Lyra Atlas experiences

Raul.....I am using s/s Ayre components.....These seem to work with any cartridge I've had on my table....Benz LPS, Ortofon Windfield, Lyra Atlas and Etna, etc.  Today I listened to a digital LP of the Bernstein Mahler 2nd.....the depth, air, and ease was simply outstanding.

Raul, my experience is different. I went from solid state to tubes, and have not looked back. It wasn't experts who told me this, it was my ears.

Dear @o_holter : What we/you like has nothing to do on what is wrong or right.

With all respect, please try not only to read what I stated in my last two-three posts but understand word by word what is posted there.

I'm talking not what I like or you like but what is the MUSIC live sound ( how it sounds at " nearfield " distance ( not at over 30-40 m. ) and how microphones pick up the MUSIC information in a recording session ( that sometimes are placed at  1.5 m. ).

Now if you think that tubes sounds the same as that then good for you but I can tell you that tubes can't honor those MUSIC circunstances/scenarios where the SS are closer to it.

Any instrument music player knows very well what I'm refereing on how live MUSIC sounds.

The main subject is not to convince you or who is right or wrong but how things are. Again what you or me like it is not important but what is the MUSIC and how we percieve it in a live event at nerafield position.

In the other side, please let me know what sound characteristics are the ones that you love in your audio system listening sessions. Can you?, thank's in advance.

Regards and enjoy the music,
R.

Dear @stringreen : I know exactly what you mean. Subject is that some us are accustomed to a false model of kind of sound that is not close to what MUSIC sounds. 
This is the real problem. We can read in this and other forums recomendations like:
""" trust in what you like  "  trust in your ears " , but no one recomend to think how live MUSIC sounds at nearfield position and if we never had this experience it's useless to discuss/argue about.

Any one can go where are piano for sale  and play one key ( at real level. ) and hear it how it sounds and will understand the whole subject.

Regards and enjoy the music,
R.

Dear @o_holter and friends: IMHO, the main subject of what some of us are posting here about MUSIC sounds is the more critical and important subject for any considerated music lover and real audiophiles.

Here I'm not discussing about audio system per se or trying to diminsh any one system but only try to understand ( for me too. ) what is our day by day reality. I want to repeat that I'm not against tubes but in favor of MUSIC and our home analog experiences.

I can be wrong and as a fact if I'm I want to know ( do you too? ), so any one opinion in this " free " audio world is welcomed.

Exist several audio subjects where all of us have diferent levels of misunderstood and this include audio item manufacturers and pro-reviewers as audio distributors.

Examples: when some one ask for a tube phono stage we can read answers ( through the threads. ) like this: " Herron " and the Herron owners or advocates to hybrids designs as the Herron things on it as a tube unit when it's not. Those hybrid units use tubes too but the whole unit signature comes from that FET input gain that puts easily 70%+ of that unit signature. After this gain stage the best we can do ( the manufacturer/designer ) is try to do the less harm to that cartridge signal and through tubes or SS stages that input signal is degraded some way or the other and tubes makes a higher degradation. So tube phono stages are only the full and all tubes designs.

Now, one of the main targets in any phono stage design and independent if is SS;tube or hybrid the used devices in the input gain stage and the follower stages must be matched with the kind of cartridge " motor " that phono stage is dedicated: for LOMC or MM, both electrically needs are diferent and for what exist in the active parts market we have bipolars, tubes or FETs.
Well LOMC demands for the bipolars and MM for FETs.

Only a few top SS use bipolars for LOMC cartridges and many comes with FETs ( that sound good but not at the same level that bipolars designs. Yes, we can her the differences. ) and all hybrids with FETs.
Question is: why FETs with MC instead bipolars?, because is way/a lot more easy the design with FETs than bipolars ( and tubes even more easy. ) where for example: we have to used matched bipolars and take care in extreme the way we make the polarization of those bipolar devices that with FETs we have to do nothing about we don't have to " worried " during the unit design. It's more complex of what I'm explain here.

Where learn I all those ( and many other things. )?. Many years ago when my friend and I decided to build a Phonolinepreamp for my audio system. A unit that was voiced for almost two years with different active devices and design topologies and was in those times when surge my Phonolinepreamp that with out ask one Agoner told me if we can build one for him and I say no but after a second email we accepted and other than me he was the first music lover and audiophile we share our unit and after that other six lucky gentlemans like this ( no, I don't sale nothing and don't build it anymore. Maybe some day, who knows.):

https://systems.audiogon.com/systems/1253

and read what this gentleman posted in other thread a few days ago:

https://forum.audiogon.com/discussions/best-platter-mat-especially-for-dd-turntables/post?postid=135... 

Look my Phonolinepreamp has two totally separated dual mono phono stages: one MC dedicated with bipolars devices and the MM with FETs, both diferent designs and additional comes with integrated dual mono line stage and with a " perfect " RIAA eq.. NO, I'm not promoting nothing, all are examples of where are the foundation of what I post.


For music lovers and true audiophiles I think that we must to have a " simple " excercise:

attend for at least 2-3 weeks to 5-6 music live events ( mainly with acoustic instruments and voice is important too. Near field seated position.  ), play personally any acoustic instrument key or keys at real SPL and listen very very carefully on: music transients, instrument attaks, power, rythm, dynamics, overall tonal balance, top to bottom " colorations ", that natural music agresiveness and the natural distortion levels.

From there return to our audio system ( during the live tests time we don't listen our system. ) to evaluate how close or away is our system from the live experiences and what to do what to change or how fine tune the system for we can be closer than where today we are and this " fine tune " is almost endless and main system target. 
One main " parameter " for the excercise has success is that we must forgeret of all what we " learned " about tubes or about SS electronics and that we don't try that our fine tune goes and that sounds as what we are accustomed for years. NO, this excercise is to close a window and open a NEW ONE for the better.
That's what I did it when where in the long process to build my Phonolinepreamp, I was not thinking in all my tube experiences but neither with SS units, I was thinking only in how live MUSIC sounds.

The only thing I can say is that's worth repeat worth the effort with big rewards in favor of what we like: ENJOY MUSIC at the very top quality level.

Yes, we have to make a plan how to do it and have an audio system proved whole evaluation process.

Regards and enjoy the music,
R.