I'd agree with Pawlowski (but he probably wasn't considering your current speakers in his recommendation): Nothing like a fat bottle to make strings and vocals load your room with sound that's moist with sweat and slides across your senses like a lover's caress. Be very mindful of which components you bring together to accomplish this task. Mismatching low-powered, SET gear is an easy way to have you scratchin' your head wondering why the heck you listened to those clowns on A'gon in the first place. If you go that route get someone who knows what their doing to help you out in choosing gear within your price range that'll sing in harmony. Often the smaller, more approachable manufacturers are an outstanding resource for doing just that. Otherwise, take some time and read the archives here and on AudioAsylum (SETAsylum). Sorry, your Arro's would not make a good match for these tubes (in most configurations they're used in). You would need a different speaker if you were considering that route. I'd still push tubes though if your interest is vocals and strings. If you must stick with the Arros, go for Triodes if possible. With your speakers (87db sensitivity) in a moderate room I'd guess you'll need about 25-35wpc minimum of tube power. If you wanted to get more specific answers from folks you may want to add a budget and the size of your room to the thread, and wheter you were considering an integrated amp or separates.
Marco |
Given your room size, which is relatively small, and sticking with your Arro speakers, I'd look for a tube amp putting out about 35wpc, prefereably Triode. The choices then will be up to your budget. If you are not technically inclined, or don't want to hassle with adjustments, look for a self-biasing amp.
As far as "silly answers" and "knee-jerk reactions": I assumed, like most people asking questions here, that Baroque_lover was asking for OPINIONS from others who've had experience with both types of amplification. I would not assume that they, or anyone one else, would take the response to be anything more or less than that. By all means, use your own ears and choose your own tools. As far as distortion goes, as you can see by the overwhelming response here, and on many other similar threads, there are a huge number of Audiophiles and music lovers who overwhelmingly prefer the "distortion" of various modes of tube amplification (if you must isolate the qualities of the amp to that particular distinction). There are also those who prefer the qualities of SS. I've listened to and owned both in over 24 years in this hobby and it is my silly opinion that, for vocals and strings, there is no more rewarding form of amplification to give those sounds a more life-like presence than a well-selected tube system, especially a well assembled SET system. I currently own an SET rig as my main rig, and a SS rig as my secondary rig. I like both very much for their own qualities, but if you ask which I prefer to listen to vocals and strings on, well, you know what my answer would be. Whoops, there goes that damn knee again!
Marco |
Thanks Grant. I hear you had a good time with Howard and the Green Man at the VTV show, although both Howard and Dean said the show was a bit disappointing other than the Edgarhorn room(?).
Baroque_lover - Do a search on the forums here under "arro" and you will find two or three threads where Arro owners recommend the amps they prefer. My bet is that you'd be very happy with one of the Prima Luna's, Cayin or Jolida selections which are all very affordable, and all are mentioned in those threads as being a good combination (I added the Prima Luna as it'd be a good bet too). Again, if you don't like tinkering choose an auto-biased option (the Jolida's are all manual-bias). A good observation that I missed from Avguygeorge - indeed there are compromises with SET....it does not do everything well, and does, as I said, require a very careful matching of components (good call). If you stray occasionally from vocals and strings, and want some 'impact' and mastery of more complex, layered music at a slight sacarafice in holography, I'd recommend a KT88 based amp. If you really hate any kind of hands-on with your components, and prefer to set-it and forget it, then I'd suggest you stick to an SS option and look for one that excels at vocals and strings (which would probably be touted here and elsewhere as a "tube-like" SS amp....hey, go figure!). In this case I'd push the Aleph 3/30 someone recommended already, or my own SS selection, a Portal Panache. Though they will bring some tube-like qualities to your listening experience, in my experience, silly as it may be, they do not posess the strengths of tubes in an undistilled form. On the other hand, they do bring to the table some SS strengths (very detailed, muscle to the low-end to write home about, as well as mastery of more complex, layered music), which you may appreciate in listening to orchestral and opera selections. IMO they won't do vocals and strings as well as a good tube amp. Damn, I practically jabbed my eye out with my knee that time. I'd better go get some ice to put on it!
Marco |
God, you're a jagoff, Stan. The drum major of the Audiogon Jagoff
Parade.
I don't wann'a be around for that parade. Though it's amazing anyone can
play such a tiny instrument, much less a whole marching band. Be sure to
bring binoculars if you really must see what's going on. The slippery mess
they leave behind should give anyone pause from attending. My god, just
think of the floats!!!
....coming to a town near you!
Marco
|
This is the first I've heard of the S2K. Looks like an interesting design using two KT88's in unison (pardon the pun). Well, if that is true about the match-up, that'd get my thumbs-up as worthy of consideration, with the caveat that Avguygeorge added - SET designs done right will certainly do vocals and strings like no other topology, but will not be as versatile as a push-pull when it comes to the wider range of applications. It doesn't bother me at all, but then I don't listen to much rock or electronic music, or other complex/demanding programming, nor do I use the SETs for home theatre. The match-up does surprise me though. Somehow I would have never thought 16watts could drive speakers with the specs of the Arros to gratifying levels. I've tried both 10 watts of push-pull and 17 watts of pentode with both 89db monitors and 90 db floor standers (both at 8 ohms). Granted, neither speaker resembled the Arros in size/shape nor drivers. Neither of those combinations really allowed me to push the speakers very hard. At modest levels (below 85db) those combinations were very nice indeed. That begs another good question - how loud do you typically like to listen?
Marco |
Nope, not offended at all, but thanks for your concern.
I'll take your supposition a bit further: you can view any and all reproduction of an accoustic performance in a specific space as "distortion", from the very moment the sound travels away from the source. It will never be a "true" reproduction of the performance no matter what system/listening room combination you prefer. It is all relative. I took no offense at your using the word "distortion". I simply think defining the different forms of amplification by what type of distortion they are more prone towards, is, for the most part, well, silly! It's all distortion...why do you need to make that the operative distinguishing factor? As I said, I'd agree with your suggestion for anyone seeking out system components that suits them for their specific preferences make their own decisions using their own ears (they can't borrow mine anyway), in their own listening space. Obviously I see nothing silly about someone asking advice from others who may have similar tastes as you, and have had experience over many years with the subject they are asking advice on. So my question to you would be the same as the question that arose when I read your first post: what point, exactly, are you trying to make? Yep, there are a whole bunch of people who like the sound of tubes, and a whole bunch who get a hard-on over vinyl? Soooooooooooo? There's also a vastly larger majority of folks who buy their sound reproducing gear at Circuit City and Best Buy and couldn't care one wit about any of this. I presume that none of that has anything at all to do with the reason for Baroque_lover to ask their question in this particular forum. You seem to be warning them off tubes and now vinyl like they were in jeapordy of getting some disease from giving them a try. I've seen no such predispositions towards tubes here. Instead I've observed many folks in both camps, and those in between. I've observed lots of large egos that seem to be attached to personal choices, as well as those with no attachments. I've occasionally observed what's occured to me as really bad advice, as well as repeated sage advice from some members. I'll give those posting and reading here the benefit of the doubt that they can sort it all out for themselves and draw their own conclusions. It seems to me you are suggesting that every post should run with a bold disclaimer reading something like: "The following post contains some views which are only one person's opinion on the subject and should not necessarily be held as ultimate truth in the matter at hand..." I think most folks can figure that one out.
Marco |
Well, it's raining in Seattle (go figure), and I have a ton of computer time to spend on some work-related projects which involves a whole lot of waiting, so my gain is your loss! Thanks for the kind words!
One more thought on the subject; I'd be willing to wager my left testicle that the majority of folks posting to, and reading, these forums couldn't tell even-ordered harmonic distortion if it came up an bit them on the ass. I also believe that understanding and being able to differentiate between different modes of harmonic distortion has absolutely nothing whatsoever to do with the ability to enjoy musical reproduction through a stereo system. You either like the way it does the job, or you do not. The system either involves you/brings you closer to the music, or it is easy to walk awy from. Because you can tell us all precisely why, in a vocabulary that is largely exclusive to recording engineers, acoustic designers, and some musicians, lends absolutely nothing to the enjoyment or involvement in the music. I'd venture to say that, for many folks it would actually take them away from the music to start to distinguish such components and identify them in the proper terms. That is really what it comes down to as far as what bugged me about using the distortion angle to distinguish types of amplification. Also, I don't get why take the time to post an answer to a question that basically reads; You've asked a silly question and got some silly answers, now go out and figure it out for yourself. Some like vanilla and others like chocolate, that's a given...no need to point it out really.
Oh, and I love you too Stan! You light up my life...and give me hope to carry on!
xoxoxoxo's
Marco |
