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Eagleeyes

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  1. Item: TAC- C60 Tube Audio Company Switchable Tube / Solid State High-END 12 Kilo CD player Location: Perth Price: $2800- New was $4700 US dollars. Item Condition: Excellent just checked out By the owner of Audio Synergy from which i purchased it and its ready for sale. Built like a tank. Laser perfect condition. metal remote. Stunning CD Player Reason for selling: To many cd players Payment Method: Pickup - Cash, Paypal, COD Only Post at buyers expense normal etc.. Extra Info: Description: Single-chassis, top-loading CD player. Fully balanced, hybrid circuitry with 8x oversampling and 24-bit/192kHz D/A conversion, tubed power supply, and user-selectable tubed or solid-state analog output stages. Tube complement: two 6922EH, one 6Z4. Inputs: none. Digital outputs: S/PDIF, 1 coaxial, 1 optical (TosLink). Analog outputs: 1 pair unbalanced (RCA), 1 pair balanced (XLR). Analog voltage output: variable, 2.5V maximum. Frequency response: 20Hz–20kHz, +0/–0.5dB. Signal/noise ratio: >90dB. THD: <0.003%. Dynamic range: >100dB. Channel separation: >90dB. Power consumption: 50W. Dimensions: 17.7" (450mm) W by 4.6" (118mm) H by 15.4" (395mm) D. Weight: 26.5 lbs (12kg) net, 28.6 lbs (13kg) shipping Read more at https://www.stereophile.com/content/vincent-audio-c-60-cd-player-specifications#OrJdeY26E5YgMlMt.99 Should an audio component accurately reproduce the signal it's fed, or should it evoke the sound and feel of live music? Accuracy or musicality? This question has been at the heart of high-end audio since its inception. Back then, the question often took the form of the tubes-vs-transistors debate. Proponents of solid-state pointed to the far superior measured performance of transistor designs, and claim that they thus more accurately reproduced the input signal. Tube lovers steadfastly maintained that their gear sounded better, more natural—more like music. Since then, both camps have eliminated the obvious colorations of their respective technologies, and the levels of performance of today's best tubed and solid-state gear have converged. At the same time, the circuits themselves have blurred into hybrids of various sorts, different mixes of devices and circuits. The Vincent C-60 CD player ($4695), designed in Germany but manufactured, I believe, in China, is a throwback to when there were large differences and clear battle lines between the tube and solid-state camps. Rather than a single optimized—or even hybrid—analog output stage, the C-60 gives the user a choice of two. Per US importer WS Distributing's website: "If you're in the mood for rich, romantic audio performance that brings analog complexity to compact discs, then bask in the vacuum tube output stage. But if you want a bit more edge to your music, you can simply switch to transistor output instead by clicking the C-60's front panel switch." Description The Vincent Audio C-60 is a thoroughly modern take on the tube-transistor hybrid design that reflects the best of today's concepts. For example, physical and electrical isolation were a major consideration, so the C-60 actually consists of four isolated subchassis, each floated off a common backbone. Front and center is the top-loading disc transport, made by Philips. Just behind this, a second subchassis houses the power supply for the digital circuits. A full-depth subchassis on the left houses the main power-supply elements, two huge toroidal transformers, and, on a small board, the output stage supply. The latter is itself a hybrid design incorporating both solid-state elements and a 6Z4 rectifier tube. On the right, another full-depth subchassis supports the fully balanced audio circuits, including digital-to-analog converters based on Burr-Brown's PCM1792 24-bit/192kHz chip, as well as the tubed and solid-state output stages. Other, smaller boards handle such ancillary duties as the control buttons and the front-panel display. The C-60 is nicely styled and built, with a handsome, solid chassis that incorporates into its exterior design such functional elements as a beefy aluminum top plate, a thick, smooth-sliding disc drawer, and oversized tower feet. The top plate incorporates buttons for the drive control functions, two mesh-covered windows that show off the tubes, and a nifty, countersunk logo plate of glass that can be illuminated by flipping a small rear-panel switch. The rear panel has both balanced (XLR) and unbalanced (RCA) analog outputs, coaxial and optical (TosLink) digital outputs, and a standard IEC receptacle for a removable power cord. On the front are a large, well-lit display and two more buttons, one for power and the other to switch between the tubed and solid-state output stages. There's also a small, rubber-surfaced magnetic clamp to hold the CD in place. image: https://www.stereophile.com/images/511vincent.bac.jpg The C-60 uses a Philips top-loader transport; opening or closing the cover stops or starts the playing process—or at least that's how it's supposed to work. Not infrequently, the C-60 would refuse to acknowledge that there was, in fact, a disc in its transport. The C-60 eventually did play every disc I threw at it, but something about its drive or error-correction circuitry was finicky. Often, discs that would play perfectly in a half-dozen other players needed a fresh, more careful cleaning and polishing before the Vincent would read them. But other than that occasionally finicky drive, the Vincent was completely intuitive to operate, and proved bulletproof over several months of heavy use. Listening The months the C-60 spent in my system overlapped with the visits of a number of other review products. Although the C-60 did have a recognizable sonic signature—actually, more than one, as I'll discuss in a moment—its performance was easy to incorporate into my reference system. I never felt I was degrading the system's performance or changing its fundamental character by using the C-60 as a source. In fact, the ability to switch between the player's two different-sounding output stages proved a benefit as I tweaked the system around other components I was reviewing. I did play with the volume control some, including driving my amplifiers directly. The control's range was such, however, that I could only use the first one or two "clicks," so I ended up using the Vincent with the volume control set to its maximum. Tubes or transistors? I've always been a tube kind of guy, so I expected to prefer the sound of the Vincent's tubed output stage. That proved to be the case, so that's the configuration I'll discuss. The differences between the two output stages weren't huge, though, so most of the comments below apply equally to both. Glowing tubes, glowing praise As Steve Guttenberg pointed out in "Being There," his "As We See It" in the November 2010 issue, audio systems tend to better approximate the feel of live music with recordings of smaller-scale performances, where they don't have to cope with the huge and complex dynamics, or the sheer size of an orchestra and concert hall. Indeed, with such recordings as Warren Zevon's solo Learning to Flinch (CD, Giant 24493-2) and Rickie Lee Jones' Naked Songs (CD, Reprise 45950-2), the Vincent C-60 did a stellar job of capturing the live feel of these intimate concert performances. The Vincent's superb resolution of low-level detail was a big part of how it re-created this live feel, and one way that it distinguished itself from most other CD players I've heard. Many CD players, even some of the very best, struggle at the very softest end of the volume spectrum, losing the finest, lowest level of detail in a digital silence that feels a bit electromechanical. With the Vincent, those tiny details were there, distinctly drawn yet coherent, with a realistic surrounding ambience, just as they are with a top-flight analog front end—or a live performance. Even more unusual among CD players, and even more impressive, was the C-60's ability to resolve and distinctly render these low-level details beneath and behind much louder voices and instruments. Track 1 of the Zevon disc, "Splendid Isolation," was a great example of this. Zevon's 12-string Ovation guitar was miked much more closely than his voice, so there is relatively little ambience information around the guitar. All spatial cues and information about the audience and venue are superimposed on the vocal track. The guitar is also balanced very high in the mix, so with most CD players I've heard, the volume and sheer presence of his guitar overpowers all the spatial and ambience information, leaving no clear picture of the stage or venue. image: https://www.stereophile.com/images/511vincent.rem.jpg The Vincent beautifully sorted out all of this. The guitar chops rang brightly, with the power and energy that the instrument has live, and all of the instrument's complex harmonics and body resonances were rich and distinct. At the same time, Zevon's gruff, hoarse voice, while lower in level, was perfectly reproduced, and the way it spread out and filled the space painted clear pictures of the different recording venues. The ability to re-create three-dimensional images and soundstages was a consistent strength of the C-60. With smaller venues, such as on the Zevon and Jones discs, I could close my eyes and be there, in the audience. Jones' "Chuck E.'s in Love"—or, more correctly, the audience's applause, laughing, and whoops during the song—were goose-bump moments. The combination of Jones' voice and Rob Wasserman's double bass drawing the stage, and the audience defining the venue, described the space so precisely that I felt the hairs on the back of my neck rise with the electricity and excitement in the air. And with works of larger scale—some of my favorite opera and orchestral recordings, for example—I felt as if I could stand up and walk around the hall and out onto the stage, among the performers. The Vincent's reproduction of multimiked studio recordings was superb as well, and again, felt more analog than digital. Regardless of the mix, it created solid, well-defined, three-dimensional images that were precisely located in a soundstage, albeit an often artificial one. Also, the C-60 consistently captured the harmonic richness and complexity of instruments and voices, and beautifully reproduced the fine, inner detail that distinguishes individual voices in a chorus, or individual violins in a large orchestral section. Trio II, a collaborative album by Emmylou Harris, Linda Ronstadt, and Dolly Parton (CD, Asylum 62275-2), had never really impressed me through other players, but I absolutely loved it through the Vincent. Listening to "High Sierra," I noticed how realistic the voices sounded, and how "right" it felt when the three merged during the choruses. John Coltrane's classic 1958 recording with the Red Garland Trio, Settin' the Pace (CD, JVC XRCD2 0207-2), really showcased the C-60's strengths. Arthur Taylor's faint cymbal strokes at the opening of "I See Your Face Before Me" had a gorgeous mix of ringing, overtones, and metallic swish, and faded perfectly into the surrounding space. Coltrane's tenor sax reminded me anew of how masterfully he simultaneously worked every aspect of the instrument, getting a level of expression that far transcended other, even virtuoso, players' work. Throughout the recording, I was impressed with the level of natural, organic detail in each of the instruments, but I kept coming back to Taylor's brushed cymbals and how perfectly the succeeding waves of sound cascaded over each other, each with exactly the right mix of a bell-like ring decomposing into a bright, metallic hiss. Dynamic transients through the Vincent were satisfyingly large, if not unusually so. Smaller works again fared best, with the guitars on Learning to Flinch and Naked Songs being great examples, both having a good portion of the power and presence they do live. Both the leading and trailing edges of sharp transitions were always crisp and clean, and the C-60 did a great job of reproducing the pace and flow of a performance. This latter characteristic was especially evident on temporally complex works, such as much of Settin' the Pace, where dramatically different lines need to mesh for the piece to work. Each player, heard on his own, seemed to be using different timing and chord structures, yet from a step farther away—and through the C-60—they all came together as a coherent whole. All of the these strengths were evident on large-scale performances as well, even if the overall illusion wasn't quite as realistic. Performances don't get much larger than Fritz Reiner and the Chicago Symphony's of Sunrise, from Strauss's Also sprach Zarathustra (CD, RCA Living Stereo 61494-2); while the Vincent didn't re-create the CSO and Orchestra Hall in my listening room, it certainly captured enough of the thunder and bombast to take my breath away! This isn't to imply that the C-60's soundstage was smaller than those of other source components. To the contrary, the Vincent's soundstage was consistently large, extending well outside the speakers, projecting slightly in front of them, and creating whatever depth had been coded into the bits and bytes. Images were always appropriately sized, and I never felt that the Vincent was expanding or limiting the scale of the players or stage. In fact, the C-60's knack for reproducing fine detail behind louder, more prominent lines worked well with recordings of a soloist and orchestra. Listening to Jascha Heifetz's performance of the Allegro vivacissimo of Tchaikovsky's Violin Concerto, with Reiner/CSO (CD, RCA Living Stereo 61495-2), I noted how clearly and consistently the orchestra was portrayed, even behind Heifetz's most forceful and dramatic passages. Even the faintest horn lines from the very rear of the stage were lifelike, and very obviously the work of a group of individual players. Solid state, solid performance That Heifetz recording is a good place to switch gears and compare the C-60's tubed and solid-state output stages. I loved listening to the Tchaikovsky concerto through the tubed stage, but its tonal balance was a bit on the warm side of neutrality. Heiftez's violin sounded a little bigger, almost viola-like at times, and even the brass and woodwinds were a little sweeter and more golden than reality. This extra lushness and warmth was even more evident with another classic RCA, Gregor Piatigorsky's recording of Dvorak's Cello Concerto with Charles Munch and the Boston Symphony (CD, JVX XRCD13): the cello had a slightly deeper, richer body tone than the instrument has when heard live. In both cases—in fact, across the board in my listening sessions—I preferred the sound of the Vincent's tubed output stage, but had to admit that the solid-state stage sounded more accurate and more tonally neutral. Coltrane's tenor was a little sweeter through the tubes, for example, but its honk didn't have quite enough edge or bite to be realistic. The same was true for women's voices; they were richer and sweeter through tubes, but their initial transients had a more realistic bite through transistors. The solid-state output stage also had a little more bottom-end punch than the tubed stage, and notes stopped and started with a bit more precision and authority with the transistors. Conversely, individual instruments were more distinct through tubes, with a better sense of a resonating, wooden instrument following the initial transient. In the Dvor†k concerto, for example, it was a little easier to sort out the bass drum, timpani, and sharp double-bass notes through the tubes, but the lines sounded quicker and had a bit more impact via solid-state. On top, the transistor stage might have been more extended, but didn't have quite the harmonic richness of the tubes. For example, the brushed cymbals on "I See Your Face Before Me," from Settin' the Pace, were largely a metallic hiss, without a distinct ring at their core. The two output stages also handled detail differently. Spatial detail, for example, was more precise and more sharply defined through the transistors. On the other hand, the tubed section did a better job of capturing the subtleties and complexities within an instrument's tone or voice. The tubes also did a much better job with the lowest-level information, the point where a note finally disappears into the surrounding space. Combined with the tubes' slightly better re-creation of low-level ambient information, the way notes faded out felt much more real, the instruments and singers more three-dimensional. The transistor output stage matched, or perhaps even slightly bettered, the tube stage's large, open soundstage. When I dissected the sound and concentrated on audiophile criteria, I noted that images were more sharply defined with the transistors, with more open space between them. But when I listened to the overall performance—to the music itself—sonic images interacted with the surrounding space in a way that felt more natural through the tubes, and I found it much easier to close my eyes and imagine the hall or club in front of me. Accuracy or musicality—40 years later and we still have to choose? Comparing the C-60's solid-state and tubed output stages was a fascinating exercise. Both were excellent, but while the differences between them weren't huge, they were profound. In most cases, I felt the transistor configuration was more accurate, and would have fared better on an audiophile scorecard. At the same time, I found the tubed section to be more musical, more evocative of the original performance, despite its more obvious colorations. The solid-state section of the Vincent C-60 is an excellent performer, and I can imagine many listeners preferring its more neutral sound—its leaner tonal balance, sharper transients, and tighter, more powerful bass. It's well designed and beautifully built, and completely in line with the competition at $4695. The C-60's solid-state section didn't quite match the resolution, or the overall flow and clarity, of far more expensive, super-premium solid-state players such as the Simaudio Moon Evolution Andromeda ($12,500), but it handily outperformed really good midpriced players like my Primare CD-31 ($2500). Thirty-some years ago, I chose musicality over accuracy and traded my solid-state Audio Research D-120 amplifier for a tubed Audio Research D-76A. Night after night, I made the same choice with the Vincent. The solid-state configuration was good, but with its tubed output stage in circuit, the C-60 transcended the performance of the similarly priced players I've heard. In many ways, it sidestepped the limitations of "Red Book" CD performance, sounding more like a good analog rig—or, better yet, and sometimes more like a live performance. Its tonal balance was probably a little warmer and sweeter than reality, but instruments and voices had an uncannily lifelike energy and presence. Players, singers, and the space around them were re-created in a way that just felt a bit more real than through the transistor stage, or through most other CD players. With the tubed stage, it was as if the Vincent were vanishing and taking the rest of my system with it, letting me hear back through the recording chain to the original performance or session. Was it completely accurate? Maybe not. Did it evoke live music? Absolutely! web images as on shelf at home. Read more at https://www.stereophile.com/content/vincent-audio-c-60-cd-player#HIQ3l0oQvjszR2xj.99 Pictures:
  2. Item: Weston Acoustics Rare Black Matching Touchstone Pre Amplifier and Time Machine 300b tube mono blocks in gloss black over wood grain Perth WA Price: Price: $8000.00 or very sensible close offers.Original receipt shows over 12k including extra cables made by Earle, Upgrade to remote and Balanced with added inputs section. This amps hold their value better than almost anything and would be double or more if a European or US brand name was attached, they are stunning in everyway. They are that good and simply stunning to look at. Item Condition: `Almost Perfect with spare tubes cannot spot any issues and all running smoothly and sweetly. Spare tubes for almost every tube on pre and mono blocks and no 6 month plus waiting list. Reason for selling: Change of direction. Extra Info: Pickup - Cash, Paypal, COD Only- prefer pick up as 3 very heavy boxes plus box of valves and chords etc. But can box and pack at buyers cost. Extra Info: Hand built to order as are all of Earle's master pieces. Earle's first set in Polished Black finish with heavy duty remote control for volume and has extra balanced inputs, very very rare 6 input Preamp. Have shots of them being built and as below. A Good Selection of spares tubes as well about an extra full set in total and supplied by Earle's own hand made RCA cables. Earle did not ever add remotes unitl i asked if possible and took 3 months to discover one good enough to be used on his beautiful products. Very regretful sale and can demonstrate in Perth. http://www.westonacoustics.com Perfect and as new without the very long wait list, 6 months or so and look awesome in black at night with the rest of the system glowing. Have instruction books and come with standard power cords as supplied by Weston Acoustics. Shipping possible at buyers expense and they would need all the tubes moved and boxed and then padded and packaged into 3 boxes each weighing 20 kilos x3 and tubes on top. `i would recommend a crate from a shipping agent that are not that much and well worth the peace of mind. Pre Amp Specifications.from website. mine are actually below in photo section and they are more powerful . 35 watts not 18. 4 x 300 tubes per mono block. Max Voltage Output ......5 volts rms. 14 volts peak. Frequency response.......6hz to >50khz Separation.......……….... >55db Signal to Noise............. >88db A Weighted Signal to Hum…….…......>68db Distortion.................…..<0.05% at 0.5 volt rms output Hum Level…………….......<0.1 millivolt Gain.............................6db Inputs………..…………......6 Outputs .............................2 Mono Block Power amp see actual SPECIFICATIONS sheets below these were from the website and did not not realise mine were so much higher. Power Output - 35 watts upgraded from 18 per channel pure class A Frequency response -3db - 6hz to >75khz Signal to Noise - >90db A Weighted Signal to Hum - >80db Distortion - <0.05% at 1 watt rms Hum Level - <3.0 millivolt Sensitivity - 500mV Input impedance - 62K Inputs 1 Speaker output 8 ohm (6 to 12 ohm is fine) Damping Factor >5 (20hz to 20khz 8 ohm) Weight ~20kg (~44lb) per monoblock. Dimensions 440mm x 370mm x 220mm (width x depth x height) per monoblock. Preamp very similar plus small box of tubes and cables. Pictures:
  3. Interested in listening to a Valve Amp

    Hi.I know they are out of your budget and sometimes i dont really know why i am selling mine. After 6 hand crafted- read painful months waiting for Earles customised order - custom hand built pre and power mono blocks to arrive. But they are for sale on SNA and mine is a very high end set up from Earle however i can vouch for owning a single integrated that he created first and then upgrading from his fine menu to something a la carte and devine. I am just terrified of two things young children around amps and a dirty power supply blowing all of those wonderful tubes. Anyway Earle is your man and you will snap up a Troupadour or Tempest or other soon, its just a waiting game and if you do want to blow your mind and budget then text me or check out my listing.
  4. Yes its great just don't want to change all of my cables
  5. Sorry okay maybe not female, maybe then female iec cables. Oh i don't know pic attached.
  6. Item: Multi award winning Isotek Aquarius Power Conditioner in Silver and Isotek Solus Power Conditioner in black both bought in last 3 months. Very low use. Location: Perth Price: $1400 for Aquarius and $1000 for Solus which has 5 hours or less use. Item Condition: Perfect x2 Reason for selling: Change or listening space means change of system and less boxes so trying to centralise power conditioning into PS audio P10 if available for a swap...Also for sale is a PS audio AV 5000 Power Conditioner which i bought from SNA a few weeks ago but did not realise it required different connections. See other listing as that is for sale as well Payment Method: Pickup - Cash, Paypal, COD Only Have all boxes so can freight easily via pack and send of dhl etc at buyers expense. Extra Info: Please don't send any low ball offers, the Isotek Aquarius is outstanding and listed at $2800 new with a very high quality premium isotek power lead and yes you can get for about $2200 and the Solus is basically brand new and a buyers mistake so 1000 is very good value against the 1400 new price. https://www.mirandahifi.com/collections/accessories/products/isotek-aquarius One of the most cost-effective upgrades you can buy for any high-quality audio system, Aquarius is a multi-award-winning six-way mains conditioner that redefined the power cleaning market. Two high-current outlets are provided for amplifiers, subwoofers and so on, with four medium-current sockets for other components. Removes Common Mode and Differential Mode mains noise. RFI reduction 60dB. Six unique conditioning stages ensure optimal isolation between all outlets, eliminating Differential Mode cross- contamination. KERP© (Kirchoff’s Equal Resistance Path) ensures equal resistance and equal power delivery to all outlets. No outlet gets power before the next, a common problem with other power products which daisy chain outlets together. 67,500A of instantaneous protection, featuring IsoTek’s unique sequential protection system. Internal wiring; solid core silver platted OFC copper with FEP and virtual air dielectric technology. Two high-current outlets delivering 3,680W continuous. Four medium-current outlets delivering 1,150W continuous power. https://www.mirandahifi.com/collections/accessories/products/isotek-solus IsoTek’s most affordable rack-width component conditioner improves audio and audio-visual electronics whilst fitting neatly into a hi-fi rack – an award- winning, simple and effective way to upgrade the sound of your hi-fi. Removes Common Mode and Differential Mode mains noise. RFI reduction 45dB. Independent outlets – no outlets are connected together, stopping Differential Mode cross-contamination. Unique Individual Differential Gate© filter network improves the isolation between each of the six outlets, further eliminating cross contamination. KERP© (Kirchoff'sEqualResistancePath) ensures equal resistance and equal power delivery across all outlets. No outlet gets power before the next, a common problem with other power products which daisy chain outlets together. 22,500A of instantaneous protection, featuring IsoTek's unique sequential protection system. Internal wiring; multi-strand silver platted OFC copper with PTFE dielectric. Maximum power, continuous 2,300W. Pictures: Stock images as they all look the same
  7. Item: PS AUDIO AV5000 Power Center 10 outlet power conditioner Location: Perth Price: $1000 Item Condition: Excellent Reason for selling: Surplus bought from SNA a few weeks ago. Tried to see if better than Isotak Aquarius ( Great results but don't want to change all my leads.) Isotak Aquarius and Isotek Solus as new will be listed shortly Payment Method: Bank Transfer, Paypal (buyer covers fees) etc, happy to post at cost Extra Info: System changover and reduction of boxes. I have tried a few and realistically want to sell to change to a PS Audio P10 and sell all 3 units including a Isotek Solus as new - only 5 or so hours use and Isotek Aquarius- a year old and two or all of them have to go. Item is in fantastic condition with original packaging. Plenty of reviews on the web, I loved the isolated zones (one specific for high power devices such as amplifier) and the ability to program switch on/off times so my amp would only come on well after my preamp tubes had equalised. This is the Australian 240V version with IEC power output connections. Feel free to PM me for any questions The PS Audio AV Power Center 5000 is a remarkable device with an extensive list of features that places it at the very forefront of this product category. From the PS Audio Web site: "The Audio Video Power Center AV-5000 is one of the most advanced power conditioners we have ever built… Full chassis sized component, touchscreen interface, 5 IsoZones, and 10 independently controlled outlets. Setup and control the AV-5000 when connected to your local network via it's built in web server, your universal remote, or your control system via RS-232. "The AV-5000 has 10 individually switched PowerPort outlets, grouped into 5 isolated AC power zones. Each zone has both common mode as well as differential mode AC cleaning that combined lowers noise by an amazing 80dB. For the safety of connected equipment, the AV-5000 features 7344 Joules of spike protection as well as fully automated over/under voltage control for surges." A full discussion of the features and configuration options would take up much more space than usual, but I will summarize with just a few of the features that I enjoy most: -- Ability to individually set each of the 10 outlets to be always on, switched on by the front panel square push button, or with a turn-on delay, all through a Web page network interface: http://PowerCenter. -- Set a turn-off delay to protect components, especially speakers. -- Change the name of each input so I remember what is plugged in to which outlet. -- Change the brightness of the display. -- Remote trigger to turn on and off other components. This has changed my “go sequence” from manually turning on the preamp, DAC, and two mono power amplifiers (4 power-up steps) to simply pushing the power button on the AV-5000 (1 power-up step). I don’t have to remember the safe turn on sequence – DAC, then preamp, then the power amps – or risk a dangerous pop in my speakers. Likewise, a safe turn-off sequence is guaranteed, regardless of my ability at the end of a listening session to remember the exact order. Even with all of the set up and configuration options, the AV-5000 is simple to operate, and the settings are easily changed. Many of the settings are accessible from the touch-sensitive front panel of the AV-5000, but changing the advanced functions requires a computer interface. Based on the feedback I have received from a recent survey, most of you have either already integrated computers into your audio systems or are planning to do so in the not too distant future. As those who have made the leap to music servers already understand, this technology is the future. Computer access is not going to be a problem for most users. My stereo system during the review included YG Acoustics Kipod Main Modules and Merlin TSM-MMe loudspeakers, Velodyne Optimum 12 subwoofers; Marantz MA-9S2, Manley Snapper and Parasound JC-1 amplifiers (all mono blocks); Sonic Frontiers Line 2SE+, Krell KAV-280P and Levinson N380S preamplifiers; Prism Orpheus Digital Interface– which serves as a DAC, phono preamp and line preamp; custom Windows 7 computer/music server; SOTA Cosmos IV turntable with Triplanar VIIu2 tonearm and Miyajima Shilabe moving coil phono cartridge. All interconnects are Mogami, with Mogami and Element Apollo speaker cables. I enjoyed PS Audio PerfectWave AC-12 and Jerry’s DIY power cables. I installed the $799.99 list price AV-5000, plugging all my front-end gear into the outlets and grouping similar types of devices when possible into their own Zones, turned it on and ignored it for a few weeks. The network Ethernet cable was eventually moved from the music server computer to the AV-5000 and I tweaked the settings over several weeks of use to get to the “one-button start up” that I enjoy every day. At this point, the system was sounding better than ever, night after night. There had been other component changes during this period and I was not sure which change had caused the system to really lock-in and sound musically whole and organically complete: a totally synergistic music system. Then, after six weeks of daily use, I disconnected all of the components from the AV-5000 and plugged everything into a regular, but high quality, power strip. I continued to use the same PS Audio PerfectWave AC-12 power cable from the wall to the power strip that was used with the AV-5000. And my system instantly sounded like crap. I am sorry to be so blunt and coarse, but the very engaging and enjoyable musical qualities that I had been enjoying for weeks immediately and unequivocally took a startlingly obvious turn for the worse. Specifically, image depth decreased by about 75% and there was a layer of fine haze or roughness in the midrange and lower treble. Sibilants, or the “es” sounds, became raspy and harsh. In music that has a number of singers, their individuality became much less apparent and their specific locations on the sound stage blended together. This was very noticeable on Paul Simon’s “Homeless”, from the Graceland LP (Warner Bros. UK:WX 52), a 180 gram pressing that is musically and technically excellent. Instead of clearly identifiable positions for each singer, both left-to-right and front-to-back, there was a poorly localized “wall-of-sound”. Now, if all I knew about this fine album was that it offered a poorly localized “wall-of-sound”, I would have thought it sounded pretty good. But after listening to this album several times over the past six weeks with the AV-5000 in use, and then again immediately prior to removing it, I offer the follow observation with complete confidence: Listening to music with the PS Audio AV-5000 power conditioner is much more satisfying than listening to music without it. There are many reports that different power conditioners detract from the dynamic impact of music, robbing the sound of life and energy. My experiences with some other conditioners had, more or less, confirmed the potential for this unwanted effect. However, when I removed the AV-5000, dynamics suffered and the music sounded as if a compressor had been turned on, not off. This limited not only the large transients that give music its energy and momentum, but also the small, micro dynamic impulses that help make recorded music sound real and alive. Reinstalling the AV-5000 restored the lifelike dynamic impact of the music. In fact, the feeling I had when listening without the AV-5000 installed was to hurry through writing these listening notes and reinstall the AV Power Center ASAP. I live in the suburbs and all of the wiring in our neighborhood is underground. I usually find that power conditioners have a positive effect on the quality of sound during the daytime and early evening. Approaching midnight, the reverse is often true and my systems usually sound better without any power conditioning. This was not true with the AV-5000, as performance of my audio system is improved significantly all the time, day or night, with the PS Audio conditioner installed. This is a first. There are easily noticeable improvements in clarity, smoothness, resolution, coherence of harmonics, background silence, dynamic and transient impact and speed, and the size of the sound stage with the AV-5000 installed, 24/7. The cumulative effect of filtering and isolation from other components is apparent in the relaxed but high resolution musical images that welcomes your involvement. This is 10 Audio and not 10 Video, but despite that distinction, I moved the AV-5000 upstairs to the home theater system and connected my HD Toshiba 56HM195 DLP television to see the effect on a video device. Several years ago, I reviewed the PS Audio Ultimate Outlet and tested its video performance on a different television, a heavy picture tube-type (very “last century” technology!) Sony 32” set. I noted a minor improvement at that time with the UO. Connecting the DLP TV to the PS Audio AV power conditioner resulted in a small but noticeable improvement in the blackness of blacks and the resolution of fine detail, such as individual strands of hair or fur, depending on the species. In images with large areas of a light solid color, there was a small but worthwhile improvement in the continuousness and purity of the solid color compared to the Tripp Lite Isobar 8 that is normally used with this television. A Video Essentials test DVD made it possible to view the same images before and after the power conditioner was installed. If my personal interests included the same level of dedication (or maybe “obsession” is more accurate) to maximizing the performance of my home theater system, it would have an AV-5000 installed permanently. I compared the AV-5000 to a Monster Cable HTS-5100 mk2 Home Theater Reference Power Center, which is identically priced and has many features in common. The HTS followed more closely my general experience with power conditioners as noted above, except that the Monster product was barely beneficial during the afternoon when power line pollution is at its worst. Even in the early evening, when the quality of power begins to improve, the HTS had a detrimental effect on the quality of sound in my system. The build quality of the PS Audio power conditioner is far superior to the Monster device. I had a PS Audio PowerPlant Premier last year, but the only current component that was used with the PPP is the SOTA Cosmos turntable. That one component cannot provide enough information to reliably determine a preference between the two PS Audio conditioners, and I no longer have the PPP for a direct comparison. I have a couple of gripes and product suggestions. First, I would like to be able to turn off the front panel illumination when the system is turned off. Leaving just a small indicator on would cut the light pollution in the room when it is not being used for listening. Second, there are surge protected Ethernet in and out ports, which are not really necessary on a closed Local Area Network (LAN). It would be a much better use of the limited real estate on the rear panel if the AV-5000 included a 3-port gigabit network switch so I could connect my network to the main Ethernet port to access the AV-5000’s set up menus, and then use the other ports to connect my music computer to the network, and possibly an Internet-enabled HDTV or Blu-Ray player. It seems like this is a feature which the AV-5000 should provide! And lastly, the user’s manual could be more helpful if it contained a bit more information about the parallel filtering power outlets, which are for power amplifiers, and more specifications for the different levels of filtering and noise reduction for the different power zones. This would help to better understand which zones to use for which type of component – analog, digital, or motorized (turntables). But these are minor points and do not affect the audio performance of the power conditioner. In the course of this review, I could have connected one component at a time to the AV-5000 to hear the additive effect of filtering additional components. But why? You won’t use it that way and the observations would have only academic interest. Much more relevant is what happens to the overall system sound when all of your components are connected to the PS Audio power conditioner. Allowing the AV-5000 to provide power for the entire system elevated the musical performance of my audio system far higher than the nominal cost of the conditioner could predict. In fact, in all my years of critical listening, I don’t recall another single component that has offered a greater degree of overall improvement. How would I defend that conclusion? With this listening observation: CDs sound better with the AV-5000 than LPs sound without it. The PS Audio AV Power Conditioner 5000 is a highly effective power conditioner that I can confidently recommend. Removing it is certainly an option: an unpleasant one. I am buying the review sample. Overall Rating: 10 LPs Pictures: Actual item here. Google for stock photos! Happy to provide more on request. See other listings Pictures:
  8. I am open to a deal on these or the Weston Acoustics listing for the custom set of pre power and mono blocks for sale or the Tom Evans phono stage, as i just want to complete my new listening room and turnover of system and set up the new one to enjoy but still need to swap over a couple of components and sell the rest to a new owner. so happy to entertain offers if i am off the pace on these or on Earle's masterpieces.
  9. Yes interested in why it needed a service and age. Nice to see in black would match my bhk nicely but needs to be Aus plugs
  10. Item: One Pair of very rare seriously powerful Musical Fidelity Supercharger 750k mono power amps- matching set with consectutive serial numbers Location: PERTH Price: $5500 firm for the pair were $10,000.00 US new and are in perfect working order. Item Condition: Very very good, very mildly scratched on tops of base plates and more on bottoms for complete transparency from sitting on floor only but not visible as underneath. Can be spiked as well. Reason for selling: Remodelled listening room.Changing to rack mounted system due to lack of space. These are big and weigh 17.2 kilos each. and sit behind or next to speakers. 2009 Models from memory, have boxes and books to transport safely. Payment Method: Pickup - Cash, Paypal, COD Only- Delivery or pack and send at buyers expense etc, have original boxes and manual etc. 2 nd owner bought from Simply HIFI in Perth Extra Info: Stereophile Summing Up Sounding significantly less lean than both the kW and the 550K, the 750K Supercharger is, without a doubt, the best-sounding amplifier I have heard from Musical Fidelity. While I still prefer the Mark Levinson No.33H for ultimate midrange sweetness, the Levinson is outclassed by the 750K in bass solidity, control, and overall dynamics. At $10,000 US/ a pair, it is undoubtedly expensive, but its immediate competition is more expensive or less powerful, or both (eg, Ayre's MX-R). Forget the Supercharger nomenclature—this is a power amplifier that can stand on its own feet. Read more below or at https://www.stereophile.com/content/musical-fidelity-750k-supercharger-monoblock-power-amplifier-page-2#i6r6GAwqwpQxVePD.99 Happy to audition in Perth, super rare and exclusive and hardly ever for sale, if i could turn them horizontally and rackmountI would never sell but due to room reconfiguration they do not fit. Musical Fidelity 750K Supercharger monoblock power amplifier x2. Sidebar 1: Specifications Description: Solid-state, monoblock power amplifier with balanced and unbalanced line-level inputs and 1 pair speaker-level inputs. Maximum power output: 750W into 8 ohms (28.75dBW), 1150W into 4 ohms (24.7dBW). Maximum output voltage: 78V RMS, 20Hz–20kHz; 222V peak–peak. Maximum current: 250 amps peak–peak. Frequency response: 20Hz–30kHz, +0/–0.2dB. THD+noise: <0.01%, 20Hz–20kHz. Damping factor: 220. Input impedance: 50k ohms (line), 50 ohms (speaker). Input sensitivity for full power out into 8 ohms: 2.5V (line), 35V (speaker). Signal/noise (no reference level quoted): >120dB (line), >115dB (speaker), both figures A-weighted.Dimensions: 22" (560mm) H (including feet) by 8.5" (215mm) W by 8.75" (220mm) D (including terminals). Weight: 37.75 lbs (17.2kg)..Price: $10,000/pair. Approximate number of dealers: 70. Warranty: 5 years parts & labor.Manufacturer: Musical Fidelity Ltd., 24-26 Fulton Road, Wembley, Middlesex HA9 0TF, England, UK. Tel: (44) (0)181-900-2866. Fax: (44) (0)181-900-2983. Web: www.musicalfidelity.com. US distributor: KEF America, Inc., 10 Timber Lane, Marlboro, NJ 07746. Tel: (732) 683-2356. Web: www.kefamerica.com. Read more at https://www.stereophile.com/content/musical-fidelity-750k-supercharger-monoblock-power-amplifier-specifications#VQ5rr8YsdQZ4Cqdv.99 https://www.stereophile.com/solidpoweramps/1208mf/index.html Musical Fidelity's "Supercharger" concept is simple, which is perhaps why no one had thought of it before: If you love the sound of your low-powered amplifier but your speakers are insensitive, or you just need more loudness, you insert the high-power Supercharger amplifier between your low-powered amp and speakers. The Supercharger loads the small amplifier with an easy-to-drive 50 ohms, and, in theory, has so little sonic signature itself that it passes on the sonic signature of the small amp unchanged, but louder. image: https://www.stereophile.com/images/archivesart/1208mf.jpg Michael Fremer reviewed Musical Fidelity's first Supercharger amplifier, the 550W 550K ($5000/pair), in September 2007. Using the 550K both as a traditional monoblock power amplifier and as a Supercharger to increase the dynamic range of his beloved Music Reference RM200 tube amp, a 1964-vintage Scott 299D integrated amplifier, and some solid-state designs, Mikey was impressed by what he heard. "Using a variety of very different-sounding amplifiers of various power outputs overwhelmingly demonstrated to me that the 550K Supercharger will retain the sonic attributes of your favorite low- or medium-powered amp (50–200Wpc), whether tubed or solid-state, while increasing its output by 10dB or more....The result will be dynamic realism and, in most cases, better overall performance. You can have your cake and make it rock, too." In my own auditioning of the same pair of 550K Superchargers, used as conventional monoblock amplifiers, I was very impressed by their effortless dynamics and iron-fisted control of the loudspeakers' bass. However, I ultimately felt that the 550Ks did have some character, sounding lean compared with my reference Mark Levinson No.33H monoblocks, and with a less liquid midrange. Overall, the 550Ks sounded very similar to Musical Fidelity's flagship dual-mono kW behemoth, which Michael Fremer reviewed in January 2004, but perhaps with less delicacy (footnote 1). Of Musical Fidelity's high-powered amplifiers, I much preferred the balance of the kW750 (750Wpc into 8 ohms, $10,000). I had first encountered this stereo design when I used it to drive Wilson Sophias 2s, playing some of my high-resolution recordings at a pair of musical evenings promoted by North Carolina dealer Audio Advice in December 2005. The kW750 combined the kW's extraordinary dynamic range and control of the woofers with a warmer lower midrange and sweeter-sounding high frequencies. Mikey found it too mellow compared with his kWs, though that is perhaps a matter of taste. After using it in my system for a while, I seriously considered buying a kW750, but a cooler financial head than mine prevailed. So when MF's Antony Michaelson told me that he was introducing a Supercharger based on the 750K's circuitry, I asked for a pair for review (footnote 2). The 750K At first glance, the 750K Supercharger looks identical to the 550K: a black cylinder topped with an aluminum cap, made in Taiwan. It has the same music-sensing turn-on/off circuit and the same three LEDs at its base: red for standby, blue for operation, orange for thermal overload. However, while the new amplifier shares the 550K's 8.5" diameter, it is just over 6" taller, and its aluminum cap has a mesh-covered vent, through which two temperature-controlled fans exhaust hot air. (There are discreet inlet vents at the sides; the fans run briefly when the amplifier is first switched on, then remain off until the heatsink temperature rises above a preset threshold.) There is now a balanced XLR input jack on the rear panel in addition to the 550K's single-ended RCA. The maximum power is specified as 750W into 8 ohms or 1150W into 4 ohms, an increase of 1.75dB compared with the 550K, though the price is 6dB higher: $10,000/pair compared with $5000/pair. Sound Psychoacousticians tell us that our aural memories are reliable only in the short term (though that doesn't tie in with the fact that we instantly recognize friends' voices on the phone despite the lack of fidelity). But from the instant I powered up the 750K Superchargers in my system, using them as conventional monoblocks from their balanced inputs, I was immediately reminded of the kW750. A warmish midrange, sweet-toned high frequencies, tight, deep low frequencies, and a voluminous, stable, well-defined soundstage—all were exactly what I remembered of the sound of the kW750 in my system, back in the day. The images of the singers in Cantus's luminous performance of Eric Whitacre's Lux Aurumque, from While You Are Alive, the recording I made with them in summer 2007 (CD, Cantus CTS-1208), were precisely positioned in space; it was very easy to perceive when the tenors turned away from the microphones to add spaciousness to their sound. And the character of the voices was as natural-sounding and as unforced as I expected, with no added hardness in the climaxes of the suite, A Sound Like This, by Edie Hill also featured on the CD. (Male voices singing close harmonies at high levels provide the perfect test signal to reveal shortcomings in amplifiers and loudspeakers.) The Musical Fidelity's enormous dynamic range and bass control got the best from Live at Merkin Hall, my recording of Stereophile reviewer Bob Reina's jazz group, Attention Screen (CD, Stereophile STPH018-2). I use as few mikes as possible when I record a drum kit: two cardioids overhead as an ORTF pair, a Shure cardioid clipped just above the snare drum's top skin, and an AKG dynamic mike in front of the kick drum's front skin. I time-align the outputs of the two spot mikes with the outputs of the cardioid pair, my goal being to capture both a natural image of the drums and their natural dynamic range. With an empathetic drummer capable of optimally tuning his kit—eg, Attention Screen's Mark Flynn—almost no equalization or compression is required in postproduction. And Mark hit the heck out of his Gretsch kit that February night in Merkin Hall. There are some snare-drum shots on "Blizzard Limbs"—the three beats at 3:40 that divide the rocking improvisation that begins the piece from the more contemplative second section, for example—that go from –60 to 0dBFS from one sample to the next. Amplifiers that can't swing as many volts as the 750K will clip those peaks, unless you play the music too quietly. With the Musical Fidelitys, I could play this track at live levels without waveform clipping. It being the end of Zeptember as I write these words, I had to get the Led out, specifically How the West Was Won (DVD-Audio, Atlantic 83587-9), recorded live at two L.A. concerts in 1972 by Eddie Kramer. Yes, suck-and-blow compression is obvious at times, but this set features great recorded drum sound, with tangible space around and between the drums. Forget "Stairway to Heaven," "Immigrant Song," "Whole Lotta Love"—the highlight of this album is the blues "Since I've Been Loving You." Even at ear-bleed levels—is there any other way to listen to Led Zeppelin?—the Superchargers allowed me to hear into the layering of the soundstage, with Bonzo's drums behind Jimmy Page's guitar and "Percy" Plant's wailing. Read more at https://www.stereophile.com/solidpoweramps/1208mf/index.html#V9ZajPhOcrMpjyHV.99 Musical Fidelity 750K Supercharger monoblock power amplifier Page 2 Looking back at what I've written, I seem to have concentrated on the 750K's abilities to play loudly and cleanly—which they indeed did. But for all their ability to kick loudspeaker butt, the Musical Fidelity could still do delicacy with aplomb. Robert Plant and Alison Krauss's Raising Sand (CD, Rounder 11661-9075-2) has been in heavy rotation chez Atkinson since I picked it up while killing time at a Starbucks a year ago. The double bass on this disc can be problematic with some amplifier-loudspeaker combinations, as its considerable midbass energy demands an amplifier capable of retaining control of the woofers if the sound is not to degenerate into mud, while at the same time allowing this recording's wealth of midrange detail to emerge unscathed. The bass in Gene Clark's "Polly Come Home" had the appropriate combination of weight and definition, without obscuring Plant and Krauss's mysterious-sounding harmonies as they soared over Marc Ribot's contemplative guitar figurings, all against a richly ambient backdrop. Again looking back, I see I have avoided mentioning how the Musical Fidelitys coped with complex classical music. They did very well with naturally miked recordings. They allowed, for example, the sense of space Tony Faulkner had captured with Antony Michaelson's performance of the Mozart Clarinet Concerto, with conductor Robert Bailey and the Michaelangelo Chamber Orchestra (SACD, Musical Fidelity MFSACD017), to emerge from the speakers unscathed. And with a hi-rez, 24-bit/96kHz FLAC download of Britten's Simple Symphony, performed by the Trondheimsolistene (originally released on the SACD Divertimenti, 2L 2L50SABD), the joyous sound of the violins never became steely or hard, or too soft or mellow, while the double bass and cellos neither boomed nor sounded too lean. Only once did the amplifiers' cooling fans turn on. I was playing organist Michael Murray's thunderous performance of Bach's Prelude and Fugue in D (Telarc CD-80088) and reveling in the Revel Salon2s' apparently limitless dynamic range when driven by the Musical Fidelitys. At the end of the track, after the blower noise from the organ on the disc had faded away, I could just hear the much quieter sound of the 750Ks' fans. They never came on at normal listening levels. Comparisons While it shared many of the merits of Musical Fidelity's own 750K at half the price, the 550K Supercharger sounded lean in direct comparison with the 750K. Whereas the 750K worked well with every speaker I hooked it up to, the 550K needs to be matched with speakers balanced a little on the fuller-figured side. Significantly, after Cantus producer Erick Lichte had turned in his Follow-Up on the 550K, we spent a weekend together working on the mixes for the next Cantus CD, using the 750Ks to drive Revel Salon2s. "That," he said, pointing to a 750K, "is a very different amplifier from the 550K." Yes it is! Against my long-term reference amplifier, the Mark Levinson No.33H(150W, $19,900/pair when last available), the Musical Fidelity surprised me by having better-defined, more extended low frequencies. The Levinson sounded somewhat "puddingy" in direct comparison—not at all what I had expected. The Levinson had slightly sweeter mids and highs, but it was a close-run thing. Next up was the Parasound Halo JC 1 (450W, $7000/pair), a long-term favorite of this magazine's review team and of mine. The Parasound had low-frequency slam and definition to match the Musical Fidelity's but was cooler-balanced overall, sounding similar to the 550K, though its highs were smoother. My auditioning of the Musical Fidelity 750K was interrupted by two weeks spent with the Ayre KX-R preamplifier, reviewed last month by Wes Phillips, along with the Ayre MX-R monoblocks (300Wpc, $18,500/pair) he had used to prepare the review. In direct comparison, the Ayre matched the 750K's slam, bass definition, and soundstaging depth, and offered a slightly sweeter high end. I mean no disrespect to the 750K when I say that the MX-R could be my ultimate amplifier. But the price difference is significant, and I could happily live with the Musical Fidelitys. Summing Up Sounding significantly less lean than both the kW and the 550K, the 750K Supercharger is, without a doubt, the best-sounding amplifier I have heard from Musical Fidelity. While I still prefer the Mark Levinson No.33H for ultimate midrange sweetness, the Levinson is outclassed by the 750K in bass solidity, control, and overall dynamics. At $10,000/pair, it is undoubtedly expensive, but its immediate competition is more expensive or less powerful, or both (eg, Ayre's MX-R). Forget the Supercharger nomenclature—this is a power amplifier that can stand on its own feet.
  11. Item: PRICE DROP and RELIST Awesome Tom Evans Groove 20th Anniversary Edition phono stage with external PSU Location: PERTH Price: BARGAIN :$2800- still new $2400 pounds http://www.audiodesign-store.co.uk/rapidcart So new $4100 approx Australian. Sell for $2800 still listed new for sale. Item Condition: Almost Brand new apart from surface scratched on top at the back- visually perfect from front for a rack set up etc The case is perspex and tops marks easily, the are only small spider marks but there none the less. No more than 30 hours use. Reason for selling: Changing Direction to digital and already have one phono stage and downsizing system. Payment Method: Pickup - Cash, Paypal, COD Only Pack and send etc very light so postage very low, comes with very minimal, Tom Evans literature.: Will ship worldwide. . Extra Info: Unused basically shop demo as not running vinyl system currently. http://www.sorasound.com/products/tom-evans/ Review Many of our customers use Tom Evans Audio Design phono stages. All sound great. These units are priced fairly, carrying a lot of value to audiophiles. All our customers think highly of Tom’s products. So, I decided to represent Tom and offer his great products to you. Tom is a very nice man, with two kids. He began his electronics career in defense industry. In 1989 he went back to his first professional love, building high quality and great sounding hi-fi gear. Tom always has time for his representatives and customers, explaining all the details of his products in detail. He takes great pride in his name and the products he produces. Tom’s Hi-Fi gears are so good that he called them Tom Evans Audio Design. Tom Evans manufactures phono stages, preamps, power amps and speakers. Most information below is copied from Tom Evans Audio Design website by permission. Review below is by a customer of ours Mr. Paul Folbrecht. “I’ve been using a Tom Evans Audio Design Microgroove +X for about the last three months. I consider it to be my last phono stage. (I hope I’m serious this time, and three months is a long time to go without having any desire for something better or different – at least for me.)Discovering Tom Evans gear was a bit of a revelation for me, that began last year. I had read of it but never heard it – after all, it’s not very easy to hear (the phono stages are easier to come across than the Vibe/Pulse and the Linear A). I started with a used Linear A, and was very impressed with that piece: it had an uncanny ability to unravel detail (including microdynamics) against an absolutely black background, and was spectacularly “fast” and extended as well. Of course, those things in itself are not too mean a trick – a lot of good (solid-state) gear can do that. But what the Linear A did that did set it apart was being as fast, quiet, and detailed while simultaneously having *full* tonal saturation and *never* sounding the slightest bit edgy, or bright. I then added a Vibe/Pulse (Lithos 7 version, bought used from the same dealer) – and it made an even bigger difference to the system (over the highly-regarded tube line stage I had been using). It was the Vibe/Pulse that was really a game-changing piece of equipment for me: a blackground blacker than I had ever heard before, with quite stunning macro dynamics, and full and complete tonal saturation with a lovely, perfectly smooth and rich midrange and treble. After using it for several months, any tubed preamp was just too slow and veiled for me. Prior to that point, I had never found a solid-state preamp I preferred to even a mediocre valved unit. I’m not saying they’re not out there – I’m sure very prices MBL and other solid-state gear can pull of proper tonal saturation without being edgy – but I do believe it is generally VERY expensive to do it. At this point I decided I wanted to go “the full monty” with a Tom Evans phono stage and that I should buy a new piece to support the company. I decided on the middle-of-the-read Microgroove + X after reading reviews. (I have seriously toyed with abandoning vinyl altogether, and done so for short periods, so I didn’t think a greater expense was warranted.) I placed the order through local dealer SORAsound (great to deal with) and received the unit after only a few weeks. After being plugged-in for only a few hours, the unit’s potential was evident, but it did seem to take a few days to display what it’s really capable of. Once it had settled down, I was quite thrilled, and amazed – it really exceeded my expectations. It was the signature Tom Evans sound – fast, neutral, completely extended, but tonally pure and harmonically complete, with perfect balance – to an even higher degree. (After all, the line stage is providing something like 12 dB of gain while the phono stage is at around 70 dB! I guess it’s hard to argue that the phono stage is not the most important part of a vinyl amplification chain.) My analog setup is a Basis Ovation table, early TriPlanar arm, and Ortofon Rondo Red cartridge. (Yes, the cart is the bottleneck there in terms of cost, but it doesn’t really sound like it!) I had on-hand with the Microgroove +X a well-regarded tubed phono stage (with SUTs for the MC gain stage) that retails for about $6000 (almost three times the TE’s price). The tubed unit was also *very* good, and they were surprisingly close not only in overall performance but in sonics, but I did end up preferring the Microgroove. It had a substantially lower noise floor and was audibly more extended, although the tubed unit was very good in both regards too. The tubed unit was more “lush” in the midrange but I came to see that as a coloration and preferred good recordings without it. That’s about it. Like most Tom Evans gear, it doesn’t really look like it’s worth the asking price and it’s so light that thick interconnects can lift it, but, well, who cares. Tom is, I think, proud of the fact that he refused to market “audio jewelry”, and isn’t it more sensible to put the money where it counts? (I’ve come to like the understated but purposeful aesthetic of the Vibe, but the Microgroove is so tiny I hide it behind the platform the line stage is on anyway.)” Phono Stages Tom Evans Audio Design phono stages include: The Microgroove ($1,050) uses high grade silicon. The signal path is DC coupled. Built as a steereo amp powered by by standard industry voltage regulators. Like all Tom Evans phono stages, Microgroove can be configured to suit any moving coil or moving magnet cartridge. Great entry level phono stage upgradable to The Plus. The Microgroove x ($1,192). The Microgroove plus ($2,100) is a stereo phono-amp that has one of Tom Evans’ Lithos 7 Class A regulators in place of the standard industry regulators. This improves the sound significantly, lowers the hoise floor, faster risting and falling edges of notes highlighting the spaces between them. John Cage would have had a hay day. The Groove ($4,000). This dual mono phono-amp uses one Lithos 7 regulator per side to supply power to each mono signal path p.c.b. All resistors are Holco precision metal film. All silicon is premium grade. The regulators are powered by a dual mono mains power supply. Since its launch in the UK, it has become the industry standard. The Groove can be upgraded to the Plus spec. The Groove x ($4,725). The Groove plus ($7,600). In this design the mains pcb has been replaced by the Lithos 6, a complex class A regulator (as used in the pulse power supply). Its outputs then feed the dual mono Lithos 7’s on the signal pcb’s. The external mains supply box contains a 70 watt transformer designed and manufactured in house. This transformer has an electrostatic screen to remove any R.F. noise, then rectified, smoothed, and regulated before leaving the box and heading for Lithos 6. The ultra low noise and distortion of this product provide audiophiles with the greatest possible dynamic range and resolution available. The Groove+ SRX ($8,900) has adjustable load and gain. The Groove+ SRX,in addition to the loading pcb has a front end gain stage that has 50% less noise and distortion than the Groove and Groove+. Upgrade of Microgroove to Groove Plus ($4,600). Tom Evans has been making his Groove phono stages for some time now, the anniversary in this particular model’s name refers to 20 years of them and that occurred in 2010. Having been there at the start with the Michell Iso, which was effectively the first Groove and shared the black acrylic case that continues today, it doesn’t seem like 25 years but you can’t argue with a calendar. Tom’s shtick is that the best way to achieve true high resolution with vinyl is to lower the noise floor on the phono stage, the quieter this crucial part of the amplification chain is the wider the bandwidth and the more you will be able to hear. He advocates spending more, a lot more on the phono stage than the cartridge because no matter how good a cartridge is if the amplifier is noisy you won’t be able to hear what it’s doing. I have to agree, in fact I once took an Audio Note Japan stage (about £2.5k at the time) to a friends house who had a £60 moving magnet on his Thorens turntable, the improvement was staggering, the extra resolution revealed more music than you would imagine a modest front end could produce. The reason for this is the level of gain that a phono stage has to apply to the signal in order to bring it up to a level that a regular amplifier can work with, in the case of a moving coil cartridge it’s in the range of 600 times. Which means that any noise in the gain stage is amplified by this amount as well, so a good phono stage needs to be somewhat quieter than the apocryphal mouse. For the latest range of Groove phono stages Tom has upgraded the silicon that achieves this amplification to what he calls Lithos 7.4, this has prompted a MkII series across the five Groove stages in the range. What Lithos 7.4 has achieved in measurement terms is to reduce distortion and increase dynamic range compared to earlier models (existing Grooves can be upgraded to MkII). Tom likes to point out that dynamic range doubles and distortion halves as you move from one model to the next in the range, which would suggest that the entry level Micro Groove X is pretty noisy and distorted but I doubt that is the case. Not if the midrange Groove Anniversary is anything to go by at least, it is I suspect the quietest phono stage I have ever used but it’s far from the most expensive. The other change brought about by the move to MkII is the introduction of adjustable impedance, previous Grooves have been factory set at one impedance and while you could specify what this was it was a bit limiting if you changed cartridge. Now there are dipswitches on the back panel that are relatively easy to access; some stages have them inside, others underneath. Here there are eight switches in parallel that have an inverse logic to their operation, the more you turn on the lower the impedance, so switching them all on gives 112 Ohms, all off 1kOhm, with seven steps in between. Once you have grasped the basic tenet of the approach it’s easy to experiment with loading, and surprisingly easy to figure out which gives the best result once you start listening to the timing and the interplay of musicians. With the Rega Apheta 2 (on a Rega RP10) which specifies 100 Ohm loading experimentation revealed that the Groove Anniversary’s 250 Ohm setting initially gave the best leading edge definition, power and cohesion of the various instruments on Tom Waits’ Swordfishtrombones (Asylum). The track ‘Underground’ has some superb musicianship and this stage makes each player’s contribution easy to follow whilst presenting the ensemble as a perfectly integrated whole. You can appreciate the timbre of the heavy tympani and the tiny sound of a plucked ukulele, not forgetting the glorious vibe playing of Victor Feldman. The space created by reverb on the following track ‘Shore Leave’ is massively evocative as is the percussion and terrific guitar break, all of which is presented in a full width image that breaks the outer bounds of the loudspeakers. I put on Burnt Friedmann and Jaki Leibzeit’s Just Landed (Nonplace) for a bit of low end action and found myself enjoying the tune rather than the sensation of having my internal organs vibrated. Here the emphasis was on the sound of the instruments and the melody rather than the crunch, which made me wonder whether the higher than recommended loading might be affecting the balance. This turned out to be the case, the higher the load (on this cartridge at least) the less low end power it delivers but the faster the transient edges. Experimentation with a few other bass strong records made a case for bringing it down to the 200 Ohm setting. It’s nice to have such close alternatives. With the finesse of Jocelyn B Smith’s direct to disc cut Honest Song (Berliner Meister Schallplatten) the quietness of the Groove is made obvious by the way finger clicks are so clear in the background of piano and voice. The ‘air’ around the cymbals and the singer’s breath on the mic coalesce with the music to present a degree of realism that’s rare. Cymbal work is notable on a number of pieces and reveals an unusual degree of transparency but don’t get the impression that this is a lightweight filigree specialist. When the rhythm section on Patricia Barber’s ‘Company’ (Modern Cool, Premonition) gets going you know all about the power and pace. The double bass has a physical presence that is palpable but does not smear the voice and the acoustic it’s recorded in. reviewed a valve powered phono stage from a well regarded brand during the Groove’s tenure and made the mistake of comparing them. The result did not favour the valve stage one bit, making it sound noisy, smeared in timing terms and lacking in transparency. Valves cannot hope to be as quiet as transistors but people value the tonal richness they bring, I prefer to hear what’s on the record, the actual sound of the voices and instruments rather than what in photographic terms sounds like saturation. I also like the natural way that the Groove presents imaging, every record you play has a slightly different character which seems to be a logical result of the variations in recording venue and technique. Take Leo Kottke’s Great Big Boy (Private Music) as an example, this is an acoustic guitar led band with voice that has an awful lot going on on tracks like ‘Jumps Up Running’. I’ve played this many times but had not been previously aware of the keyboard line, the Groove cleans up the background and brings a coherence to dense mixes that lets you hear right into them. It prompted me to listen longer and louder than I have for some time with this particular record, remember just what a great musician Kottke is thanks to the Groove’s its remarkably light touch. Forget your Vendetta Research and Audio Research preamps, they may have legendary status but technology moves on and today’s silicon is infinitely quieter than it was only five years ago, which means you can hear more music and less electronic intrusion through it. The latest Groove Anniversary is a goalpost moving phono stage that digs deeper into the signal and reveals so much detail across the board that you can hear right into the layers of multitrack recordings. It still doesn’t help the musically inept like myself establish the time signature of Steely Dan’s ‘Show Biz Kids’ (Countdown to Ecstasy, ABC) but it lets you hear how each of the instruments in the mix was played and the irony of the lyrics. Calm is the good word when describing the Groove, it takes everything in its stride and no matter how dense the material never seems to struggle. It’s a very low distortion conduit to the musical joy that vinyl offers. It won’t turn mediocre recordings into amazing ones but it will let you hear more of what has gone on in the studio or on the stage when they were made. It gets you closer to that place in time and space where the magic happened. The only disconcerting thing is that there are several better stages in the Tom Evans Audio Design range, you have to wonder if there are enough superlatives to go round? SPECIFICATIONS: Resistance settings: 112, 126, 144, 168, 200, 250, 333, 500, 1000 OhmCapacitor settings: 100, 200, 300, 400, 500pFGain to suit cartridges with between 0.2mV to 0.6mV output (or custom to order)Dual mono layout, dual Lithos 7.4 local regulatorsAcrylic caseworkSize HxWxD: 88 x 330 x 185mmWeight: 2kg + power supply PRICE: £2,400 MANUFACTURER DETAILS: Tom Evans Audio DesignT 01443 833570 www.audiodesign.co.uk http://www.audiodesign-store.co.uk/rapidcart
  12. The normal was or is 2 x300's and 18 watts mine have double that both bulb and output wise I have listed standard stats from earles website and also from his hand writing in brochures of exact specs as each machine is hand made the specs can be slightly different. Thanks
  13. Item: Weston Acoustics Rare Black Matching Touchstone Pre Amplifier and Time Machine 300b tube mono blocks in gloss black over wood grain Perth WA Price: Price: $8000.00 or very sensible close offers.Original receipt shows over 12k including extra cables made by Earle, Upgrade remote and Balanced with added inputs section. This amps hold their value better than almost anything an would be double or more if a European or US brand name was attached, they are stunning, if they don't sell at this reduced price i will keep forever. so last chance- as i have already replaced. They are that good and simply stunning to look at. Item Condition: `Almost Perfect with spare tubes cannot spot any issues and all running smoothly and sweetly. Spare tubes for almost every tube on pre and mono blocks and no 6 month plus waiting list. Reason for selling: Changing to more children friendly system and change of listening room. So a few listings all at once. Including LP12 and very rare pair of musical fidelity superchargers 750k see other listings Extra Info: Pickup - Cash, Paypal, COD Only- prefer pick up as 3 very heavy boxes plus box of valves and chords etc. But can box and pack at buyers cost. Extra Info: Hand built to order as are all of Earle's master pieces. Earle's first set in Polished Black finish with heavy duty remote control for volume and has extra balanced inputs, very very rare 6 input Preamp. Have shots of them being built and as below. A Good Selection of spares tubes as well about an extra full set in total and supplied by Earle's own hand made RCA cables. Earle did not ever add remotes unitl i asked if possible and took 3 months to discover one good enough to be used on his beautiful products. Very regretful sale and can demonstrate in Perth. http://www.westonacoustics.com Perfect and as new without the very long wait list, 6 months or so and look awesome in black at night with the rest of the system glowing. Have instruction books and come with standard power cords as supplied by Weston Acoustics. Shipping possible at buyers expense and they would need all the tubes moved and boxed and then padded and packaged into 3 boxes each weighing 20 kilos x3 and tubes on top. `i would recommend a crate from a shipping agent that are not that much and well worth the peace of mind. Pre Amp Specifications.from website. mine are actually below in photo section and they are more powerful . 35 watts not 18. 4 x 300 tubes per mono block. Max Voltage Output ......5 volts rms. 14 volts peak. Frequency response.......6hz to >50khz Separation.......……….... >55db Signal to Noise............. >88db A Weighted Signal to Hum…….…......>68db Distortion.................…..<0.05% at 0.5 volt rms output Hum Level…………….......<0.1 millivolt Gain.............................6db Inputs………..…………......6 Outputs .............................2 Mono Block Power amp see actual SPECIFICATIONS sheets below these were from the website and did not not realise mine were so much higher. Power Output - 35 watts upgraded from 18 per channel pure class A Frequency response -3db - 6hz to >75khz Signal to Noise - >90db A Weighted Signal to Hum - >80db Distortion - <0.05% at 1 watt rms Hum Level - <3.0 millivolt Sensitivity - 500mV Input impedance - 62K Inputs 1 Speaker output 8 ohm (6 to 12 ohm is fine) Damping Factor >5 (20hz to 20khz 8 ohm) Weight ~20kg (~44lb) per monoblock. Dimensions 440mm x 370mm x 220mm (width x depth x height) per monoblock. Preamp very similar plus small box of tubes and cables. Pictures:
  14. Good quality rca interconnects

    Yes that's exactly what I mean but they just screw on and he screws to hold the connection to the rca are either down or really weld joined soldered it's just really weird on these 3 sets of new cables will. Try to get them out and post a pic but they look 100 percent normal. Thanks for feedback much appreciated
  15. Hi I have been a stereo nut for 20 odd years and recently upgraded to a new ps audio system and a few other new bits and pieces and decided that it was time to try some high quality interconnects both xlr which have been excellent but also some pretty heavy weight well for me anyway 300 - 500 dollar rca cables now all have been bought on sna and all look feel and research wise are good let's say mid weight cables but why don't they fit . I have at least 3 pairs that simply are too big or small with the final screw cap on ( branded) end of the cable. I don't want to push too hard and some simply don't feel snug. I found that unscrewing the cap over the plug and wiring worked and they all fit snugly now but have 6 end caps that I guess should stay on the cables to shroud or cover the soldering and final join etc but they simply are too big , tight or loose , do I push harder they are all different brands chord etc and I never had issues with ortofon - audioquest, linn, or cable company or a variety of other say 100 dollar plus cables. Any information happily received thanks. also it's not just the ps audio pre amp it's on other good quality components. Thanks in advance Ads.
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