45 Tube Amplifier
$10,000 (Parts Cost Is $8,000+)
This amplifier is the finest sounding amp at any price. It produces the best 2W of power obtainable. It’s only compromise is the fact that you need high sensitivity speakers (around 100db or above) to use it well. Other than that, the transparency and “realness” factor is better than anything I’ve ever built and better than any commercial amp I’ve ever owned or heard.
The 1st watt is where all of our music content is contained. The 2nd watt is needed to propel the music out into the listening room. If you increase the power beyond 2W, you compromise the sound quality. This amplifier and the pair of 45 tubes provides a sound quality that exceeds the best solid state and other tube amps. Its only taken me many decades of building and using other high end boutique amps and I’ve finally found my “desert island” amplifier solution.
I’ve used the highest possible parts quality that I could to build this amplifier and have also used what I’ve learned during my decades of experience to put it together. This amp has all Yamamoto teflon tube sockets mounted on Yamamoto “hanging” plates that sit underneath the top plate of the chassis. Tubes then sit in each tube socket and protrude through 2″ in diameter holes in the top plate.. These “hanging plates” are attached to the chrome top plate with solid brass screws. Most builders use cheap Belton sockets and some use the more expensive teflon CMC. Very few use Yamamoto and these are the absolute best without question. The cost is very high however (about $70 per socket and a 2 month wait when ordered directly from Yamamoto in Japan). However, in my opinion, these sockets are worth what they cost and there really isn’t anything that compares. I also use all 2W silver non-magnetic Audio Note resistors (all Niobium and one pair of Tantalum). These cost a mint and again, I do not know of any other amp builder using all super high quality exotic resistors like these. The custom chassis I design and have built is cnc’d 1/8″ aircraft aluminum and not a cheap Bud or Hammond 1/16″ chassis that comes in a standard size.
All parts are positioned by hand one by one after they are positioned to my exact scale layout and bolted to my actual top plate. When I receive it, I measure both with a micrometer as well as referenced back to factory spec sheets. I take a huge amount of time when designing this amp and re-designed everything after building the 1st version. This 2nd version sounds even better than my 1st version (all film caps this time around plus numerous other upgrades) and probably can’t be improved any further since I’ve already maxed it out. Everything was carefully planned and its taken a large amount of money and many months of time to build this amp. I built it first using exotic Audio Note Kaisei electrolytic capacitors and when I confirmed that this approach sounded beautiful, I then decided to build it again but this time at the highest possible level – one level above the amp I just completed. This is that amp – the 2nd and last design version.
The components used were carefully considered and added to embellish this amplifier where needed. Everything was done to produce an excellent sounding and physically beautiful amplifier within the restrictions of an 18″ wide x 12″ deep x 3.25″ chassis. The top plate was chrome plated and the standard Hashimoto adhesive labels were replaced with custom domed labels. The “hanging” tube sockets were mounted using expensive brass screws (sounds better than stainless steel screws), and the volume knobs were custom made for this amp out of solid wood (eliminates the winter static charge pops). Very little was spent on this level of “bling” and each addition not only provided enhanced beauty but a sonic improvement. If it didn’t, I wouldn’t spend the money. It’s the inherent design approach and all out use of the best possible parts that create the superb sound quality of this amplifier. The chassis is also large enough to provide plenty of space to eliminate hum as much as possible for the 45 tubes that are AC heated. Both the positive and negative input wires use super low capacitance solid silver 24g coax wire (VH Audio coax and expensive). The dual coil choke is superb and is quiet “as a mouse” since its now placed directly between the power transformer and the rectifier tube socket. The Hashimoto output transformers have an internal electrostatic shield and that shield is grounded to the chassis (close to the output transformer pins) to reduce possible hum to the lowest possible level (another benefit of using the expensive Hashimoto transformers). This is the best output transformer that Hashimoto makes and the one that should be used in my opinion to achieve the best sound quality. The AC goes down the middle with both DC circuits at the sides of this amp. That’s why you see dual potentiometers on the sides rather than one stereo pot. This allows for superb separation between the signal and the AC power in this amp. There is no other way to produce such a scenario with a stereo pot and this layout is the best.
If you want to use remote control and a stereo pot approach, I highly recommend that you add the expensive Smart icON 4PRO. This is a passive (not an active preamp) and will allow for connecting numerous sources (digital and turntable) and it uses an Apple remote and a microprocessor to control its use. Even though it does degrade sound quality a bit, its the least harmful way to add these features to this amp. If you can use the amp with its mono pots and a single input, this approach will sound the absolute best.
This layout was optimized to achieve the lowest possible hum while maintaining AC heating for the 45 tubes. This yields the best possible sound quality (with a very black background) along with the benefit of the superb parts selection and the seriously oversized 20 W potted Hashimoto output transformers. These output transformers are the most important addition to this high level sound quality amplifier. These are the transformers you want to use to build an amp like this. My speakers are 101db efficient and I hear absolutely no hum and the resulting sound quality is even better than the last amp I built using Kaisei electrolytic capacitors and vintage Tamura iron.
My goal was to create this amplifier as a truly archival specimen that didn’t suffer the gradual degradation of the sound quality that electrolytic capacitors cause over time. You do need to replace electrolytic capacitors every 10 years as they lose their initial sound quality over time. 10 years is as long as I would go with a high quality tube amp like this. With all film capacitors as I’ve used in this amplifier, there is no need to replace capacitors. My goal was to create a film capacitor amplifier and this is that amp. It should last as long as the transformer set and that is a very long time (50 to 60 years or greater if the amp is well cared for). Re-heating and degradation of components to replace electrolytic is now completely avoided. I consider replacing caps similar to crashing a BMW and using bondo to fill in the dents. The car is never the same again nor is the amp.
If you are interested in this build contact me and we can discuss it. Because of the supply demand problems that we’re all facing, it will take at least 3-4 months to source everything needed to build it. I do not keep this amp in inventory and each one is a custom by order only build. It’s also possible that at some point, I won’t be able to build it since I might not be able to obtain all of the needed parts. Maybe we’re already at that point in time.
Frank Lloyd Wright
If you’re interested in obtaining the absolute best sound quality contact me. If you’re unsure, do your own research. Spend your own money and I hope that you’ll end up eventually at where I’m at now. I doubt it. Its taken me decades of building, buying and selling to find this solution and I not only build amps as an OEM but I’ve also represented many high end brands as a dealer or distributor.
Also, consider the following observation when choosing your audio reproduction approach:
You can always “color” a really good “clean” recorded track but you cannot take away “color” that has been added by inferior components and the lack of skill added during the recording process. Consequently, only some of our music has been recorded really well and that’s another thing you need to live with.
I FINALLY DID IT!
I’ve been an OEM for decades and also have sold (as an authorized audio dealer and occasionally as a distributor) a number of really well focused audio brands. Currently, I’m only building this 45 tube amp and am selling just a few retail audio solutions made by other manufacturers. This is a decision that I’ve recently made after discovering the ideal high efficiency speakers that have eluded me most all of my lifetime. The new amplifier I just built combined with these speakers is incredible! The speakers weren’t available until last year so its taken quite awhile for even that manufacturer to come up with an excellent and affordable solution – something I’ve been searching for over a long long time.
The DAC I’m using is also key to providing the best sound quality. My system now consists of a Mac Studio computer system using Audirvana as my music player with the iZotope Ozone plugin to feed my digital library to my Halo May Kitsune DAC and then on to my custom integrated 45 tube amplifier and out to my Charney Maestro Extreme (with Voxativ A2.6) 101 db efficient speakers. This is the sound quality I’ve been trying to find for decades and never have until this combination. This search has cost me a fortune in money and taken a huge amount of amount of time to find. I have built my own electronic components since I couldn’t find what I needed commercially. I’ve tried and have owned and used most of the key high end components manufactured by others. The amplifier had to be custom built in the best way and I’ve done this from decades of hands on experience.I almost gave up and this was my last attempt. Fortunately, I was able to satisfy my goals through assembling of this system and I’m now sharing what I’ve found with you.
My dream was to find a pair of speakers that didn’t need subwoofers to sound right (down to at least 38Hz for good acoustic music reproduction) and possessed other characteristics that allowed them to sound better and to come closer to my own speaker requirements than other speakers I could buy.
I didn’t want large speaker cabinets that I couldn’t lift and move by myself (these are floor standers and weigh about 60 pounds). They measure 15″ wide x 12″ deep x 42″ high and are a perfect size and weight for my use. I also didn’t want any crossover components to reduce the audio quality or to “color” the sound in any way. I wanted these speakers to be fast and dynamic and very “real” sounding. I also didn’t want something that was peaky or had undue treble extension that was difficult to listen to.
The ideal speakers shouldn’t have any crossover components and would be full range drivers in design but sound better than typical full range drivers. These are excellent in that regard. I’m a former professional jazz piano player and know what “live” music sounds like in many different venues. These speakers come as close to sounding “right” as is possible since an audio reproduction system really can’t equal live music. These speakers have excellent body, a very pure sound quality, allow me to listen near-field as well as further back in my listening room, and are extremely dynamic and “live” sounding. That truly is unusual for a single driver horn style speaker but that’s what these combined with my amp.
THE SPEAKERS I NOW USE HAVE ONLY ONE VOXATIV 8″ A2.6 FULL RANGE DRIVER PER CABINET
There are no other speaker drivers involved. The Voxativ A2.6 in these cabinets are very full bodied sounding and reveal the highest quality of music reproduction. They do not sound like full range drivers that I’ve used in the past and are much much better. DO NOT USE THE Voxativ A1.6 or other lesser speakers in this cabinet unless you plan on upgrading to the A2.6 in the future. The A2.6 really allows this cabinet to produce the best audio quality.
Overall there is a point around that 100hr mark where somebody removes the parking brake on this 45 tube amp and it kicks into full gear. Up to that point it is really really good, just not jaw-droppingly good. When in full swing, it amazes. The second and pricey caveat is that you must upgrade from using low cost new production tubes which are great for clocking burn-in hours on the circuit, to Czech Emission Labs (solid plate 45) which sound nothing like other tubes (NOS or new production).
They are punchier, faster, deeper, richer and more resolved; in other words, in a different league entirely. The solid plate 45 version will cost you around $700 for that tube upgrade but you won’t hear this 45 tube amp at its full potential unless you use these tubes.
Just as important, tube differences are amplified when the EML 45 bottle is used to drive speakers (as in this power amplifier) rather than an amplifier’s input stage (when used in a preamplifier). The increased current capabilities of the Emission Labs are far more critical during speaker-drive duties than they are in a direct-heated amp that is designed as an active pre-amplifier.
Finally and most importantly, to appreciate what this amp is capable of, you will need speakers that thrive on SET power. Sadly that’s far more complex and less predictive than simply going with high efficiency. Case in point: I currently own a pair of Charney Maestro Extreme speakers with Voxativ A2.6 drivers. These speakers are SET-friendly and truly show their full potential with triode amps. Zu speakers, even though rated at a very high efficiency, do not work well with low powered tube amps. They do better with low power solid state amps. So be very careful about your choice.
An 8″ speaker is the ideal size for reproducing the human voice and most instrumental acoustic music in the best possible way and is one of the reasons these sound so good. You need the Voxativ A2.6 drivers at minimum to render authentic body and beauty with the incredible sound quality these Tractix horn cabinets produce. Because of the Tractix horn design of the cabinets, they play low frequencies well and do not need a subwoofer for acoustic music. This is unusual for a full range driver system and is one of the reasons I love this speaker system.
These speakers go down to 37Hz really well (the lowest frequency that I’ll desire for acoustic music). The larger Chaney speakers have even lower frequency extension but the cost and their size and weight is really high and beyond my system goals. The Maestro Extreme cost is $6,800 for the pair plus shipping so they are not inexpensive but also not crazy expensive either. They can be afforded by most people even if they need to save for a period of time before purchasing them. In all honesty, these speakers are about as perfect as it gets with the goals that I’ve stated above. They are 101db efficient and work extremely well with 2 w/ch amplifiers. These are my “desert island” dream speakers. Are there better speakers? Of Course! But they would be much larger, much heavier, and a whole lot more expensive and wouldn’t satisfy the goals I set out for myself. These cost enough and play really well and I’m extremely pleased. You would be too if you owned them and passing them down through your family would be an easy task since most people would like them and be able to use them in their space. Anything larger than these would probably require ownership by a hardened audiophile with a dedicated listening room. These speakers will live way beyond you and endow others really well and are much more flexible. They deserve a tube amplifier like the one I’m discussing here and this is what I recommend if you purchase speakers like these.
“For the very modest power output, the 45 would have been forgotten. However, one outstanding strength has made audiophiles rediscover it decades later. The sound from the 45 tube is simply pure, seductive, and even magical! Anything good that can be said about the 300B tube or the 2A3, the 45 can do better, with only one limitation – 2W output, versus 3.5-4W from 2A3, and 8W from a single-ended 300B.” Quote is from Richard Wugang at Sophia Electric here in the US.
ALL OF OUR MUSIC SIGNAL IS CONTAINED WITHIN THE 1ST WATT
The 2nd Watt is needed to properly propel that music into your environment. Anything beyond those first 2 watts degrades your sound quality (if what you’re looking for is reproduction as close to real music as is possible and is emotionally satisfying). The sound quality presented by the 45 tube is intoxicating and the absolute best I’ve ever heard in my highly customized 45 tube amp. 2W is what it puts out and is the perfect amount of power for the absolute best audio reproduction (if you have really good speakers). It was the lack of the right speakers that caused me to not consider using the 45 tube to build an amplifier over the decades that I’ve been building amps. I’m glad that I finally did.
THIS AMPLIFIER’S CIRCUIT DESIGN HAS MORE UNLEASHED POTENTIAL THAN ANYTHING I’VE USED OR BUILT
This amplifier has the simplest circuit (thank you Alan Eaton – more about this on a separate page on this website) and AC heats the 45 tubes with minimal interference from what I consider are unnecessary and more complicated component designs that degrade the sound quality. Components that actually “take away” from the beauty rather than add to it. All of these typical circuit components have been removed so only the most beautiful analog sound quality can emerge in its most natural form. This borders on being able to hear hum but I don’t hear hum even when using my 101db efficient speakers. To accomplish this, the layout needed to be really well done since now we have the possibility of hum and I wanted to avoid that. Alan Eaton avoids hum by doing over 20 different things to his circuit design to avoid extraneous noise
I’m using the same circuit design and build concepts (particularly when keeping AC down the middle of the amp and sensitive signal circuitry on the left and right sides. My amp, however, is highly modified and in a substantially larger chassis and that larger chassis also contributes to producing less hum since components are further apart. I don’t hear hum with my 101db sensitive speakers. Purchasing that original Alan Eaton 45 amplifier was what motivated me to use it’s circuit design to create this highly upgraded component. His amp that I received also was built in a larger chassis (16″ wide x 10″ deep) than he typically uses but not quite as large as the one I use here (18″ wide x 12″ deep). To further mitigate hum potential in my build, a large cnc’d chassis is used and the best separation (distance) between AC and DC power is created. The choke is now in the middle of the amp between the power transformer and rectifier tube instead of being mounted on one of the side walls next to the sensitive signal wiring. This provides the absolute best way to layout this kind of circuit design without the need to separate the AC from the delicate DC signal components by using a 2nd chassis for the power supply. If I did that as well as adding a few other design considerations that are my own, I’d increase the cost beyond what normal people could afford and would be heading toward the $20K territory. That doesn’t interest me and my current design, even though expensive, is extremely cost efficient at 1/2 of what you would have to pay for something even more exotic.
My retail price will probably is currently $10,000 for this amplifier to help compensate me for the extensive amount of time it takes to put it together. My parts cost alone is well over $8k so there is little left for me at my planned selling price. There are no margins paid to distributors and dealers nor any money spent on advertising. If you purchase this amp from me, you are paying below normal factory direct pricing. I’m not making money doing this and in all honesty, I won’t even break even. If you’re interested, fine. If you’re not fine. The last thing I would ever do is try to sell this amplifier in quantity and consequently short change its beautiful sound quality or increase its cost. I won’t produce it at a lower price (don’t ask) or a higher price with a considerable amount added for marketing and profit to enable dealers and distributors to represent this product. Its only available as a custom order amplifier.
THE END RESULT IS A POSITIVE INCREASE IN SOUND QUALITY
This amp was already excellent sounding when built with the lowest cost parts as Alan does it. However, I needed to use the right tubes to mask the distortion that I heard (contributed from the various inexpensive parts and wire that Alan used). At $1,500 (Alan’s selling price) this amplifier is a bargain. It replaced Kevin’s Yamamoto 45 tube amp (that now costs well over $7,000 for a new one) that was his favorite for a long time until Alan’s amplifier came along. Kevin is the owner of glowinthedarkaudio.com and purchases amplifiers on a regular basis to be able to hear their differences. Some are good. Some are not. And a few are really great. Alan Eaton’s amplifier made it to beocome one of Kevin’s favorites in spite of the issues I know that exist. After purchasing this amplifier, I too realized why Kevin liked it. I also understand why he sold it and have corrected those areas so they no longer are a concern. This does increase the cost. There’s no “free lunch” in audio reproduction and is where I excel with my abilities – making a really good amplifier design sound considerably better. I don’t create new designs but rather take proven and really excellent and rare designs and improve them beyond what anyone else has done. I understand how components work and how to put together an ideal combination for a specific goal. It’s much like cooking that rare dish above and beyond what anyone would normally do.
The key is to find that unusual and unique circuit design in the first place. The amp you now see is my 2nd version using all film capacitors instead of the Audio Note Kaisei electrolytic capacitors. My build far exceeds Alan Eaton’s 45 tube amplifier quality and is now a STATEMENT amplifier and represents what the best sound quality actually sounds like using the 45 power tube. I can now use the correct tubes that make this amp sounds its best and that’s what I’ve done after trying many different NOS old vintage tubes along the way. Previously, the 6SN7 tubes that I found to be the best in this new amp were the worst sounding in Alan’s amp. They were too linear and too correct and uncovered the “hidden” distortion. When using them, the sound quality ended up in your face and that is one of the first things that I found when I powered up Alan’s amp. It wasn’t the circuit design that did this but rather the low cost approach he uses to provide an attractive and affordable solution. His solution works at the price he’s asking and if that is all you can afford, start with his amplifier. To sound its best, however, this amplifier needs to be built as I’ve done it. With my upgraded design approach, this amplifier sounds superb! If you can afford to purchase my amp, by all means, do it. It will be one of the best things you could do when accumulating great audio gear.
I‘m done. There are no more alternative circuit designs to consider other than the work I’m now doing to fine tune this amplifier. This amplifier combined with the speakers I’m using are as perfect as I’m ever going to achieve anywhere near the total cost of this system. It meets all of my goals and the sound quality is sublime. I love it! The initial fine tuning is now done and I’m using the best tubes and connectors that this system should use. I can now share how to do this with you. Beyond that is my own continued R&D and if it works out, I’ll share that later. For now, this finished amplifier is perfect for my and your use.
I ONLY LISTEN TO DIGITAL MUSIC
My only music source is digital and is my incredible DAC in NOS mode. I use Audirvana Studio and Isotope Ozone9 as my music playback software. My hardware system is my new Mac Studio that replaces my prior iMac Pro computer. This software combination allows for re-mastering all of my music to a standard that rarely is heard. There are is no single standard for music creation and most audio is mastered for low end component playback. You really need to re-master your software to get it to play at its highest potential. This is the way to get all of your music to sound good and is something that I’m willing to share with my customers. My DAC connects directly to my 45 tube amp using .5 meter RCA interconnects. There is no preamplifier involved since I turn the two mono potentiometers to suit each track.
The DAC is a Holo May Kitsune DAC and again I pay what you do since I can’t be a dealer for that product. I’ve owned well over 30 DACs (all purchased at dealer pricing) in the last 5 years and this is the #1 DAC I’ve ever heard. Its quite unusual for me to purchase a DAC at retail but I did and am very pleased with my decision. With the unique and extremely high quality of music repodctuion that I get with this DAC, there is no need to sell other brands! I’m not here to make money selling audio components. Instead, I’m sharing what works best for the money spent and what you should consider using yourself. These 3 components, my custom 45 tube amp, the Charney Maestro speakers (with Voxativ 2.6 drivers), and the Halo May Kitsune DAC along with my Audirvana and Ozone plugin are the keys to obtaining the best sound quality you could purchase at anywhere near their total cost.
I DON’T BUILD THIS AMP
TO MAKE MONEY
I’ve purchased components at 60% off at distributor prices, at 40% off as a dealer, and through building my own OEM components and I rarely pay retail. If I do, that component really needs to be well above the quality that other alternatives can provide. These Charney Maestro Extreme speakers and this Holo May Kitsune DAC are so incredible and well done that I’m willing to pay retail prices for both of them. That says something. And of course, the superb audio quality that this system produces comes together only when combined with my own custom 45 tube amp. MY 45 TUBE AMPLIFIER IS THE KEY to providing the unique sound quality I’m receiving. All three should be used together.
If you can’t afford to accumulate these 3 components all at once, purchase the amplifier 1st. I’ll then share alternative purchases (for the speakers or the DAC or both) that you can use until you save enough money for the 2nd and then the 3rd component purchase. In this manner, you will be committed to building this system correctly (one step at a time) and can do so at your leisure and at the pace you can afford. You definitely will hear serious improvements as you add or upgrade each component and ultimately end up with this complete system. However, you’ll be able to enjoy the system even with lower quality components to begin with.
This 45 tube amplifier that I build will never create an income for me but its creation is worth doing. That’s the only reason I’m offering my time and money to duplicate this build. This 45 tube amplifier is the absolute best I’ve heard during my extensive time involved with the audio industry. Anyone interested in purchasing one of my custom amps will need to prove to me that they will benefit or I won’t accept their order. My time is too valuable and this effort is too labor intensive to mess around. I don’t make money doing this and instead am endowing another individual who wants to experience the joy that I experience when using this system. I’m looking for someone that truly will benefit from my work and will appreciate it. If I can determine they will, I’ll build an amp (for them). I no longer will build this amp ahead of finding its new owner.
EXPENSIVE BUT NOT UNOBTAINABLE
These aren’t inexpensive options that I’m recommending but then again they aren’t super expensive either (I guess its all relative). I don’t believe in going all out and spending huge sums of money on your gear where its not needed.
The “old guys” who spend $100K to maybe $200K on their systems and dedicated listening rooms are a vanishing breed and I’m not one of them. There is plenty to do (room treatment being really important and can’t be ignored) and there are still plenty of places to spend money when putting a world class system together. For around $22k spent on components, however, you can own this system and end up with something that will satisfy you more than the alternative ways that are recommended so you end up owning even more expensive systems that others advocate and put together for sale (to you). Most of these other system costs are for bling and substantial payments are also made to distributors and dealers for really high profit margins. That can easily amount to 60% or more of your purchase price. So even at “used” prices, you’re still paying too much for what you’re getting. Consider what I’m sharing and head in that direction. Don’t waste a substantial portion of your audio money paying for “bling” and “hot air”. Focus on what you’re doing and be careful and only pay for true value.
IS THE KEY
With the components I’m now using, I’m achieving the utmost archival quality and am gaining the most serious value for money spent. There is nothing even close to the sound quality and this system’s value that I’m aware of. To obtain this level of quality, however, I had to build this amplifier from scratch and use my decades of experience to select the best possible components to increase the sound quality as it now is. Fine tuning this system and re-building it after 1st hearing the first results for the initial version was also very important and I can now share the final items needed with my customers.
A really good audio reproduction system should hold its value and provide a way to endow other’s in your family when you pass on. Thus, a really great system needs to be useable by not just you but by many others that might not be currently here or have no idea what really superb musical reproduction sounds like. To do this, your system needs to be both attractive and useable within a given set of goals (similar to what I’ve outlined above).
This amplifier as it is currently built is the best I can provide and its sound quality is superb. One of my goals is to make sure that each and every one of these statement quality amplifiers is easy to repair in the future and I’ve done this through its design. Even though I prefer point to point wiring, the printed circuit boards are really required to connect the large wire diameters and large components I’m using in the best way while keeping the shortest distance between points.
My resulting design is a combination of point to point wiring with some printed circuit board use and is really a hybrid design. This is the ideal way to build an amplifier of this type. I really don’t like using a single printed circuit board for an entire amp. That definitely is not the way to build an amp. Also, when you see this type of construction, you generally find a large number of electrolytic caps being use. I won’t use them any more. In my opinion, this approach limits the life expectancy of the amplifier and requires using alternative parts that might not sound as good down the road (just to fit the original board). However, many builders use inexpensive and fairly generic electrolytic capacitors and resistors. I personally won’t.
Maintaining archival quality and long term ownership has been my ultimate goal along while providing the absolute best sound quality possible. That’s what I have to offer and your purchase of this 45 tube amplifier will be one of the best decisions you will ever make.
The speaker purchase I made is up to you to duplicate but I highly recommend this approach as an ideal solution. I have not found other speakers to satisfy my goals so for now, use the speakers that I’m, recommending and you will not be sorry. Most other smaller full range driver systems will require subwoofers and plate amplifiers to drive them and then the simplicity and the absolute best high quality sound will suffer. If you use a lower cost pair of speakers (I’ll recommend the best ones for you to use), save your money and replace them with this speaker design I have when you can eventually afford it. I’ve never found subwoofers to integrate well with main speakers (and I have tried many times) and is not a concept that I’ll explore anymore. My last attempt was with subwoofers that retailed at $3,500 each and I’ve given up. Its just not worth adding them in my opinion if you want the best sound quality. Yes, if you want to listen to artificial electronic bass but absolutely not if you want the best audio reproduction of acoustic instruments as well as vocals. Everything in audio is a compromise and that is one I will no longer make – using subwoofers to augment my audio system.
WHY PURCHASE FROM ME?
I’ve spent decades building audio gear (power amplifiers, preamplifiers, power supplies, speakers, cables, etc) and have worked with high end audiophiles for a very long time. And, I’ve sold numerous other manufacturers components as an audio dealer and occasionally as a distributor. I’m a former professional jazz piano player and I know what real live music sounds like. I’ve owned a Bechstein Concert C234 piano. I purchased it new and built a special highly tuned acoustic room for it. I’ve learned a long time ago that optimizing room acoustics is an integral part of putting together a great sounding audio system for mixing, mastering and listening enjoyment and shouldn’t be avoided. I can help you with that effort if you’re interested.
I’ve also built several high end recording studios for clients of mine (from scratch) and am very informed as to how to achieve really good room acoustics. I’ve done this through actual experience rather than just from what I’ve read online. I’ll share my honest experience oriented findings and am not doing this to make money. Instead, I’m pretty much giving away most items that other companies try to sell you (to make money and not necessarily in your best interest but rather theirs).