[lcrim]

I've asked Louis to build me a pair of Super 3 XRS.  I"ve been thinking about a good, high value integrated to use with them.  I'm into tubes but thought that someone on this board could recommend a particularly synergistic match for the 3's.
Low noise and price are important but "magic" is at the top of the list.
TIA

[Songforyou]

Love my Mapleshade modded Scott 222 (EL84) with my Super3Rs.  Price is reasonable  at $975 (you can get Scotts for less and tweak away, but I'm not a DIYer).  They also do Heathkits for $675 (no phono).  I have heard that Sam's Audio Labs can take the units even further, but for more $$$.

I should add that I am using the Super 3Rs with a pair of TBI subs.  I run the Super 3Rs full range and dial in the sub to fill in the bottom.

[ZLS]

  The Red Wine Audio Signature 30 or Signature 70 is a good match. 
          Sam's Audio Labs does a wonderful job (Price range $750-$2500)

     What is counter-intuitive is the more power you feed Louis's speakers the better they sound.  It is not a question of efficiency, nor is it a question of loudness.  It just is!  The speakers always sound good, they just sound better with more power. 
    Go Figure!

[miklorsmith]

I've heard nothing but glowing reports about the newest, little Almarro.

http://www.6moons.com/audioreviews/almarro4/mk2.html

Users seem to be just as enthusiastic.

[Vinnie R.]

I've heard nothing but glowing reports about the newest, little Almarro.

http://www.6moons.com/audioreviews/almarro4/mk2.html

Users seem to be just as enthusiastic.

I heard it (and I own the first version of the 205A).... nice match with the Super 3 V2 and Super 3 XRS!

 

[mcgsxr]

Larry, nice to see some investigation of the single driver thing.

I can only imagine the fun you will have with tubes, an active system, AND vinyl!

Be well!

[-Richard-]

On principle I do not like to deconstruct products that serious designers have put their
heart and soul into... audio products are normally synergistically allied with the rest of
a system... or not... in any case... rarely, if ever, do they stand alone ~

However, I heard the Almarro A250A with my B200's OB's perhaps 8 months ago and
felt the amplifier did not resolve upper frequencies well... what I heard was a tipped
up presentation that was edgy... Deb, whose hearing is far more sensitive than mine
actually found listening to the A250A painful ~

Roger Modjeski's new RM 245.1 45/SET amplifier in comparison is infinitely more sophisticated
in its presentation and is just as dynamic ~

I cannot account for what Jeff Day is hearing... I like Jeff's writing and his taste for the
Fi 2A3 monoblocks fits my own experience with that legendary amp... and of course the
fact that he is a vocal fan for Omega speakers is quite wonderful... I own the Omega
Bipoles ~

But buyers beware!!! If you are sensitive to high frequency glare you might want to look
elsewhere for an amplifier... I would suggest taking a very good look at RWA's new
Signature 30... or Roger Modjeski's RM 245.1 45/SET amp... both are fabulous and both
resolve upper frequency information with incredible sophistication ~

Warm Regards ~ Richard ~

[darkmoebius]

However, I heard the Almarro A250A(sic) with my B200's OB's perhaps 8 months ago and felt the amplifier did not resolve upper frequencies well... what I heard was a tipped up presentation that was edgy... Deb, whose hearing is far more sensitive than mine actually found listening to the A250A painful ~

But buyers beware!!! If you are sensitive to high frequency glare you might want to look elsewhere for an amplifier...

Interesting, have you only listened to that one particular A205A or others?

I have heard a couple of different A205A's for hours on end and never found any problem with the high frequencies at all. And I am extremely sensitive to HF's.

In fact, I spent ~6 hours listening to the A205A in my own personal, highly revealing, high-eff system not too long ago and the result was simply fantastic. I mean absolutely magical to the point of evoking a strong buyer's-remorse for my much more expensive multi-thousand $$ amps.(of course, it is far better in every way, but such amazing sound for $850? Makes one seriously question if more is necessary for enjoyment)

So, I would venture a guess that something was seriously was out of alignment(global feedback? tubes?) with the A205A that you heard, unless you had the same experience with mroe than one.

To quote Decware's website(makers of the similar Taboo Single-Ended Pentode/SEP EL-84 amp):

The Pentodes amplification efficiency increases with frequency so the midrange is louder then the bass and the treble is louder then the midrange.  To get it flat some manipulation must take place. 

The most common way to manipulate the frequency balance of the Pentode is with global negative (degenerative) feedback.  By applying a sample of the output from the amplifier back into the input stage out-of-phase you can achieve a flat response. Since the natural tenancy of the Pentode is to amplify high frequencies more then low frequencies, the out-of-phase signal that comes back from the output stage will be stronger at high frequencies thus creating more cancellation at the input stage at those high frequencies.

Does this seem similar to what your heard, Richard?

[Quiet Earth]

lcrim,
  I thought perhaps you were interested in a value oriented amp for the new speakers and that's why I shared my enthusiasm about the little almarro with you on the Asylum. I hope you are not scared off by the claims of the little almarro being harsh in the highs when compared to a $$$$ dollar SET. True, the little almarro cannot compete with the best. But is that what you are looking for? If so, the list of recommendations may get quite large!

BTW, Hello everyone. I love my Omega Super 3 speakers! I use them for tracking synths and other worldly ambient stuff in my little music studio. I sold my mackie active studio monitors for a set of super 3s and the little almarro amp. They are a lot of fun and so easy to listen to (unlike the mackies  ).   

[-Richard-]

Hi darkmoebius ~

My respect for the careful listeners and experimenters that contribute to these august
AC threads knows no bounds... and you seem to understand the Pentode performance
in a way that has not been brought to my attention before... it sounds architecturally plausible...
although perhaps some kind of similar justification for using feedback might be
leveled on any SET amplifier owing to the anomalies introduced by the simplicity of their
circuitry design... at least as it has come down to us ~

I bow to your take on the little Almarro and to the experiences of Quiet Earth ~

However I am not a stranger to the performance of Pentode amplification... when I came back
from teaching in India quite some time ago I was interested in getting back into audio and
I looked for the cheapest Single Ended tube amplification I could find... I wound up purchasing
an integrated Single Ended Pentode from a company that no longer makes them... it uses one
6L6 G (normally used on guitar amps) and one 12AX7 tube per channel... and employs almost
no global feedback... it sounds rather good!!!! When Dr. SRayle visited me recently we played
several highly regarded amplifiers (including the legendary Fi's) and SRayle remarked on the
liquidity of my Pentode amp... at one point the good doctor picked it as his favorite (for that
listening session) ~

I suspect the tubes sent with the Almarro for my in-home demo where not helping the
performance of the amp... that issue alone can impact significantly on what one hears!!!!

There is at least one audio dealer that gives his clients a chance to audition the Almarro
at home... and so anyone interested in that amp should take advantage of that
option ~

Perhaps Deb and I are "overly" sensitive to upper frequency glare... it may be a distinct
possibility...  or perhaps the demo-ed version I heard was in someway not functioning
at its best... or perhaps the tubes were sub-standard... all of these are quite possible...
but I had a composer friend who also happens to be an audio engineer visit me while I
had the Almarro for an audition... his take on it was exactly the same as Deb's and mine...
Jim had me switch in my own Pentode after we listened to several tunes... a smile came
on his face... "Ahhhhhhh" Jim said... "there is no comparision"... he was not happy with
the Almarro ~

Warm Regards ~ Richard ~

[Quiet Earth]

Richard,
  I believe that you hear exactly what you say you hear, and it may be highlighted by doing an A/B comparison with a different amp or set of tubes. FWIW, I should mention that my almarro is not exactly "off the shelf". I replaced the electroharmonix 12AX7 driver tube as well as the Sovtek EL84s too. I think that the EH driver tube may be responsible for some of the grainy sound that you described. I have also done the capacitor replacement that is popular with this amp. I really wanted to use two PIO caps that I have on hand, but they won't fit very easily into the case. So I just used a .1uF poly cap of reasonable quality to see if I could hear the change. I think the change from .o1 to.1uF in the coupling caps makes a big difference in the tonal balance of the almarro. It's worth trying.

  I still think that the little almarro is a good value and the cost of the changes that I made to it are well within the scope of what the amp costs. In other words they are cheap tweaks that make a reasonable difference.

  The last thing that I would say about the amp is that I don't really use it for "pleasure listening". I don't fire it up to spin records and CDs, and relax in the big chair. I use it when I am trying to play with my electronic music toys, composing music, and mixing tracks. I could not stand the sonic abuse of my so called "powered studio monitors" anymore and the almarro and Omegas take me away from that asault but still retain a very high level of clarity and transparency. It's the best of both worlds for me

[lcrim]

Thanks for all the suggestions.
I have the Decware Select in my bedroom system and with the right, efficient, low impedance speakers like the Parker 95 MKII's that I've been using, I think it is a fabulous and cost effective little SEP.  I've been using it lately w/ new JJ EL84's and they are very nice for the price.
My living room system is running Eastern Electric Minimax separates w/ Vandersteen 1C's but I really wanted to hear the magic of single driver speakers and the Super 3 XRS should be a wonderful choice.  I'm not getting any younger and wanted to try an amp w/ DHT.  I like the EL84 tube, I just wanted to try a DHT tube amp that was reasonably priced (under $2000).  I really do need 3 inputs but I do have a nice preamp (EE) that covers that issue, also need enough space in the rack.  The Almarro would require a switchbox or run it with the pre, I've also read great things about it, particularly after the tubes are rolled and the caps improved.  The Modjeski amp I think is just too expensive for my budget.  While he doesn't list prices on his site, I think I've read that its a $6000 piece.  Correct me if I'm wrong, Richard.
I spoke w/ Don Garber on the phone and he won't build the 2A3 as an integrated anymore because it doesn't please him on more complex, orchestral music.  I know that Louis loves his but he just won't budge on making another one.  He will do an X frame one and monoblocks but his build queue is out to 3-4 months now.
Anyways, thanks for the sugestions.

[-Richard-]

Hi Quiet Earth ~

Thanks for the wonderful description of what sounds like important tweaks that help to
bring the Almarro to a higher level of balance and resolution... given your careful listening
practices and professional experience, I suspect that I would love the music your Almarro
makes as much as you do!!!!!

Most audio products are developed and designed to fit a "price point"... a "range" of cost
that fits what becomes through practices of the market place a price niche... many designers
stop developing their products once the formula for profit is reached for a particular niche...
and it is often left to us... the audio lover... to "finish off" the refinement of an amplifier, for
example, with tweaks like the several you have thoughtfully implemented in your Almarro ~

In many ways that is an unfortunate practice... so-called high end audio should have a
different ethos when it comes to developing products such as amps... at least the designer
should offer the "upgrade" when you purchase their products... the way kit manufacturers do ~

Roger Modjeski has developed a little 4 watt SET amp based on a 1950's television sweep tube,
which incidentally is extremely robust, a lovely little thing that could wind up selling for about
the same price as the Almarro... I heard this amp throughout its development...
it sounds dangerously close to his best amps... such as his 245.1 45/SET, which Roger sells
for $1800. This new little SET amp with just 1 sweep tube per channel!!!!! would sell for
around $800. ~

Roger designed it as an entry level SET for people who want to get a large slice of the
SET magic for a pittance!!!! it is smooth as silk and voices sound so magical it brings
tears to the eyes... Srajan wants to review it, but Roger is involved in developing a new
electrostatic speaker that sounds heavenly and has very little time to attend to anything
else at the present moment ~

Roger has about 4 of these amps left... he sold several to "insiders" that heard of them
through the grape vine... it was DMason who talked Roger into creating this amp after
his own experiences listening to what this sweep tube can do to create musical nirvana ~

Roger is giving me one to play with next week and a full "review" of my impressions will
follow sometime in the next few months... but here is an American designer who is a genius
by any standard one would wish to apply who has created an entry level SET amp that
sells for less than the Almarro and it is fully realized... no tweaks necessary!!!

Roger loves to design and develop products so much he rarely has time to market
anything... and yet he has unquestionably the best SET amps in the world... based on circuitry
ideas that are light years ahead of anyone else... he has completely rethought the physics
and theory behind the entire science of SET circuit design and has discovered entirely new
methods and pathways for getting sound that is simply delicious... Deb and sit spellbound
listening to the RM 245.1 45/SET amp... it simply brings music to life in a way that defies
description... as if you are listening "inside" of the music, at its heart, at the "source" of
its power and radiance!!!!!

If anyone is interested give Roger a call: 805.687.2236

http://www.ramlabs-musicreference.com/

Warm Regards ~ Richard ~

 

[-Richard-]

Hi Icrim ~

Roger had a nice chap working with him who attended to his web site but he moved on several
months ago and Roger is so busy developing new products and researching new applications
of tube circuit designs that he has no time to get someone to keep his web site updated... not
unlike Louis Chochos, who has almost no time to keep his web site updated and so has now
hired a designer to help him ~

Roger originally developed his 45 tube amplifier, the RM245, with an amazing amount of
controls that enables you to fine tune the 45 tubes to an unbelievable degree... the price
of $6000 reflects this "tuning" ability ~

When I first visited Roger to hear it... based on a recommendation from Louis Cochos,
I asked Roger if he could design a lower priced version with almost the same control
as the expensive RM 245... Roger studied architecture and is a fabulous designer in his own
right as well as an electrical engineer... he immediately took up the challenge and
developed the RM 245.1 which also has an amazing amount of control that
brings the 45 SET amp into the 21 century ~

There are 3 LED lenses on the top of the amp... the center lens is the power-on lens... in front
of each 45 tube there is also a lens... you adjust a pair of simple knobs in the back of the amp
so that each lens matches the red glow of the power-on lens and your RM 245.1 45/SET
tube amp is "biased"... there is also 2 knobs in the back for adjusting hum, and it really
works!!!! on top and in the front is a large dial for dialing in feedback... the amp starts at
zero feedback and you can add up to 10db of feedback to fit the circumstances of your
speakers... I never add feedback preferring to play the amp with zero feedback which helps
to create that magic "inner" dimension I have already mentioned ~

Roger sells the RM 245.1 45/SET tube amp for $1900 or thereabouts depending on which
45 tube you purchase it with ~

Roger has also redesigned the circuity so that the 45 tube generates 4 watts!!!!!!!!!!!!
not 2 watts which every other 45 amp produces... Roger designs his SET amps to produce
twice the power of anyone else's SET amps by redesigning the circuits... adjusting plate
voltages and other values... he went back to the earliest SET designs from the late 1920's
and early 1930's and found that the earliest designers did not develop the circuits
to it's full potential... almost every current SET designer uses the "values" of those earliest
designs to base their own designs on... which Roger feels are fundamentally flawed
in terms of their understanding of how to "safely" utilize a given tubes performance potential...
let me mention that Roger is very concerned with maximizing tube life and designs all
of his amps so the tubes are never stressed and play in their optimal ranges for the
longest life ~

In a way I fell a little guilty... I am listening to the best 45 SET tube amp in the world and no
one even knows about it because Roger has almost no interest in "marketing" his
incredible new SET designs ~

Warmest Regards ~ Richard ~

[miklorsmith]

I wish we lived closer together so that we might be able to have a little amp-off with your  amp and my Yamamoto.

[-Richard-]

Hi miklorsmith ~

Yes!!!!!!!!!! I have thought about exactly the same thing every time I read your wonderful
posts in which you mention the Yamamoto... where do you live, Miklorsmith?

Warm Regards ~ Richard ~

[miklorsmith]

Seattle - it's only two states away but states are big on the left coast.  I have no doubt your amp is special.  I'd also bet in some contexts the extra power would be a tremendous boon.  In my system, the Yamamoto operates above 65 hz on a 101 db efficient array.  One of my buddies is into heavy metal.  He was over last night and we were playing Mastadon cleanly at thunderous levels.  2 watts is plenty for my rig, but many systems/needs would welcome some extra juice.

Interestingly, I had another friend over (mca) last w/e and he brought his newly acquired Bella Extrema, with (I think) 50 watts of push-pull power.  It was quite a different sound, but the Def's seemed to like the extra power.  So, maybe even if a certain power rating is "enough", more is better.  I'm excited to see what the Sig. 70's bring to the table.

[Quiet Earth]

Hi Richard,
  Thank you for your kind words. I am a far cry from being a good musician but I appreciate your kindness anyway. Hey, that was my first microsecond of fame   . For now I'll  just continue to amuse myself.

  I've been giving a little thought to your original reply on this thread and I must say that I generally agree with you about not messing with a finished product. I have found through my own experience, that you can take a well made product (designed and voiced at a specific price point) and mess it up with expensive parts. We often only look at the sum of the parts and think nothing of the time that it took to voice and produce the thing in its entirety. If it's a product made in high volume that's an even bigger accomplishment.

  In defense of the little almarro (again???), perhaps certain parts were chosen to provide consistency in manufacturing. It might be much harder to make a 1000 consistently nice sounding amps than 4 or 5 outstanding ones. Maybe the electro harmonix 12Ax7 and the Sovteks were chosen because of consistency and availability as well as cost. I can't say that they were, but I think that you know where I'm going with this. As far as the capacitor change goes, the little .01 caps inside the almarro are really not that poor in quality to begin with. I have a feeling that the smallish value of the cap was chosen to keep the very low frequencies out of the small output transformers and prevent saturation. But I only speculate. Perhaps the output tranies were chosen for their midrange quality and not their low frequency capabilities. I don't know. As I sit here and speculate, I realize that I agree with you that in many cases a component has been voiced a certain way and shipped with certain parts for many reasons. Perhaps we shouldn't be too quick to pass judgement about why such choices were made in the first place. I know that I have been guilty of doing that.

  Fortunately the tube changes and cap replacements have been cheap and complimentary to an already decent little amp. It could have gone the other way. I could have also been happy with it unmodified. I just couldn't resist.

Best,
QE

[Dmason]

I am familiar with both Almarro tube amps the 6c33c and the El84, very nice machines.

In my opinion, for a low power tube SET <4 watts, NOTHING can touch the Music Reference 6EM7 SET. The 6EM7 is a completely linear tube because it amplified for horizontal hold, Class A, and if it weren't, you would be able to SEE it. Dead flat from 18Hz-75KHz.. These are some of the very best designed and built tubes extant, coming from the heyday of tube color TV, and the end of the tube era.: they do bass response without need of big and expensive iron, and magnetic headroom. This seemed to be the catch point in my argument to Roger, Lord Merlin of Thermionia, in the Kingdom of Pop, Santa Barbara... and I managed to convince him. The outcome completely exceeded my loftiest expectations. Fantastic stuff and plenty of juice for the little 127, whose sonic I know well, and believe they would go well with this rather warmish sounding SET circuit.  Icrim: stop ruminating and order one, and see for yourself.  Tybee already did. A man of action Oh yes, it is also the most beautiful tiny jewel of an amp in the world. 12X6X5 oiled, rubbed Walnut with a Steinway black brushed hardwood lid, and banding on the bottom. Beat that.

[Dmason]

I should add more on the subject of sweep tubes. The 6EM7/13EM7 tube is electrically very similar to two tubes, driver, and output, known to be musical, and very well thought of and sought after. These sweep tubes are known as "dissimilar triodes" meaning that there are two sides to the tube, driver, and output. The driver side is similar to the Octal dual triode 6SL7 I believe, and the big side is similar if not electrically identical to the 2A3, arguably the holy grail of SET tubes. The cool part of this is that these tubes can be found for $4-10 dollars easily. That is four to ten dollars. The Emission Labs 2A3 variant, for example, sell for around $400 a pair, and even the Sovteks are $70. I can tell you that in no uncertain terms the 6EM7/13EM7 tube bears more than a passing sonic resemblance to the 2A3. They are tough, are built for greater than 10,000 hour lifespans, sound fantastic, do better bass response, and do not hum, due to indirect heating. The bugbear to 2A3 tubes is hum.

This amp has proven to produce well enough power for the Hemp cone, as well as the 127.