Aesthetix Io Users Group

[oldvinyl]

Did you try the ED1 Mullard's, if not all bets are off.

I can't claim to recall date codes from the EL34s I tried 15-20 years ago. That said, finding such a pair, let alone a matched quad these days would be difficult.

All in all, I am quite happy with the bass, heft, grit, dynamics, low noise and sonic fireworks of the KT66 as compared to the EL34. They also contribute to a more holographic soundstage.

At this point, I am quite happy with the Io and have learned to leave well enough alone and spend more time just simply basking in the pleasure of listening to it.

 

[Jeffy]

If you find ed1 you will be surprised

 

[vernonwtx]

Below includes my IMHO tube rolling results.

I am actively buying a backup set of tubes (seems people either prefer Mullard or Telefunken tubes/sound):
* Pwr: just bought 3 sets of matched pairs of Mullard EL34 XL1 from eBay (two pair w/ great labels, almost NIB), ~$500/pair
.........(others in order of pref: Mullard XF2 O-O, TF EL34 O-O, TF AEG)
* Pwr: just bought 12x GE 7025's. These tubes are "strong" and sound like an upgraded power cable. ~$40ea used, ~$70ea new
.........(others in order of pref: GE 12AX7WA, RCA 7025)
* V1-V6: just bought 12x Mullard CV4004 ~$400/pair (try Tesla E83CC ~$165/pair for TF sound)
.........(others in order of pref: Tesla E83CC, Mullard 10M, Sophia 12AX7, Siemens E83CC, TF ECC83, Syl 5751, RCA/GE 7025)
* V7: have Mullard 10M 6922
.........(others in order of pref: Valvo CCa pinched, Amp 6922 PQ pinched, AMP 6922 USN pinched, Philips PCC88 pinched, TF CCa, TF E188CC, Siemens CCa, TF PCC88, Mullard CV2493) All the "pinched" are superior to non-pinched.
* V8: have TungSol 6NS7-GTB's ~$50/pair
.........(others in order of pref: RCA 5692, Ray -WGT, Syl -GTB, Sophia -GTA, RCA VT-231...)

I researched Porter's and others' postings, and seem similar results, though I pushed to more expensive tubes in some categories.

 

[audioquest4life]

I can't claim to recall date codes from the EL34s I tried 15-20 years ago. That said, finding such a pair, let alone a matched quad these days would be difficult.

All in all, I am quite happy with the bass, heft, grit, dynamics, low noise and sonic fireworks of the KT66 as compared to the EL34. They also contribute to a more holographic soundstage.

At this point, I am quite happy with the Io and have learned to leave well enough alone and spend more time just simply basking in the pleasure of listening to it.

Which KT66s are you using now? NOS or newer manufactured KT66s? If new; Gold Lion, EH, PsVane, JJ, Sovtek, Millard, etc.

Your sound impressions with just the KT66 tube replacing the EL34 sounds like a reasonable upgrade path, especially, if it is quieter and has more of a holographic presentation.

 

[ShawnZH]

Which KT66s are you using now? NOS or newer manufactured KT66s? If new; Gold Lion, EH, PsVane, JJ, Sovtek, Millard, etc.

Your sound impressions with just the KT66 tube replacing the EL34 sounds like a reasonable upgrade path, especially, if it is quieter and has more of a holographic presentation.

It is the newly manufactured Gold Lion KT77. They replaced the Russian made EL34. Those NOS tubes must be better but they’re expensive and sometimes with unstable conditions. I’m pretty happy with the improvements those tubes brought, especially at the price they ask.

 

[oldvinyl]

Which KT66s are you using now? NOS or newer manufactured KT66s? If new; Gold Lion, EH, PsVane, JJ, Sovtek, Millard, etc.

Your sound impressions with just the KT66 tube replacing the EL34 sounds like a reasonable upgrade path, especially, if it is quieter and has more of a holographic presentation.

I have tried the Valve Art KT66, the Groove Tube KT66 and the original NOS GEC KT66. I would be hard pressed to distinguish them sonically in this application. Since I was able to find the NOS GEC's (years ago) I just left them in. These days, the NOS KT66s are hard to find and expensive. Years ago, Upscale Audio had several crates of them, must have been from a military depot. They were all factory screened and matched. They seemed expensive back then at $70 - $100 per tube, but that would be a bargain these days.

While I have not tried an EL34 to KT66 comparison for a while; it could depend on system, cartridge and listening preferences. There are good KT66 replicas these days - it would not be very expensive to give it a try.

Try a google search for Aesthetix Io KT66 - there's lots of information on this topic.

 

[abeidrov]

Quick question about ordering tubes for Io at Tubedepot.
When ordering, you can select 3 options:
Balanced Triodes, High Gain and Low Noise. Low Noise is a no brainier for Io. What about the other 2 options? Are they relevant?

Thanks in advance,
Aziz

 

[oldvinyl]

Quick question about ordering tubes for Io at Tubedepot.
When ordering, you can select 3 options:
Balanced Triodes, High Gain and Low Noise. Low Noise is a no brainier for Io. What about the other 2 options? Are they relevant?

Thanks in advance,
Aziz

Suggest selecting: Balanced Triodes, Low Noise and then Matching (get pairs). With the matched pairs, use one in the left channel and the other in the same position in the right channel. Their Black Sable looks like a good option too - though I would probably start with one or two pair to find out whether I liked the sound. (if not, just use them in the power supply since they would be low noise).


PS - did you try the experiment with the cartridge noise? Turn on the stereo and phono stage, turn on the exhaust fan. Keep the tonearm on the rest. When you get the hum, move your hand and arm around (close but not touching) the tonearm. If your hand movement around the cartridge changes the level of the hum, then some (if not all) of the noise is induced through radiated emissions, in other words - it is not through the phono stage or its power supplies.

 

[ShawnZH]

To find NOS‘s for an Io is quite tricky. Considering the number of tubes needed, the condition of the NOS‘s, and also the sound quality/signature. I bought some Telefunken ECC83 but am struggling with some of those tubes with higher noise background, some quieter. It is head-scratching to put them in the right place to have the best combo. I found the 1st stage is more sensitive to the noise level of the tubes. If the noisier ones are put into the 2nd or even 3rd stage, the noise is less.

Other than the NOS’s, anyone has any experience rolling some new tubes, say Gold Lion, Psvane, etc.? Any good? Those at least won’t give users too much problem in finding them in good conditions.

 

[abeidrov]

To find NOS‘s for an Io is quite tricky. Considering the number of tubes needed, the condition of the NOS‘s, and also the sound quality/signature. I bought some Telefunken ECC83 but am struggling with some of those tubes with higher noise background, some quieter. It is head-scratching to put them in the right place to have the best combo. I found the 1st stage is more sensitive to the noise level of the tubes. If the noisier ones are put into the 2nd or even 3rd stage, the noise is less.

Other than the NOS’s, anyone has any experience rolling some new tubes, say Gold Lion, Psvane, etc.? Any good? Those at least won’t give users too much problem in finding them in good conditions.

I’ve successfully used 6 Psvane Art series ECC83 tubes in V1-V3. They are as low noise as the stock tubes and better sonically.

 

[abeidrov]

Suggest selecting: Balanced Triodes, Low Noise and then Matching (get pairs). With the matched pairs, use one in the left channel and the other in the same position in the right channel. Their Black Sable looks like a good option too - though I would probably start with one or two pair to find out whether I liked the sound. (if not, just use them in the power supply since they would be low noise).


PS - did you try the experiment with the cartridge noise? Turn on the stereo and phono stage, turn on the exhaust fan. Keep the tonearm on the rest. When you get the hum, move your hand and arm around (close but not touching) the tonearm. If your hand movement around the cartridge changes the level of the hum, then some (if not all) of the noise is induced through radiated emissions, in other words - it is not through the phono stage or its power supplies.

My understanding is that the Balanced Triodes option is not necessary, but it somehow increases the chances that an ECC83 tube is of good quality and low-noise. I already have 6 Teles, including the pair from Tubedepot that I received today.

I’ve tried the hum experiment: it did not change when I moved my hand.

 

[oldvinyl]

My understanding is that the Balanced Triodes option is not necessary, but it somehow increases the chances that an ECC83 tube is of good quality and low-noise. I already have 6 Teles, including the pair from Tubedepot that I received today.

I’ve tried the hum experiment: it did not change when I moved my hand.

Balanced triodes means that each of the triodes in a dual triode 12AX7 has the same gain. The second and third gain stages in the Io have balanced V+ and V- signals (one from each triode). Using a tube with balanced triodes means that the output would have the same voltage amplitude on each side of a balanced output (XLR). If you use the Io with single ended output (RCA), then balanced triodes in the tubes is a moot point. Balanced triodes can be indicative of consistency and quality of manufacturing, but it will not guarantee low noise or microphony. That's why I recommended the balanced triode option.

 

[ShawnZH]

To manage the noise level, matching tubes, models for the 12 ECC83 is a challenge when NOS tubes are concerned. I managed to finding 12 NOS ECC83 from Telefunken however some are with higher noise. I also ordered a full set of new built Genalex Gold Lion ECC83s, at a much cheaper price than Telefunken. Regardless of the SQ, it is easier to match and get a low noise level.

The full Gold Lion setup is less refined and airy than the Telefunken tubes. However, it is not an unbearable gap. Gold Lion tubes are even a bit more dynamic and open than Telefunken. I’d say the full Telefunken set still wins over Gold Lion but the GL is making me quite happy with its own sound features.

I use 2 E88CC from Telefunken to replace the 2 6922 tubes and it helps noticeably to increase the refinement and subtlety of the performance. Combined with the full GL set, it compensate the loss of airiness.

Interesting tube rolling experiences to share.

 

[audioquest4life]

To manage the noise level, matching tubes, models for the 12 ECC83 is a challenge when NOS tubes are concerned. I managed to finding 12 NOS ECC83 from Telefunken however some are with higher noise. I also ordered a full set of new built Genalex Gold Lion ECC83s, at a much cheaper price than Telefunken. Regardless of the SQ, it is easier to match and get a low noise level.

The full Gold Lion setup is less refined and airy than the Telefunken tubes. However, it is not an unbearable gap. Gold Lion tubes are even a bit more dynamic and open than Telefunken. I’d say the full Telefunken set still wins over Gold Lion but the GL is making me quite happy with its own sound features.

I use 2 E88CC from Telefunken to replace the 2 6922 tubes and it helps noticeably to increase the refinement and subtlety of the performance. Combined with the full GL set, it compensate the loss of airiness.

Interesting tube rolling experiences to share.

Your experiences with the GL EC83s sounds very interesting. Do you think that the use of the Telefunken 6922 tubes had more of an influence on the overall sound characteristics of the Io versus swapping out all of the 12AX7 JJ supplied tubes? Or, is your summation that combined, when changing to the GLs and Telefunkens, you felt that the sound quality improved. It seems to me from reading your post, that although the GLs are not as airy, they do exhibit more openness. How does this openness compare to the airiness of the Telefunkens? I believe the GLs in many other tube types are just as good…well, maybe not as great as some NOS, but close as you stated. This is great feedback. Thanks for sharing.

 

[redcars]

Aesthetix Io Eclipse and Metis Preamp

Hi everyone,
I am taking this opportunity to share my newest system changes with WBF. I am posting it on the Io Users Group because I have had my Io for 22 years, and I have just heard what it really sounds like through an Aesthetix preamp. It is even better than I expected!

Also, because I think that I am the only Metis owner on WBF, it would be helpful, IMHO, to leave this post on the Io site for a while to see if it generates interest. Administrator leeway requested.

This is partially a review of the Metis line stage, and mostly a description of how my system has changed from having a CJ ART (2) for twenty years. I have realized for some time that the ART was holding my music system back, but I did not have either the money or knowledge of what to replace it with. I never found a Metis review on line; the official descriptions http://www.aesthetix.net/metis.php?aac_mobile=no do not help much in this respect. I spoke with one Metis owner who used it in a system that was oriented to streaming music.

After selling my Lotus Elise this year I took the plunge and decided on the Metis. Other preamps I considered were even more expensive, and Jim White is behind this design as much as he was behind the Io. I took another chance on Jim and Glenn.

I have about 10K vinyl classical discs and a few jazz and popular titles. This is essentially a system built around the Io Eclipse.

Concurrently with the Metis, my Elise sale has been converted to music in other important ways. I have changed all of my interconnects from SR Atmosphere to SR Galileo. WOW!
There is a new SR Purple fuse replacing the Orange fuse I had initially installed in the Metis.
The Metis is now about two months old.

Most, but certainly not all, of the improvement is resulting from the Metis.



Owner’s Manual description:
Thank you for purchasing the Metis Line Preamplifier. It has been engineered to deliver the highest attainable sound quality. This is its sole purpose. [my emphasis]

Only the highest grade electronic components are used in the Metis, including: non-inductive Roederstein metal film resistors in the signal path; polystyrene, polypropylene, and electrolytic power supply, bypass, and signal capacitors; low noise matched vacuum tubes; glass epoxy circuit boards; 16 gauge aluminum chassis; custom wound low flux power transformers. The Metis has an internal floating power supply which is isolated from the chassis when placed on a stand. The only contact with the rest of the unit is the transformer wires connected the power supply circuit board.

There are display options and remote control (!) buttons that are way beyond my needs.



My Io is sitting on top of Takio Audio Daiza platforms. The Metis (and the Romulus) did not sound good on these platforms because both of these are designed with HRS Nimbus Couplers. (If my Io Eclipse had the new cases, it would also have the HRS feet).

I already had the Daiza platforms, so what you see here are two Daizas with the spiral cutouts facing each other. It works well with BDR Damping Dots (NLA) between them, but more experiments are pending.



From the Metis web page:
The Metis linestage utilizes highly proprietary Aesthetix Coupling Modules (ACMs) in place of traditional coupling capacitors. "I have been dreaming of this design for 20 years," says Aesthetix founder and engineer Jim White. It is well known that capacitor quality is directly correlated with sound quality, and Aesthetix has a history of investing heavily in pushing the boundaries of capacitors. But Jim wondered, "Could even better sound quality be realized if capacitors were eliminated entirely?" The answer is yes, according to Metis, which uses an ACM in each channel between the gain and output stages and no interstage or output coupling capacitors. ACMs produce constant output impedance across all audio frequencies, while a standard capacitor’s output impedance rises as frequencies drop often yielding tubby bass and other sonic degradation. In contrast, the ACMs in Metis result in a sound stage with incredible added depth, dimension and resolution.

My term for these black boxes is Monoliths, as in “2001 A Space Odyssey”
They are not as pretty as the shiny gold capacitors in the Eclipse products.



Looking down at the left channel from the front.



From the Metis web page:
The Metis chassis is designed around a suspended inner core that, when set on a flat surface, physically decouples from the main chassis. The power supply is housed in this inner core creating an "invisible" separate power supply chassis. When sitting on a rack, there is no physical connection between the power supply assembly and the main chassis, save for the connecting wires. This innovative design means Metis enjoys the sonic benefits of a separate power supply without the disadvantages of an additional chassis including extra cost, space and heat.



THE SOUND:
The number one thing that is immediately obvious is CLARITY!
Surface noise on (clean) LPs is gone. It is SO QUIET.

This is a preamp that really separates the wheat from the chaff!
The best thing that the ART had going for it is that it made most recordings sound reasonably good. The Metis does this too, but there is a giant leap forward on the best recordings that is frequently mind boggling. When a piece ends and all I can say is WOW!!, then all the effort and expense is worth it. I have had a lot of WOW MOMENTS lately.

Vocal and choral music and opera can be as real as live performance. The ART exaggerated voices and many times sounded good, but nowhere near as real, as in-the-room, as the Metis.

String quartets are a passion of mine, and the Metis delivers in spades! The Tatrai Quartet on Hungaroton, for example, is perfect in-your-room music.

Nothing is sacrificed on the Metis with 3D or 4D performances. This is a major criteria of mine and the SR Galileo interconnects deliver.

Strauss’ Salome has always been a difficult (harsh/edgy) opera to listen to on disc. Now side four of Birgit Nilsson’s performance (London OSA 1218 / Decca SET 228/9) is an edge-of-the-seat experience!

Bass is solid and dynamic.

Violins are lovely without being electronically edgy.

My 4 watt SET amps feel like they have doubled in power without any downsides. This, and the Metis clarity, make symphonic music realistic in my room, whereas it frequently was not realistic before.

I could go on, but you probably get the picture: The Metis is wonderful!



IDIOSYNCRACIES :
For those who fondly remember 20+ years of oddities with the Io operating instructions, you will have nothing to worry about with missing out on something with the Metis.

The Metis normally sits in standby, and when the “A” on the front panel is pressed, it begins a computer check of everything as the tubes warm up. Temperatures and electrical values are checked and rechecked. The time for the Metis to come out of standby varies from about 3 minutes to 23 minutes in my experience. I asked Jim White about this and he commented:

Metis is a special product; I am not aware of any like it. It is DC coupled from input to output, with a DC correction network. It is common, and relatively easy, for a solid-state preamp to be DC coupled. However, with tubes, it is exceedingly difficult, due to the high voltages involved and the uni-polarity nature of vacuum tubes. It is also risky; if there is a failure of the DC correction network, it can send high voltages to the power amplifier. When I designed Metis, I was committed to doing it with every attention to detail and protection. This involved a "double" protection scheme; like the redundancy built into modern aircraft. The two schemes are completely unrelated...if one fails, the other is there to protect Metis and ancillary equipment. When Metis is taken out of standby, it is going through a lot of changes, most importantly in reaching thermal stability. This is why it has a variable "coming out of standby" time...it is checking and re-checking for stability. It is normal and expected for this to have a fairly wide range of timing, it is not indicative of a problem or malfunction. I can also imagine system grounding scenarios that can affect Metis' timing as it is coming out of standby, and other system components are warming up.

This is not a problem for me with using the Io, because I turn the Io on an hour or two before I want to listen. However the CD player comes on quickly and the Metis becomes the limiting factor for startup time. Jim is aware of this.

So there you have it. Once it is on, it is perfectly behaved.



PS: See link below for more new photos.

PPS: As part of this investigation, I discovered that there was about 2.5 volts of DC, in addition to the 60 + 60 volts of AC on the lines, coming from my 4 year old Equi=Tech 5WQ balanced power supply. Equi=Tech says they have seen this infrequently, but further investigating is in process. My guess is that more people have some measure of DC with the Equi=Tech but have never had a reason to check for it. Any of you with Equi=Tech wall cabinets might want to check.

 

[vernonwtx]

As the IO is balanced all the way thru, and I use XLR output, would there be a sound improvement if I used XLR phono inputs (vs currently RCA inputs)?

 

[dan31]

As the IO is balanced all the way thru, and I use XLR output, would there be a sound improvement if I used XLR phono inputs (vs currently RCA inputs)?

The first stage of the Io is single ended. The advantage of using the balanced input on the Io is in the connector and reduced contact resistance, maybe.

 

[ShawnZH]

Your experiences with the GL EC83s sounds very interesting. Do you think that the use of the Telefunken 6922 tubes had more of an influence on the overall sound characteristics of the Io versus swapping out all of the 12AX7 JJ supplied tubes? Or, is your summation that combined, when changing to the GLs and Telefunkens, you felt that the sound quality improved. It seems to me from reading your post, that although the GLs are not as airy, they do exhibit more openness. How does this openness compare to the airiness of the Telefunkens? I believe the GLs in many other tube types are just as good…well, maybe not as great as some NOS, but close as you stated. This is great feedback. Thanks for sharing.

I feel the 6922 does give a significant impact on the overall performance. No doubt that the all Telefunken set (including the Telefunken e88cc) is giving overall a higher level of performance. The all GL set is not as good but quite acceptable to me. When swapping the GL 6922 with Telefunken, the refinement level was improved noticeably. I cannot say it is more than the phono stage tubes but definitely it is a critical factor.

Openness means contrast, dynamics, popping, while airiness means a quite refined tremble, spaciousness. The Telefunken sounds more refined, and more ”controlled”. Let me put it in this way (dramatized a bit):

Full Telefunken is like a gentleman wearing a fine suit, neat and smart hair-cut, while GL is more like someone wearing stylish jeans and T-shirt, still looking smart but casual and maybe a bit more friendly.

My whole point is not about GL wins over Telefunken. It is about a much less costly option to roll the tubes and gives a reasonably good performance, also considering the challenges to get that many NOS’s.

 

[Chop]

Aesthetix Io Eclipse and Metis Preamp

Hi everyone,
I am taking this opportunity to share my newest system changes with WBF. I am posting it on the Io Users Group because I have had my Io for 22 years, and I have just heard what it really sounds like through an Aesthetix preamp. It is even better than I expected!

Also, because I think that I am the only Metis owner on WBF, it would be helpful, IMHO, to leave this post on the Io site for a while to see if it generates interest. Administrator leeway requested.

This is partially a review of the Metis line stage, and mostly a description of how my system has changed from having a CJ ART (2) for twenty years. I have realized for some time that the ART was holding my music system back, but I did not have either the money or knowledge of what to replace it with. I never found a Metis review on line; the official descriptions http://www.aesthetix.net/metis.php?aac_mobile=no do not help much in this respect. I spoke with one Metis owner who used it in a system that was oriented to streaming music.

After selling my Lotus Elise this year I took the plunge and decided on the Metis. Other preamps I considered were even more expensive, and Jim White is behind this design as much as he was behind the Io. I took another chance on Jim and Glenn.

I have about 10K vinyl classical discs and a few jazz and popular titles. This is essentially a system built around the Io Eclipse.

Concurrently with the Metis, my Elise sale has been converted to music in other important ways. I have changed all of my interconnects from SR Atmosphere to SR Galileo. WOW!
There is a new SR Purple fuse replacing the Orange fuse I had initially installed in the Metis.
The Metis is now about two months old.

Most, but certainly not all, of the improvement is resulting from the Metis.



Owner’s Manual description:
Thank you for purchasing the Metis Line Preamplifier. It has been engineered to deliver the highest attainable sound quality. This is its sole purpose. [my emphasis]

Only the highest grade electronic components are used in the Metis, including: non-inductive Roederstein metal film resistors in the signal path; polystyrene, polypropylene, and electrolytic power supply, bypass, and signal capacitors; low noise matched vacuum tubes; glass epoxy circuit boards; 16 gauge aluminum chassis; custom wound low flux power transformers. The Metis has an internal floating power supply which is isolated from the chassis when placed on a stand. The only contact with the rest of the unit is the transformer wires connected the power supply circuit board.

There are display options and remote control (!) buttons that are way beyond my needs.

View attachment 86278

My Io is sitting on top of Takio Audio Daiza platforms. The Metis (and the Romulus) did not sound good on these platforms because both of these are designed with HRS Nimbus Couplers. (If my Io Eclipse had the new cases, it would also have the HRS feet).

I already had the Daiza platforms, so what you see here are two Daizas with the spiral cutouts facing each other. It works well with BDR Damping Dots (NLA) between them, but more experiments are pending.

View attachment 86280

From the Metis web page:
The Metis linestage utilizes highly proprietary Aesthetix Coupling Modules (ACMs) in place of traditional coupling capacitors. "I have been dreaming of this design for 20 years," says Aesthetix founder and engineer Jim White. It is well known that capacitor quality is directly correlated with sound quality, and Aesthetix has a history of investing heavily in pushing the boundaries of capacitors. But Jim wondered, "Could even better sound quality be realized if capacitors were eliminated entirely?" The answer is yes, according to Metis, which uses an ACM in each channel between the gain and output stages and no interstage or output coupling capacitors. ACMs produce constant output impedance across all audio frequencies, while a standard capacitor’s output impedance rises as frequencies drop often yielding tubby bass and other sonic degradation. In contrast, the ACMs in Metis result in a sound stage with incredible added depth, dimension and resolution.

My term for these black boxes is Monoliths, as in “2001 A Space Odyssey”
They are not as pretty as the shiny gold capacitors in the Eclipse products.

View attachment 86281

Looking down at the left channel from the front.

View attachment 86282

From the Metis web page:
The Metis chassis is designed around a suspended inner core that, when set on a flat surface, physically decouples from the main chassis. The power supply is housed in this inner core creating an "invisible" separate power supply chassis. When sitting on a rack, there is no physical connection between the power supply assembly and the main chassis, save for the connecting wires. This innovative design means Metis enjoys the sonic benefits of a separate power supply without the disadvantages of an additional chassis including extra cost, space and heat.

View attachment 86283

THE SOUND:
The number one thing that is immediately obvious is CLARITY!
Surface noise on (clean) LPs is gone. It is SO QUIET.

This is a preamp that really separates the wheat from the chaff!
The best thing that the ART had going for it is that it made most recordings sound reasonably good. The Metis does this too, but there is a giant leap forward on the best recordings that is frequently mind boggling. When a piece ends and all I can say is WOW!!, then all the effort and expense is worth it. I have had a lot of WOW MOMENTS lately.

Vocal and choral music and opera can be as real as live performance. The ART exaggerated voices and many times sounded good, but nowhere near as real, as in-the-room, as the Metis.

String quartets are a passion of mine, and the Metis delivers in spades! The Tatrai Quartet on Hungaroton, for example, is perfect in-your-room music.

Nothing is sacrificed on the Metis with 3D or 4D performances. This is a major criteria of mine and the SR Galileo interconnects deliver.

Strauss’ Salome has always been a difficult (harsh/edgy) opera to listen to on disc. Now side four of Birgit Nilsson’s performance (London OSA 1218 / Decca SET 228/9) is an edge-of-the-seat experience!

Bass is solid and dynamic.

Violins are lovely without being electronically edgy.

My 4 watt SET amps feel like they have doubled in power without any downsides. This, and the Metis clarity, make symphonic music realistic in my room, whereas it frequently was not realistic before.

I could go on, but you probably get the picture: The Metis is wonderful!



IDIOSYNCRACIES :
For those who fondly remember 20+ years of oddities with the Io operating instructions, you will have nothing to worry about with missing out on something with the Metis.

The Metis normally sits in standby, and when the “A” on the front panel is pressed, it begins a computer check of everything as the tubes warm up. Temperatures and electrical values are checked and rechecked. The time for the Metis to come out of standby varies from about 3 minutes to 23 minutes in my experience. I asked Jim White about this and he commented:

Metis is a special product; I am not aware of any like it. It is DC coupled from input to output, with a DC correction network. It is common, and relatively easy, for a solid-state preamp to be DC coupled. However, with tubes, it is exceedingly difficult, due to the high voltages involved and the uni-polarity nature of vacuum tubes. It is also risky; if there is a failure of the DC correction network, it can send high voltages to the power amplifier. When I designed Metis, I was committed to doing it with every attention to detail and protection. This involved a "double" protection scheme; like the redundancy built into modern aircraft. The two schemes are completely unrelated...if one fails, the other is there to protect Metis and ancillary equipment. When Metis is taken out of standby, it is going through a lot of changes, most importantly in reaching thermal stability. This is why it has a variable "coming out of standby" time...it is checking and re-checking for stability. It is normal and expected for this to have a fairly wide range of timing, it is not indicative of a problem or malfunction. I can also imagine system grounding scenarios that can affect Metis' timing as it is coming out of standby, and other system components are warming up.

This is not a problem for me with using the Io, because I turn the Io on an hour or two before I want to listen. However the CD player comes on quickly and the Metis becomes the limiting factor for startup time. Jim is aware of this.

So there you have it. Once it is on, it is perfectly behaved.



PS: See link below for more new photos.

PPS: As part of this investigation, I discovered that there was about 2.5 volts of DC, in addition to the 60 + 60 volts of AC on the lines, coming from my 4 year old Equi=Tech 5WQ balanced power supply. Equi=Tech says they have seen this infrequently, but further investigating is in process. My guess is that more people have some measure of DC with the Equi=Tech but have never had a reason to check for it. Any of you with Equi=Tech wall cabinets might want to check.

Thanks Redcars, that's a hell of a post. Glowing but pointing out a couple of cautionary things to watch for. .

I'm curious, the ART was well regarded though I appreciate it is 20 years old now. The Metis seems to have flown under the radar without any reviews other than this one!

 

[OGH]

Hi there
I am testing desktop systems.


From top, clockwise, you see the left Arche FR2 speakers in light wood, the screen, the Fiio X3ii digital player (partly in a role as DAC from the pc), Audioquest Nightowl headphones, Sony SRS ZX1 speaker, Arche Audio Opus D50A amp (power supply stands beneath desktop), and the Audiotailor Jade headphone amp with two tubes, on top. The Jade now functions as selectable added gain stage for the solid state amps in the Arche system and the Sony speaker (where the amp is actually inside the speaker foot shown).

In this system I can test my vinyl recordings made in the main rig with the Io. For me, a good desktop system is important for deciding which LPs are worth it, or maybe not - should I buy them, for playback through the Io.

Question; which of these three devices – Arche Fr2, Sony, Nightowl headphones - do you think sounds most like the Io direct (through the speakers in my main system)?

Preliminary answer: all in all, the Nightowl headphone probably wins out, with the most natural sound profile (or, for me, closest to my main system). Yet the Fr2 and Sony speakers each do something better than the other. Arche has an airy but also (so far) very bright sound, while Sony is better in that respect, the sound is more normal with more midtone and upper bass, and yet the Sony speakers are clearly limited in other ways - not so good on treble, somewhat muffled / limited on bass also, overall character more veiled than FR2 - some of this possibly related not to the speakers but to the probably quite basic mini-amp inside.

I recently tested a small Elac active speaker, how did it sound, driven by its own internal amp vs the Atmasphere MA-1 in my system? I was amazed at the difference. The MA-1 made this little Elac (am50) sound better. Amps make a difference, that can easily be attributed falsely to the speaker itself. I have not found a way, yet, to drive the Sonys from a good amp, - the results could be surprising.