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In Reply to: RE: Klyne preamplifier posted by airheadair on January 02, 2014 at 21:20:06
So far as I know, the 6LX does not even have a phase reversal switch. The question of "correct phase" is as controversial among audiophiles as is religion among certain ethnic groups. I don't subscribe to that school, at least with my bipolar ESL speakers in my room. No one can hear a difference when I toggle the phase reversal switch on my MP1. There are good theoretical reasons why it should not make much difference, especially if one is using multi-way speakers and given the fact that recording engineers back in the day paid no attention to it, such that every cut on every LP could be different from the one before and the one after, with respect to phase.
Follow Ups:
It's an SK5. Back in the day when I bought it, a big deal was made of phase reversal.
You were supposed to listen carefully to each recording and figure out if the recording engineers had things right or not and then use the switch to compensate as necessary.
Peter J. Moncrieff of IAR wrote copiously about it. I eventually gave up on it. I don' t like to spend time on A/B comparisons; there is too much music out there and not enough time.
All the PS and decoupling caps are new Silmic electrolytics which need time to break in. But after about 2 hours, sounds excellent with a Grace Ruby cartridge driving the phono section.
I'm just wondering if you have any further impressions to share about the Beveridge and/or the Klyne. I might suggest that, to take advantage of the Klyne's excellent phono stage, you try
a moving-cartridge with it. The Klyne and, I expect the Beveridge, should excel in image presentation and focus, which are perhaps a slight weak point of the Sound Labs. Have you ever tried a Van den Hul cartridge?
You did not complete your description of the cartridge type, "moving cartridge". I presume you refer to "LOMC" types. Yes, I do plan to try that. I am very interested to try the unique capability of the Klyne circuit to equalize the output of an LOMC into a 47K load, so you don't have to load down the cartridge to 100R or so to achieve a tame hf response. Stan Klyne tells me that my current phono section, after he completed his work, is "very nice" but still a step slightly below his latest max effort. But he indicated the difference between what I have and his best max effort would be narrowest with MM or high output types. I do plan to try it with my Urushi or the Ortofon MC7500, soon. But right now it is sounding so great with the Grace Ruby that I am loathe to change. I may mount the Ortofon in my RS Labs RS-A1 tonearm this weekend (the goofy looking Japanese tonearm), so I can run two tonearms on my Lenco.
When I re-capped the Klyne, and also when I built the Power Supply for it, I used ELNA Silmic II and Nichicon Muse electrolytics. So all those parts were new at the start of my listening. Plus Stan installed the new voltage regulators and new parts on the phono board. Per Stan's recommendation, I leave the PS power up 24/7, using the Mute switch as cut-out. Thus I have heard a steady improvement over the last week. It's really a kick now, and a great match with the Beveridges. All in all, the Klyne lives up to the legend.
Needless to say, the PS I built is way way overkill, a huge 250VA toroidal transformer, Schottky diodes, and a CLC filter. I like to think it gives my unit an advantage over others, but I can't know that.
I don't think any preamp I've ever heard will outperform the Atma MP1 with LOMCs, however.
I have a Koetsu rosewood MC with a Mitch Cotter stepup but I sure miss my F9E Ruby.I do have two Grace F9E bodies that need stylus but I would love to get the original OEM stylus unless Soundsmith can hook me up with a reasonable facsimile thereof.
Some people like second order distortion in their tube amps,some people like honesty in their tube amps. I like honest!
I probably love the Grace Ruby more than it deserves to be loved, but I keep going back to it nevertheless. About a year ago, I bought a second one off eBay; on that one the cantilever/stylus had been literally ripped out of its red removable stylus assembly. However it appeared otherwise to be NOS. I sent it off to SoundSmith and it came back with a new ruby cantilever and one of their OCL styli. I have not auditioned it yet. But your answer is "yes"; SoundSmith can replace your ruby cantilever with ruby plus a new stylus, but it won't be elliptical. I went for the most expensive of two options for styli. Cost $350. The lesser one is $250. If you really prefer elliptical, talk to them about it.
I can't get away from the Bev system. I must have listened for 4-5 hours yesterday alone, which is unusual for me. The Klyne is getting better as its PS breaks in. (I built it myself.) I also replaced every one of many electrolytic capacitors on the audio chassis, and those need to break in as well. It was unimpressive for the first hour, but since then it's giving a very "full", rich sound; I would never have identified it as a solid state device if blinded. The Quicksilver preamp sounded more like SS, if anything, on this same system. At some point, I would like to try my MP1 on this system. The MP1 is "king".
I probably love the Grace Ruby more than it deserves to be loved.
I don't think so and here is why.My friend brought over his Grace F9E ruby mounted on the head shell and we mounted on my same sumiko arm and set it up for his cart by weight,balance and Anti skate and the difference between my Koetsu Rosewood thru the Mitch Cotter step-up was not as much as you would expect..I didn't do the test on my big Martin Logans but I did do it on the full range ribbons,well full range from 270 on up but the point is,they were much more alike than they were different.
Yes,the Koetsu had an edge in some areas but nothing that would justify the price difference..I think if we worked with the setup a little more on the Grace,it would probably be very close to equal to the Koetsu..
Some people like second order distortion in their tube amps,some people like honesty in their tube amps. I like honest!
It's been in storage for about a year, but I have no doubt that the Grace Ruby is at least as good. Like you said, better in some areas and not as good in others, would be my guess. I also have an Ortofon MC7500. Ditto for that one too.
Oh yes
Very familiar with it.
Some people like second order distortion in their tube amps,some people like honesty in their tube amps. I like honest!
Thanks for the news. Let me know what you think after more listening. Is the Klyne the only solid-state preamp you like so far?
At least. If not longer.
I agree. I got my son and wife to listen to music while I toggled the phase switch on the MP1, such that they could not know whether I had altered the phase or not. We used a variety of sources and genres. In the end, neither of them could hear any difference one way or the other. But there are those who do swear by its importance. It may well be that bipolar speakers obliterate the differences, if any.
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