[PatOMalley]

Finally got this baby done. First off a big shoutout to Jim the Tubesforever for the chassis and his assistance. He is a good guy. Next, to all you guys on this board - You're a big help. Finally to Jim the Hagerman for that fun in audio thing. He's not kiddin'.

So I didn't do anything unusual or interesting; just used the Lansing chassis. I did use a few nice things like Cardas' Rhodium plated copper RCAs, gold plated IEC, heavy duty switch, Takman resistors at input, Bendix rectifier and some nice caps. None of it too costly.

The sound of the thing is imperial. Best word I could think of. Really amazing. I thought I new what tangible was. Harumph. I do now. Guitars and strings resonate like for real. Bass is plenty. Forget it. Everybody around here knows.

You've seen it before but this time it's mine:



A picture of the board. As mandatory as pictures of food at the wedding:



The back. Man, that switch is sturdy.



Starting off with current production tung sol 12ax7s and old Sylvania blackplate 12au7. Word was that "The X7s work the tone and smoothness.  U7 the dynamics and slam." so I am little backwards with my choice. I have an old organ I am going to pull some ax7s from or else fetch some NOS GEs and switch to Amperex Bugleboy for au7 duty. Whatever happens the Bendix rectifier stays.

That Bendix doesn't even need that ring.

[galyons]

Looks great Pat!  I 'll bet it sounds wonderful!

You know I think some of us just do the Bendix so that damn red LED stays on longer. Why? Well it IS was such a worrisome PITA to get the LED right!! We toss various caps and resistors around with never a worry, but piss ourselves at the thought of getting the 3 legs of an LED wrong!! DIY'ers! Gotta love us!!

Enjoy!

Geary

[tubesforever]

I have not tried the Tungsol 12ax7 tubes yet.  Pat where did you buy yours and can you buy these tightly matched?

I have had great success with 50's vintage 12au7 and 12ax7 Mullards but be prepared to pay 25 dollars or more per tube.

Right now I  am using one Mullard 12ax7 at V2, a 5751 GE or Groove Tube Mullard style 12ax7 in V1, and a 6189 Sylvania (12au7) or a Mullard 12au7 at V3.  Pat the V3 is a cathode follower so it is the final filter to the sound of your C2.  I would simply pick the one that balances best with the IC's, amp and speakers you are using.

I tend to favor the Mullard or the 6189 Sylvania's because they are so top to bottom linear in sound quality.  The Mullard will issue more bass, the Sylvani will do more in the upper mids and high frequency ranges.

The Bendix 6106 is a super rectifier tube for your Clarinet or Cornet 2 project.  I give the Bendix 6106 my highest recommendation.

This tube rolling stuff is so system dependent that I get a little nervous making recommendations that might only apply to my room and system.   

What I will say conclusively is that the Cornet and Cornet 2 flesh out impressive sonic changes with every tube swap.  This means you can basically dial in your Hagerman phono stage with just a few simple tube changes regardless of your speakers, amp or room. 

Pat I am so happy you have a working Cornet 2.  The Bugle and Cambridge are decent enough phono stages, but the Cornet 2 is really in a completely different level of performance.  This makes me want to hear a Trumpet in the worse way. 

For folks reading in and wondering if the Cornet 2 is a decent project, simply envision this scenario.  You can tweak away and dial this thing in to sound any way you want it--laid back, mid concert hall, or front row.  In fact you can entirely change the sound of the phono stage with just a few simple and inexpensive tube rolls.  This is the beauty and elegance in Jim's design. 

Cheers!   

[PatOMalley]

Hey Jim,

I didn't try to get matched Tung Sols. They are said to be the mid point between current production Mullards and the 12AXLPS. So I shot for the mean. But front end duty McNooty is going to the 12AU7 Holland Amperex Bugleboy. Since I have two I am set for twenty years.

Backing down the chain will be some kind of Mullard or GE or RCA. I got an old organ that I KNOW has some old RCA or GE ax7s. I'll see if I have any extra for you.

Thanks for your help. I beat the hum by using a cheater plug. So tonight I am going to ungang the inputs on negative and see if that does the trick.

EDIT: That was it, the inputs were ganged on negative and was causing the hum. I ran the negative separately down to board and it fixed it. So now it is a 100% success, this build.  ... What next? I got EPI speakers coming in the mail to rewire, recap, and refix the posts on. A set of those stubby TNT speaker stands to go with them needs to be made. Replace the RB250 with a rewired and entirely lubed stock SL1200 arm. Tube headphone amp ... but I think the Cornet2 is a large upgrade. In time I think I will have to build another.

[tubesforever]

Pat my friend, this has been a long and winding road.  I am glad the hum is gone.  The Cornet 2 is so silent you wonder if it is broken.

The totality of how good this thing can sound is simply beyond my ability to convey to those who have not heard one. 

It simply sounds real.  Bass lines are so tight and defined that you almost forget you are listening to tube gear, but then the magical SET midrange thing just sweeps over the music. 

The lack of any negative feedback is super important to this circuit.  Jim is amazing with this design.  By incorporating passive RIAA even the tubes themselves become part of the RIAA filter.  Simply swap a tube and you completely change the character of your Cornet/2.

Pat, I suspect that as everything breaks in it will sound even more amazing.  At 100 hours it will be great and at 1000 hours it will be sublime.

My Clarinet and Cornet 2 work so well together than I can clearly hear the limitations of playing music in a near field position and with a small room.

If I just had a 25 x 35 ft room I think I would call in sick every day.

Pat please post more about your break in.  What you are playing and what you hear different between the Bugle, Cambridge and Cornet 2. 

Have a great spring and I hope you can make it to Muzikmike's place for Ribfest 2009. 

Cheers!

[PatOMalley]

I have been thinking about getting a mono cart but waited to see what the C2 might deliver mono-wise.
I got some damaged, skuffy rare never to be found again Lps or else going for massive dollars, and this C2 is the best yet at quieting them down. If that were all it would be great but it also delivers a nice nice midrange whomp from them. Sort of back to the future.

There is a nice wide open range to the C2 but in mono with 6eyes and RCAs, etc, the sound is, I wouldn't say closed in, but cohesive[?]. Using the venerable wood bodied DL103 /w it's ancient conical stylus on these old buggers.

Jim mentions break-in. I really don't want to rush break-in. I will appreciate this as it gets better.

[tubesforever]

Pat you bring up a very important point about the mono switch....

Basically, if you are setting up your stereo speakers for an optimum sound stage you are literally creating a phantom center channel because the left speaker is playing what is recorded only to the left signal, the right speaker is playing what is recorded only to the right signal and the common information of right and left create a phantom center image.   

When you hit that mono switch, you end up with full signal left and full signal right.  So there is a little phantom effect but mostly it just sounds like wall to wall sound. 

It would be really cool to build a mono only system.  Something horn loaded or high efficiency with the speaker right dab in the center of the room.  Then I think you would hear a more palpable sound stage than you get from a right and left stereo pair fed a mono signal. 

Personally, I like the mono switch mostly for those early 60's stereo where you have one instrument in the left speaker and another in the right speaker.  At least the mono switch allows you to hear it more like it would sound live.

Cheers!