Congrats, great looking setup, definitely want to get a hold of a pair of Caldera myself at some point.A while ago I was asking about Feliks Envy and its synergy with ZMF Caldera. And now I can tell you myselfI have this amp for a month and I’m thrilled. I figured out that tubes are my thing. It’s so joyful, especially when I’ve changed tubes for 6sn7, because it really makes a difference.
AIC10 is not a tube amp after all, I don’t get why the cost of tubes should be compared. Look at Woo’s offerings, ampsandsound, etc. It’s like wanting to buy a tube amp, getting Envy and complaining it has tubes
This my favorite. Being around for years really shows some weird trends
It is a tube hybrid, it has one internal 12au7 tube in the preamp section
Not only that, he is fine with getting the expensive Immanis and REPLACE whole chain just for it to make it finally sound well (because Envy is mid obviously), but says the tubes are expensive, lol.
Or when he got the stupidly priced cables, but hell no, getting better tubes is crossing the line when they do bring real change and improvement to the sound, unlike ekhm, some other parts of the chain.
And try not to remind some people that no one cared about Riviera when it was priced cheaper some time ago.
It’s always fascinating to observe how people approach their journey in high-end audio. Every individual has their own set of priorities, preferences, and methods when it comes to building a system that delivers the most enjoyment. Some are drawn to exploring as much gear as possible, constantly looking for new combinations, while others take a more measured approach, settling into a system and fine-tuning it over time. There’s no single right way to engage in this hobby, but the discussions that arise from these differing perspectives can be quite interesting—especially when people’s reasoning and decision-making processes don’t always align as neatly as they might think. One of the most common things seen in high-end audio is the desire to chase the “perfect” synergy. When a new piece of gear enters the chain—especially something as critical as a headphone—many people will go to great lengths to ensure that everything else in their setup complements it. If an amplifier doesn’t provide the expected level of tonal density, weight, or dynamics, it’s completely understandable that someone would start looking at alternatives. And in many cases, this leads to replacing not just the amplifier, but other components as well—sometimes an entirely new DAC, different cables, power conditioners, even isolation feet and racks. These changes can be expensive, but for those who are deeply invested in their pursuit of the best sound possible, they are considered necessary steps. What’s particularly interesting, though, is when someone is willing to go through this whole process—swapping out one expensive amplifier for another, changing DACs, and adjusting every other aspect of the chain—but then hesitates when it comes to something as fundamental as tube rolling. Given how much of an amplifier’s sound can be shaped by its tubes, it’s surprising when someone dismisses the idea of rolling tubes due to cost concerns, especially when they’ve already spent so much making other adjustments to their system. In reality, rolling tubes is often one of the most effective and direct ways to tailor the sound of a tube amplifier to a listener’s preferences.Tubes play a much more active role in defining an amplifier’s sound than many other components in the chain. Changing from one pair of 300B tubes to another can shift the tonal balance, improve dynamics, add or reduce warmth, and enhance detail retrieval. Unlike cables—whose effects are often debated—tube changes bring clear, measurable differences to how an amplifier performs. Yet, despite this, some enthusiasts who are more than happy to spend thousands on a new amplifier or a high-end cable will balk at the idea of spending money on better tubes. It’s an interesting contradiction, especially considering that a good set of tubes can often make a bigger difference than replacing an entire amplifier.Cables are another area where priorities can sometimes seem inconsistent. While there’s no doubt that cables can have an effect on system performance, their impact tends to be more subtle compared to something like tube rolling. Yet, in many cases, people will justify spending thousands on exotic cables while simultaneously dismissing the idea that tubes are worth upgrading. It’s not about saying one approach is right and the other is wrong—just that it’s an interesting example of how people justify their purchases in different ways. Beyond the individual decisions people make about their systems, another recurring theme in this hobby is how certain products gain recognition over time. It’s a phenomenon that happens regularly, where an amplifier, DAC, or headphone might be available for years without much attention, only to suddenly gain a reputation as an “endgame” piece once the price increases or more people start talking about it. The Riviera amplifier is a prime example. When it was priced lower, it was barely discussed, and few people seemed to care about it. But once its price climbed and more people started taking interest, it suddenly became one of the most sought-after amplifiers, with its reputation growing seemingly overnight.This pattern happens time and time again. If a piece of gear is priced too low, many audiophiles simply won’t take it seriously. There’s almost an inherent assumption that more expensive gear must be better, and as a result, some of the best value pieces of equipment often get overlooked. But when a manufacturer raises the price, suddenly the perception shifts, and people begin reevaluating their stance on the product. It’s not that the gear itself changed—it’s that the way people perceive it changed, and that’s one of the most fascinating aspects of this hobby.This dynamic also ties into the emotional investment people have in their purchases. It’s no secret that high-end audio can be expensive, and when people spend large amounts of money on their systems, they naturally want to believe that they made the right decisions. That’s why discussions about gear can become so heated—because for some, it’s not just about discussing sound quality, it’s about defending their choices. No one wants to feel like they overpaid for something, and as a result, people often develop strong biases in favor of the equipment they own. This is why certain pieces of gear get elevated to almost mythical status in some circles, while others get dismissed or ignored despite being just as capable.Ultimately, though, the best approach to this hobby is one of openness and curiosity. There’s no single “right” way to build a system, and what works for one person might not work for another. Some people will always prefer the process of constantly experimenting with new gear, while others will find more enjoyment in fine-tuning a system they already love. What’s most important is that people remain open to different perspectives and avoid falling into the trap of viewing their own preferences as universal truths. At the end of the day, audio is a personal journey. Whether someone prefers to roll tubes, swap amplifiers, or experiment with cables, the only thing that truly matters is finding the sound that brings the most enjoyment. The best discussions in this hobby happen when people share their experiences honestly, without feeling the need to justify every decision or defend their purchases as the only valid choice. High-end audio should be about exploration and enjoyment, not about proving who made the “best” decisions. Because in the end, the gear doesn’t care about our justifications or biases—it just sounds the way it sounds.
The last part reminds me of some other PMS I received right on Immanis release. (Not from Leto, but some other Head-Fi er who will remain anonymous)It’s always fascinating to observe how people approach their journey in high-end audio. Every individual has their own set of priorities, preferences, and methods when it comes to building a system that delivers the most enjoyment. Some are drawn to exploring as much gear as possible, constantly looking for new combinations, while others take a more measured approach, settling into a system and fine-tuning it over time. There’s no single right way to engage in this hobby, but the discussions that arise from these differing perspectives can be quite interesting—especially when people’s reasoning and decision-making processes don’t always align as neatly as they might think. One of the most common things seen in high-end audio is the desire to chase the “perfect” synergy. When a new piece of gear enters the chain—especially something as critical as a headphone—many people will go to great lengths to ensure that everything else in their setup complements it. If an amplifier doesn’t provide the expected level of tonal density, weight, or dynamics, it’s completely understandable that someone would start looking at alternatives. And in many cases, this leads to replacing not just the amplifier, but other components as well—sometimes an entirely new DAC, different cables, power conditioners, even isolation feet and racks. These changes can be expensive, but for those who are deeply invested in their pursuit of the best sound possible, they are considered necessary steps. What’s particularly interesting, though, is when someone is willing to go through this whole process—swapping out one expensive amplifier for another, changing DACs, and adjusting every other aspect of the chain—but then hesitates when it comes to something as fundamental as tube rolling. Given how much of an amplifier’s sound can be shaped by its tubes, it’s surprising when someone dismisses the idea of rolling tubes due to cost concerns, especially when they’ve already spent so much making other adjustments to their system. In reality, rolling tubes is often one of the most effective and direct ways to tailor the sound of a tube amplifier to a listener’s preferences.Tubes play a much more active role in defining an amplifier’s sound than many other components in the chain. Changing from one pair of 300B tubes to another can shift the tonal balance, improve dynamics, add or reduce warmth, and enhance detail retrieval. Unlike cables—whose effects are often debated—tube changes bring clear, measurable differences to how an amplifier performs. Yet, despite this, some enthusiasts who are more than happy to spend thousands on a new amplifier or a high-end cable will balk at the idea of spending money on better tubes. It’s an interesting contradiction, especially considering that a good set of tubes can often make a bigger difference than replacing an entire amplifier.Cables are another area where priorities can sometimes seem inconsistent. While there’s no doubt that cables can have an effect on system performance, their impact tends to be more subtle compared to something like tube rolling. Yet, in many cases, people will justify spending thousands on exotic cables while simultaneously dismissing the idea that tubes are worth upgrading. It’s not about saying one approach is right and the other is wrong—just that it’s an interesting example of how people justify their purchases in different ways. Beyond the individual decisions people make about their systems, another recurring theme in this hobby is how certain products gain recognition over time. It’s a phenomenon that happens regularly, where an amplifier, DAC, or headphone might be available for years without much attention, only to suddenly gain a reputation as an “endgame” piece once the price increases or more people start talking about it. The Riviera amplifier is a prime example. When it was priced lower, it was barely discussed, and few people seemed to care about it. But once its price climbed and more people started taking interest, it suddenly became one of the most sought-after amplifiers, with its reputation growing seemingly overnight.This pattern happens time and time again. If a piece of gear is priced too low, many audiophiles simply won’t take it seriously. There’s almost an inherent assumption that more expensive gear must be better, and as a result, some of the best value pieces of equipment often get overlooked. But when a manufacturer raises the price, suddenly the perception shifts, and people begin reevaluating their stance on the product. It’s not that the gear itself changed—it’s that the way people perceive it changed, and that’s one of the most fascinating aspects of this hobby.This dynamic also ties into the emotional investment people have in their purchases. It’s no secret that high-end audio can be expensive, and when people spend large amounts of money on their systems, they naturally want to believe that they made the right decisions. That’s why discussions about gear can become so heated—because for some, it’s not just about discussing sound quality, it’s about defending their choices. No one wants to feel like they overpaid for something, and as a result, people often develop strong biases in favor of the equipment they own. This is why certain pieces of gear get elevated to almost mythical status in some circles, while others get dismissed or ignored despite being just as capable.Ultimately, though, the best approach to this hobby is one of openness and curiosity. There’s no single “right” way to build a system, and what works for one person might not work for another. Some people will always prefer the process of constantly experimenting with new gear, while others will find more enjoyment in fine-tuning a system they already love. What’s most important is that people remain open to different perspectives and avoid falling into the trap of viewing their own preferences as universal truths. At the end of the day, audio is a personal journey. Whether someone prefers to roll tubes, swap amplifiers, or experiment with cables, the only thing that truly matters is finding the sound that brings the most enjoyment. The best discussions in this hobby happen when people share their experiences honestly, without feeling the need to justify every decision or defend their purchases as the only valid choice. High-end audio should be about exploration and enjoyment, not about proving who made the “best” decisions. Because in the end, the gear doesn’t care about our justifications or biases—it just sounds the way it sounds.
we are wild broooooo andthe itchy scratchy dealing with someones opinion kicks in again,
and some things never change i guess
Yes, as relevant as it's ever been. Does NOS. Serves as a playback platform for PGGB files, both PCM and DSD at all sample rates. Serves as a playback platform for HQPlayer, both PCM and DSD at all samples rates. Rest is left to your preferences.
I have had Envy PE only for 3 weeks, but I can say that Holo May KTE is an excellent match for Envy. I have not tried better dacs though that are much more expensive (i.e. Rockna Wavedream Signature). A good streamer/source can also impact the sound in a good way. My chain is Auralic Aries G1>>>Holo Audio May KTE>>> Feliks Audio Envy PE>>>> Hifiman Susvara OG. Btw I have not started tube rolling ..... yet.
It's an old TOTL DAC that got pushed hard by JPS Labs / Abyss, it seems to synergize very well with the 1266TC, nowadays i suspect there are way better options for its (new) price.
Ehhh...
+1 for the preamp.
That’s the reason I opted for the Spring 3, as it‘s available with a preamp module. Envy likes an input voltage at around 1V and you can let ChatGPT output a table indicating where 1V is reached. Of course, this is possible for every preamp.
needing a preamp to use a tube amp like the envy seems more than superfluous to me
