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(Day 77 / 365)
Strobist: SB-700 / 16 mm at 1/128 with softbox - camera left - triggered by on camera flash
MC240 is my dream tube amplifier but it’s hard to find one in ideal condition at the right price. I don't mind to have Audio Research, Conrad Johnson, Leben, Shindo but any of those cost over $2800 even for used.
With no experience in tube amps, except listened to few songs from PrimaLuna Prologue Classic long ago and Mcintosh MC275 MK5 (the seller demo for my JBL L77), I don’t know should I keep waiting for my MC240 or trying another tube amp at the mean time, or stay away from tube amps because the sum of tubes cost higher than other equipment in a long run.
To reserve money for an MC240 and other JBLs, I decided to go for a cheaper tube amp to enter the world of tube sound. Dynaco, Heathkit vintage amps are not good deals if they have no rust and ready to plug and play. There are few affordable new or good-used Canadian made audiophile grade tube amps from Vancouver’s Space-Tech Laboratory (4 wpc single-ended power amp) and Ontario’s Ideal Innovations (40 wpc push-pull integrated amp) in about $900, but still a lot when a China made 3.5 wpc single-ended amp only cost just above $200.
After further study in tubes and variations in tube amp designs, I started to worry about in choosing the right tubes for my preferred music categories and speakers. So the best option in reasonable price (affordable to me and many others) is this Chinese-Canadian designed made-in-China MP-301 MK3.
MP-301 MK3 has improved features from MK1 and MK2, such as larger transformer generate lower temperature and less hum sound, bigger filter caps, and strengthened chassis lower the background noise, and the most attractive update is now the amp supports more power tubes including 6L6 (6P3P), KT66, 5881, EL34, KT77, KT88 and 6550 so I can try many types of tubes without changing the amp. I paid $440 (plus shipping) for the basic tube options, Shuguang 暏光 6J8P preamp tubes and 6L6 power tubes, but the power tubes came with my order are Shuguang 6P3P-J, which is similar to 6L6 in sound characters but with a handsome shape like the 300B. MK1 cost only $299 in 2008 and MK2 cost about $330 in 2011, I think I paid more for the improvements and Inflation.
This is a 6.5 WPC (2 WPC for headphone) single-ended integrated amp with two signal inputs, ideal for speakers with 88dB sensitivity. Although 88dB signal-to-noise ratio can serve many speakers but not quite powerful to many of mine according to the specs, I think MP-301 will be the best match to my JBL C54 and 2600.
One of my setups for daily listening is Denon PMA-501 with JBL L77 connected with 16 gauge RCA speaker cables, I listen to the pair for hours before switching the amplifier.
L77 plays well at most music including vocal, and of course Jazz. Its two-way design with 10” passive radiators, the 10” driver LE10A serves up to 2500 Hz, the mid-range is firm and rich but less detail when playing orchestra. It generates deep bass and reproduces low frequency down to 30 Hz. Unfortunately, its efficiency has only 1 watt to 74 dB, the outcome is interesting after listen for 2 hours, what I listened to as below.
1. Whole album of Best Audiophile Voices Vol.1 (Female vocals and various music instruments)
2. Lullaby – Low (Female vocal and electric guitar, speed from Largo to Allegro)
3. Emmanuel featuring Lucia Micarelli (violin and trumpet) - Chris Botti 2008 in Boston
4. Glad to be unhappy featuring John Mayer (Male vocal and trumpet) – Chris Botti 2008 in Boston
5. First 5 tracks from Scabious – Mayo Nakano Piano Trio (Piano, double bass, and drums)
6. I’m not in love – Diana Krall (Female vocal)
7. And a live recording on Youtube from Kenrick sound at their customer’s café with JBL 4350 (Jazz with massive bass)
Since this was the first time I power up the amp and run the tubes, I let the amp warmed up for 5 minutes (and for the photo shoot) and then started the music. Maybe this is a modern design with new electronic parts except for the tubes, I didn’t really find a big tonal difference to the PMA-501.
The significant different was the sound delay feeling like a 33-1/3 LP played at 32 rpm. Read many discussions about tube amps and they mentioned slower speed compare to solid states, but the music played shouldn’t have any change in its playtime, how this can be heard at a slower speed?
The theory I have learnt from understanding S.S. amps, higher power amps have greater ability to control the movement of the speaker diaphragm, not only push it out to form sound waves yet make force to pull back the diaphragm to form a complete and continuous wavelength, or to hold (as a brake) the diaphragm to stop the tune rapidly. Tubes, especially small power tubes are lacking current (less damping) so they can’t control the diaphragm in two directions effectively. The similar idea to me is an old car’s suspension system only has sprung to abort hits and shakes, while modern suspension design comes with shock absorbers to reduce bouncing movement. So the tube sound is kind of multiplying soundwaves left over from previous tones and created a so-called "warmer" sound, or softer tones. Correct me if my concept is incorrect when you read this post.
So, what’s the combination of L77 and MP-301 MK3 with 6J8P and 6P3P tubes? High, mid, and upper bass were as good as using S.S. amps, detail of the bass is a bit muddy, lost many details at a very low end (about 100 Hz and below). For the bass issue, possibly L77 is a very inefficiency speaker, yet there were too many tones ran at the same time so tube amp may not capable handling all details especially the very low frequency required higher power.
For the tubes, I believe these basic sets of tubes are a good match for most music, as I mention this is the very first tube amp and tubes I owned and listen so I can’t comment more. I will try many other types of music and chang speakers later, this is not a promotion but if you wanted to try an affordable tube amp, this must be it. Reviews at manufacturer’s website will give you a better idea.
I don't know much about the quality and characteristics of audio tubes. Before I decide to purchase a tube amp, this is where I learn the most common types of audio tubes www.seymourduncan.com/blog/the-tone-garage/know-your-amp-..., I believe I will spend quite a lot of time to explore different tube models from different manufacturers soon.
1970s 100 watt solid state guitar amplifier. Detail of Channel 2. Controls are backlit by an electroluminescent panel dont ya know...
Sony Cybershot DSC-W55, tweaked and cropped in Picasa.
It is a wireless amplifier made by TOA. There is a big loud speaker in the backside. I might hear the wonderful singing voice of the Buddhist priest when I waited a little more.
On September 7, 2014 in Kencho-ji Temple, Kamakura.
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TOA製ワイアレスアンプです。 裏側に大きなスピーカーがあります。 もう少し待つとお坊さんの素敵な歌声を聞くことができたかもしれません。
2014年9月7日、鎌倉市建長寺にて。
Baba Avtar Singh lends a patient hearing to the plea of a devotee in the Diwan Hall at Sur Singh, district Tarn Taran, Punjab. Amusingly, the ransingha appears like a bullhorn amplifying the concern of the visitor.
Baba Avtar Singh is second-in-command of Baba Bidhi Chand Taruna Dal. His father Baba Daya Singh (Jathedar) is the eleventh descendant of Bhai Bidhi Chand. The Dal is based in Sur Singh village.
Bhai Bidhi Chand was born to Bhai Wasan of village Sur Singh. His mother belonged to Sarhali, a famous village in Amritsar district. During his early days, Bhai Bidhi Chand got into bad company and became a dacoit. Bhai Adli, a Sikh since the days of Guru Ram Das, met him. Influenced by his good behavior, Bhai Bidhi Chand accompanied him to Amritsar. When he met Guru Arjan Dev, he confessed that he was a dacoit by profession. The Guru advised him to earn his living honestly.
After the martyrdom of Guru Arjan Dev, his son Guru Hargobind acquired two swords, representing miri and piri. This was a signal to the government that Sikhs would defend themselves. Guru Hargobind invited young men to come to Amritsar and learn the art of self-defense and the use of arms. Bhai Bidhi Chand decided to volunteer his services to the Guru to teach the art of war.
When Guru Hargobind was arrested by the emperor of Delhi and imprisoned in the fort of Gwalior, Bhai Bidhi Chand went from village to village, informing people of the sacrifices made by the Gurus. He, along with his dhadi jatha, would sing vars which brought chardi kala to the minds of the people. Later, when the Guru was released from the fort, Bhai Bidhi Chand became his bodyguard. He was appointed the leader of one of the five divisions of the volunteer forces of the Guru.
The rising image and strength of the Sikhs under the leadership of Guru Hargobind was not to the liking of the governor of Lahore. He found an excuse to attack the Guru in May of 1629 with an army of 7,000 soldiers. Bhai Bidhi Chand played a significant role in defeating the government forces. Bhai Bidhi Chand fought in all four battles alongside the Sixth Guru as a General in the Guru's army.
There is another legend related to Bhai Bidhi Chand. Two highly valued thoroughbred horses (Dilbagh and Gulbagh) were bought by the sangat of Kabul for the Guru. However, on the way to Amritsar, they were forcibly taken by the soldiers of the Lahore governor. Bhai Bidhi Chand brought them back by a unique ruse.
He dressed himself as a grasscutter and took a bundle of grass to the gate of the fort where the horses were kept under guard. He sold the grass to the caretaker at a very low price to befriend him. Bhai Bidhi Chand was assigned the job of bringing grass and feeding the horses. Bhai Bidhi Chand did this duty very devotedly and impressed all the employees and the guards in the fort. Bhai Bidhi Chand made a plan to jump with a horse into the Ravi River which ran alongside the fort. At night, once in a while, he would throw a large boulder over the wall of the fort into the river. When the guards inquired about the sound, he would say that there was a big animal in the river.
One day when he received his pay, he planned a big feast for the guards in the fort. When the guards were sound asleep at night, Bhai Bidhi Chand untied a horse and jumped with it into the river. The guards came to know about it only in the morning. By that time, Bhai Bidhi Chand had already taken the horse to the Guru.
For bringing the second horse, Bhai Bidhi Chand went to Lahore again. He stayed with Bhai Bohru who told him that Sondhay Khan, the custodian of the horses was extremely worried about the loss of the horse. He was consulting astrologers to help him find the missing horse. Bhai Bidhi Chand dressed himself as an astrologer. He went to the fort and sat in front of the gate. He conveyed to the caretaker of the horses that he could unravel the mystery of the missing horse. Bhai Bidhi Chand immediately told the caretaker that the man who brought grass for the horses was the thief. This convinced the caretaker of the powers of the astrologer and he took him to Khan.
When he met Sondhay Khan, Bhai Bidhi Chand explained to him the way the horse was stolen. Khan knew that everything Bhai Sahib was saying was correct. When he wanted to know the location of the stolen horse, Bhai Sahib said that he could tell that only at midnight by placing himself in the position from where the thief stole the horse. Khan came at midnight with his guards to find out about the horse, Bhai Sahib said that all the guards should be indoors and be sleeping on their beds as they were during the time of the theft. He told Khan that the thief had locked all the guards and that he would do the same. Addressing Sondhay Khan, Bhai Sahib spoke, "Now I will tell you how and where the thief took the horse". He untied the horse and said, "The thief got on the horse like this, jumped into the river and took the horse to Guru Hargobind. I will also take this horse to the Guru to whom it belongs." Before Khan could inform the guards, Bhai Sahib had crossed the river. He then rode straight to the Guru.
Bidhi Chand was not only a brave and tactful soldier, but also a devoted Sikh. He passed away in 1695.
© 2010 Gurbir Singh Brar, all rights reserved.
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.