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Post by Deleted on Feb 10, 2015 13:47:21 GMT
The Sony TT arrived today. I'm not sure what I was expecting but it doesn't sound especially different from a decent UK belt drive. It's both capable and enjoyable. I Haven't compared it directly with my Xerxes yet but I don't think it will win although it's something I could happily live with. It's a nicely built product and something I could grow fond of if I was to keep it. The Sumiko headshell hasn't come yet so I will be interested to see if it lifts performance further.  |
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Post by Deleted on Feb 10, 2015 15:13:36 GMT
I wondered how long it would take before I HAD to put the Sony up against the Xerxes. Less time than I thought.
It wasn't the sort of comparison I expected. To be completely honest, most of the differences are most likely down to the cartridges: OC9 on the Xerxes and K18II on the Sony. The Xerxes sounded sharper, brighter and more finely etched.: The Sony more organic and a little less detailed albeit with better timing.
Moe time needed listening to the Sony methinks. I could definitely live with either deck, but I don't think I have the space to live with both. Fun times ahead!
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Post by danielquinn on Feb 10, 2015 15:22:07 GMT
What arm is on the xerxes ?
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Post by Deleted on Feb 10, 2015 15:35:52 GMT
It's an Alphason Xenon
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Post by danielquinn on Feb 10, 2015 15:38:50 GMT
Put the OC9 on the Sony  |
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Post by Deleted on Feb 10, 2015 15:44:08 GMT
I really should, but I hate messing with thin wires, so I will likely just buy another MC cartridge in a couple of weeks, once I get bored with the K18. now if the Alphason arm had a removable headshell, it would be a doddle. If there's not much difference between these two decks, maybe I should sell both and look for an upgrade?
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Post by danielquinn on Feb 10, 2015 15:55:13 GMT
I can appreciate that . Though at least AT's have decent stylus guards , I have a zyx moving coil and the stylus guard is shit . i can not for the life of me figure out how to use it .
If there isnt much between the decks when the sony as a moving coil on , then if it were me I would make a choice on aesthetics and puts me feet up .
cant see anything but the very expensive being a significant improvement.
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Post by Deleted on Feb 10, 2015 16:31:00 GMT
I think you're probably right in that it would likely cost megabucks to go significantly further. On looks, I prefer the Xerxes by a mile. On ease of use, the Sony is a pleasure to use. It makes the Roksan/Alphason seem like something from the steam age. Imparaticularly dislike the lack of a finger lift on the Xenon. The Xexes has never been the most elegant at getting up to speed either.
My current plan is to hang onto both in the hope of moving house and finding the room to keep two decks. My other half might have a different take on that so if you see one for sale you will know who won that one!
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Post by Deleted on Feb 10, 2015 16:48:59 GMT
An interesting twist. The Otigin Live mat I use on the Xerxes absolutely kills the Sony mat IMO. Now the Sony sounds a lot more like the way I want it to. Others have praised the Sony gel mat and I'm sure it is a good product but I massively prefer the OL . There is a bit lmore vinyl roar and surface noise between tracks but I can live with that.
The OL mat has outperformed the stock mat on every TT I have tried it on, so maybe I shuld have tried it earlier.
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Post by danielquinn on Feb 10, 2015 16:52:58 GMT
For me one of the big issues with all this excitement about 70's direct drives is the fact they all have metal platters .
I know you can change it at a cost , but there isnt anything in hifi more simple and beautiful than a pt platter , so why change ?
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Post by Deleted on Mar 9, 2015 15:45:35 GMT
Over the last week, I've been having a very enjoyable time Listening to an amp kindly loaned to me by a friend. I'm still trying to get to know it but I can honestly say it's not like any of the other hundreds of amps I've owned. It's one of these:  It's been a bit of a surprise to me because it's a brand I have very little experience of and its one I've always overlooked. It appears to be a very accomplished amp with no real weaknesses. It drives both my Neat Petites and Spicas with great ease and produces a rare level of clarity. Spatially it's as good as I have heard from any solid state amp. It also resolves separate instruments with bottomless clarity and definition. It's a completely different sound to my Exposure amps which are bigger, bold and ballsier. That's not to say they are better though, they can't compete for clarity and purity. I can imagine this amp being utterly outstanding with the right ancillaries and it's reminded me yet again that there are many ways of achieving great music. I've had it on for a long session today and it really got better at between 3 and 4 hours listening, when it really began to let it's hair down and enjoy itself. It really seems to love my CDX as a source. I've yet to try vinyl but I will and I'm sure it will be stellar. One big credit to the amp is the fact that it handles both sets of speakers and any type of music without any sign of preference. Sure,I love my Exposure amps and returning to them brings a huge smile to my face and a warm feeling to my soul. But: I don't hanker after them when I have the Sugden on and I've now found another great amp that I believe is capable of a masterly performance. For some people I'm sure this will be the amp they've been searching for but never knew until they heard it. |
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Post by MartinT on Mar 9, 2015 15:50:58 GMT
It's certainly a lot better looking than its predecessor, the A21, which always looked a bit naff. Class A is what gives it its distinctive sound, I think.
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Post by Deleted on Mar 9, 2015 16:07:34 GMT
It's, definitely a visual improvement.  I've had a few supposedly Class A Amps in my time but this doesn't sound like any of them as far as I can determine so far. It's a very self-effacing amp but no less enjoyable for that I have also stopped being lazy and put the Petites on 25 inch stands rather than the 22 inch ones I use for the Spicas. A big improvement in scale and clarity as well as fun factor. They sound like a far better speaker now  |
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Post by ChrisB on Mar 9, 2015 18:40:55 GMT
I don't know the Neats too well, but I can imagine it sounding good with Spicas. I remember them as being excellent little wedges.
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Post by Deleted on Mar 9, 2015 19:16:19 GMT
Of all the speakers I've owned, Spicas are my very favourites. I had a pair of Angelus a couple of years ago too. Wish I'd kept them to be honest.
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Post by Sovereign on Mar 9, 2015 20:18:22 GMT
Thats quite some write up on the Sugden. I'm fairly sure there are three or four different types of class A, The Sugden, is pure class A.
My TQ amp is also class A, but it has all the balls of big Expo amps and a lot more, I totally agree with you about detail, my amp seems to shine a spotlight on everything yet very natural sounding, it's like nothing I have heard before.
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Post by MartinT on Mar 9, 2015 21:31:19 GMT
Most so-called class A amps are indeed so up to a point, then become class B further into the power envelope and are termed class AB. It isn't a problem except in the minds of marketing people. Very few amps indeed are 'pure class A' and one look at the Sugden suggests very strongly that it isn't either, unless its output power is very restricted.
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Post by Sovereign on Mar 9, 2015 22:09:31 GMT
I Might be wrong, but i'm fairly sure that within pure class A there are at least three different types. I'm meeting up with a class A clever bloke tomorrow, a la Wonfor, I'll ask the man himself and see what he says.
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Post by Deleted on Mar 9, 2015 23:39:42 GMT
It would be interesting to understand more about how the Sugden operates , so please feel free to post any info here unless you feel it warrants a Class A thread. I wouldn't be surprised if the Sugden works differently to say, a Krell KSA 50 or the Musical Fidelity "waffle maker" amps. It's made me curious about their more expensive amps. Such a God-awful name though (IMO).
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Post by MartinT on Mar 10, 2015 8:06:39 GMT
There are all kind of pseudo-topologies like sliding bias etc., but there is only one class A which is defined as the amp sinking ALL of the current required for full power all of the time, and whether single-ended or push-pull never has any output transistor switched off. The idea is to keep transistors operating within their linear range and not experience crossover distortion (in a push-pull).
Very roughly, a 50Wpc class A power amp at 50% efficiency will sink 200W of heat continuously. That's not inconsiderable and requires vast heatsinks and/or fans.
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