VAC Renaissance Phono - Tube rolling advice

[sofer]

Hi everyone,

I recently picked up a 2022 Renaissance Triode Phono (standard version) from a dealer. He actually had an SE version in the shop too, but it sold just before I could grab it. I managed to do a quick A/B test between them and, honestly, even though I expected a big gap, I couldn't find any massive differences that justified the price jump. The standard version is a stellar performer.

I’m currently running it with my Renaissance Mk V, but I’ve got a new VAC Master Preamp arriving in a few weeks. The front end is a Michell Gyro SE with a Hana Umami Red.

The phono stage is still running the original Penta Labs 12AX7 tubes. I'm considering a serious tube upgrade to maximize the synergy once the Master lands. I’m looking at a specific "cocktail" from TubeDepot (~$1,400 for the set with all matching/low-noise options):

• V1/V2: Telefunken ECC83 Smooth Plates (Diamond Bottom)

• V3/V4: Amperex Holland 12AX7 (Hammond print)

• V5/V6: Genalex Gold Lion B759

For those with experience in the Renaissance or Master phono stages – does this brand mix make sense? Is it worth the investment over the stock Penta Labs glass, or are those already close to the point of diminishing returns?

Appreciate any thoughts!

 

[Michaels HiFi]

Hi everyone,

I recently picked up a 2022 Renaissance Triode Phono (standard version) from a dealer. He actually had an SE version in the shop too, but it sold just before I could grab it. I managed to do a quick A/B test between them and, honestly, even though I expected a big gap, I couldn't find any massive differences that justified the price jump. The standard version is a stellar performer.

I’m currently running it with my Renaissance Mk V, but I’ve got a new VAC Master Preamp arriving in a few weeks. The front end is a Michell Gyro SE with a Hana Umami Red.

The phono stage is still running the original Penta Labs 12AX7 tubes. I'm considering a serious tube upgrade to maximize the synergy once the Master lands. I’m looking at a specific "cocktail" from TubeDepot (~$1,400 for the set with all matching/low-noise options):

• V1/V2: Telefunken ECC83 Smooth Plates (Diamond Bottom)

• V3/V4: Amperex Holland 12AX7 (Hammond print)

• V5/V6: Genalex Gold Lion B759

For those with experience in the Renaissance or Master phono stages – does this brand mix make sense? Is it worth the investment over the stock Penta Labs glass, or are those already close to the point of diminishing returns?

Appreciate any thoughts!

With the VAC I've owned per Kevin you don't always need to change all the tubes to get great effect.

Telefunken will sound super clear but super sterile and in some cases thin.

Amperex Holland if it's the 1960's mfg is good, if it's the 1950's mfg is MAGIC. Sweet, open, airy and musical while still being clear and never brittle.

The Gen's to me have never been impressive. But that IMO.

Ask Kevin which point you should change first and go from there.

 

[sofer]

With the VAC I've owned per Kevin you don't always need to change all the tubes to get great effect.

Telefunken will sound super clear but super sterile and in some cases thin.

Amperex Holland if it's the 1960's mfg is good, if it's the 1950's mfg is MAGIC. Sweet, open, airy and musical while still being clear and never brittle.

The Gen's to me have never been impressive. But that IMO.

Ask Kevin which point you should change first and go from there.

Thanks for the insight! That’s a very interesting take on the Telefunkens.

My reasoning for the Telefunken Smooth Plates was to use them specifically in the V1/V2 input slots. Since I’m running a low-output MC (Hana Umami Red), I was prioritizing that legendary 'black background' and low microphonics for the first gain stage. Do you feel they would still sound 'thin' even in that specific position?

Regarding Amperex, I'd love to find 1950s D-getters, but finding a 'Phono Grade' matched pair that is actually quiet is becoming a nightmare (and very expensive). I was hoping the 1960s Holland/Hammond prints would be a safe 'musical' bet for the V3/V4 RIAA positions.

As for the Genalex Gold Lions, I was planning to use them only as buffers in V5/V6. Do you think that output stage is critical enough to warrant NOS glass as well, or is that where I can get away with high-quality current production?

I’ll definitely try to reach out to Kevin Hayes too, but your hands-on experience with the VAC sound is exactly what I was looking for. Cheers!