 |
 |
On Monday, December 21, 2009 6:10 AM, Tom Fine wrote: > Missing are line amps that would follow the buss-booster > modules. Gates line amps were a terrible design, so I'd > recommend you use something like a Langevin or Altec > module or I was planning on using a John Hardy discrete > op-amp block (the mic preamps and buss boosters will be > plenty of "tube sound" so a modern neutral-sounding line > amp would be beneficial, in my opinion). Tube-based electronics when designed properly can be just as neutral-sounding as any modern solid-state design - perhaps even more neutral than solid-state. However, there are definite and fundamental sonic differences between tubes, transistors and op-amps. I've come to a new appreciation for tube-based electronics over the past four years, and have aggregated some of that learning here: http://www.theaudioarchive.com/TAA_Resources_Tubes_versus_Solid_State.htm My "tube versus solid-state" research came out of a 4-year project to build a new archival phono preamp. I will be the first to admit that at the beginning of the phono preamp product development, I was skeptical that a tube-based phono preamp was the way to go for a super precise archival phono stage. It was only after extensive listening tests that I began to understand tubes better - and I was quite surprised at what we measured and heard. Of course, not all tube designs are known for accuracy (as Tom points out with his comment of "tube sound"). Some tube designs are better known for big, lush and dynamic *fun* sound. In fact, it was this reputation and the audiophile devotion to that "tube sound" that made me biased against tubes in the first place. But tube designs can also be made just as accurate as any solid-state design, and even have a few sonic advantages over solid-state - namely dynamics and headroom, less overall distortion, and harmonic/tone neutrality. Which is how we came to this: http://www.theaudioarchive.com/TAA_Products_Wavestream_Kinetics.htm My point is that both tubes and solid-state designs can be neutral sounding, and in some ways tubes can be more accurate than solid-state. However, this level of accuracy in a tube design is no more easily achieved than it is with solid-state. Eric Jacobs The Audio Archive, Inc. tel: 408.221.2128 fax: 408.549.9867 mailto:[log in to unmask] http://www.TheAudioArchive.com Disc and Tape Audio Transfer Services and Preservation Consulting -----Original Message----- From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]]On Behalf Of Tom Fine Sent: Monday, December 21, 2009 6:10 AM To: [log in to unmask] Subject: [ARSCLIST] tube mixing console project for sale Sorry in advance for the cross-postings. Please feel free to pass on to anyone you know who might be interested but isn't on this list. Back a few years ago, I bought the pieces to build a Gates-based tube mixing console similar to what was in my father's recording studio 1958-1968. I restored two power supply/monitor amp units and restored several mic preamp modules, the other modules tested out just fine. The base for this project is a Gates TV-10. The board is in pretty good cosmetic shape, it needs a new escutchen plate in the center because there was a badly-constructed source-switching pushbutton array put there by the college station that last used it. The TV-10 is a true 2-channel board, but the key switches can be wired for a center buss instead of an "off" loading resistor (ie they are 3-way switches with all the right terminals in place). I was planning on rewiring it so it worked like Altec's stereo board of the same era, with a 3-channel output or two-channel created by transformer-splitting and transformer-combining the center into the two sides (the same way, by the way that the 3-2 mixdown board used to master all the Mercury Living Presence stereo LPs and CDs work). The left side (5 input channels) needs to be rewired but the right side buss wiring is intact. I have extensive documentation. Also included is a Gates STudioette mono mixer and many extra modules and parts taken from a stripped out Studioette, stripped out power supplies and several extra mic preamp modules. Also included are enough UTC A-series matching transformers to have line inputs to all faders (I was planning on doing this via a patchbay). Missing are line amps that would follow the buss-booster modules. Gates line amps were a terrible design, so I'd recommend you use something like a Langevin or Altec module or I was planning on using a John Hardy discrete op-amp block (the mic preamps and buss boosters will be plenty of "tube sound" so a modern neutral-sounding line amp would be beneficial, in my opinion). The 10W monitor amps built onto the power supplies include UTC ultralinear output transformers. Also included is a separate standalone monitor amp, complete but un-restored, in case you wanted to go with full 3-channel monitoring. Bottom line for me is, I'll never have time to finish this, and the project outlived the old-timer who was helping me get it done. So now I'll sell the pile for about what I have in it, $1200. If you cut it all apart and sold it in pieces on eBay, you'll make money. I don't have the heart to gut out these things I've restored. If you want a tube console in your life, I doubt you'll find a complete rig at a lower price. Please know up-front that you'll need to have restoration skills or have a good buddy with those skills. I should add that nothing is filthy like it got dragged out of a barn. Most parts have been cleaned off and the console itself was never ill-stored. Please ping off-list if interested. I would suggest this is a pickup-only pile, it's located in Brewster, NY. All told, enough stuff here to fill a medium-sized SUV or a spacious car. -- Tom Fine