While organizing my Flickr, I noticed that I've uploaded over 700 images taken by the Leitz lens I use the most - the first version of the 35mm f2 Summicron. I've blogged about this lens in the past when it was merely an old user lens, which took very pleasing images.
However, in the recent years, this 8-element lens has caught the attention of aficionados, skyrocketing its value. In fact a reverse engineered version of this lens is being remanufactured in China in limited quantities.
Ninoy Aquino International Airport, Manila 2011 Kodan Tri X in Diafine
It's not a razor sharp optic and the corners vignette wide open.
Macau 2014 Fuji Acros in Diafine
Hong Kong 2014 Fuji Acros in Diafine.
I like the way it creates an illusion of a three dimensional image with a smooth bokeh.
Austin Healey "Bugeye" Sprite Kodak Plus X in Diafine 2016
It's sharp enough to capture essential details with good contrast.
Porsche 356 in NYC Ilford FP4+ in Rodinal 2019
Carnegie Hall 2016 Kodak Plus X in Diafine
NYC 2016 Kodak Plus X in Diafine
High Line NYC 2016 Kodak Plus X in Diafine
SoHo NYC 2016 Kodak Plus X in Diafine
Segerstorm PAC 2016 Kodak Plus X in Diafine
Bunker Hill, WV 2017 Fomapan 100 in Rodinal
Toronto 2017 Kodak Plus X in HC110
Kensington Market, Toronto 2017 Fuji Acros in HC110
NYC 2019 Kodak Portra
Color rendition is on the cool and muted side.
New York 2019 Kodak Portra
Subtle tonal gradations are well preserved by this medium contrast lens.
Princeton U 2021 Kodak Portra
NoMad NYC 2018 Fuji Acros in HC110
The technical limitations of this lens contribute to its overall character and charm.
Water Jug 2014 Fuji Acros in Rodinal
Lincoln Center 2019 The Juilliard School (left) + David Geffen Hall (right) Ilford FP4+ in Rodinal
JE Labs LP Collection 2022 Sony A7II
I like how this lens tames a digital sensor, just like I utilize vacuum tubes + transformers to turn a number crunching DAC chip into a musical device.
JE Labs HiFi 2022 Sony A7II
I love seeing the tonal quality of my hifi through this lens.π
To celebrate the holiday season I've prepared a short video. Please note that given the dynamic compression and bandwidth limitations imposed on sound quality by YouTube, I upload videos for the visual aspect rather than their sonic merits.π
So watch how the 720 milliwatts per channel Bonsai Amp is pushed to soft clipping by Tchaikovsky's "Pas de Deux" from "Nutcracker" driving the Altec 753Cs. π
Thank you to all my readers and supporters!
πππWishing everyone happy holidays and a great new year!πππ
It's been over five years since I built this loctal preamp. I moved it recently so that it'd be between my two turntables. In this location, I was surprised by higher-than-usual hum and noise levels emanating from the phono section especially when compared to my RCA octal+ 76 line stage.
Given that it had been playing quietly and flawlessly until it was relocated, I was dumbfounded. Then I noticed that when I put my hand close to either 7F7 tube, the hum and noise got even louder.π€
Before taking the preamp out of the system for a thorough check up on the test bench, I searched for a couple of tube shields from my parts bin.
In my reality check article, I used the above chart to associate frequencies with the vocal range of humans and acoustic musical instruments. Please use it as a guide to the RTA traces and discussion of frequency ranges below.
Lou Donaldson on Snell Type JIIIs
The Snell Types E, J, and K have developed a reputation as single ended triode (SET) amp-friendly speakers. Arguably, my pair of Type JIIIs can be a good stop gap but I'll try to explain in the simplest terms as to why, in the final analysis, they don't meet my criteria for flea power amplifiers designed with "it's the first watt that counts" ideology.
Snell Type JIII specs
Since I couldn't find a late 80s to early 90s Vifa catalog, I based all the specs from the above information provided by Snell. The low(ish) nominalimpedance (Z) of 6 ohms is an advantage when driven by current source devices such as solid-state amplifiers, which can typically supply more power to a lower Z load. OTOH, vacuum tubes are inherently high impedance/voltage source devices, thus requiring output transformers to drive lower Z loads. However, any well-designed tube amp with an 8 ohm tap from the secondary of the output transformer shouldn't have problems driving the Type JIII.
Snell Type JIII
While the man cave is hardly anechoic, this RTA trace is smoother compared to anything I've taken from any of my Altecs. It pretty much tracks the manufacturer's specs.
Altec 753C
In spite of the fact that the Altec 753C's RTA isn't quite as smooth, it has a half octave greater extension in the low end. The top end also starts to roll off earlier, at around 13kHz. But as further discussed below, the performance of the Altec 802D compression driver + Altec 32C belies its 40s Western Electric roots.
The radiating area of the Altec 414A cone at 95 square inches is 2.5 times greater than the 8" Vifa M21's 38.5 square inches. Both use paper cones - the Altec cone is left bare and suspended by a treated accordion surround, while the Vifa uses high compliance foam and its cone is treated with some form of damping compound. The added cone mass from damping helps low frequency extension. Regrettably, it also reduces speaker sensitivity, among other things.
Altec 414A in wide range mode
In wide range mode, the 414A's 95 square inches of radiating area covers a frequency range of six and a half octaves, starting from around 40Hz-3500Hz. That's just a few notes shy of a piano's range at both extremes as well as the fundamental notes of most acoustic musical instruments and easily, the entire human vocal range. This driver sounds very natural to my ears and plays smoothly with no detectable glare or shout manifested when listening to music. I’m happy to report the tiny spike before 1kHz isn't audible to me. π
The Vifa M21's smaller radiating area of 38.5 square inches tasked to reproduce five and a half octaves from 49Hz all the way to its 2700Hz roll off point is a greater challenge.
Altec 414A specs
The 414A goes lower than the Snell JIII but not quite solid down to the claimed 30Hz rated fundamental. With a 99dB/1W/4ft sensitivity, it has an 8dB advantage over the Snell Type JIII's 1.6 cubic foot (cf) ported box rating of 91dB/1W/1M. Housed in a 4 cf bass reflex cabinet, the 414A can definitely move a whole lot more air with minimal power input.
Reverse engineered Snell JIII crossover
The type JIII's crossover is a bit more complicated than my Altec 753C XO below. Encircled in red is a paralleled choke/resistor/capacitor EQ network for the Vifa woofer. This shapes and/or controls cone resonance in the midrange. Unfortunately, the EQ network also absorbs power.
Case in point, BBC engineers' extensive use of EQ in the LS3/5A crossover made it notoriously inefficient. But to their credit, whether it was the earlier 15 ohm or later 11 ohm version, it was a friendly load, especially to tube amplifiers.
Altec 753C crossover
Since the 414A has no serious peaks or dips, which I verified through years of listening and later confirmed via RTA, I chose to run it in wide range mode in which the woofer rolls off mechanically. This preserves the efficiency/sensitivity of the woofer and makes the crossover simpler since it only involves a 4 uf capacitor acting as a high pass filter. By using non-inductive resistors, the Altec 802D compression driver is attenuated to match the 414A's sensitivity. Then I adapted the high frequency EQ circuit from the Altec 30923 to tweak the shape of its top end response.
Left: Altec 802D + 20275 Right: Snell/Vifa D26
For the higher frequencies, Snell chose the Vifa D26 1.25" soft dome fabric diaphragm that has a radiating area of 1.23 square inches vs. the Altec's 2.25" diameter aluminum diaphragm with an equivalent 4 square inches of radiating area.
Snell employed a sharper 12dB/octave slope high pass filter for the dome tweeter to cut in @ 2700Hz while I blended the 802D compression driver/32C horn combo at a gentler 6dB/octave slope @ 3500Hz in the Altec 753C just where the 414A top end response starts to taper off.
Altec 802 + 32C horn
My old school high frequency horn loaded system uses the Altec 802D compression driver in conjunction with the 90° H x 60° V dispersion Altec 32C horn originally designed by Western Electric for their 753C monitor system. It's merely coasting along from 3500 Hz, generating the top most octaves and harmonic overtones compared to the hard-at-work direct radiating Vifa dome tweeter diaphragm of 1.23 square inches struggling to replicate the final octave of top end fundamentals from 2700Hz. Hence, the Altec horn system reproduces much faster and cleaner transients with ease, while also enhancing the already effortless presentation of micro and macro dynamics of the high efficiency 414A woofer.
I'm not set up to plot a reactance chart for the Altec 753C and Snell Type JIII but after using them with various amps in my collection, I guesstimate that both proffer a benign resistive load. However, the 16 ohm nominal impedance, simpler crossover of the Altec 753C and its greater efficiency are a godsend to low damping factor single ended directly heated triode amps.
Ever since I built my first pair of open baffles, evaluating drivers in wide range mode in order to gauge their ability to reproduce an accurate midrange has become routine. Listening to the Vifa M21 woofer in this manner wasn't a very pleasant experience because it sounded very dull. This is in stark contrast to the snappier midrange of the Altec 414A, which I've been using in wide range mode for many years. Likewise, the Vifa 8" was totally outclassed by a handful other woofers and wide range drivers in my collection including the 10" Altec 406Z and Altec 756B.
It's a no brainer that the long travel foam suspension + cone damping extended the low frequency response of the 8" Vifa. But to my ears, this was achieved to the detriment of midrange performance. Is bass extension really more important than midrange accuracy in the high-end audio era? Why is cone damping so prevalent in modern drivers? Western Electric, Jensen, Altec, and their contemporaries all used bare cones.
During the era of Western Electric and Altec, engineers used their ears, guided by cutting edge technology test equipment. This can be gleaned from contemporary ads and press releases. I can't help but wonder if the Vifa woofer was designed merely to satisfy test instrument requirements and laboratory standards without any ear testing involved. If that is the case, is that what we consider progress?
I chose the Altec 755C over the near mythical Altec 755A for this feature because IMHO, it is a worthy benchmark for an 8" wide range driver that is still quite accessible and affordable in the real world. Based on the above specs, by the time Altec introduced the 755C in the late 50s (or early 60s?), they had conceded to the spec wars triggered by the commercialization of stereophonic equipment. I've listened to the 755C loaded in an OB, 2cf box or the Silbatone cabinet but never heard a solid 40Hz low end, merely well defined harmonics of that fundamental.
Simple 46 amp (1250mWpc) > Altec 755C in Silbatone enclosures
Granted the 755C can go a bit lower, subjectively, its low frequency extension isn't significantly greater than the 755A. I'm glad though that Altec was able to retain much of that captivating midrange + dynamics even if it's not quite as realistic as its older Western Electric-designed 755A sibling.
Altec 755C in the Silbatone box
The Silbatone + 755C combo loses about an octave at the frequency extremes vis a vis the Snell JIII but has a 5dB advantage in sensitivity. Despite the spikes and dips in its RTA trace, I much prefer listening to the Silbatone 755Cs. Maybe the dips and spikes = musical?π€
Snell JIII = 1.6 cf vs. Silbatone 755C = 1 cf
Whether driven by my SET amps, Dynakit ST35 or Nobsound/JLH 1969 clone, the Snell Type JIII sounded veiled and anemic compared to the Altec 753C and Silbatone 755C. With the Snells, I have to turn up the volume a couple of notches to be engaged musically but with the Altec 753C or Silbatone 755C driven by my weakest 750mW per channel SE71A amp, I already hear subtle details even at background sound pressure levels (SPLs). Understandably, the JIII could not compete with the Altec 753C at the loudest end of the spectrum since it doesn't have the physical size to move as much air. But considering Snell's reputation, I expected better resolution and nuances at low to medium SPLs.
Music Reference RM9 amp > Snell JIIIs
The most convincing full range sound I got from the Snells was when they were driven by the Music Reference RM9 amp, a push-pull parallel/triode connected EL34 stereo amplifier producing 35 watts per channel with the negative feedback set at minimum. Alas, with this combination, the irresistible charm of the single ended directly heated triode amp is lost...I can't have my cake and eat it, too.π
Altec 755C in Silbatone cabinet + 3000H super tweeter Truth be told, lately, I find the use of a super tweeter redundant
Through the years, I’ve tested a few vintage and contemporary 8” wide range speakers but haven't found any which could closely approximate the 755C’s sound quality. The design isn’t rocket science and if Great Plains Audio still has the original tooling, I don’t see any reason why the humble 755C PA speaker can’t be reproduced at a reasonable price. That would be a great boon to single ended directly heated triode amp aficionados, especially those who have limited space in their listening room.π
Contrary to current trends in speaker cabinet design, the wider front baffle area of the Altec 753C cabinet (and to a lesser extent, even the Snell Type JIII), enhances projection by acting as an acoustic soundboard. Western Electric and Altec speaker systems were usually fitted with wings in theater installations, which is the main reason I've been an advocate of the wide open baffle. In principle, this is practically no different to the fully open lid of a grand piano during a performance in a concert hall.
Altec 753C + mini tour of the man cave
The Snell Type JIIIs can give a glimpse of what directly heated single ended triode amplifiers can do. But these are definitely not end game speaker systems for those who want to indulge in the delights of flea powered single ended directly heated triode amps. As competent as the Snells are and given their already above average sensitivity (compared to typical high end audio speakers), they could never spook me into believing musicians come alive in my man cave the way my Altecs can at times. For some organic reason, I can also listen to my Altecs for extended periods without listening fatigue creeping in. Keep in mind though that the empirical and subjective observations embodied in this article only reflect my musical aesthetics and priorities. YMMV.
I hope I was able to illustrate that there's no myth or magic to a fine sounding and efficient speaker system. All it takes is a basic understanding of the physics of sound and learning how to compromise.
Before lockdown, Ding promised that he'd introduce me to his friend, Steve Leung, of VAS Audio. He's had his Denon DL103S, Ortofon SL15, Supex SD900, and other classic cartridges re-tipped and repaired by Steve. As the pandemic wound down, I finally got to meet Steve and brought the following MC cartridges for new tips, as well as tonearms for repair at his shop.
My Ortofon SPU GME MKII has had a hard life ever since it was gifted to me by my SETUP buddies in the 90s. It's been on semi-retirement since I acquired an SPU#1s + a late 60s or 70s(?) SPU-G (below) with a low mileage nude mounted conical stylus.
SPU-G
This SPU-G portrays a wider and airier sonic landscape with perhaps a bit more detail compared to my more recent SPU#1s. It also sounds more organic than the GME MKII.
SPU GM(E) MKII - AFTER
I attribute the SPU-G's sonic superiority to the better polished nude mounted conical stylus vs. the bonded conical stylus of the SPU#1s. So I asked Steve to fit his finest nude mounted conical stylus on my GME MKII.
Ortofon SPU GM(E) MKII
Agreeing to my downgrade idea,π Steve may have turned the GME MKII into an SPU-G equivalent of the SPU-A wood. All I know is, it can stand up to my cousin'sSPU Synergy!π
Supex SD900 MKIV
BEFORE
The Koetsu Black and Supex SD900 were my dream cartridges back in the 80s. When I finally found an SD900 I could afford, it sported a ruby cantilever + complex stylus profile upgrade.π Although traces of the classic Supex tonality were still there, it sounded compressed and swamped by dry analytical detail.π
AFTER
I asked Steve to work the same magic on my Supex as he did on Ding's, albeit with a twist. We agreed upon an aluminum cantilever just like the original and I requested for another nude mounted spherical stylus.
SD900 MK IVs (s = spherical)
Steve remarkably transformed the Supex! The harmonic richness and dynamics this classic MC cartridge is known for was restored. To my ears, the SD900's edge over my SPUs and DL103s is its ability to focus and retrieve detail without inducing tinnitus. Because of Steve's phenomenal restomod job, I'm no longer yearning for a Koetsu! π
Being an ardent fan and committed user of the Gray 108viscous damped tonearm and its Japanese clones for monaural hifi applications, I needed to experience a modern iteration of a uni-pivot. This design actually dates back to the late 60s. Scroll down to page 1413 for the review in the Hi-Fi News November 1969 issue. The UA-70 seems to be essentially the same tonearm updated in the 70s with an anti-skate mechanism.
I added the UA-3NL to my collection in early 2018 and paired it with my Thorens TD124 and Sony TTS 2500, respectively. I was going to include this tonearm in my Alfred Bokrand AB309 write-up but one channel dropped out.
When I finally accessed the internal hair-like strands of enameled wire, I realized that repairing it was beyond my DIY abilities.
Similar to the knife-edge bearing'd SME 3012, the Stax presents a mid to back row concert hall perspective, which is an atmospheric experience without any loss of detail. Although I've used it satisfactorily with the SPU#1S, it brings out the best from cartridges that track in the 1.5 > 2.5 gram range. Just like the SME 3012, the UA-3NL may not appeal to listeners who favor a front row seat/kick drum on your chest presentation.
Thanks to Steve's skill and nimble hands, I'm enjoying my UA-3NL again!
So I took out my ancient Cart-Align protractor, did some measurements with my Ortofon SPU#1s cartridge attached and got a pivot to spindle distance of 223mm. I haven't had any problems with cartridges I installed conforming to the SPU's overhang.
It's equipped with a non-standard 4-pin connector in which the negative phase of the right channel is internally grounded. This limits its use to the stock plastic head shell. In an effort to make it compatible with modern metal head shells, I successfully detached the 4 pin connector at the base of the tonearm pillar. It turns out the ground connection was near the head shell collet, which I couldn't remove. Instead of risking damage, I relied on Steve's expertise.
The design may have been inspired by the Ortofon SMG212 and SKG212 with added Japanese innovations. It is quite massive and can easily balance a 30+ gram SPU. So far the lightest cartridge/head shell combo I used successfully was 19.5 grams. Given its high tolerance bearings, it's an ideal partner to the Denon DL103, Ortofon SPU, and similar low compliance cartridges. Consider this as an excellent alternative to the classic Ortofon AS/RM/SK/SMG 212 series tonearms especially if you prefer the svelte proportions of a compact plinth!
iPhone video clips of the MC cartridges and tonearms in action
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