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Author: admin | 03.11.2015 | Category: Ginkgo Biloba Tinnitus

To report on the performance of the line stage AND the phono stage at one time would be too much information. A pair of 6922-family tubes is used in the phono stage and a pair of 6922 is used as the a€?nominala€? tube type for the line stage. One of the unique design aspects of the WV is its support of 12-volt based tubes (12AU7, E180CC, 7062, 6829, 5965, etc.) in the line stage.
Another attractive WV feature is the ability to use this as a home-theater pass-through and NOT require the WV to be powered on.
As nice as the stepper-motor based remote volume control is here, I wish I had remote mute capability rather than simply the level adjustment. When I heard the ARC SP-8 at a dealer in 1983, the preamp bar had been raised; I came to realize the significant role that a preamp played in the result of a systema€™s musicality. After a few years with the BAT units, I was ready for a major leap in performance like I had attained with the SP-10 purchase 17 years before. With my focus on portrayal of space, other sonic attributes such as a strong bass foundation, low-level resolution and upper-frequency extension and detail have been secondary to me. I think we often equate sonic characteristics such as tonal coherency, extended trebles and dynamic contrasts as contributors to clarity and purity.
I was scrambling for a high-resolution source to get a handle on the WVa€™s line stage capability compared to the Bent.
A return to the Bent and the silence along with the carry-on of the harmonics as they decayed, was much diminished.
A return to the WV and the difference was significant: midrange and upper-midrange piano tones had much more energy in their harmonics.
After the initial impressions of the WV line stage with the Io Sig and APL player for a couple nights, I played a little bit with the WVa€™s phono stage before I started the line-stage tube-rolling trials. As stated earlier here, with the flip of an internal switch, the line stage supports tubes of the 12au7 family. With the 7062s in the line stage and the Amperex 6922 PQa€™s in the WVa€™s phono stage, I played for a few nights with various PS tubes. Throughout the tube evaluation process, I had one primary thing on my mind: I wanted to recover some of the 3-dimensionality midrange magic that was so inherently strong with the Callisto Sig and somewhat lacking with the Bent. As I was assembling my notes from the last 2-3 months for this report, I wanted to try the Bent one last time this week.
The differences between the WV and the Bent are greater now than before due to the WV custom tube set. With the WV loaded with the custom tube set, I have bottom-to-top resolution and dynamic contrasts like never before. Not only has this retest confirmed to me the incredible performance of the WV, but I have greater respect for the Bent as well. Line Stage Output Impedance: This is not a fixed number, it varies according to the tubetype used.
In 2003, a scientific experiment was carried out by a team headed by Richard Wiseman, a psychology professor at the University of Hertfordshire.
Two performances of four musical numbers each, two of which had the underneath 17 Hz tones each time, and these underneath tones were changed to the other two numbers for the second performance, were given to the people, who were not told which pieces contained the underneath tones.
Wiseman even felt that these experiences were consistent with some scientists' hypotheses linking infrasound effects to the odd sensations people report when they feel a ghostly presence. It seems therefore that low frequency noise or infrasound can have effects on the body and mind which aren't immediately detectable, and it's therefore not surprising that many victims of infrasound find themselves feeling nervous and irritable without any obvious cause. Software Description: Banjodoline is a Virtual Banjo and Mandolin sample-based software, including a Banjolin, Octave Mandolin and Electric Mandolin fretted stringed instruments.
The WV5 contains a phono stage (MM and MC) and a fully balanced line stage as a single integrated design.
Elliot has reported that listening sessions of the WV compared to his Counterpoint preamps, stock or upgraded, result in the WV outperforming them all.
Elliot was preparing for a new product line that would take his amplifier designs to a new level. I looked for such a tube line stage a few years ago, and contacted some manufactures to find this feature for the HT system that I have in another room.
One not-so-obvious benefit here is that the amps do not need to be powered off if the user wants to power down the WV.
With the exception of a few ICa€™s, nearly all other components auditioned in my system have retained the portrayal of space and decays to some level of acceptance. Each upgrade here was a refinement from the previous with greater tonal coherency, a lower noise floor and clearly more retrieval of information.
With the Bent, there was a presence in the upper octaves that was very much lacking with the Callisto. The APL Denon player has much more treble extension than the Io Sig, but I needed to hear LPs. The Io Siga€™s strong fundamental was still prominent but there was now some a€?available timea€? for the notes to breathe and show some of their own presence rather than to immediately be smeared by the subsequent note. It was not in the loudness level of the tones but rather a a€?dimensionala€? signature of the tones. Elliot discusses in his website, the stock tubes in the WV are a good starting point but the WVa€™s performance will be significantly improved through the efforts of the customer to try many tubes. I was not surprised to learn that the Amperex Bugle Boy rectifier tube had clarity and dynamics compared to the other 3 rectifier tubes I had on hand for this evaluation. And there is this new experience of depth with sounds so beautifully placed throughout the region behind the speakers.
That top-tiered TVCa€™s are selling for a few hundred to a few thousand $$ makes them an unbeatable choice for someone not willing or not quite ready to jump in to the costly arena of the great active preamps.
The use of values automatically computed by a multimode filter gives a wide range of interesting tones.
You can use this to automate parameter changes from a sequencer, or to control your synthesizers from an external MIDI control surface.
Only the power transformer is in a separate chassis; this is less than half the size of the main chassis.
Beyond this, there are options to upgrade the Cardas RCA jacks to WBT, upgrade to the new top-level Vishay TX2575 resistors and a silver-wired umbilical. I was unsuccessful to find such a product and thus stayed with a solid-state product for the HT setup. With the volume all the way down, the WV in Standby, and then powering down the WV, there was a faint buzz through the speakers for a few seconds. But with regular interruptions, being able to silence the system in an instant would be nice. However, I have dismissed far too many preamps and line stages as they failed in this key parameter.


But unlike any preamp change before, the Aria WV line stage (and phono stage) has made it clear to me what I have missed up to this point. I could still hear the smearing but the benefits of this new silence between the notes were becoming clear. After hearing the WV for only a short amount of time, returning to the Bent made me only want to get the WV back into the system.
The difference was all about the tonal signature of each instrument from its initial sound through the follow-on.
And it was only a matter of seconds coming off the Io Sig and into the SUT MC input of the WV, that I realized it was not only the WVa€™s line stage here to redefine performance. The one tube that he has regularly stated to make a major improvement is the power supply rectifier tube. Out of these, the Amperex 6922 PQ pinched waist tubes were my favorite as they have been in the CAT 6922 sockets.
A CD getting lots of play here has been the Mike and the Mechanics, a€?Beggar on a Gold Beacha€?.
A friend of mine who heard this many times here always commented that something was wrong even though it sounded good. This is plenty good for driving cables with no more than 1200pF capacitance and power amps with no less than 50K ohm imput impedance (higher is always better). The Aria amps got little press coverage but from what I had read about them, and owning an upgraded NPS400 myself, I had a good feeling that they could be special. An umbilical cable of customer-specified length (typically 6 feet) and captive at the transformer-chassis connects to the audio chassis with a 9-pin connector. I still have to wonder what the sound of the WV might have been with the beefy PS design but the added reliability of the simpler design has its merit as well. The model reviewed here is the WV5 XL (line and phono model) with the TX2575 resistors, the silver-wired umbilical, and the remote volume control.
He also notes that rolling the power supply tubes, particularly the rectifier, will significantly increase the WVa€™s performance as well. This a€?featurea€? is great for tube-rolling tests without the need to power down the amps. However, adding a stepper motor is one thing; adding additional switching or circuitry to accommodate a muting function would likely compromise the performance that Mr. The BAT brought on a different presentation with the music now at the plane of (and behind) the speakers whereas the ARC projected the sound more out into the room. There was clearly a compromise for which one set of priorities had to be chosen over another. When a Bent TX-102 TVC (with the rare silver transformers) was available in late 2007 at a local dealer, I took it home to play.
Even with the Io Siga€™s softened trebles and average dynamic capabilities, with the WV line stage there was a greater hint of massed strings as a collection of stringed instruments rather than simply a a€?beautifula€? sound.
Low-level detail in the music by other musicians was now coming through that had been previously masked. I never had the opportunity to own his previous top models, but I feel mighty fortunate to own the WV. But for a system configured with balanced sources, I would think at least 2 balanced inputs would be neededa€¦.for a digital player and a tuner or balanced external phono stage.
The result was altogether different: the smearing and grain that I had been accustomed to hearing for so many years was gone. The Io Sig renders the fundamental of notes in the mids like no other phono stage I have heard. I was aware of the cable upgrades (done months ago) to bring on greater resolution to the system, particularly in percussion, but the WV took this to a new level of refinement over its peers. But the WV was altogether in a different league as it was not only about upper-frequency coverage but also in the purity of the delivery of the trebles, and the all-important mids as well. These tones decayed several seconds from behind the speakers as if the speakers were much further into the room. But it was the SUT input and the WVa€™s phono stage that I was to use for 2 months for all subsequent listening sessions for the line stage and power supply tube-rolling efforts. Evaluating many tubes in 2 of the other 3 PS sockets allowed me to find a combination of PS tubes that worked incredibly well with the Amperex rectifier tube. One interesting note was that I changed the ECC99 tube in the APL Denon player with a 7062 and I was stunned by the benefits.
Perhaps this is what this new experience refers to but I have owned some of the preamps and amps that got high praise of transparency. This blog has been removed which is unfortunate as it gave the reader an opportunity to follow the design decisions for the power supply, audio circuit, volume control, comparison of several step-up transformers, choice of passive parts, etc.
Also, if the WV were to be used in an HT setup, it would likely be part of a top-tier HT setup, and these are often balanced systems as well. Harmonics, ambiance and decays were there like I had not before heard from an audio system.
And all subsequent preamp models have had this presentation back at the plan of the speakers.
But this comes at a cost with the follow-on of the notesa€™ tonal signature highly truncated.
Still the trebles were a bit weak (due to the Io Sig) compared to piano music that I tried on the APL CD player but I was hearing musical details with the Io Sig like I had not before with the Bent or the Callisto Sig.
I would bring in the APL player to confirm the tube differences I heard when changing line stage or power supply tubes. I now had a nice refinement over the stock PS tubes in terms of midrange smoothness, dynamics and treble clarity. Perhaps the colorations from before added to the sense of what I liked about the Callisto Sig with its strengths clearly coming through in the bottom half of the range. After playing a few tracks 2-3 times and the system powered on for nearly 3 hours, I put the Bent into the system.
And the WV is in such a different performance level than those that I will continue to be cautious of the use of transparency. To pay $8k for a line stage at this performance level is a bargain with all the $15-20k line stages coming out now. But two tubes here took the WV to yet another level beyond the Amperex 6922 PQ with one clearly being the top performer in smoothness, harmonic structure and dynamic contrasts without adding any anomalies that the Amperex 6922 did not have.
As outstanding as the Callisto Sig had been for me, the WV is altogether in a whole different league of performance. But a return to the WV and now the decays that fade are those from the fundamental AND the harmonics.
A jump to the Bent and the sound is beautiful, but there is no presence of vibrating strings.


And here we have a full function preamp whose phono stage, even with SUTs, significantly outperforming phono stages I have owned that cost from $4-8k. Zoom in on your subject using a view-finder so that edges go off at least one side of your page.2. Elliot, I am sure any customer could have these additional connections made to a WV upon order. I compared the Callisto and Bent for several weeks until I passed the Callisto onto a new owner.
After the first night with the WV, I concluded there was one effect taking place that was a new experience to mea€¦.in a word, purity.
And this was the first night with the WVa€¦with its stock EH tubes in the line and phono stages and stock PS tubes as well.
The WV has this same purity that is far beyond any other line stage to ever be tried in my system. And it was mighty coincidental that the tube to become the reference was also Amperex: the 7062 PQ pinched waist. No doubt the latest Callisto version addresses some of the shortcomings for which the WV excels. It gives a sense of far greater dynamics but I think it is more to do with the notesa€™ loudness levels lasting longer as the tones shift to the higher frequencies. The temptation for me to swap those tubes was strong but I needed to hear the WVa€™s sonic signature for a few days.
And this gives each sound that more distinct dimensional signature as it decays in one direction across the room or to the rear for a longer period of time and if there is nothing stopping it. A final return to the WV and the result is layers upon layers of harmonic structured details with the decays seeing no boundaries. When you think of the added cost of another power cord and interconnect for separate phono and line stages, the WVa€™s value is even more apparent.
And I followed Mr Elliota€™s suggested burn-in process for two weeks with the CD player driving the phono stagea€™s MM input during the night and day for 2 weeks to achieve 300 hours.
The Bent and WV have nearly identical bass extension but with the Bent, there is a bit of bass a€?thumpynessa€? vs. And add to this the possibility of custom design work and modifications, which is unheard of with all the top preamp manufacturers out there, the WV customer has more options than ever before. Just as a few tubes were able to take the WV to top-end performance, a few, most notably the 6H30, let none of the WVa€™s capability through.
His first works were painted in black and white and later introduced color.In 1988, Close suffered a collapsed spinal artery, which left him almost completely paralyzed. A brace on his hand, a wheelchair, and other aids allowed him to paint again.In the 1990s his work became freer and more lively. Each square onhis grid in closeup resembled tiny abstract paintings, but at a distance were monumentalportraits.From the 1970s to the present, Close has used a wide variety of media to create multiple images such as mezzotint, aquatint, linoleum cut, woodcut, screen print, paper pulp, and daguerreotype. Score- making the surface rough in order to join clay pieces togetherStages of Ceramic Clay:1. Leather-hard: The first stage of clay when it still has moisture in it, but can hold its form2. For example, an artist may stylize a model's face and body by eliminating all specifics of personality and character.
Recently, the concept of printmaking has been expanded to include processes such as photography, photocopying, and other non-traditional processes.Original Prints vs. Reproduction Prints- An original print is one made by an artist that is designed to be a print. The artist chooses a specific printmaking medium because of the qualities it will give the print.
The original painting, drawing, etc., is photographed and then a reproduction print is made of the original. Monoprint- (also called monotype) a method of printmaking in which the artist draws an image on a flat inked surface and presses paper against the surface to make a print. Any area that is cut away from the flat surface of the block will be white in the print because the cut-away area will receive no ink. Intaglio- A print made by inking the area of a metal or plastic plate that has been cut, scratched or etched into the plate. The artist engraves (cuts) or scratches lines into the plate (drypoint) or uses acid to etch lines into the plate. The ink that is on the surface of the plate is then wiped away leaving only the ink that has been caught in the lines of the plate.
Intaglio processes require the use of a printing press because of the great pressure needed to press the paper into the small lines of the plate.
Aquatint is an etching process that gives artists the ability to create value areas from watery grays to dense blacks. Money is printed by engraving the image on soft steel which is then printed using the intaglio process. Artist's Proof print- Usually the final proof print(s) before the artist prints an edition of the image.
In making art prints, all the prints are alike, but each is considered to be an original work of art. Each print is an original because the print is designed to be an image that takes advantage of the qualities of the printmaking process to help get the artist's ideas across in the finished image. They were not concerned the perfection of the subject, they just wanted to observe the subject as closely as possible to represent it as realistically as possible. This group of artists were the first to breakthe rules of academic painting which was very formal, realistic and posed. Other characteristics include using short quick brush strokes, bright colors, a focus on light and it changing qualities, and mixing paint right on the canvas. For example, an artist may stylize a model's face and body by eliminating all specifics of personality and character. Artist's Proof print- Usually the final proof print(s) before the artist prints an edition of the image. Each print is an original because the print is designed to be an image that takes advantage of the qualities of the printmaking process to help get the artist's ideas across in the finished image.



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