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Review: Tube Audio Design TAD-60 Tube amp

Category: Amplifiers

I'll start by saying that I've been into higher-end audio for a few decades now, and quite a lot of equipment has been through my hands to this point (half the fun of this hobby). Somewhere around 12 years ago, I'd come to realize that I preferred tube amplification over solid state in terms of an overall involving presentation of the music, and ever since then have owned tube stuff (brief flirtations with various solid state devices only helped to enforce this notion).

Which brings me to the discovery of Tube Audio Design, the provider of components conceived by Paul Grzybek (of Bizzy Bee Audio fame), built to his specifications by a very reputable Chinese manufacturer, and then hand-finished by Paul in his shop located in Wheaton, IL. (His offerings are available exclusively online; detailed product info is found at http://www.angelfire.com/biz/bizzyb/index.html)

The TAD-60 amplifier is built like the proverbial tank; overall appearance and heft (not to mention its specifications) in my experience indeed belie the modest asking price. With its stainless steel chassis and almost 1/2"-thick black anodized face, the relatively compact package portrays a masculine but elegant stance (also included is a lift-off stainless steel tube cage). All function controls are easily accessible from the chassis top, as are the tube bias test-points and adjustment pots (a digital voltmeter is included too).

EL34-based, the TAD-60 is rated at 60wpc in UL-mode, and 30wpc in switchable-on-the-fly triode-mode. Other standard features include adjustable input sensitivity and adjustable global feedback, adding flexibility to a host of possible preamp and speaker combinations (the input sensitivity control may also be used as a volume pot in a single-source direct input configuration).

Listening to the TAD-60 after the recommended 30 hour break-in period and beyond, the music really began to open up, and along with the TAD-150 preamp, I was experiencing just about every CD I spun in a whole new manner - I'm particular to small-ensemble jazz and female vocals - there was an in-the-room conveyence of the music that I found startling at times - present is deep, tight bass, a glorious midrange, detail, depth, and an overall natural presentation that allows hour after hour of enjoyable listening. I've found that the feedback adjustment permits a fine-tuning of balance between dynamics and warmth, and was able to "lock in" the amp to my speakers for what sounds to be a perfect sonic match (just a tad of feedback along with the triode-mode setting seems to be the magic spot in my case).

Without attempting to describe every sonic attribute I'm hearing (though I'm happy to answer any particular inquiries), suffice it to say that the TAD-60/TAD-150 combination strikes a synergy and glow that is especially musical, and is among the finest I've had the pleasure of owning. The TAD-150 has already been highly praised in at least a few user and online reviews, and I bet the TAD-60 will soon be recognized as a similar standout. If you happen to be in the market for high quality, reasonably priced, excellent-sounding gear, just take a listen for yourself, and you will hear what these components can do for music. (Paul also offers a 15-day in-home trail period.)

Note: I have no financial interest or business relationship with Paul Grzybek or Tube Audio Design.

Associated gear
Magnepan 1.6QR, California Audio Labs CL-10, Music Hall MMF-5/Goldring G1012

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ggeers222
onotu2
20 posts
 
I've tried the class A setup with a mix of 34s and 88s, but wanted to hear how they would sound with all 34s, so last night i made the switch. Gotta admit, i couldn't really tell the difference. The bottom was maybe a little softer (very subjective here), but better than the non-class a setup for sure. The mids and highs were very similar to the mixed tube setup, that is too say lush, airy and right on. At low volumes it was almost hypnotic; the definition and mids were that good. Most of my listening was on vinyl; genre was classic rock, blues & jazz. Overall, I think I like the all 88 setup best (albeit without the class A bias), but that could be because it was such a jump from the stock 34s at the time. I guess what impressed me most about the all 88 setup (too much tube rolling can be a bad thing) were the dynamics and balance of highs and lows. However, I do like the class A setup, and will stick with all EL34s (mids are the best) for now until I can afford (and my wife lets me) purchase 88 Pentas, or dare I dream, a quad of Telefunken or Genelax Gold Lions. Yeah, I got the bug.

PRE-AMP: TAD-150 Signature
SPEAKERS: Onix Ref 3
SUB: Rocket UFW-12
TABLE: MMF-7
auditude
10 posts
 
I'm in the middle of purchasing with Paul and I'm curious to hear any feedback on the auricap upgrades.

Is there anyone out there that had their unit upgraded and felt that the unit outshines the stock one? If so, please indicate the areas in which you found the greatest gains and if possible, any other sonic differences between the two.

This info is highly appreciated as I'm impatiently awaiting the arrival of my new addition!

Thanks in advance for any info at all!

BTW, I will be running with a Quicksilver Audio Remote line pre-amp.

Regards!
sailor321
25 posts
 
I think this amp is tremendous. The clarity (realism) was the big surprise for me. I am enjoying going through my record collection. It like everything is new again.
With all that I am reading about the JJ KT77 I guess I just have to try them. I do want to try some NOS 12ax7 and 12au7's
The amp has about 60 hrs on it and seems to be settling in so I can start evaluating. Paul has been very good with suggestions.
He was curiously quite about a request for a schematic.
I am finding the amp a little forward and the image is larger than my previous set up. My speakers are Vandy 2Ce's. The TAD-60 is in triode mode with little or no feedback. I have not tried the Class A bias yet.
I do have plans to glam up the TAD-60 a bit. I like adding exotic wood sides. I hate the silver cap on the power tranny as well as the tube shields on the 9 pins. I cannot hear any difference whether the shields are on or off. The feet have to go. I feel the plastic/hard rubber decouple the amp and trap mechanical vibrations in the amp. My music room is in the basement so I have thin carpet over concrete. I do my best to couple all my equipment to the concrete. For the TAD-60 I built a 4 inch thick wood block out of beech butcher block which have spikes to couple it to the concrete through the carpet. Right now the TAD-60 is on teak blocks that do not touch the plastic feet. This does a nice job coupling the amp to the 4 inch butcherblock base. I think the only thing better would be the Mapleshade brass footers.
pmarcin
2 posts
 
I recently purchased a pair of Klipsch Fortes because of all the good buzz I've heard on the Net about them. When I first mated them to the TAD-60, I wasn't that impressed, but I was using the amp in ultralinear mode. So, I switche to triode mode. Boy, I was certainly impressed by the sound. With my old ScanSpeak speakers, triode mode always sounds too soft. With the Fortes, I heard the best balanced sound that I've every heard and vocals still retained the palpability that tubes provide, but now all the music, including orchestral has that 'just right' musicality.

The story doesn't end here. When I measured the bias, it was over 100 mV low on all tubes, so I readjusted and the sweetness of the sound became hard to believe.

Klipsch Fortes - try 'em with the TADs!
onotu2
20 posts
 
I've been rolling the pre tubes and was wondering if anyone has tried an NOS BugleBoy long plate cause it's the one ax7s I haven't tried. Btw, if you haven't tried swapping the pre amp tubes, you're missing out. The change is HUGE. In fact, had I known I would have started there first instead of the power tubes. Lately, I'm running the 34s in Class A mode, but i have a quad of Penta solidplate 88s in waiting. Anyway, I tried quite a few NOS tubes in the center position, but found the ax7 variety to be best (just punchier and bigger soundstage) and settled on the Mullard sound; great mids, lush but not too much (imo), well extended, nice bass, and of course, warm, but not too tubey. The Mullard is a 10M, but I have a longplate coming tomorrow - I'll let you all know how it goes. Been wanting to try a Bugleboy long plate, but the eBay prices get crazy and rolling tubes in of itself can get crazy too, so I'm trying to ease up. In general, the TAD-60 out of the box is awesome (drives my Onix Ref 3s just right), but its nice to know that it can be tweaked, and the changes are more than subtle. Has anyone else tried rolling the preamp tubes? If so, please share :) Btw, if you'd like to try a nice NOS tube that won't break the bank, the RCA blackplate with the square getter ('50 - early 60s) was really nice. Great mids, mid/highs were very detailed, and bass was punchy but controlled. Overall, a great tube, but with my speakers it was little edgy. Oh yeah, as for the au7s, i settled on Telefunken au7s. For the most part i didn't notice much change in rolling here and I tried some RCA cleartops w/ gray plates, too. But i left the Teles in, just cause they're Teles.
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