300b lovers

Basically what Lynn just said.  Once you hear it you cannot go back.  Even the best caps cannot touch it.  Now, that said, you will not hear this if the rest of your system is not up to the task.  You put a $500 DAC in front and a mediocre preamp that uses small signal tubes, and a mediocre pair of speakers behind and you will mask all of this.  You are not going to get this with cheapo ITs either.   The Lundahls I played around with last year sounded good, but rang at 15KHz.  That doesn't mean Lundahls are bad, just that they were not designed specifically for this circuit.  So if you get really good quality ITs that are designed for your circuit, then you will hear what Lynn described.  These replaced VCap ODAM, and I also tried top shelf Miflex and Duelund JDM copper foils.  All are very good caps.  None has the realism of the custom wound Cinemag transformer.  I have no doubt the Monolith iron is superb and I am about to try their OPTs whenever they arrive.   But you need iron of this quality.  You wouldn't judge all coupling caps based on a cheapo Solen, nor would you judge all ITs based on something like a Hammond or Edcor.

There are levels and to my ear in our circuit (important caveats), the top quality IT is better than the top quality coupling cap used in the LC with a very good anode choke.   My 2 cents and feel free to disagree, but it is what I hear.

What you will hear in your circuit .... I don't know, and it doesn't make me right and you wrong or vice versa.

Agree 100%. Don is describing what I hear.

The metaphysics are optional, but they have a good toolkit for describing perception.

See page 21 for a construction article on a push-pull, zero-feedback 300A/300B amplifier. This is about the same time as Columbia introduced the LP microgroove record, so it’s very early days for high fidelity. What surprises me about this article is that 300A’s and 300B’s were even for sale to the public; they must have been pulling them out of prewar theater equipment

At the time of printing, the only records you could actually buy were 78’s, and FM radio was very new. Note the primitive state of tonearms and phono cartridges ... also, 78’s had no standard equalization, so preamps had to cover several curves, including "acoustical" for pre-electronic records.

The reign of the monophonic LP record was surprisingly short; ten years later, almost to the month, stereo LP’s were announced by all the major labels, and stereo cartridges and stereo preamps were also on the market.

Audio magazine, July 1948

Audio magazine, August 1958, the Stereo Issue

Audio magazine, November 1982, first CD player

What is the minimal inductance is acceptable for 6sn7 interstage transformer ? 80H, 70H, 60H?

The problem is transformers with high inductance have narrow high frequency bandwidth. But if interstage transformer doesn't have high enough inductance with 6sn7 the low frequency will be cut off. 

This is entirely up to the transformer designer. They need to know the Zout, or Rp, of the tube driving the primary, and the load on the secondary, which will either be a pure capacitance in the 60~80 pF range, or paralleled with a load resistor, typically 100K or so.

The method of extending HF bandwidth is interleaved windings, and this falls into the realm of modern computer modeling. Back in the old days, this was cut-and-try, now, it can be modeled. Interleaved windings extend bandwidth, but the interleave pattern has to be carefully chosen so there is no HF ringing into the intended circuit. (This is why they need to know the Zout of the preceding stage and the load of the following stage.)

They will want to know your expected bandwidth, power handling within that bandwidth (particularly below 40 Hz), and how much square wave overshoot you will accept. And the DC parameters ... if SE, how much quiescent current does the tube run at, if the circuit is balanced, how much DC imbalance do you expect from the pair of tubes. This affects core gapping, which in turn dictates core size and transformer size. A small air gap linearizes the transformer, but can also double the required core size, which in turn affects HF bandwidth. The DC parameters are critical for the entire transformer design.

As you can see, this isn’t a matter of selecting an off-the-shelf part, but consulting with the transformer designer and telling them what you need (and what they can do). They *might* have an off-the-shelf part, or they might not. If not, what is the minimum order, and how long will that take?

I haven’t mentioned sonics yet. Aside from meeting minimum technical specs (which you and the transformer designer both agree on), there’s the matter of subjective sonics, and how it fits with the sound you are aiming for. This might sound trivial, but if the amplifier designer has no subjective sonic goal, you will not get there. "Perfection" is not a goal, it’s a marketing term, like "Perfect Sound Forever" for CD’s back in the Eighties.

Are you familiar with the subjective difference between RC coupling, LC coupling, active current-source loads with capacitor coupling, and interstage transformer coupling? (With this amplifier design, Don built and auditioned each one.) This is very useful to know as the amplifier is tuned subjectively.

Similarly, the driver stage design has a major effect on amplifier sonics, aside from inter-stage coupling. The driver section affects slew rate, HF distortion, and subjective colorations in the mid and upper frequency range. It’s useful to know the sound of a 6DJ8, 12AU7, 6SN7, and a power-tube (45, 6V6, KT88) driver ... they sound quite different from each other, and can dominate the sound of the entire amplifier.