, or words to that effect.
That got me thinking. The De Capo's are 92 db efficient, which (correct me if I'm wrong) seems kind of borderline for low-power SET amps.
In any event, right now I'm running mine with a pair of Manley Mahi mono-blocks. They are switchable from triode (20 watts) to "ultra linear" (40 watts). I run them in triode all the time, and in my room, the volume knob almost never goes past 9 o'clock; more would just be too loud.
All that said, what do you guys think of running the De Capo's with a SET amp? And if I did, what's the best bargain in SET's these days?
Thanks!
rebbi
mapman's avatar
mapman
22,942 posts
 
Charles,

It's probably just amp/speaker synergy. Case by case. Each case may be a bit different . The best set demos I have heard have been excellent but with very large very efficient speakers designed for the task. Results of the best ss based combos are in the same league. No two exactly the same though. Source material makes a huge difference as well of course.
almarg's avatar
almarg
9,670 posts
 
Ralph/Atmasphere has made the point in a number of past threads that a major reason SETs are commonly perceived as having especially good dynamics relates to how their distortion varies as a function of signal level.

With most push-pull amps, once output level falls below some number of watts (often measured in single digits, I believe), distortion will rise as the level decreases further.

With SETs, on the other hand, distortion will continue to progressively decrease as output level decreases, until it becomes vanishingly small at very low output levels. While distortion will progressively increase as the output level approaches the amplifier's maximum power capability. Since as Ralph has said our hearing mechanisms utilize certain distortion components as loudness cues, that kind of variation of distortion as a function of signal level will maximize the perceived contrast between high volume notes and low volume notes. Also, the vanishingly small distortion at low signal levels will enhance resolution of low level detail.

Makes sense to me. Best regards,
-- Al
mapman's avatar
mapman
22,942 posts
 
I would buy that explanation. In my case I have a set on the radar screen somday as a good solution with a wider variety of speaker designs for lower level more casual listening. Good for the ears no doubt. That would be another advantage for music lovers looking to preserve their hearing. Also I believe lower listening levels tend to fare better more often for minimizing listening fatigue which tends to increase listening enjoyment. At least for forms of music conducive for low level listening.
mdemaio's avatar
mdemaio
73 posts
 
Rebbi, the 300B with David's "5.6" model speakers (with his proprietary 15" AN drivers) were among my favorite combinations at RMAF this year...at all of $3.5K total for the pair (including the speaker build). The incongruity between sound and price tag on that system was second only to the little Linkwitz omni built from Home Depot PVC pipe that costs $450 to build (now THAT was an eye opener...).

The only "trouble" with the AN 5.6s (for me) was that they are far too large (44T X 18W X 14.74) for any space I'm likely to occupy in the near future. But they were pretty darn sweet...
charles1dad's avatar
charles1dad
10,250 posts
 
Al,
That observation correlates with my listening experience.With the sensitivity of my speakers (94 db and 14 ohm load)sitting 10 feet from the speakers. My average SPL listening is 75-80 db C weighted with a range with most jazz CD recordings from soft (low 50s db) to (88-90 db peaks). Most of the time amp is using "fractions" of 1 watt up to 1-2 watts of power. So distortion is very low. This explains the high resolution,transparency and very subtle nuance retrival. These levels are very easy on the ears and yet enjoyable and involving. Loudest I've gone was 102-104 db with cranked up jazz drumming and rock(the Doors and also N. Young).It was good at those high levels(done rarely).
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