ThurstonX
Headphoneus Supremus
Ok, so who was it who dropped $650 on these? Come on now, own up....
Someone with more money than sense?
Ok, so who was it who dropped $650 on these? Come on now, own up....
Then I could not resist and I plugged the Siemens (CCA) tubes in what an unbelievable difference. Stage widened to such an extend. I was listnening to Bruckner's 9th symphony conducted by Gunter Wand and the NDR orchestra. I was in heaven, I had the impression acoustically speaking of flying over clouds (like in a plane) and having an infinite view of big blocks of clouds represented by blocks of strings, woods, brasses... a dream.
After some 30H burn-in, I was very satisfied by the standard tubes which came with my Lyr (GE . Despite some small problems, a very narrow sound-stage and a diffused halo-like effect (especillay noticeable on piano recordings), but nothing serious. I was fearing a decrease in deatils due to tube vs SS from my Zodiac, but in fact details are very present even more than on the Zodiac.
This setup was rendering very well chamber music especially on:
- César Franck Piano quintet played by Alice Ader on piano and the Ensemble Ader (Fuga Libera),
- Johannes Brahms Piano trio played by the Wanderer Trio (Harmonia Mundi),
- Robert Schumann Piano quintet played by Sviatoslav Richter and the Borodin Quartet.
It was rendering very well what I call the "russian spirit', detailing intricated violins, viola and piano and giving the necessary warmth where needed.
But it was less good on Cello (bass not present enough) or Violin (maybe a little lack of sweetness) Sonatas, or piano alone (halo effect).
Orchestral music was lacking a stage, though colours were quite ok (Strings - Woods - Brasses were equilibrated), as well for choral music.
Small baroque/renaissance ensemble were rendered quite well:
- Henry Lawes Songs by Ensemble la Rêveuse (Mirare),
- Johann Sebastian Bach Sonatas for Cembalo and Viola di Gamba by Lucile Boulanger (Alpha).
For Lieder (songs), this setup was ambiguous, because it rendered very well soprano (Fritz Wunderlich in Dichterliebe, Werner Gura in Winterreise), but bass and barytons came out a bit thin (lack of bass!).
All these remarks, are made on a very high level (globally the sound was better than expected).
Then I could not resist and I plugged the Siemens (CCA) tubes in what an unbelievable difference. Stage widened to such an extend. I was listnening to Bruckner's 9th symphony conducted by Gunter Wand and the NDR orchestra. I was in heaven, I had the impression acoustically speaking of flying over clouds (like in a plane) and having an infinite view of big blocks of clouds represented by blocks of strings, woods, brasses... a dream. Then I continued with Tchaikovsky's Piano Concerto in B flat played by Richter on piano and Karel Ancerl as conductor, a mono recording of 1954, despite the mono original version (digitally upgraded), I had still this wide stage, sound can not be at the level of today's recording or living stereo recordings... But the playing was quite forgiving concerning harshness and other artifacts. Inever had such an exquisite playback on headphones.
Sorry, to be so precise on music, but I think the music that you're listening, the way it was recorded has the most impact on the quality of what we're hearing.
After some 30H burn-in, I was very satisfied by the standard tubes which came with my Lyr (GE . Despite some small problems, a very narrow sound-stage and a diffused halo-like effect (especillay noticeable on piano recordings), but nothing serious. I was fearing a decrease in deatils due to tube vs SS from my Zodiac, but in fact details are very present even more than on the Zodiac.
This setup was rendering very well chamber music especially on:
- César Franck Piano quintet played by Alice Ader on piano and the Ensemble Ader (Fuga Libera),
- Johannes Brahms Piano trio played by the Wanderer Trio (Harmonia Mundi),
- Robert Schumann Piano quintet played by Sviatoslav Richter and the Borodin Quartet.
It was rendering very well what I call the "russian spirit', detailing intricated violins, viola and piano and giving the necessary warmth where needed.
But it was less good on Cello (bass not present enough) or Violin (maybe a little lack of sweetness) Sonatas, or piano alone (halo effect).
Orchestral music was lacking a stage, though colours were quite ok (Strings - Woods - Brasses were equilibrated), as well for choral music.
Small baroque/renaissance ensemble were rendered quite well:
- Henry Lawes Songs by Ensemble la Rêveuse (Mirare),
- Johann Sebastian Bach Sonatas for Cembalo and Viola di Gamba by Lucile Boulanger (Alpha).
For Lieder (songs), this setup was ambiguous, because it rendered very well soprano (Fritz Wunderlich in Dichterliebe, Werner Gura in Winterreise), but bass and barytons came out a bit thin (lack of bass!).
All these remarks, are made on a very high level (globally the sound was better than expected).
Then I could not resist and I plugged the Siemens (CCA) tubes in what an unbelievable difference. Stage widened to such an extend. I was listnening to Bruckner's 9th symphony conducted by Gunter Wand and the NDR orchestra. I was in heaven, I had the impression acoustically speaking of flying over clouds (like in a plane) and having an infinite view of big blocks of clouds represented by blocks of strings, woods, brasses... a dream. Then I continued with Tchaikovsky's Piano Concerto in B flat played by Richter on piano and Karel Ancerl as conductor, a mono recording of 1954, despite the mono original version (digitally upgraded), I had still this wide stage, sound can not be at the level of today's recording or living stereo recordings... But the playing was quite forgiving concerning harshness and other artifacts. Inever had such an exquisite playback on headphones.
Sorry, to be so precise on music, but I think the music that you're listening, the way it was recorded has the most impact on the quality of what we're hearing.
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Sounds like you didn't have many hours on your CCas when you heard them. If so, that's a good sign. Mine are nearing 100 hours, and listening just a little while ago, I'd say they're fully baked
So, when the tubes are finished burning in...they are baked?
Wake and bake, boys.
Scary, the difference that tube-rolling makes. I have Orange Globes, Bugle Boys, Tungsrams (that came with the Lyr), Siemens E88CCs and Siemens E28CCs. Only the Orange Globes don't cut it for me, really. The others all have their strengths, although I entirely share your experience of the Siemens, which seem to get everything right. Expect a pm from me. Your choice of music is delightful to me, btw.
Thanks for the insights...Siemens CCa: a holy grail tubeGiven my heavily modded HE-500s, I'm loving the 1969 Siemens CCas I just got. Admittedly they are tough to find, and expensive when you do (or get a great eBay deal, which I lucked into), but the soundstage and airy top end are a nice match. They're not bass monsters, but that's well-established. I'm not sure how much the Q701 pads (angled, more spacious than stock or homemade jergpads) help with the soundstage, but I suspect they do help. Need to roll some other tubes to see how they differ.
Enjoy your HE-500s. Just remember that HFM recommends 150 hours before they reach their potential.
Thanks for the insights...Siemens CCa: a holy grail tube
I'm not comfortable spending this much at the moment, and having less than prominent bass is not ideal for me, otherwise this pair seems great:Sadly, they seem hard to find, or you can spend $400 at Upscale ("A" frame pictured there, so not even the most desirable, if that's accurate). Trolling eBay and hoping for a good vendor seems the way. I feel like I stole mine. I dunno, maybe I'm missing something.
I'm not comfortable spending this much at the moment, and having less than prominent bass is not ideal for me, otherwise this pair seems great:
http://m.ebay.com/itm/121256057059?nav=SEARCH&sbk=1
For late '50s, that's not bad. I wonder about the 'O' getter. Didn't know it was used so early (I'm no expert). If mine had been that much, I'd have balked, but these are about on par, vintage for money wise. Oh to be rich and foolish