Tube Report 12/29/2009 by kach22i (Follow-Up at 100% break in at 130 hours)
Tung-Sol EL-34 B valves/tubes (matched pairs);
Package; 2x driver tubes + 8x power tubes and single 6SL7input tube
Power Amp: Golden Tube Audio SE-100
Speakers: Martin Logan Aerius, 1992 vintage with super tweeter and subwoofer
In short and as a spoiler:
Tung-Sol EL34 B tubes are great and I would purchase them again knowing what I know now. If you are using bass shy speakers without a subwoofer these tubes may give you needed bottom end grunt and drive. If like me you have full range speakers with a subwoofer in a smaller room, be prepared to improve your room acoustic treatments and bass absorbers, these tubes rock and rock deep.
Male voices; have warmed up and have more bloom (the correct amount) when compared to the 50 hour mark bias. A so called dry midrange may still be noted in the review because of the spectacular power and drive of the rest of the music. The term simultaneous contrast comes to mind as a possible explanation.
Example of simultaneous contrast; picture two different orange colors side by side, one will look more yellow the other more red than if either one were viewed by itself.
Review Notes; should be read in context with the earlier tube log of 50 hrs/90% break-in. The following comments are made at the presumed 100% break-in period of approximately 130 hours. Tubes were re-biased (did not need much) at 126-1/2 hours. Comments made here and now were made in a single day using both LP and CD formats.
Music LP vinyl:
Pink Floyd/The Dark Side of the Moon, Emerson lake and Palmer/Lucky Man, Colour Box/ Colour Box , Julie London/Julie is Her Name, ……….and a bunch of other stuff.
Music CD:
Holly Cole/Temptation, Finn Brothers/Finn, Duncan Sheik/ Duncan Sheik, Seal/Seal, Dean Martin/Greatest Hits, Frank Sinatra, ……….and a bunch of other stuff.
LP-1:
Pink Floyd/The Dark Side of the Moon, Original Master Recording (yellow band at top) found on side two, first track the song is “Money”.
Horn solo; is warm and sweet with just enough aggressive grit to sound angry when it needs to. There is no glare or stridency, sound projects well and is amazingly centered.
Bass; is full, dynamic and detailed. The bass provides a solid foundation for rhythm.
Highs: detailed cymbals, splashes of energy when hi-hat is hit, but not distracting or out of place. Music is cohesive without being blurred or compressed.
Solo Lead Guitar: could be more “in your face” but it is never fatiguing, screaming or ear bleeding, forcing you to beg it to stop or pray for it not to peak. Often Mid-Fi solid state does not know when to let go of a note, not the case here with tubes.
Vocals: perhaps dry for a tube, depends on what you are used to. The SE-100 Golden Tube Audio 100 watt amplifier used in this review was underrated in its day, original list price ($3,000) did not reflect its true audio value. With these tubes I’d have to say it leans towards an Acoustic Research signature sound more than a Conrad Johnson sound. That to say it leans towards a leaner drier sound than a rich bloomy sound but I place it in somewhere in the middle. I am no expert, just visited a lot of hi-end shops over the years and done a bunch of reading to pan off of.
LP-2:
Emerson Lake and Palmer/Lucky Man, found on side two, last track the song is “Lucky Man”.
Vocals; Greg Lake’s voice is pretty darn awesome, and the supporting backup voices truly harmonic. The drum kit is outstanding from top to bottom.
Details; everywhere is detail never heard before by my ears on these familiar recordings. There is no oversaturation, it is just pure music. Organ playing gives goose bumps, very liquid yet fast and tight and of course deep.
LP-3:
Julie London/Julie is her Name, 1st song is “Cry me a River”.
Impressions; the sound of this LP has improved so much over the time I’ve been using it as a reference that it is downright crazy. I in fact first chose this LP not because of the honey sweet vocals, but because of all the snap/crackle/pop surface noise it had. System improvements and tweaks were designed not to awaken this beast and to manage it within reason through careful resonance guidance.
Changes; I’ve tweaked the room acoustics and the turntable many times during the tube break in period, non-scientific of me, I admit. However I could not overcome my desire to hear music reproduction in the most flattering light. Adjusting the system and optimally tuning it is par for the course in audio world land, right?
Bass; the additional details (plucking, performance and instrument size) I hear in the acoustic bass I mostly attribute to the Tung-Sol EL34 tubes and not so much due to the other changes. I have a tube log and a pretty good mental record of the changes made, and the results.
Vocals; her voice is as full of natural bloom and as liquid as you could possibly attribute to any tube swap. Time Machine Transportation (TMT) is a phrase I’ve just coined to describe my emotional response to this LP. This is one of the songs I heard as a child on the Motorola table radio my mother used to listen to while cleaning the house in the late 1960’s.
LP-4:
Colourbox/Colourbox, found on side one, 3rd track the song is “Say You Will”.
Vocals; reverb/syth on voice is good. Female voice is realistic until recording engineers sought canned echo sound which really carries into the room nicely for a techno dance sound.
Deep Bass; is a bit overpowering at times (maybe room acoustics), then again it does feel good to turn up the volume on this track. I can imagine this track being a real performer on smaller systems looking to achieve a big sound.
CD-1:
Colourbox/Colourbox, 3rd track the song is “Say You Will”.
Vocals; the echo hall effect reverb/syth on female voice is just “more there”. I suspect that the quieter background of the CD allows this to happen more effectively.
Deep Bass; is there but not annoying present. Must be an issue with my turntable, the CD is much lighter in balance.
Top End; the maracas/tambourines jingle constantly throughout this song. These instruments play a much more predominate role in the CD version of the same song.
LP vs. CD: observation of this single example has the bass driving the rhythm and pace of the LP. And for some unknown reason the mix of the CD has the jingle of the maracas/tambourines leading the rhythm and tempo of the song. Is this an odd or unusual phenomena?
CD-2:
Finn Brothers/Finn, 1st track, the song is “Only Talking Sense”.
Vocals; are very intimate, detailed, delicate and lifelike. The singer sings at a little higher pitch than most male vocalist, which means that the narrow slot of “dryness” I was hearing in some male vocals is avoided entirely on this CD.
Bass; the first track when played on my system has always had a hit you over the head bass response. Big and boomy unless played at moderate volumes, I have adjusted and corrected much of the room acoustics responsible for this, but it is still there lurking in a lesser form and degree of severity. The rest of the songs following the first track are better behaved and better balanced, and sounding better than ever with the Tung-Sol’s now fully broken in.
CD-3:
Holly Cole/Tempetation, 2nd track, the song is “Train Song”.
Bass; the big warm bass is in full but not excessive bloom and seem to fill the room with its presence.
Vocals; Holly’s voice, every breath and tonal inflection are wonderful. Detail combined with that certain “tube magic” it is a joy to experience within the comfort of my home.
CD-4:
Duncan Sheik/ Duncan Sheik, 6th track, the song is “Serena”, also played the three songs after that.
Vocals; this is one voice I might expect to hear some dryness on as Duncan covers the typical male range. Some male voices had been sounding a little flat compared to the energy across the rest of the music, rather problematic having the all important midrange developing last as it did. I found the vocals to no longer be dry. I’d have to describe the sensation as intimate, full of nuances and detail. The singing voice was sort of delicate and vulnerable, but not effeminate and it had dimension.
Short Story-aside; way back when this CD was released in 1996 Duncan and the band appeared on Conan O’Brien’s late night show. A few days later they played the Blind Pig in Ann Arbor, Michigan which was a couple of blocks from where I was working. My co-worker John and I stood outside in line putting up with an interment a drizzling rain. Then some guys walked up past us and started to chat it up with some pretty girls about eight feet in front of us. I was convinced these guys were putting up an act like they knew these girls so they could take cuts in line (first come seating). I started to think that I might have to bop one of them in the head with my rolled up umbrella and send them all to the back of the line. Suddenly the small group of guys decided to split. My body language and eye contact must have sent a message because as they were leaving one of them, stopped to kindly explain to me that he is the band’s drummer and the guys in the band were trying to give back stage passes to the pretty things in line (I think the girls said no thanks). I told him that I just saw them on Conan and that’s why I was there, which seemed to make his day – a real friendly guy. The concert was great, but filled to capacity. I felt the small stage and low ceiling of the basement club may have cramped their style a little.
Sonics and Staging; this CD sounds better than ever, love the tubes and the vocals have become the best part of the music (as they should), everything just sings with emotion. Some of the best centered front/back and side/side sound staging in a recording so far. Projection of vocals into the space is excellent; this is not a recording where the singer seems to be standing ten feet behind everyone else. Not by a long shot. Prior to the last tube bias adjustment and adjustment of room acoustics I did at times find Holly Cole’s back-up singer in front of her, and Roger Walters was floating around backstage, but all these break-in teething issues have now gone away.
CD-5:
Seal/ Seal, 4th track, the song is “Killer”
Rocks Me; I have always loved this song. I think that I first heard it in the Chicago based High School situated boxing movie called Gladiator (co-starring a young Cuba Gooding Jr.). The drive and force of this really rocks, hard to believe that I first heard this song on Laser Disc in Prologic which actually sonically stomps to death any of the later DVD formats. On CD with the tubes “Killer” is pure “ear candy”, a sinful delight. It is also much cheaper than listening to the best PA system in a strip club of yesteryear, and unlike the club the stereo is wife approved. Deep inside of me a part of me wants to hear this song on some big horn speakers while spilling beer on a basement party floor, it’s just that kind of song. However my hybrid electrostats illuminate all the spicy detail along with the Blast-O-Meter effect. Seal will not sing without generous amounts of reverb, he just don’t like his own voice that much (remembering an interview on Charlie Rose and a CBC studio performance). Despite all of this, his voice still is not dry or shallow on this recording, the tubes must be working overtime.
CD-6:
Frank Sinatra/ The Reprise Collection, Disc 3, 1st track, the song is “Got You Under My Skin”
Finally Moves Me; the last 10% of the tube break-in has definitely happened. There is just “more” to the music, more bloom, more detail, more continuity, more rhythm, more dynamics, more billowing lung capacity to Sinatra’s voice too. Does NOT sound short, dry or flat. There is a deeper resonance to Sinatra’s voice than heard at the 50 hour bias mark. The 130 hours of tube break-in has crossed the maturity threshold I was hoping for and given me that last 10% which had been missing.
CD-7:
Dean Martin/ Greatest Hits, 9th track, the song is “Volare”
Vocals; one cannot help but smile when listening to this happy sounding song. Dean seems to be having the time of his life, kind of like Mel Torme singing about New York. The joyful pleasure is in listening to the pleasure one must imagine Dean Martin had when recording this song. The sound of his voice jumps out at you like a 3D movie image, almost in your lap.
Replay; lowered the volume level two notches. As I suspected it sounds good lowered, but the overly projecting voice peaks reach me without jumping in my lap and almost startling me.
The Acoustic Monster Residing in my Living/Listening Room:
My continuing battle with room acoustics was aggravated by the additional deep bass but not out of place bass these tubes delivered. The “live” quality of drums and other percussion instruments including cymbals can at times be more real than certain male voices. This as you can imagine could at times affect the balance of the soundstage both side to side and front to back. I tend to blame the room acoustics and myself for having placed a large CRT screen TV between the speakers. Other staging issues can also be the recording; it is often hard to distinguish when this happens.
Be careful of midrange suck-out, placing too much dampening in the room to control the highs and lows, as this may also suck out the middle frequency energy (could be part of my problem).
I’ve already admitted that I love these tubes, and you may want to keep in mind my room and my personal bias as you read the full review.
Bias Note:
My friend Ioannis on the Golden Tube Yahoo group is correct, bias at:
0
10
50
125 hours
Conclusion;
The last 10% of the tubes sound fleshes out between 50-130 hours. And although not as dramatic as the earlier break in period changes, they will reward the critical listener.
Cheers, George/kach22i
Tung-Sol EL-34 B valves/tubes (matched pairs);
Package; 2x driver tubes + 8x power tubes and single 6SL7input tube
Power Amp: Golden Tube Audio SE-100
Speakers: Martin Logan Aerius, 1992 vintage with super tweeter and subwoofer
In short and as a spoiler:
Tung-Sol EL34 B tubes are great and I would purchase them again knowing what I know now. If you are using bass shy speakers without a subwoofer these tubes may give you needed bottom end grunt and drive. If like me you have full range speakers with a subwoofer in a smaller room, be prepared to improve your room acoustic treatments and bass absorbers, these tubes rock and rock deep.
Male voices; have warmed up and have more bloom (the correct amount) when compared to the 50 hour mark bias. A so called dry midrange may still be noted in the review because of the spectacular power and drive of the rest of the music. The term simultaneous contrast comes to mind as a possible explanation.
Example of simultaneous contrast; picture two different orange colors side by side, one will look more yellow the other more red than if either one were viewed by itself.
Review Notes; should be read in context with the earlier tube log of 50 hrs/90% break-in. The following comments are made at the presumed 100% break-in period of approximately 130 hours. Tubes were re-biased (did not need much) at 126-1/2 hours. Comments made here and now were made in a single day using both LP and CD formats.
Music LP vinyl:
Pink Floyd/The Dark Side of the Moon, Emerson lake and Palmer/Lucky Man, Colour Box/ Colour Box , Julie London/Julie is Her Name, ……….and a bunch of other stuff.
Music CD:
Holly Cole/Temptation, Finn Brothers/Finn, Duncan Sheik/ Duncan Sheik, Seal/Seal, Dean Martin/Greatest Hits, Frank Sinatra, ……….and a bunch of other stuff.
LP-1:
Pink Floyd/The Dark Side of the Moon, Original Master Recording (yellow band at top) found on side two, first track the song is “Money”.
Horn solo; is warm and sweet with just enough aggressive grit to sound angry when it needs to. There is no glare or stridency, sound projects well and is amazingly centered.
Bass; is full, dynamic and detailed. The bass provides a solid foundation for rhythm.
Highs: detailed cymbals, splashes of energy when hi-hat is hit, but not distracting or out of place. Music is cohesive without being blurred or compressed.
Solo Lead Guitar: could be more “in your face” but it is never fatiguing, screaming or ear bleeding, forcing you to beg it to stop or pray for it not to peak. Often Mid-Fi solid state does not know when to let go of a note, not the case here with tubes.
Vocals: perhaps dry for a tube, depends on what you are used to. The SE-100 Golden Tube Audio 100 watt amplifier used in this review was underrated in its day, original list price ($3,000) did not reflect its true audio value. With these tubes I’d have to say it leans towards an Acoustic Research signature sound more than a Conrad Johnson sound. That to say it leans towards a leaner drier sound than a rich bloomy sound but I place it in somewhere in the middle. I am no expert, just visited a lot of hi-end shops over the years and done a bunch of reading to pan off of.
LP-2:
Emerson Lake and Palmer/Lucky Man, found on side two, last track the song is “Lucky Man”.
Vocals; Greg Lake’s voice is pretty darn awesome, and the supporting backup voices truly harmonic. The drum kit is outstanding from top to bottom.
Details; everywhere is detail never heard before by my ears on these familiar recordings. There is no oversaturation, it is just pure music. Organ playing gives goose bumps, very liquid yet fast and tight and of course deep.
LP-3:
Julie London/Julie is her Name, 1st song is “Cry me a River”.
Impressions; the sound of this LP has improved so much over the time I’ve been using it as a reference that it is downright crazy. I in fact first chose this LP not because of the honey sweet vocals, but because of all the snap/crackle/pop surface noise it had. System improvements and tweaks were designed not to awaken this beast and to manage it within reason through careful resonance guidance.
Changes; I’ve tweaked the room acoustics and the turntable many times during the tube break in period, non-scientific of me, I admit. However I could not overcome my desire to hear music reproduction in the most flattering light. Adjusting the system and optimally tuning it is par for the course in audio world land, right?
Bass; the additional details (plucking, performance and instrument size) I hear in the acoustic bass I mostly attribute to the Tung-Sol EL34 tubes and not so much due to the other changes. I have a tube log and a pretty good mental record of the changes made, and the results.
Vocals; her voice is as full of natural bloom and as liquid as you could possibly attribute to any tube swap. Time Machine Transportation (TMT) is a phrase I’ve just coined to describe my emotional response to this LP. This is one of the songs I heard as a child on the Motorola table radio my mother used to listen to while cleaning the house in the late 1960’s.
LP-4:
Colourbox/Colourbox, found on side one, 3rd track the song is “Say You Will”.
Vocals; reverb/syth on voice is good. Female voice is realistic until recording engineers sought canned echo sound which really carries into the room nicely for a techno dance sound.
Deep Bass; is a bit overpowering at times (maybe room acoustics), then again it does feel good to turn up the volume on this track. I can imagine this track being a real performer on smaller systems looking to achieve a big sound.
CD-1:
Colourbox/Colourbox, 3rd track the song is “Say You Will”.
Vocals; the echo hall effect reverb/syth on female voice is just “more there”. I suspect that the quieter background of the CD allows this to happen more effectively.
Deep Bass; is there but not annoying present. Must be an issue with my turntable, the CD is much lighter in balance.
Top End; the maracas/tambourines jingle constantly throughout this song. These instruments play a much more predominate role in the CD version of the same song.
LP vs. CD: observation of this single example has the bass driving the rhythm and pace of the LP. And for some unknown reason the mix of the CD has the jingle of the maracas/tambourines leading the rhythm and tempo of the song. Is this an odd or unusual phenomena?
CD-2:
Finn Brothers/Finn, 1st track, the song is “Only Talking Sense”.
Vocals; are very intimate, detailed, delicate and lifelike. The singer sings at a little higher pitch than most male vocalist, which means that the narrow slot of “dryness” I was hearing in some male vocals is avoided entirely on this CD.
Bass; the first track when played on my system has always had a hit you over the head bass response. Big and boomy unless played at moderate volumes, I have adjusted and corrected much of the room acoustics responsible for this, but it is still there lurking in a lesser form and degree of severity. The rest of the songs following the first track are better behaved and better balanced, and sounding better than ever with the Tung-Sol’s now fully broken in.
CD-3:
Holly Cole/Tempetation, 2nd track, the song is “Train Song”.
Bass; the big warm bass is in full but not excessive bloom and seem to fill the room with its presence.
Vocals; Holly’s voice, every breath and tonal inflection are wonderful. Detail combined with that certain “tube magic” it is a joy to experience within the comfort of my home.
CD-4:
Duncan Sheik/ Duncan Sheik, 6th track, the song is “Serena”, also played the three songs after that.
Vocals; this is one voice I might expect to hear some dryness on as Duncan covers the typical male range. Some male voices had been sounding a little flat compared to the energy across the rest of the music, rather problematic having the all important midrange developing last as it did. I found the vocals to no longer be dry. I’d have to describe the sensation as intimate, full of nuances and detail. The singing voice was sort of delicate and vulnerable, but not effeminate and it had dimension.
Short Story-aside; way back when this CD was released in 1996 Duncan and the band appeared on Conan O’Brien’s late night show. A few days later they played the Blind Pig in Ann Arbor, Michigan which was a couple of blocks from where I was working. My co-worker John and I stood outside in line putting up with an interment a drizzling rain. Then some guys walked up past us and started to chat it up with some pretty girls about eight feet in front of us. I was convinced these guys were putting up an act like they knew these girls so they could take cuts in line (first come seating). I started to think that I might have to bop one of them in the head with my rolled up umbrella and send them all to the back of the line. Suddenly the small group of guys decided to split. My body language and eye contact must have sent a message because as they were leaving one of them, stopped to kindly explain to me that he is the band’s drummer and the guys in the band were trying to give back stage passes to the pretty things in line (I think the girls said no thanks). I told him that I just saw them on Conan and that’s why I was there, which seemed to make his day – a real friendly guy. The concert was great, but filled to capacity. I felt the small stage and low ceiling of the basement club may have cramped their style a little.
Sonics and Staging; this CD sounds better than ever, love the tubes and the vocals have become the best part of the music (as they should), everything just sings with emotion. Some of the best centered front/back and side/side sound staging in a recording so far. Projection of vocals into the space is excellent; this is not a recording where the singer seems to be standing ten feet behind everyone else. Not by a long shot. Prior to the last tube bias adjustment and adjustment of room acoustics I did at times find Holly Cole’s back-up singer in front of her, and Roger Walters was floating around backstage, but all these break-in teething issues have now gone away.
CD-5:
Seal/ Seal, 4th track, the song is “Killer”
Rocks Me; I have always loved this song. I think that I first heard it in the Chicago based High School situated boxing movie called Gladiator (co-starring a young Cuba Gooding Jr.). The drive and force of this really rocks, hard to believe that I first heard this song on Laser Disc in Prologic which actually sonically stomps to death any of the later DVD formats. On CD with the tubes “Killer” is pure “ear candy”, a sinful delight. It is also much cheaper than listening to the best PA system in a strip club of yesteryear, and unlike the club the stereo is wife approved. Deep inside of me a part of me wants to hear this song on some big horn speakers while spilling beer on a basement party floor, it’s just that kind of song. However my hybrid electrostats illuminate all the spicy detail along with the Blast-O-Meter effect. Seal will not sing without generous amounts of reverb, he just don’t like his own voice that much (remembering an interview on Charlie Rose and a CBC studio performance). Despite all of this, his voice still is not dry or shallow on this recording, the tubes must be working overtime.
CD-6:
Frank Sinatra/ The Reprise Collection, Disc 3, 1st track, the song is “Got You Under My Skin”
Finally Moves Me; the last 10% of the tube break-in has definitely happened. There is just “more” to the music, more bloom, more detail, more continuity, more rhythm, more dynamics, more billowing lung capacity to Sinatra’s voice too. Does NOT sound short, dry or flat. There is a deeper resonance to Sinatra’s voice than heard at the 50 hour bias mark. The 130 hours of tube break-in has crossed the maturity threshold I was hoping for and given me that last 10% which had been missing.
CD-7:
Dean Martin/ Greatest Hits, 9th track, the song is “Volare”
Vocals; one cannot help but smile when listening to this happy sounding song. Dean seems to be having the time of his life, kind of like Mel Torme singing about New York. The joyful pleasure is in listening to the pleasure one must imagine Dean Martin had when recording this song. The sound of his voice jumps out at you like a 3D movie image, almost in your lap.
Replay; lowered the volume level two notches. As I suspected it sounds good lowered, but the overly projecting voice peaks reach me without jumping in my lap and almost startling me.
The Acoustic Monster Residing in my Living/Listening Room:
My continuing battle with room acoustics was aggravated by the additional deep bass but not out of place bass these tubes delivered. The “live” quality of drums and other percussion instruments including cymbals can at times be more real than certain male voices. This as you can imagine could at times affect the balance of the soundstage both side to side and front to back. I tend to blame the room acoustics and myself for having placed a large CRT screen TV between the speakers. Other staging issues can also be the recording; it is often hard to distinguish when this happens.
Be careful of midrange suck-out, placing too much dampening in the room to control the highs and lows, as this may also suck out the middle frequency energy (could be part of my problem).
I’ve already admitted that I love these tubes, and you may want to keep in mind my room and my personal bias as you read the full review.
Bias Note:
My friend Ioannis on the Golden Tube Yahoo group is correct, bias at:
0
10
50
125 hours
Conclusion;
The last 10% of the tubes sound fleshes out between 50-130 hours. And although not as dramatic as the earlier break in period changes, they will reward the critical listener.
Cheers, George/kach22i