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I do evaluate many pieces of equipment that do not make it to this column. Why is it that most equipment written up gets a favorable rating? For two reasons. electricity storage costs First, I usually go by word of mouth from other members of the high-end audio community or with equipment from builders I am familiar with, so most of the chaff is removed before I evaluate. Second, I would prefer to not place in writing a negative

I actually have had two copies. The first one I listened to I was extremely impressed with both its sound and musicality. Then I did my normal disc preparation routine and made a little mistake. With all digital discs, I first clean them with Walker Audio Vivid, then run them through my Audiodesk System lathe, which removes the edge of the disc, then use a Bedini demagnetizer. Unhappily, I

did not notice that there was so much information on the disc that it went to within 1 mm. of the edge. Thus, the last minute of the Symphony #8 got lathed away. A learning experience for me. Now I look at each disc first to see where the digits end, then lathe down appropriately. The disc’s last minute may have been destroyed, but the remainder of the performances was superb, so much so that I bought a second copy.

First the sound. (This is a high-end audio journal and not a musicology review, you know.) This is the most natural sounding multi-track recording I have heard. I’ve never been in the recording venue, at the Italian Institute in Budapest, but from the sound it must be a marvelous listening space on par with the best halls, at least for recording acoustics. The electricity must have been perfect and the recording engineer must have used fairly simple mic’ing for a multi-track recording, and not done any major post-session messing around with the digits.

Next the performance. Both of these symphonies are favorites of mine, especially the 8th, and I have heard each several times live and by different orchestras, and have also heard and have had most of the major recordings. To me, this is the best single disc combination of the two symphonies. The playing is electric, especially the last movement of the 8th. gas 1981 The letdown when I found out that I had destroyed the last minute made me so mad that I actually turned off my system for the night, it was that traumatic. I am not a musicologist, just a musicophile, so I won’t go into the intricacies of the playing or interpretation. I’ll just say that this is the finest all- around recording I’ve ever heard and for $17.99 list, a steal considering you get two symphonies in surround sound.

phono-preamplifier, -24dB active crossover units for my main loudspeaker channels based on his differential RTP balanced design. One year and several thousand dollars later, he presented me with the units which to this day I use in my system for the left and right front speakers, and which have yet to be beaten by any preamplifier, phono stage or active crossover I’ve had here. He even came over from Munich, Germany and installed them in my system, made sure the wires that I had made from his foil and design were up to his standards, and then mentioned he was working on a new design for a fully balanced push-pull tube amplifier based on his differential circuit.

Being a SET freak for the mid-high end and solid state for woofers, I was a little reluctant to go for a push-pull design, most of which mask that first milliwatt of sound that holds the space information, and round off the bass, both so important to audio reproduction. But Allen had been correct in his theories on cabling and had done a superb job with my preamplifiers, so, during my last trip to Austria, three years ago, I took a side trip to Munich and brought him a down payment of

Then, I waited… and waited… and waited. electricity grid australia Three years I waited, sending various emails, some of which were answered and some not. Each answer said the design was progressing but not finalized. If nothing else, Allen is a type A personality, this was his penultimate design, and he wanted it perfected. Also, in the mean time, he had designed a mod for the Sony top of the line

here (Adobe Acrobat file) so I won’t go into that. What he has done is to build a simple circuit that turns the push-pull output stage into a so-called differential amplifier that makes sure the total current flowing through the two sides of the circuit is perfectly equal down to the microampere level. This in theory should allow the differential amplifier to have the macrodynamics and wattage of a push-pull design with the microdynamics and low level resolution of an SET amplifier. He then used the 6H30pi "Super Tube" from Sovtek as the driver, and his self-designed "Super Reg" power

The unit has three inputs and outputs. The inputs are RCA, XLR, and his favorite Redel plugs. The unit is balanced, and if the RCA is used a special Redel shorting plug in included that must be plugged into its slot for proper unbalanced operation. The outputs are two sets of banana plugs for bi-wiring and a special Centronics 25 pin plug for his silver foil speaker wire. The unit is self biasing, can be used with just about any output tube, triode or pentode, with the possibility of paralleling

a pair of tubes per side for more power, and he has already designed units for 300B, and single or doubled KT-88 tubes. electricity dance moms episode I had him build mine using VV-32 tubes as I had several sets left over from my first Electraprint Amplifiers and wanted triodes with a little more oomph than 300B’s to drive my horn woofers. The VV-32’s can do 18 watts each, or 36 watts total, but they were conservatively set for about 18 watts output, which should allow them to work for years. He used his silver foil for signal transmission, and Lundahl transformers.

As I bi-amplify all of my loudspeakers using active crossovers and loved my DRD amplifiers driving the mid-tweeters, the amplifiers were placed into my system to drive the dual Electrovoice12L woofers on my main horns as my Plinius SA50 stereo amplifiers were at the factory being updated. After balancing the outputs of the separate amplifiers, we sat back to listen, and of course the first piece I played was the first movement of the above mentioned Dvorak

and was the tightest I had ever heard from my system. Remember, I am not measuring the bass reproduction of this amplifier to another tubed one, but my Distech Monoblock 140 watt per channel solid-state amplifiers. Then the tympani kicked in and I heard the most authentic reproduction of tympani I’d ever witnessed. So they did do the bass better than any amplifier

With the Wright Differentials in the system, and the subs off, the Beauhorn bass tightened up giving more chest compression. There was as much micro-information hall space cues coming in as with the Nero’s. Where the Nero’s slightly beat out the Wright amplifiers was in the midrange that was somewhat more liquid and natural. Whether that was due to the amplifier circuitry difference or the Nero’s 2A3 tubes verses the Wright’s VV-32’s I have no idea, but it was very close. All in all I was ecstatic that the Wright’s took on the mighty Kondo and, to my ears, won. There was even an apparent increase in the low frequency information such that we did not feel compelled to use the subwoofers for the rest of the evening even though Steve threw some very bass heavy albums at them.

The next week saw a further break-in in the amplifiers, with the bass tightening up even more. Then, my Plinius SA-50 stereo amplifiers came back from their update and I had them running the woofers in Class A one channel per woofer, and the Wright units the mid-tweeters. Believe it or not, my first impression, after balancing the system, was a loss of bass slam. The Wright push-pull two-tube amplifier putting out 18 watts had actually done tighter and deeper bass than four channels of 100 watts of

You will remember that I had been using the Electraprint DRD 300 B amplifiers since I gave them "Best Product of the Year" award last year. They had the clearest cleanest mid-range production that I had heard, but the Wright’s beat them out. The imaging became more 3-dimensional with greater depth and width and fullness to the soundstage, filling out even more the space between the instruments. electricity lyrics The Wright’s were actually letting more information through. While the VV-32 based Wright’s didn’t have the 300B romance of the Electraprint’s, I do think this was a tube thing, so I’d love to hear Mr. Wright’s circuit with 300B’s or even 2A3’s.