All about electronic valves and hi-fi
Brief post of a very long experiment. Unfortunately I’d have to dig out a long list of notes, tests and simulations to get the full thing out there. Unfortunately due to constraints, this will be brief but I hope it’d be entertaining.
And time arrived to start experimenting with the different drivers. Why? Well, the whole point of the latest modular design is that I can easily (I hope) make quick changes and experiment.
The D3a driver board can be replaced with a new one. In fact I will be building a pair of stacked boards (which are in essence ground planes) to hold the SUT as well as a pentode screen bias regulator and the driver board.
First incarnation will be on the 46 DHT. However, drilled the board to fit either loctal (e.g. 4P1L, C3g, etc.) as well as noval for other 9-pin drivers I have in mind.
The build process is fast. I have the ground plane PCBs, which I drill (M3) to fit multiple plastic hex standoff to hold either PCBs or different turret/2mm connectors to plug in/out the board as needed. This LEGO-like approach is amazing, very happy with the flexibility and speed of work I can get with this.
Stay tuned.
Browsing my schematic archive I found this early implementation from some years ago on the 300B:
The amp design is straight forward. Let’s start from the output stage. The 300B is run hot at 33W (376V/90mA) with a fixed bias of about -78V. I used a pair of LL1623/90mA OPTs which I had wired on 3K:8 mode.
I’m not going to dwell on DHT sound. I’d rather say that if you’re looking for a stellar DHT candidate, the 4P1L beats them all. It’s dirty cheap, reliable and sounds amazing. You can go any route you like, it’s your own decision of course. However if you’re looking for a 100% DHT amp to build, here is an interesting example for your consideration.
I’ve tried 4P1L in many topologies. The advantage of its low filament requirements is that you can implement it in filament bias and simplify the circuit significantly.
The gyrator driver using the PCB I designed recently, can be used to avoid iron and have an excellent first stage and make this Russian Amp in steroids: 4P1L driving 4P1L.
One minor caveat around 4P1L in excess. I have found (as well as many others) that if you use too many 4P1L stages (e.g. 4P1L line stage driving a 4P1L-4P1L amp) then it will sound a bit harsh in the treble. i suspect this may be explained due to the H3 component level when triode-strapped. I’d rather limit the number of 4P1L stages to two. You’ve been warned.
The other great thing about the 4P1L is that is quite consistent between samples and easy to match pairs. Also in PSE mode you can drive it to full tilt with only 20Vrms and achieve up to 5W in class A1 with a pair of valves.
We met yesterday at Andy Evan’s with our friend Tony for an interesting set of tests. Firstly we looked at measuring Andy’s 4P1L SE and PSE amplifiers:
Andy’s speakers are Mark Audio Alpair 10s full range in some standing 23L cabinets. They do sound great with a solid bass and detailed treble. Perhaps a bit higher on the treble, but they are worth every penny.
We set the listening session to rotate the amps as well as the preamplifiers:
In my opinion, I think we can draw a conclusion to the 4P1L-4P1L-4P1L configuration. Perhaps it’s the H3 harmonic profile, but it doesn’t sound good – a bit harsh on the treble. The challenge in my view was that one 4P1L stage driver wasn’t sufficient to bring out to life in full Andy’s system. It forced the DAC to swing higher output levels and didn’t sound as good as with the preamps.
Don’t get me wrong here, all the preamps sounded great, however there were subtle differences which showed that 01a was superior in this setup. The 26 was also outstanding as expected, however the 30sp was slightly thin. The three agreed on the evaluation carried out and we concluded that 01a-4P1L-4P1L was a wining formula!
The 01a brought a level of clarity that it was superior. The piano, bass, snare drums, brass and voices we listen to in detail across various test tracks sounded with a level of detail and delicacy which was unique. This was a surprise to all, as we were expecting a system with 2 stages to be the superior combination. I wish the 4P1L could have a gain of 20! 🙂
Here are some few pictures of the messy DHTs spread around:
Thanks Andy for hosting a great day.
Here are Andy’s impressions posted in DIYAudio of our great experience testing the preamps and the 4P1L SE and PSE amplifiers:
“I had a very interesting day today with Ale Moglia and a friend of ours, Tony. We auditioned 4 line stages. Amp was a PSE 4P1L, with 4P1L input (plate choke and FT-3 coupling cap). Speakers were Mark Audio Alpair 10s. Full range, 23 litre infinite baffles. We placed them in this rank order:
1. Ale’s 01A
2. 26 into LL1692A stepdown
3. Ale’s 4P1L
4. 30spAll DHTs and all sounded good – quite alike in having that DHT sound. I think they were all filament bias. Ale’s 4P1L line stage might have suffered from going into two more stages of 4P1L so may be better into a different amp. In that sense it may not be a definitive test, so the jury is out on that. We have known from past experiments that 3 4P1L stages in a row just don’t sound that good.
The 26 preamp was predictably nice, sweet and detailed. Audibly better than 30sp. Just a bit better in this context than Ale’s 4P1L but not far away.
The star without any doubt was Ale’s 01A preamp. It was just stunning. Quite magical. So if it’s a question of building a line stage, this to my ears supersedes the 4P1L. I never expected this – I’ve built 01A preamps in the past, but this is a very clever circuit. you can find it here:
01a Preamp (Gen2) | Bartola Valves
I do urge you to look seriously at this design. It’s a bit special. It was the only one of the 4 we auditioned that actually sounded better in the system than without it. There is enough gain with just the 2 4P1L stages in the amplifier, which I usually drive straight out of a ES9023 DAC. But adding this stage was a better sound. I never expect 3 stages to sound better than 2, but this did.”
(Andy Evans)