What a beast
This is the pre production, unpainted prototype next to the Horizon . Just to give you some perspective.
The H360 beside it looks tiny compared
Lukasz Has Done It Again
- Thread starter Steve Williams
- Start date
The H360 beside it looks tiny compared
It is literally dwarfedWhat a beast
The H360 beside it looks tiny compared
OK now this is my personal rumbling which I decided to put on paper/screen. Reason for that is that I discussed yesterday with a great buddy of mine reasoning why L is not using DHTs or double triodes as he did previously but started using double triodes and in this latest case pentodes (in his TOTL creations). Then I started looking into it as a complete non-technical person while rolling in my head what L said or wrote somewhere, that actually interplay of active anode load tubes and "output" tubes are creating a new "non existing tube type".
So I'm far away for being sure in what I will write but here it goes...
4 pentodes work in triode mode as a single triode for balanced operation and each outer pentode is serving as an active anode load. While looking into it I found this article saying this:
"In the project I'm working on that has both options you can hear a clear difference between the two, and because of this I have explored the possibilities that exist with the extra grids available in a pentode to a point where I have found that you can do some wonderful things with them. By controlling the resistance between them you can manipulate or stage the electrons and I imagine create subtle phase relationships that would be frequency dependent. If you think about it, this is the very heart of the single ended amplifier, the output device itself, and with the pentodes extra grids you can put yourself right inside the emissions path between cathode and anode... that's where the action is.
I have found the sonic relationship between making changes to the resistance between the plate and each grid is a tool for sculpting out a perfect sound stage when doing the final voicing on an amplifier. In the case of our little project, the pure triode mode sounds real good, typically up front and personal. But in the other configuration the soundstage simply LOCKS-IN deep and wide, and the shimmering trails of high frequency harmonics are much longer with a silkier tone and far better balanced within the rest of the soundstage. Size and space relationships within the soundstage become clearer."
Now overall it makes full sense to me and combined with what he said in one of the previous posts about the "slap in the face" is that he voiced the unit(s) with these tube interactions in a way to receive the final sound as he wanted to have it. I would assume that with tube rolling we are influencing/changing with different tube specs plugged into the units this finely tuned interplay which as a result is giving us the sound signature to better or worse for our ears.
Of course, there is also a major part regarding the power supply and rectification and the speed of it which is fine tuning the above-mentioned interplay...
Anyways as said in the start of the post I might be SUPER wrong in my quest to understand the reason behind pentode usage as such...but I'm eager to learn
So I'm far away for being sure in what I will write but here it goes...
4 pentodes work in triode mode as a single triode for balanced operation and each outer pentode is serving as an active anode load. While looking into it I found this article saying this:
"In the project I'm working on that has both options you can hear a clear difference between the two, and because of this I have explored the possibilities that exist with the extra grids available in a pentode to a point where I have found that you can do some wonderful things with them. By controlling the resistance between them you can manipulate or stage the electrons and I imagine create subtle phase relationships that would be frequency dependent. If you think about it, this is the very heart of the single ended amplifier, the output device itself, and with the pentodes extra grids you can put yourself right inside the emissions path between cathode and anode... that's where the action is.
I have found the sonic relationship between making changes to the resistance between the plate and each grid is a tool for sculpting out a perfect sound stage when doing the final voicing on an amplifier. In the case of our little project, the pure triode mode sounds real good, typically up front and personal. But in the other configuration the soundstage simply LOCKS-IN deep and wide, and the shimmering trails of high frequency harmonics are much longer with a silkier tone and far better balanced within the rest of the soundstage. Size and space relationships within the soundstage become clearer."
Now overall it makes full sense to me and combined with what he said in one of the previous posts about the "slap in the face" is that he voiced the unit(s) with these tube interactions in a way to receive the final sound as he wanted to have it. I would assume that with tube rolling we are influencing/changing with different tube specs plugged into the units this finely tuned interplay which as a result is giving us the sound signature to better or worse for our ears.
Of course, there is also a major part regarding the power supply and rectification and the speed of it which is fine tuning the above-mentioned interplay...
Anyways as said in the start of the post I might be SUPER wrong in my quest to understand the reason behind pentode usage as such...but I'm eager to learn
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Here is what Greg from G-Point had to say today after listening to the DAC for 3 hours uninterrupted:
The first WWW information is up:
@Lukasz "Lampizator" Fikus
Which server/streamer did you use upstream during the development of your NEW DAC?
Thanks
Which server/streamer did you use upstream during the development of your NEW DAC?
Thanks
We use our own - a mix of GulfStream (current model) and GulfStream2 - the super server to be announced in January. It has a LAN RJ45 link, HDMI, i2S, 3xBNC, USB and SPDIF@Lukasz "Lampizator" Fikus
Which server/streamer did you use upstream during the development of your NEW DAC?
Thanks
@Lukasz what colors will be available for the Aphrodite DAC and will it have the connections for the Taiko Extreme and Olympus already built in?
Goran....time for you to book your flight out to my house for the event. Im getting more and more RSVP's every day to meet the new AphroditeOK now this is my personal rumbling which I decided to put on paper/screen and reason being as I discussed yesterday with a great buddy of mine reasoning why L is not using DHTs or double triodes as he did previously but started using double triodes and in this latest case pentodes and then I started looking into it as a complete non-technical person while rolling in my head what L said or wrote somewhere that actually interplay of active anode load tubes and "output" tubes are creating a new "non existing tube type".
So I'm far away for being sure in what I will write but here it goes...
4 pentodes work in triode mode as a single triode for balanced operation and each outer pentode is serving as an active anode load. While looking into it I found this article saying this:
"In the project I'm working on that has both options you can hear a clear difference between the two, and because of this I have explored the possibilities that exist with the extra grids available in a pentode to a point where I have found that you can do some wonderful things with them. By controlling the resistance between them you can manipulate or stage the electrons and I imagine create subtle phase relationships that would be frequency dependent. If you think about it, this is the very heart of the single ended amplifier, the output device itself, and with the pentodes extra grids you can put yourself right inside the emissions path between cathode and anode... that's where the action is.
I have found the sonic relationship between making changes to the resistance between the plate and each grid is a tool for sculpting out a perfect sound stage when doing the final voicing on an amplifier. In the case of our little project, the pure triode mode sounds real good, typically up front and personal. But in the other configuration the soundstage simply LOCKS-IN deep and wide, and the shimmering trails of high frequency harmonics are much longer with a silkier tone and far better balanced within the rest of the soundstage. Size and space relationships within the soundstage become clearer."
Now overall it makes full sense to me and combined with what he said in one of the previous posts about the "slap in the face" is that he voiced the unit(s) with these tube interactions in a way to receive the final sound as he wanted to have it. I would assume that with tube rolling we are influencing/changing with different tube specs plugged into the units this finely tuned interplay which as a result is giving us the sound signature to better or worse for our ears.
Of course, there is also a major part regarding the power supply and rectification and the speed of it which is fine tuning the above-mentioned interplay...
Anyways as said in the start of the post I might be SUPER wrong in my quest to understand the reason behind pentode usage as such...but I'm eager to learn
Mine has XDMI so I assume like H360 there will be a Taiko XDMI input...It's in the spec sheet Lukasz released today
As I understood the video with Greg (GPoint audio) the unit playing in Lampi HQ is the only one now....from the WWW there is only black color - pity if there is no silver option as with H1/H360
...are we allowed to say: Mighty Aphrodite, or will that create a problem with Woody? Or just create wood? Nice to read the details. Thanks!
I'll pick you up at the airport.and stay at my house I have one more extra bedroom.
Steve You're SUPER generous!!
Many thanks for that!! But office time and autumn school holidays with already planned trip with family are unfortunately a showstopper - blah
.
The one thing that is stated in the video is tube rolling could be a thing of the past in this DAC, yet having said that Lukasz seems to say that whatever you roll now in the H360 will work in the Aphrodite but caveat emptor!!!!
I promised Lukasz that I will use only the stock tubes until he and Fred arrive....also I will be able to give feed back on playing the DAC SE and not XLR
I promised Lukasz that I will use only the stock tubes until he and Fred arrive....also I will be able to give feed back on playing the DAC SE and not XLR
Was always under the impression that with Lampi,the best implementation was to buy a model with vol control and tailor the gain ... guess not
BTW - Lampi ad on the front page asks to be changed as "Horizon DAC of the future" is somehow outdated now...
I had a different philosophy. I use my own preamp and always wanted the full signal hitting my preamp so that I can get the best of both worlds. So all my versions of Horizon were used at max value of 63 into my preamp
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