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In the Forum: Melquiades Amplifier
In the Thread: To Milq builders: corrections, simplification, modifications.
Post Subject: Everything about everythingPosted by Romy the Cat on: 1/12/2015
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 dl wrote:
But I am curious (wary) about what you mean by the “one-sided” results of using a DHT for the upper midrange (if I misread you correctly).

  What I meant is that practically no one uses "a good DHT for the upper midrange". Usually people make a good DHT with good DHT driver end up with astronomical cost and then understandable use it as full range amp, having compromise, power, dynamic, up and down extensions and many other things. It is not to mention that "a good DHT for the upper midrange" might not have proper loading for let say upper bass… As a result it is frequently that even a promising amp, without doing to DSET, might not deliver all together possible-to-be-delivered sound in context of most of installations.
 dl wrote:
I also wonder whether it is even conceivable that such an amp might use valve rectification and still keep up with the Milq.

Why not. I am not against any valve rectification, particularly for MF amps. To "keep up with the Milq" is a bit more complicated subject. Milq is not a reference of any kind and there is no need to keep up with it. If you multi-amp then you do want the amps work together in the same way. I however feel that type of the rectification in case of matching the multi-amps is less prominent factor. In term of rectification BTW, the LCLC approach with super fact switching bridges deliver very good result and I do not know if it were necessary to have all of those trouble with valve rectification. My initial tests with 6C33C indicated that valve rectification was inferior to LCLC, particularly in bass. I did not experiment with valve rectification for my MF-only DH DSET.
 dl wrote:
Suppose further that it was asked to drive not only a compression driver but also a 6” paper cone from 400Hz to 1000Hz? I want to doubt all that, but I haven't thought about it too much. What I do know is that I am quite allergic to the sound of solid-state bridge + 6C33C + amorphous iron in the upper midrange. However, with oversized, steel-core OPT's, lowish end of permissible voltage (not starved!) on the 6e5p, foil caps on C4 and C5, and a system-wide ban on silver molecules (ok atoms), you do start to get a peculiar, stoic elegance out of this tube, and you do not lose too much. Though I am keen on trying a DHT to play along with the Milq, I suppose it's easier said than done. There are a lot of amps out there using celebrated or obscure triodes but which have precious little in the way of tonal sophistication. Less than my Milq, anyway.

Well, I do not feel that 400Hz to 1000Hz is an upper midrange at all. I consider it to be lower midrange not upper. If the sound you get out of 400Hz to 1000Hz is not what you like then a few things that you might consider. What driver you use and what enclosure? If you like the amp overall but do not like this specific region of 400Hz to 1000Hz then it is likely not the amp problem but your acoustic system. What is definition of you "being allergic". Can you provide more specific criticism of what you do not like in sound? Also, if you have 2 Milqs then can you use a second one to drive your 400Hz to 1000Hz channel and slightly more idle this second Milq? In many cases the lower midrange is too heavy loaded by wide-band amps, DSET or picking a good dedicated lower midrange driver would certainly help a lot. You might also to drive your 400Hz to 1000Hz from different section of the same OPT that you drive your MF. Let say you load your MF at 1000R but you might load your 400Hz to 1000Hz at 1800R, taking signal from different sections. I would be more specific to advise you something to try if you will be more specific to explain what exactly you do not like.
 dl wrote:
As for the M2, I heard it only once in a very controlled environment (one of these demonstration rooms in NYC where you are made to feel that you ought to have paid admission just to behold this or that sonic magnificence, and then kicked out after one movement of something like “Hilary Hahn” played back on a $75,000 CD player). If I'm honest, I was amazed by the sound. But I did not really do much about it at the time. I was using ANJ M77 and Neiro (parallel 2A3) then and had not yet discovered real problems with that amplification. Also, the Kondo, even if it has a particularly strong sonic signature, benefits from an organic-sounding tonal shaping, whereas the Lamm sounded more synthetically processed (and I did not know, or care that much, if it was some Disney-esque production quality of the recording or something else).

Well, unfortunately whatever Lamm ML2 was today is dead and the true sound of that amp might be obtained only by chasing 15 years old heavily-used amps. BTW, I did hear a few very positive result with ANJ but it was in context of a small-single drive mini-monitor and in very limited range. 

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