For those of you who have yet to try this....
I received Paul's Iron Lung Jellyfish power cords yesterday (where in hell did that name come from? Talk about a non-sequitor. Iron Lung because they produce more air? Or because the astonishing improvement sucks the air right out of you? Perhaps the Jellyfish should have been "Jelly roll," because they produce a sweeter middle. I could go on, but you get the idea).
The new cords look unremarkable,very much like any ordinary 14 guage gray power cords, with the exception of the clear, colored plug and socket. They look nothing at all like the exotic and expensive pwer cord offerings from the high-end.
I use a Vans Ever "Unlimiter" as my power conditioner, and after a brief reference listen, replaced the stock chords with the new ones, expecting nothing.
At first listen, that is what I thought I got.
However, I have learned to listen to tweak components over an extended range of recordings before assessing them. Something that does not jump out immediately during a quick A/B can still reveal itself. Such was the indeed the case, and a bit more listening revealed what I'd missed in the quick A/B.
Here is what I heard with the new chords (some of these effects were significant, others minor):
Noticeable improvement at the loud end of the dynamic range (e.g. more Blat in the horns), slightly improved clarity (I was able to reduce the feedback one click...very weird); but the best effect was improved center fill, resulting in a much more coherent and solid orchestral presentation. Overall, a significantly more complete and satisfying musical event. Not bad for 50 bucks.
Interestingly, when I flipped the amps back to triode mode, I liked that mode less than I had previously. I'm not sure why that is, but I suspect that because of its superior dynamics, the UL mode is just superior overall, and that, perhaps, additional break-in of my KT77s has occurred. While the triode mode still does its thing very well (relaxed, open and seemingly "natural" sound), it lacks the punch of the real thing. With the tube complement I am now using, UL mode gives 80-85% of the openness of triode, but delivers a much more realistic dynamic presentation. On good jazz recordings, instruments can be holographic.
So, why does a freakin power chord change anything? It really drives me crazy (for me a very short trip).
Do I really want to go and spend hundreds of dollars on fancy power chords? (Er, no, I do not).
However, I believe Paul G. says that the power supply is the "engine" and the tubes are just the "wheels," so getting change by tweaking the power supply makes sense.
That said, I would be very interested in hearing anyone's experiences with different output tube types and brands. I have read good things about the Tungsol 6550s and the EH KT88s. I am looking for a tube that will tighten the bottom up a bit, without sacrificing the mids and top of the KT77s. Also, what is the correct bias setting for the Class A mode for 6550 and/or KT88 tubes (The normal bias recommendation for those tubes is 65 mils, is it not?)
I received Paul's Iron Lung Jellyfish power cords yesterday (where in hell did that name come from? Talk about a non-sequitor. Iron Lung because they produce more air? Or because the astonishing improvement sucks the air right out of you? Perhaps the Jellyfish should have been "Jelly roll," because they produce a sweeter middle. I could go on, but you get the idea).
The new cords look unremarkable,very much like any ordinary 14 guage gray power cords, with the exception of the clear, colored plug and socket. They look nothing at all like the exotic and expensive pwer cord offerings from the high-end.
I use a Vans Ever "Unlimiter" as my power conditioner, and after a brief reference listen, replaced the stock chords with the new ones, expecting nothing.
At first listen, that is what I thought I got.
However, I have learned to listen to tweak components over an extended range of recordings before assessing them. Something that does not jump out immediately during a quick A/B can still reveal itself. Such was the indeed the case, and a bit more listening revealed what I'd missed in the quick A/B.
Here is what I heard with the new chords (some of these effects were significant, others minor):
Noticeable improvement at the loud end of the dynamic range (e.g. more Blat in the horns), slightly improved clarity (I was able to reduce the feedback one click...very weird); but the best effect was improved center fill, resulting in a much more coherent and solid orchestral presentation. Overall, a significantly more complete and satisfying musical event. Not bad for 50 bucks.
Interestingly, when I flipped the amps back to triode mode, I liked that mode less than I had previously. I'm not sure why that is, but I suspect that because of its superior dynamics, the UL mode is just superior overall, and that, perhaps, additional break-in of my KT77s has occurred. While the triode mode still does its thing very well (relaxed, open and seemingly "natural" sound), it lacks the punch of the real thing. With the tube complement I am now using, UL mode gives 80-85% of the openness of triode, but delivers a much more realistic dynamic presentation. On good jazz recordings, instruments can be holographic.
So, why does a freakin power chord change anything? It really drives me crazy (for me a very short trip).
Do I really want to go and spend hundreds of dollars on fancy power chords? (Er, no, I do not).
However, I believe Paul G. says that the power supply is the "engine" and the tubes are just the "wheels," so getting change by tweaking the power supply makes sense.
That said, I would be very interested in hearing anyone's experiences with different output tube types and brands. I have read good things about the Tungsol 6550s and the EH KT88s. I am looking for a tube that will tighten the bottom up a bit, without sacrificing the mids and top of the KT77s. Also, what is the correct bias setting for the Class A mode for 6550 and/or KT88 tubes (The normal bias recommendation for those tubes is 65 mils, is it not?)