THE MAGNAVOX 15WPC PARAPHASE PUSH PULL AMPLIFIER, Слушаем и обсуждаем !

Читаем восторги нашего американского коллеги по хобби:

I am a fanatic, not just a fan, about the Magnavox tube amplifier.

The sound was very good.

I have heard many very good audio systems. But this amp brings out stuff from the recordings (that is, anything from LP's with lots of pops and clicks to DVD's) that I have become intimate with, that I have heard for the first time playing it through this amp (is this redundant?). I hear noises like chair squeaks and breathing(!) and people in the background that were never there before.

   Each individual instrument has a full range of tonality that goes from the fundamental to both directions of the audio spectrum. But it does not sound colored. It sounds neutral. But it does not sound sterile. It sounds extended, but it sounds absolutely flat. Quite frankly I did not know that such sound could come out of the speakers I have. Oh, they are good and I designed them to exacting tolerances, but MAN!

   As an example of what I mean by the flatness, I played a direct metal mastered recording of Beethoven's 6th symphony. This is my absolute test of an amplifiers dynamic range and quality. The third movement has a part in it that is known as the thunderstorm. It starts out very soft with the violins sounding as if there were a couple of rain drops starting out, then the basses warn of thunder in the distance. The rain gets a little heavier and some more louder thunder. Then a bang of thunder occurs and the rain gets heavy and furious. Well, I got knocked out of my seat. It really startled me. I did not expect such a dynamic range from a 15-18 watt per channel amp into speakers designed for 150 watts. The sound was not strained in the least (must be the 200 microfarads of filter caps. Original circuit calls for 30!). The tympanis had equal amplitude and force. Solid state amps and push-pull tube amps tend to emphasize the lower frequency tympani, and tube SE amps and FET amps tend to emphasize the upper tympani. This one was exactly the same for the two (I think I only heard two tones). And you could actually hear the attack distinctly each time the person hit the tympani. A lot of amps I have heard tend to blend or blur this together. Also, in the right channel as the tympanis and bass are displaying their wrathful thunder, the violins on the right channel are displaying sheets of rain coming down, and one can hear the rosin drenched bow scratching across the violin string as the fingers dance their way up and down, each note coming out with equal amplitude. From the highest note to the lowest. All the while all the other instruments stand out in their own right. This was quite an experience.

   When I first heard this amp, it brought tears to my eyes, because I never thought I would hear that sound again. Sorry to say to all out there who are officionados of single ended triode or Williamson type amplifiers, but this amp puts all those to shame (To be fair to the Williamson design, I will be assembling one of my own soon to compare).

   I believe that the reason for it is that the final harmonic content is balanced. The triodes have a strong second harmonic. The output stage eliminates its second harmonic but keeps the third one in there. Although there is NFB to reduce the second harmonic, it is still higher than the third. The transformer adds its own second harmonic. So we have a fundamental, a strong second harmonic and a lesser third harmonic. All the way down the line the harmonics reduce linearly. So what we have is a balanced output that reinforces the original signal's balance. That is what I call a purist amplifier. Of course the NFB reduces these to nice low levels, the balance still remains.

При той обратной связи,которая в нём заложена - восторженные возгласы преждевременны.