A 9 watts beats Passlabs, EAR and YBA ?


Over the weekend, I have listened extensively to the following four different amplifiers and I have decided once and for all that the SET 300B, no negative feedback is the way to go.
The four amplifiers are as follows:
Passlabs X150: very neutral, powerful yet the sound almost very sterile.
EAR 834: very musical, tube mid-range yet sound the least like live music.
YBA 2 High current, Double Transformers: very musical, soft and sound very enjoyable; yet again not like live music.
Audio Note kit one: This is a killer and provided the music is limited to vocals and chamber music. Very good mid-range with good attack and the best like live music; but not very much bass.
However, this listening session made me to want more bass with the SET.
Thinking about the Cary 805, deHavilland or Atma-sphere ?
Any comment ?
Please advice
robertwolfee
Hello, Undertow,
Thanks for the advice and I believe for over 35 years of getting this live music reproduction bug bite; I can really see someone who has the same passion for the live music as me.
Definitely I will get more information regarding this Audio Mirror.
Yes, I have the Cary, but not the 805; but the 300B SE.
Only 15 watts and I believe it will do the same as the Audio Note.
All the best
Robert
If you have a chance, try the EAR 890. The 834 is a little soft and vague sounding, at least to my ears. The 890 is a different beast - musically real and engaging.
As far as I knew, all the EAR would have a family kind of tonality; yes, the 890 is more powerful, it still a PP Class A and it probably will not be as lively as the SET.
Atmasphere...Would you please explain the mechanism whereby feedback causes odd order harmonic distortion.
Hi Eldartford, sure. All amplifiers have what is called Propagation Delay, which is the period of time that it takes a signal to propagate from input to output. This propagation is caused by the risetimes of various internal stages and is not 'the speed of light' which is a common misconception.

In fact the propagation delay of any audio amplifier can be easily measured on any decent oscilloscope.

The propagation delay is a constant; it is not a problem unless there is negative feedback. Lower frequencies that are fed back tend to arrive much closer to the actual time that they need to be there (although the propagation delay means that they will *always* be a little late). As frequency increases, this delay has a more profound effect, essentially introducing a ringing effect.

This ringing is easy to understand if you think about a positive-going pulse of short duration being applied to the input. The amplifier responds to it and the feedback applies an inverted version of the pulse at a lower amplitude back to the input. By this time the original pulse is either gone, or nearly ended. Now the amplifier has to amplify the negative-going pulse; this process goes on as a ringing phenomena that dies out, although wider-bandwidth amplifiers often have to have filters in the feedback network to prevent this phenomena from causing oscillation, particularly if the amplifier exhibits phase shift at higher frequencies!

The result is low-level odd-order harmonic generation, usually the 5th, 7th and 9th are the greatest concern. It does not take a lot- the human ear so sensitive to odd-ordered harmonics that hundredths of a percent will audible (as a hardness or harshness) when a band of frequencies is being amplified.

Conversely, the human ear does not object so much to even-ordered harmonics. These create 'warmth' and 'lushness' but are a coloration nonetheless. Audiophiles have words to describe harmonic distortions of both types.
odd ordered descriptive terms: hard, harsh, clinical, overly-detailed, chalky or chalky-white, brittle, etc.

terms for even-ordered harmonics:
warmth, bloom, lush, fat, muddy
-as distortion increases.