Rerurn to Romy the Cat's Site

drdna wrote:

However, there is something to be said for the certain magic that can sometimes happen with a particular device. The unpredictable transients and color shades add a sense of alive-ness that seems separate from the standard characteristics we use to describe the audio.

Well, perhaps. A few 300B amps that heard did not have “magic” but they rather had array problems. Perhaps a 300B amp (or alike) used in a limited bandwidth in DSET configuration is something that might be worth to explore? I did like the 2 above mentioned moments I would not accept the limitations that also described above. The shades  of color are fine but the shell be the shades  of “right colors”, not the shades of the same colors. It is interesting if anyone does the DSET oriented DHT, perhaps with the same 300B?  It would be fun to try a 2-stage, grounded cathodes 300B amp with DSET out transformer.

drdna wrote:

Perhaps now you understand a little more my point of view that an audio device can have clear limitations in the first level of audio perception but can still have a greater ability on an emotional level to allow the listener to connect to the Sound?

I still would like to maintain my loyalty of the notion of sequential levels. If we have a “successes” at the Third emotional Level and then we increase the amplitude of “successes” as First static Level then can we presume that the “result” at Third Level might be “better”?

drdna wrote:

It is a little confusing to me, since I had originally believed that the Melquiades circuit was intended to do exactly that. Perhaps I misunderstood all this time...

I do not understand what you are saying, Adrian. The Melquiades circuit of the single-stage amp was not intended to do anything in terms of “color”.  Take a look at the MF channel “C”:

http://www.goodsoundclub.com/PDF/6-Chennal_Melquiades_DSET_Amplifier.pdf

There are no parts in the signal path- the PS, a bias resistor in grid, a tube and transformer – it’s it. There is as little “circuit” in the single-stage Milq.  My primary interest at this point is to learn if the positive things that I notice were due to the 300B or it was the amp itself. You see, the amp was made to be very much not neutral. As far as I know this manufacturer they intentionally push out of this products very specific and highly colored character. I have see their units in past and I very much do not agree with what they do. Perhaps we do use different lingo when we talk about DHT’s color and IDHT’s colors. I have seen people who advocate DHT and we all heard their arguments. I was not impressed from what I witnessed. Like anything else in audio it might be endless mouth running about it but in the end of the day the people shell talks about the mutually experienced actual results. They shell be in the same room, experience the same sound form the same playback and then correlate the observations. Then some kind of common denominator of assessments might be built up. I did have in my room a number of DHT people of various level of understanding about sound and among other my questions about problem with my playback I always ask my visitors to comment about the quality of tone. I never had people complain even if did not like it. I personally do not feel any “shades of color” deficiency with my MF channel. I however would like to be challenged and proved that I am wrong.  I have some idea about the subject that I will share in my next “conclusion” section. If you find yourself in Boston then drop by and we would have some tangible ground for interpret of the actual result. We could borrow some kind 300B for fun…

Rerurn to Romy the Cat's Site