Digital Source with Tube Amplification

10-31-13: Mceljo
Jmcgrogan2 does bring up an interesting point that a digitally mastered LP isn't superior to the CD. I have a coworker that strongly prefers vinyl, but says he can't really tell a difference between a digitally mastered LP and the same CD.

I concur a digitally mastered LP sounds about the same as a CD to me, and bad CD's too, as most of this digital mastering was done in the 80's and 90's when digital was a trendy buzz word, but not done very well at all. In this case (digital mastered LP) I would rather have the CD with tube amplifier over the vinyl with solid state. However, if the LP is mixed and mastered in the analog domain, I would prefer to listen to vinyl with a solid state amp than a CD or digitally mastered LP on a tube amp.

In keeping with the hypothetical choices/ pairing options put forth by Mceljo I'd take CD with tube electronics rather than analog record with solid state electronics. I'll skip the caveatscable.
Charles,

For me, I most often listen to something close to Option 3 (CDP to tube amp to speaker); I actually use a music server to play ripped CDs. This is not necessarily a quality choice, but a practical one. Most of my collection is CDs, primarily because newer classical releases are available ONLY in digital form. Fortunately, classical CDs are recorded and mastered to sound quite decent. Even re-releases from older analogue sources sound good in digital versions (e.g., many DG recordings have been remastered to sound much better than their crappy 1970-80's vinyl recordings). I tend to also listen more to non-classical music from digital sources these days from the server because it is so much more convenient than either CDs or vinyl.

For non-classical music, my very best sounding music is mostly found on vinyl--rock and jazz from the pre-digital era usually sounds much better on the original vinyl. I don't think this is so much an inherent superiority of vinyl as it is more the case of bad/indifferent mastering to digital. With some reissues, it may also reflect deterioration of the original source that accounts for the inferior reissues--some recordings just don't sound as good in any form of reissue.

If I had to choose between digital and vinyl as a source (purely an academic exercise), it would be digital because there is A LOT more music available in that format. I have MANY more recordings available only in digital format than I have vinyl recordings not available in a digital format.

For me, the choice of tube amplification makes a BIG difference in the sound. The particular tube amps I like have no comparable solid state offerings. But, I would not generalize that tube is superior to solid state because, to me, MUCH tube gear offered actually sounds worse than comparably priced solid state gear.

Hence, I arrived at Option 3 because the CD source would make available the widest range of music, and I happen to like and use tube electronics for amplification. I use either a low-powered single ended amp or a low-powered pushpull amp (I am not wedded to either camp). Last night, I got to hear again a particular OTL amp I have not heard in a while and it might be the very best amp I've heard (one of a kind 35 watt monobloc amp).

Hi Larryi,
I have a fairly large collection of jazz on viny(from my analog past) and
they sound very good. Fortunately for me the vast majotity of my jazz CDs
sound very good also, I can't speak for other genres (I have some classical
CDs that are quite good as well). The bigger gap in my experience is with
the electronics. DHT tubes either SET or push pull just excel at the natural
realism I consider vital for my enjoyment. IMO the CD- vinyl gap is narrower
and either format works for me. Larryi I agree with you, some higher power
pentode type tube amps aren't any better than SS amps. It seems we have
similar hearing. Larryi The overwhelming majority of the jazz CDs from
remastered analog 1950-60s sound excellent in my current system.
Charles,

Charles1dad,

I agree that most remastered jazz cds sound very good, as do most new jazz issues. Jazz has not been utterly corrupted like most mastering of pop and rock music. But, if you ever heard some of the original Atlantic, Impulse and Bluenotes, for example, or the Analogue Productions and other highend lp reissues, there is a little more THERE, there.

We are both not big fans of high powered pentode and tetrode amps. To me, most listeners would be better off with some of the better solid state stuff, such as Ayre or D'Agostino, if they need that much power.