肥強博士後花園 Dr Feikeung’s Anal Garden ----- 屎弗鬼集中營 |
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回覆 (240): “Interview with The Baron,” Hi-Fi Review, January 1990
Get something going  
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Better start save up some money. Any preference? 2nd hand any good? Perhaps ebay!
bobui
11-07-16
17:46:08
回覆 (239): “Interview with The Baron,” Hi-Fi Review, January 1990
I dont have a distortion analyse equipement to experience the difference.  
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then it is about time to get something going.
drwkng
11-07-16
12:11:28
回覆 (238): “Interview with The Baron,” Hi-Fi Review, January 1990
not really. if you look at the transfer characteristics  
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When I mesaured the noise level in one of my EF86 pentode circuit, I didnt find excessive noise. Sometimes, I am not even sure if the noise level were just in proportion to the gain. However, I do realise the purpose of the EF86 was meant to be a "Low Noise"pentode.  
 
Most classic pre or power amps with EF86 or 6AU6 in their circuits were operating these valves in the region of just 60 to 80v anode and lower HT plus lots of overall feedback.  
 
The other much talk about issue with pentode is the odd order distortion as oppose to even order from triode which some say always sound nicer to our ears. I dont have a distortion analyse equipement to experience the difference.  
 
bobui
11-07-16
10:43:23
回覆 (237): “Interview with The Baron,” Hi-Fi Review, January 1990
What make pentode so dislike by many designers is the "Noise" level issue.  
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not really. if you look at the transfer characteristics, there is nothing to write home about. unless you are talking about very small swing, you need lots of feedback to bring down the distortion.
drwkng
11-07-16
10:25:18
回覆 (236): “Interview with The Baron,” Hi-Fi Review, January 1990
pentode as output tubes that is efficiency  
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To add to that, Pentode has a much lower capacitance from anode the grid 1. For radio and high frequency operation, pentode can be found in the receiving part such as 6AU6, EF184 etc. Its a total incorrect assumption that pentode cannot handle high frequency. In fact it is most the other way round. Just take a look at Marantz 10B, any Scott, Fisher radios, you always see pentode in the receiving end. The higher gain of pentode also enable a single tube mic or phono gain stage to be sufficient. What make pentode so dislike by many designers is the "Noise" level issue.
bobui
11-07-16
09:50:52
回覆 (235): “Interview with The Baron,” Hi-Fi Review, January 1990
A triode has all the advantages and none of the disadvantages, so I wouldn't use pentodes, at least for phono, line, input, phase splitter & driver stage, period. Correct me if I am wrong  
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there is one reason and one reason only to have pentode as output tubes that is efficiency and efficiency alone. however there are occasions to opt for pentodes as input.
drwkng
11-07-16
09:10:53
回覆 (235): “Interview with The Baron,” Hi-Fi Review, January 1990
I have owned almost all of the Audio Research Classic models and have listened extensively to Jadis JA-30, which has the most liquid mid range that I have ever come across for KT-88/6550 push-pull. I do not know of any Audio Research/Conrad Johnson/Dynaco pentode designs that can come close to the Jadis JA-30 in the area of female vocals. So there seems to be a definite difference between triodes and pentodes if operated under similar environments.  
The EAR 549, however, blows all the Audio Research/Conrad Johnson pentodes out of the water when reproducing operas --- sounds/voices I know inside out. I have, and will never be, a fan of Tim de Paravicini the drunk/slob --- the workmanship of his products horrifies me, yet the sound of the EAR 509/549 is so intriguing that I’ve been contemplating, rather seriously, getting a pair just for the fun of it.  
The Jadis JA-30 still has the upper hand when it comes to mid-range details but it has no muscle so, for opera lovers, it’s out of the question.  
 
feikeung
11-07-16
03:34:29
回覆 (234): “Interview with The Baron,” Hi-Fi Review, January 1990
' A pentode has all the advantages and none of the disadvantages, so I wouldn't use triodes." ---  
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Put it the other way round & let me re phrase it.  
 
A triode has all the advantages and none of the disadvantages, so I wouldn't use pentodes, at least for phono, line, input, phase splitter & driver stage, period. Correct me if I am wrong!
Derek2A3
11-07-16
01:07:02
回覆 (235): “Interview with The Baron,” Hi-Fi Review, January 1990
May be if you also tried the same fatty ingredient you can do away with your huge subwoofer ? ^__*-------------------  
 
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Do away with the sub? No way ! I love big fat b--ass.  
 
kh33
11-07-15
20:03:02
回覆 (234): “Interview with The Baron,” Hi-Fi Review, January 1990
Dear Doctor,  
 
May be if you also tried the same fatty ingredient you can do away with your huge subwoofer ? ^__*
daiwok
11-07-15
19:12:45
回覆 (233): “Interview with The Baron,” Hi-Fi Review, January 1990
' A pentode has all the advantages and none of the disadvantages, so I wouldn't use triodes." ---  
 
Heard quite a number of SE triode amp,esp those from the Jap, none produce bass to my satisfaction, both in terms of quality and quantity. Guess that the exceptional bass performance from daiwok is due to his fatty ingredients.  
 
kh33
11-07-15
18:08:57
回覆 (246): “Interview with The Baron,” Hi-Fi Review, January 1990
That is if they can keep it up  
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They could not which is why the Japanese bought them out.
daiwok
11-07-15
16:29:10
回覆 (245): “Interview with The Baron,” Hi-Fi Review, January 1990
give those Danes some respect.  
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That is if they can keep it up and I truely hope they do! I mean, the fact that JP Ortofon started to introduce a line of Ortofon products some 10 to 15 years back that were not orginated from the Danes was already heart breaking.
bobui
11-07-15
16:12:42
回覆 (244): “Interview with The Baron,” Hi-Fi Review, January 1990
I believe the early Linn cartridges were actually Supex
daiwok
11-07-15
16:04:54
回覆 (243): “Interview with The Baron,” Hi-Fi Review, January 1990
Ortofon was never made by Japanese until they bought out the company please give those Danes some respect. What Ortofon introduced was the very first MC. Even to this date, the top end Ortofon is now reverted back to Denmark.
daiwok
11-07-15
16:04:21
回覆 (242): “Interview with The Baron,” Hi-Fi Review, January 1990
The TAD is not original Japanese design, I reckon.  
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If the JP were always good at cartridge making which i think is rather true. Ortofon, Linn were partially if not fully made by the JP but when it comes to speaker, British la! IMF, TDL, Spendor, Rogers, KEF, Tannoy!  
 
Plenty!
bobui
11-07-15
15:51:20
回覆 (241): “Interview with The Baron,” Hi-Fi Review, January 1990
 
 
The TAD is not original Japanese design, I reckon.  
 
 
limage
11-07-15
15:41:45
回覆 (240): “Interview with The Baron,” Hi-Fi Review, January 1990
 
 
can you remember what great speakers the Japanese have produced by themselves?  
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The vintage Mitsubishi at Tim's audio shop leaves me a very good impression. The TAD 2401 at 鬍鬍佬's is also not bad at all.  
 
 
cpsjj
11-07-15
15:36:26
回覆 (240): “Interview with The Baron,” Hi-Fi Review, January 1990
 
>Try to think about it, apart from a few good amplifiers, can you remember what great speakers the Japanese have produced by themselves? <  
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But the Japanese are quite good in making cartridges!  
 
thekong
11-07-15
15:33:03
回覆 (239): “Interview with The Baron,” Hi-Fi Review, January 1990
 
 
Japanese are not only stoneheads, they got no ears too.  
 
They only trust figures and hence for anything that cannot be readily quantified, they lose direction completely. Try to think about it, apart from a few good amplifiers, can you remember what great speakers the Japanese have produced by themselves?  
 
 
limage
11-07-15
15:24:16
回覆 (238): “Interview with The Baron,” Hi-Fi Review, January 1990
don't forget the Baron still got a business to run.  
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i think this is the key phrase. Pentode my arsxx!
drwkng
11-07-15
14:58:08
回覆 (237): “Interview with The Baron,” Hi-Fi Review, January 1990
They don't change their ways or minds easily. They are all brought up on textbooks…….  
 
…… they all believe what a textbook will say about them. The engineers will only do what a textbook tells them. ……. they take it to be law.  
 
There was some frustration at dealing with what I call ….. stoneheads—people with old heads that won't bend, irrespective of their age. You get stoneheads everywhere of course, but there they were most common.  
 
feikeung
11-07-15
14:52:16
回覆 (237): “Interview with The Baron,” Hi-Fi Review, January 1990
 
 
 
.............................and even sex would improve!  
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Limage's 功力 has exalted from 信佢兩成都死 to 信佢半成即死. If he is right, I would have been the apotheosis of sex!  
 
 
 
cpsjj
11-07-15
14:50:27
回覆 (236): “Interview with The Baron,” Hi-Fi Review, January 1990
even sex would improve!  
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on9keung, may be you need some of this as well @[email protected]
daiwok
11-07-15
14:10:48
回覆 (235): “Interview with The Baron,” Hi-Fi Review, January 1990
 
 
More important, the sound tends to improve immensely with the following ingredients  
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Good gracious! Not only the sound, the ears, the vision, the stomach and even sex would improve!  
 
limage
11-07-15
13:45:14
回覆 (234): “Interview with The Baron,” Hi-Fi Review, January 1990
don't forget the Baron still got a business to run.  
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I admire his design principal, "Enhanced Triode Mode" 859, a very smart operation. Surley a front runner and orignial concepts can be found in many of his products.  
 
Not a big fan of lower power SE myself. Having said that, I do occasionally like to hook up some highly priced PX25s or 6B4G in SE 3 to 8Watts with my Lowther for lower level listening. Kind of sweet with that special kind of 2nd order distortion. Love it!
bobui
11-07-15
13:11:12
回覆 (234): “Interview with The Baron,” Hi-Fi Review, January 1990
Of course if I am using high efficiency speakers, or if I listen to pure vocals predominantly, results could be very different. The sound can be very inducing indeed although in the back of my mind, beautiful rhetoric is no substitute for true fidelity.  
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This is absolutely true, its all about mating and getting that synergy that is required. Limage, may be its time for a revisit at my place with my 2W, my integration has improved and things are more settled with the running in of my bass units. I am very surprised how well my bass units perform even with 2W but of course my room is not like the size of most audio dens. At very least I can get some masterful opinions with golden ears from you and others. More important, the sound tends to improve immensely with the following ingredients ^__*  
 
 
daiwok
11-07-15
13:02:18
回覆 (233): “Interview with The Baron,” Hi-Fi Review, January 1990
They exhibit very high second and third harmonic distortion components that rise quickly with power.  
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Absolutely agree, if it's single end. But I not too sure whether his statement still holds when it comes to push pull.  
 
 
But he has recently produced an amp with a total of 40 plus 12AX7s as output valves. Thats triode  
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Time can change a lot things including personal believes. Or it can just be a marketing strategy to satisfy those die hard triode fans, don't forget the Baron still got a business to run.
Derek2A3
11-07-15
12:52:27
回覆 (232): “Interview with The Baron,” Hi-Fi Review, January 1990
A pentode has all the advantages and none of the disadvantages, so I wouldn't use triodes."  
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But he has recently produced an amp with a total of 40 plus 12AX7s as output valves. Thats triode!  
 
bobui
11-07-15
12:26:40
回覆 (231): “Interview with The Baron,” Hi-Fi Review, January 1990
 
 
A revelatory statement made by Tim Paravicini over triode circuits. It explains also a fallacy which steers the Japanese audio fraternity for ages.  
 
"They are simple and crude circuits around which there is a cult rather than any real foundation for good sound. They exhibit very high second and third harmonic distortion components that rise quickly with power, which is what characterises their sound. But execution has a lot to do with it. A pentode has all the advantages and none of the disadvantages, so I wouldn't use triodes."  
 
I have the same feeling when I listen to triode amps. When driving the Maggies at low levels, sound is extremely pleasant. Problem only comes when triodes are driven to their limits on orchestral climaxes and the pity, these limits often appear too low for comfort, 150 watts notwithstanding.  
 
Of course if I am using high efficiency speakers, or if I listen to pure vocals predominantly, results could be very different. The sound can be very inducing indeed although in the back of my mind, beautiful rhetoric is no substitute for true fidelity.  
 
 
limage
11-07-15
12:09:28
回覆 (230): “Interview with The Baron,” Hi-Fi Review, January 1990
Noel Keywood talks to one of hi-fi's most innovative designers, Tim De Paravicini, a man who favours conviction over convention. And The Baron? In fact Tim's lineage means he could legitimately call himself by that title—but that's another story!  
Tim de Paravicini: Trying to turn radiograms into hi-fl at the age of thirteen was a frustrating start to hi-fl, because being poor as a kid I couldn't afford to buy parts off the shelf. I learnt how to reclaim parts and how to wind my own transformers.  
Noel Keywood: So you wound transformers first rather than later, did you? This unusual interest didn't start while you were in South Africa then?  
No. I went to South Africa on my own later, at twenty-two I recall.  
So where did you spend your boyhood?  
In a horrible place called Stevenage, although I was born in Nigeria. My father was out there mining in the days of the colonies. I came to England when I was seven. My mother brought me back for educational purposes because in darkest Africa in those days there wasn't very much on offer in that respect But living in the wild you tend to learn to be very resourceful; my fascination with things mechanical started when I was four.  
Were you in Lagos?  
No, we lived about three hundred miles inland, in the middle of nowhere. My father was involved in mining tantalum.  
That's semi-desert or Savannah isn't it?  
Yes, it's Savannah. We had mosquitoes but basically it was jungle grass all around. Everybody had malaria in one form or another. I had a mild form, but when we came to England the hospital for tropical diseases got it out of my system. That was just as well because I could have lost my sight with it. The coldest temperature where we were was about 68 degrees (F). It was like a sauna bath! My mother was glad to get out. She got a job teaching in Stevenage, which is why we ended up there. My father is still in Africa. Zambia for its geology, I think.  
So in effect you went back toAfrica at the age of twenty-two, which was back in the Sixties?  
I went to South Africa because it was easier and there was a lot of wealth there in Jo'burg, which is the business centre of South Africa, with plenty of people chasing bucks, much like New York or London. Hi-fl there was a very profitable business because people spent a lot more. They could afford very exotic systems because money was no object.  
So you stepped out of the plane and looked for a job?  
More or less. I worked in a consultancy capacity to hi-fl shops and I ran a factory building transformers and amplifier products, building PA systems for rock groups, and doing some work for recording studios. I have always felt that in product, regardless of whether it is transistor or valve, the quality of the mains transformer is very important. Many amplifier manufacturers say that an amplifier is their design, but often it is a concoction of application-note circuits furnished by whoever makes the parts, plus external design input They ask a transformer maker to supply a tranny with 'XYZ' on it. That is not their design.  
Why transformer design in South Africa, though?  
I don't really know! People wanted mains transformers and welder transformers and suchlike, and in South Africa it allowed good throughput for the labour. It didn't have to be so capital intensive. In this country, because of the cost of labour, you must have expensive capital equipment to keep labour costs down. There I could employ people, which I prefer to do. In the end, as you know, I got offered a job by the Lux corporation of Japan.  
How did that come about?  
The people I did work for were the import agents for Lux. I suppose they realised I knew a thing or two about amplifiers and they wanted some Western input to their designs, which sold around the world of course. Lux's main business was transistor amps, and I work with both transistors and valves. I have no preference for either, but whilst I was at Lux I went back to valves, because I saw that the valve product that they were making was appalling.  
But then you moved to Japan. Wasn't that a bit drastic? Did you just shut everything down in Jo'burg?  
I couldn't pass up the offer so I sold everything off. Also the internal political situation in the country at that time—around 1972—was beginning to look unstable. At Lux I had many roles, but they wanted Western influence because it was perceived as trying to make product for export market. Most Japanese companies won't swallow their pride and use outsiders but Lux were prepared to, to get a different approach.  
I still feel it was a radical move. You didn't worry about it?  
No. I had a fascination for the psyche and philosophy of the Orient. It took two years to get the basics of the Japanese language for minimal communication. Luckily, most educated Japanese—like the company designers—can speak some English.  
But how about buying your milk and loaf of bread at the weekend?  
Well, it starts by gesticulation and when you start to pick up words you begin to apply them. Even though I was in my late twenties when I went there it was slow. Japanese has no root in European languages, so everything you learn is entirely different, except those Western words that have been adopted. I learnt it all the same—the hard way!  
Where did you live?  
Osaka, which is the Birmingham of Japan if you like. It is about 350 miles southwest of Tokyo. My first accommodation was a little rented house, then I moved into my own flat. Most of the traditional buildings are insubstantial by Western standards, virtually rice husks and wood. I thought I was in a doll's house.  
Well, you are tall, aren't you!  
Yes, I'm 6ft 3in. I was the company novelty for a long time so I was escorted everywhere at weekends, being shown around. There were not many Westerners in Osaka, and especially not in those days, whereas Tokyo now is full of them.  
Nowadays the price of land in Japan—especially Tokyo—is astronomic, so all the companies are moving north in a sort of relocation programme. Tokyo is just too big and congested—much, much worse than London. People just cannot afford to live and work there. Of course, there isn't so much usable land in Japan, a lot being mountainous, so the huge population (121 million) is squeezed into areas probably smaller in total than Britain.  
There is a chaotic energy in Japan that I loved. They are enthusiastic, but they can be frustrating too. They don't change their ways or minds easily. They are all brought up on textbooks, so with triode amplifiers for instance, they all believe what a textbook will say about them. The engineers will only do what a textbook tells them. If a book says triodes are best, they all believe triodes are best—they take it to be law. A lot of their technology is basic but very well executed, like that recording Walkman you are using for example.  
At Lux I tried to create discussion and argument in order to question things more closely. Competition was necessary, too. You do need it to further progress. Without it, you all end up as yes men, nothing new or novel gets created. There was some frustration at dealing with what I call Japanese stoneheads—people with old heads that won't bend, irrespective of their age. You get stoneheads everywhere of course, but there they were most common.  
Amongst the products I developed for Lux was the big M6000 power amp for the American market and the C1000 preamp, plus smaller M4000 and 3000 power amps. At that time nothing so outrageous was done by the Japanese companies. I did all solid state for two years, but then it was my insistence that I got into valves. They were not building good valve amps so I threw one together to show them.  
The first one I did was the MB3045, which was a 70W mono amp using so-called triode valves that I got NEC to make. They were really fake triodes, being pentode beam tubes internally wired as triodes. Then there was a cheaper MB3600, which was a 30W per channel stereo design of textbook type, because they didn't want anything different.  
I seem to remember that that amp, which I tested, used under-rated 20W output transformers, which produced high distortion at high output. It sounded sweet but it was floppy and gutless. Yes, but that is how they wanted it, and that is how many old valve amps were designed. If people believe that is wonderful–good luck. A lot of audio fashions are based on particular psychoacoustic phenomena of the sort operating here. They sold quite well, because Lux had been selling valve amps for ages in Japan since the fifties. Before their demise (being bought by Alps), they were much like Quad, say, in their domestic market.  
So what happened to your valve amps?  
The MB3045, which was the designation of the output tube, was exported to the States but not Britain. It used my balanced-bridge circuit but NEC stopped making the valves, which knocked it on the head. Only the small one came here. Valve amps using triodes now use old stock triodes, not being made any more. Because they have been hoarded away for centuries they are very expensive. The Chinese are now remaking the Western Electric 211 triode, I believe.  
Any comments about triode valve amp circuits?  
They are simple and crude circuits around which there is a cult rather than any real foundation for good sound. They exhibit very high second and third harmonic distortion components that rise quickly with power, which is what characterises their sound. But execution has a lot to do with it. A pentode has all the advantages and none of the disadvantages, so I wouldn't use triodes.  
So you'd say they have a characteristic euphonic distortion pattern?  
Yes, that's right. There are areas of valve design that I would still like to enter but that is not one of them. I think it was Olson, back in the thirties, who was the one who put the flavour forward that triodes sound better. In Olson's circuit the pentode had all the higher harmonics, but that was because of the way it was being operated.  
How about balanced-bridge mode working, which you favour and employ so effectively to achieve high power with very low distortion?  
Balanced-bridge mode is a technique that I have evolved. The Quad IIs had cathode windings, but only ten percent was in the cathode. Mine use a 50/50 split. Putting 50% of the winding in the anode and 50% in the cathode and cross-coupling them with capacitors to form the bridge means the device that is switched on will always force the opposite device to switch off. The four windings are equal in turns ratio. Because of this they can be quadrafilar wound (four parallel wires wound together). It gives an identical reflected impedance in anode and cathode.  
Is that circuit the basis of your EAR 509 MkII and EAR 549 valve power amplifiers?  
Yes, that is the basis of all my valve amplifiers. Apart from complexity in the transformer, which seems to frighten most designers off, there is no drawback. In a classical valve amplifier design you are relying on the transformer to force the opposite valve off, making it difficult to get any conventional valve amplifier to produce low distortion at high frequencies. This is because the output of the opposite anode cannot 'follow accurately in ordinary push-pull working. At high frequencies the circuit falls apart because the transformer is not perfect. A valve will tend to go on faster than it will like to come off. You then get two current clamps being married in the transformer that are not matched. Traditional valve amps like the Leak Point One could achieve 0.1% distortion at 1kHz, but at 20kHz distortion has risen to a couple of percent. There are two reasons: the matching of the two halves of the output stage doesn't hold true because the transformer is no longer perfectly coupling the two halves, and secondly there is feedback from the output of the transformer back to the input. With a transformer's delay time at high frequencies, feedback becomes positive rather than negative. The output damping factor and distortion deteriorate rapidly at high frequencies, and that is a characteristic that produces a certain sound with classic valve amplifier designs. You know, that ringy but very apparently clear treble which can sound very sweet. A correctly designed amplifier doesn't have an apparent anything, and I am after designing for minimum degradation and maximum transparency.  
You met your wife Oliva in Japan didn't you? Did you get married there?  
No, we married here. My wife could only speak in-flight English, like fasten your seat belt please, because she was an air hostess. So she taught me Japanese and I taught her English.  
So why did you return to Britain?  
When we decided to leave Japan I felt I could only go to Germany, South Africa, England, America to make hi-fl. With South Africa being political dynamite, Germany offering another language problem, and the States being unknown, I decided I would survive easiest in Britain with my wife, who had never seen the West. It was brave of her to make the move. Now we go back to Japan regularly, and it is nice to take our children there, because they speak Japanese as well as English, and we want them to know about the country even though they are being raised here.  
So you came back in 1976 or so. What happened?  
We hit bedsit land in London, then I got a job with a hi-fl company in Huntingdon, so we moved up here. That company had a short life, so I decided to go it alone. I designed and made my first amplifier, the EAR 509, which was a true 100W monoblock valve amp.  
That was the amplifier I reviewed for Hi-Fl News back in 1978. It had the most amazing performance for a valve amp that I had ever come across, having designed and built them myself in the past. But then so did the TVA1, which you also redesigned.  
Yes. I first redesigned the TVA1 to make it work properly for Michaelson and Austin, whilst I was employed in Huntingdon. Then I went solo and built the EAR 509. After that came a matching preamp, just called The Preamp. After that came the 802 preamp, which is still going and it is now a well-honed product free of noise, microphony, and such like.  
How do you keep down front end noise with pickup cartridges?  
Just by being cunning. The 802 doesn't have a moving coil cartridge front end stage, but I do a preamp—the new G88—which does accept moving coils. I use an input transformer, of course, but not for moving magnet. In fact, I use one pair of paralleled input valves to get noise down satisfactorily for moving magnet. The transformer gets rid of noise problems with moving coil.  
The RIAA network is novel and very accurate on my preamps. On my latest G88, the RIAA uses inductors to provide reactance and not capacitors. It is passive, it allows huge input overload levels, and it doesn't suffer all the problems of residual storage of capacitors, which affects the sound. If you short a capacitor, after discharge a residual charge will remain. Air capacitors are the most perfect but they are impractical, so I—uniquely—use inductors. This solves a lot of problems.  
What is special about your moving coil input transformer?  
It is just very well designed in itself. It has a ruler-flat and very wide frequency response, using a MU metal core and screening can, plus pure copper winding wire. I get better signal to noise with moving coil than moving magnet of course, because of the efficiency of moving coils and the perfect matching one achieves with a transformer. The RIM inductors are cored with special core material, the nature of which I won't disclose. I use ECC83s in the front end because they are quiet, linear, and available. I want my amps to work in Bongoland, where common valves are most likely to be at hand. They must also be reliable and inexpensive, both parameters which are important in real life, in my view.  
What do you think of the KT series of output valves?  
They do a job of work, but they were optimised around old-fashioned principles. The Mullard-designed PL509, which I prefer, is, by contras, a more modern design, even though it is a big power beam tube all the same. It will pull about 1.5 amps, against about 0.3 amps with the KT88. It was designed for colour TVs and suchlike.  
So the EAR 509 100W valve power amp was first, then the 802 valve preamp. Then what?  
I developed other valve amps that I have dropped, such as the 518 stereo version of the 509 monoblock, for the German market. In the end though I decided that like Rolls Royce, I want to make only the best that doesn't need to change too often. The original EAR 509 has now been updated to MkII status.  
Neither my 100W 509 amp nor my 200W 549 has overall feedback from the transformer secondary, as do most valve amplifiers. This allows a fully floating winding to be used. It allows me to float the speaker terminals above ground so that they can be paralleled to get more amps or put in series to get more volts into higher loads. For example, in the cutting room at The Exchange, I have two pairs of 549s on each cutter amp, the two 8-ohm outputs being series'd to drive 16 ohms.  
Why did you develop the 549?  
I felt there was a need for a big, powerful amplifier of very high quality.  
Why do you say very little about it? You have never really advertised it, have you?  
No, because the British won't spend that sort of money. They are £3000 per pair. I don't think this is expensive because they use massive quadrafilar wound transformers, entirely of my own design, which are unique and very costly to build.  
The G88 is a new, very high performance valve preamp with input transformers, output transformers, and inductor RIAA. The phono and line amplifiers are DC isolated and the latter are fully floating. The line amps will drive long lines in balanced or unbalanced mode. There are no ground loop problems either. The G88 costs £3800. The 802 preamp costs £995, the 509 MkII are £1495 a pair, the 519s are £1995 a pair (this is a rack mounting version of the 509).  
Then there is a mega preamp, which I haven't told you about. I have only made a few. It costs £6000 and it is called the P52 because there are 52 valves in it! There are 20 ECC83s for the phono moving coil, paralleled to get noise down and provide a good overload margin. The phono preamplifier stage has 42 valves, including valve regulators, rectifiers, the lot. There isn't a solid state component in sight. There is even a valve regulator for the filaments, which uses a PL509 to pull the current!  
Do you prefer valve rectification?  
No. This is the ultimate statement. Diode rectifiers do the job perfectly adequately, so the 509 and 549 have them and I am perfectly happy with that.  
Do you supply studios with your equipment?  
You have seen my 549s driving the Ortofon cutting head on the Neumann disc-cutting lathe at the Exchange in Camden Town, London. PUK studios in Denmark use my equipment too. I do disc cutting myself at The Exchange for various record companies. I have two cutting lathes that are driven by my valve amps, and I have designed a unique way of driving the cutting head to get better accuracy. It is cleaner than normal, but I do ensure that the old digital delay lines for Varigroove are not used. Most of the stuff cut nowadays is constant pitch anyway, so we dispense with that sort of thing.  
I produce new cuts from old master tapes and it revives them. A lot of those old recordings were of fine quality, providing they are replayed properly on recorders having the right equalisation. I believe EMI got the replay equalisation wrong with some of the Beatles reissue CDs, which is why they sound so bad.  
Will you be making anything other than valve amps in the future?  
No, not for the next five years at least. I have done lots of solid state amps for other people. There is lots of mileage left in valves. I am doing valve microphones, valve compressors, valve equalisers, valve tape machines, and anything to do with studios. I am about to design a radical valve amp for another British manufacturer, too.  
Then there is plenty of cutting work for Charly Records who reissue 'fifties recordings like Nina Simone's My Baby Just Cares for Me (CR30217), Solomon Burke's Cry to Me (CRB1O75) and suchlike, cut by me at The Exchange using my valve cutting amps. There is a Walter Lily Acoustics disc, Bach/ Kreisler/ Ysaye by Arturo Delmoni (WLA WS 07), where I am credited on the sleeve with the microphones, cutting amps, power amps, and suchlike. I will be doing more of this sort of thing in the future I hope, because these old 'fifties recordings really were beautifully made and can be wonderfully re-cut and pressed given enough care and understanding.  
 
 
 
feikeung
11-07-15
02:51:03
回覆 (229): $377 -- 雙人日航酒店自助午餐 DIY 刺身丼 過百款美食新鮮晒冷
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feikeung
11-07-04
16:10:27
回覆 (228): Wimbledon
 
The underdog Kvitova has won this year Wimbledon and won it in style. It is her composure and wit that let her achieved such success, and it is a joy to see two pretty faces giving their all out in the final.  
kh33
11-07-03
12:50:55
回覆 (227): Wimbledon
The little one is an arrogant, contemptuous slut --- I really hate her guts.  
 
feikeung
11-06-29
01:31:22
回覆 (226): Wimbledon
 
The Williams sisters crashed out in the rounds of 16. Their worst result so far.  
To me it is good news, just don't like them, esp. that arrogant little sister.
kh33
11-06-28
10:06:08
回覆 (225): LPGA - Up and coming!
 
The excitement in golf these days is the Asian LPGA!  
_______________________________________________________  
 
Let me rephrase that........  
 
Photobucket
kris
11-06-28
08:58:37
回覆 (223): Tseng vs Wie
 
 
 
Here's Michelle Wie hitting a 596 yard par 5 hole in 2 shots!  
 
kris
11-06-28
08:48:18
回覆 (221): Tseng makes history
 
 
Dr. feikeung, Yani Tseng played well (and so did Rory McIlroy in the US open). Golf is a funny game, though they both had lots of lucky breaks (what golfers call rub-of-the-green), it's their abilities to capitalize that gave them their wins, persistency pays well in golf. The other point I want to bring up is that I got really bored watching the US open this year without Tiger Woods for not only he's a flamboyant golfer, also a risk taker and heck of a shot maker. Still remember few years back when he cracked the ball deep into the forest, ended up with 2nd shot firing a 200 yards + (over a lake!!) to the green (with a 3 iron I think) and birdied the hole. That's freaking ballsy, that's entertainment! I feel the same way about Yani Tseng in comparison to Michelle Wie. For some strange reason, find myself mesmerized by Michelle Wie's swing even though she never won a grand-slam (but who gives a shit!). It appears the excitement in golf these days is the Asian LPGA!  
 
Michelle Wie  
Photobucket  
 
Yani Tseng  
kris
11-06-28
08:41:49
回覆 (220): Tseng makes history
Pittsford, New York  
June 28, 2011  
 
Easy win: Yani Tseng became the youngest women with four major titles after her 10-stroke victory.  
 
YANI Tseng stamped herself as the dominant force in women's golf when she stormed to a runaway 10-stroke victory in the LPGA Championship.  
 
The win made the 22-year-old world No. 1 from Taiwan the youngest player to capture four women's major golf titles.  
 
And Tseng did it in style, firing a final round six-under-par 66 to complete a wire-to-wire victory at 19-under 269 at Locust Hill Country Club in Rochester, New York.  
 
The overwhelming victory was reminiscent of this month's eight stroke US Open win by fellow 22-year-old Rory McIlroy who trained with Tseng as a teenager.  
 
Not content with just securing the win, Tseng set her sights on making more history once she made the turn with a 10-stroke lead.  
 
''I was like, 'what's a new goal for me'?'' Tseng said. ''And that's why I told myself I wanted to set a record, to make 20 under.''  
 
She missed by one stroke but matched the LPGA record low at a major, most recently by Cristie Kerr a year ago when she shot the same score to win the tournament by 12 strokes.  
 
Dottie Pepper (1999 Kraft Nabisco) and Karen Stupples (2004 Women's British Open) have also finished majors at 19 under.  
 
Asked if she has ever played better, Tseng said, ''I don't think so, especially because this is a major.''  
 
Tseng won from American Morgan Pressel (71) while Norway's Suzann Pettersen (67) and Americans Cristie Kerr (69) and Paula Creamer (69) tied third.  
 
Seven-time major champion Karrie Webb was the leading Australian but well off the pace as a closing 72 left her 17 shots behind Tseng.  
 
Tseng added the LPGA Championship title to her crowns at last year's Kraft Nabisco and Women's British Open as well as the 2008 LPGA Championship.  
 
She easily bettered the age record of South Korea's Se Ri Pak, who was 24 when she won her fourth major.  
 
''It's very special,'' Tseng said. ''Now I'm thinking about a [career] grand slam.''  
 
Tseng won her first four events of the year, the first in Taiwan, the next two in Australia and the LPGA season opener in Thailand.  
 
She will have the chance to complete a career grand slam in two weeks at the US Women's Open in Colorado on the same Broadmoor course where her friend and role model, retired legend Annika Sorenstam, won her first major.  
 
 
 
 
 
http://www.theage.com.au/sport/golf/tseng-makes-history-20110627-1gnej.html
feikeung
11-06-27
23:51:51
回覆 (219): Abstract - Animal
On9Keung,  
 
you have PM !
daiwok
11-06-22
17:27:29
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