You’re only going to take this just as far as you must in order to get your money back (or whatever the desired result is.) Play fair. But in this area more than anything, you really ought to do extensive research and check out all the product reviewsyou can get your hands on. So I took the AES amp out to the living room and hooked it up to the La Scala. But there still was considerably more grittiness than using the Advance amp. I started using the Audio Synthesis passive, and had to advance the volume to 3 o’clock to have good sound pressure, so the input sensitivity is lowish. Using generic GE 6SN7. I used an old RCA 5Y3 rectifier. Wai Lee. 1/2 6SN7 transformer output. And then I changed to TJ in the AES. Then there’s “Pschitt,” a French soda created by Perrier in 1954. The Japanese have “Pocari Sweat,” a refreshing drink to replenish bodily fluids.

It is even harder to find objective reviews from real people who have used these products and services. These days, there is a lot of competition in the fields of CD / DVD creation and there are numerous vendors who are ready to provide their services at extremely low costs. Moving on to the AES proved a lot more troublesome. Really more musical but the slight veiling and loss of details were palpable and difficult to accept after TAD. To be honest when I got this amp, with original Sovtek 6SL7 and Sovtek 300B I played it with the TAD. Ever since I got the lowther I concentrated on the lowther to make it sound better and better. OK, with the KR 6SL7 on board and VA 300B the sound was quite a bit more refined, indeed almost musical. This used pair of TJ 300B biased quite a bit differently than my other 300Bs. I had to turn the bias pot quite a bit more clockwise (a few hours) on BOTH Advance and AES. This has implication. As the AES can only bias 2 tubes together, that means for unmatched tubes it was wise to bias low for safety.

Society can neither be created nor exist without the human. In any case the idea of superior mechanical intelligences capable of formulating their own priorities independently of human operators is a pretty scary thought. Although the manufacturing was done in China, an English-speaking agent was available in the U.S., so I thought that the process was relatively simple. Things were really quite fine except massed strings which still were a bit too thin, but this may be the TAD’s Archilles’ heel anyway. I may still be getting 60 mA in 1 tube and 40 mA in the other, with the total 100mA (though I doubt the difference is that much). Ideally it should be 130 mA for a matched pair, meaning 65 mA each tube. One tube has slightly dimmer outer filaments, but sound was unaffected. Unparalleled presence and rhythm and timing, and just a big wallop of sound. Switching to the SP1 mellowed out the sound quite a bit. With the admittedly milder cabling in the living room, sound was eminently musical. Quad 67 cdp or PS Audio Lambda/Illuminati/Monarchy 18B. The former is very musical but the latter is more hifi, with excellent resolution.

I decided to stick to the AD, original cables, and Audio Synthesis for the AES. As a matter of fact, The AES with TJ mesh sounded great! I adjusted the AES to be 100-105 mA. Playing Menuhin again just confirmed that the playing was still not appealing. TJ could not do that, so was not over-decorating the music (IMHO Menuhin needed that). Things were still sharper than the Advance but the pro’s and con’s now became more even, and listenable too. The 20th century, the early 90s, the state to issue an export carton packaging “quality licensing”, that the single machine can guarantee the quality cardboard boxes, which was still proceeding from reality and make a decision. Corrugated cardboard carton finishing equipment is an important part of the production. The 2 tubes also did not bias quite the same in my Advance, indicating not quite a matched pair. The same has happened in other industries. I now have the additional query of whether I had under-estimated the AES, or if the TJ made things much more musical, or both.