@atmasphere "I’ve never heard that sort of sound from any Dyna!"
Given you keep active on this site, it surprises me to hear that. It’s become the preponderant current criticism. Someone just made that statement here on Audiogon in the past week.
I do agree an EL34 tubed amplifier veers toward the more engaging side. Still, though I prefer more of a flesh and blood sound than a lot of modern amplifiers provide, with the carbon composition resistors, I still find it too lush.
Interestingly enough, the guitar industry has gone in the other direction. The massive swell in the vintage and boutique amplifier market illustrates how those folks bought into the sound of days past. It’s grown large enough companies like Fender have introduced reissues of their mid-late 50’s amplifiers, and become their most profitable offerings. I made a friend near my home who makes a decent living giving the guitar crowd that sought after "tone". As we’ve talked a lot over the past decade, the route to produce that sound comes down to replacing the modern metal film and metal oxide resistors with the carbon comps of old. Of course, retro coupling caps don’t hurt, either.
The historic criticisms of the ST70 lie in response at the frequency extremes, particularly the low-end, and overall power. Oh, and the fact that folks found them ugly. The SET renaissance renders the lack of power no longer a concern. And as I’ve stated, the low-end comes down to implementation, mostly related to keeping costs down at the time. For an investment of less than $20, one can ST70 seriously dial up the slam, and produce bass no worse than any modern two output tube per channel amplifier.
We’ve landed on the same place with you replacing the 7199 and 6AN8 phase splitter / driver tubes with 12AU7. Replacing the pentode - triode with a double triode eliminates circuitry, and improves both operation and sonics (again, always moving toward the simplicity pointed by the SET example), with no detriment on any level. I actually prefer the 6SN7, but to keep the original overall landscape, the 12AU7 represents the best alternative. For those who want a completed amplifier along these lines, and don’t want to get involved with kits or having to keep a soldering iron handy, the Audio Van Alstine Ultraverve makes a good (and mostly correct) choice as a current ST70 implementation using the 12AX7. To bring some real elegance on the sonic and aesthetic fronts, the Jadis Orchestra / Orchestra Reference also use the 12AX7 in a Dynaco implementation, and more than provide that
Given you keep active on this site, it surprises me to hear that. It’s become the preponderant current criticism. Someone just made that statement here on Audiogon in the past week.
I do agree an EL34 tubed amplifier veers toward the more engaging side. Still, though I prefer more of a flesh and blood sound than a lot of modern amplifiers provide, with the carbon composition resistors, I still find it too lush.
Interestingly enough, the guitar industry has gone in the other direction. The massive swell in the vintage and boutique amplifier market illustrates how those folks bought into the sound of days past. It’s grown large enough companies like Fender have introduced reissues of their mid-late 50’s amplifiers, and become their most profitable offerings. I made a friend near my home who makes a decent living giving the guitar crowd that sought after "tone". As we’ve talked a lot over the past decade, the route to produce that sound comes down to replacing the modern metal film and metal oxide resistors with the carbon comps of old. Of course, retro coupling caps don’t hurt, either.
The historic criticisms of the ST70 lie in response at the frequency extremes, particularly the low-end, and overall power. Oh, and the fact that folks found them ugly. The SET renaissance renders the lack of power no longer a concern. And as I’ve stated, the low-end comes down to implementation, mostly related to keeping costs down at the time. For an investment of less than $20, one can ST70 seriously dial up the slam, and produce bass no worse than any modern two output tube per channel amplifier.
We’ve landed on the same place with you replacing the 7199 and 6AN8 phase splitter / driver tubes with 12AU7. Replacing the pentode - triode with a double triode eliminates circuitry, and improves both operation and sonics (again, always moving toward the simplicity pointed by the SET example), with no detriment on any level. I actually prefer the 6SN7, but to keep the original overall landscape, the 12AU7 represents the best alternative. For those who want a completed amplifier along these lines, and don’t want to get involved with kits or having to keep a soldering iron handy, the Audio Van Alstine Ultraverve makes a good (and mostly correct) choice as a current ST70 implementation using the 12AX7. To bring some real elegance on the sonic and aesthetic fronts, the Jadis Orchestra / Orchestra Reference also use the 12AX7 in a Dynaco implementation, and more than provide that