Get the PX25...thank me later. LoL
WTB EML or KR Audio tubes
- Thread starter deuter
- Start date
Get the PX25...thank me later. LoL
- Thread Author
- #162
Another place to get KR Audio tubes.
http://www.tubeampdoctor.com/en/shop_Other_brands_OEM_Tubes_KR_Audio/
http://www.tubeampdoctor.com/en/shop_Other_brands_OEM_Tubes_KR_Audio/
- Thread Author
- #164
Sorry don't know anymore contact details for Eunice then what I provided earlier.
Not sure why they are so quiet on the KR 242 tubes.
I remember mentioning to Eunice to advertise the tube more, her response was she will get it up on the website soon.
Hasn't happened.
Not sure of the code, but I think its UX. Its the (long) 4 pin config with 2 fat and 2 skinny pins.
"History of tube sockets (primarily in the United States)
The earliest tubes such as the DeForest Audion were manufactured on light bulb machinery and used lamp bases and flying leads. A variety of leads, clips and fittings came into use but it soon became apparent that a base with multiple contacts which the tube could be inserted into was the simplest method of connection. Since tubes consisted entirely of filamentary diodes and triodes, four was as many contacts as was needed and so four pin connectors became the earliest standard. Although several proprietary sockets and tubes were introduced such as the Westinghouse WD11, the first standard basing was the UV four pin base. It had four short nubby pins and a bayonet pin on the side which was for mechanical purposes and was fitted in the socket like a bayonet. Later, the UX base was invented with four long pins in the same spacing and order, so that the tube could simply plug in downwards (assuming the socket was horizontal facing up). This base is still in use on the 811 transmitting tube, the WE 300B and for some industrial and medical electronic uses. Some tubes were designed so they could be used either in the UV or UX ("regular four pin" to us) bases and have both long pins and a side bayonet fixturing pin. UX bases are still made and common. (WE and commercial bayonet sockets had a different orientation of the pin slot. The 300A and 300B are identical except for the orientation of the pin slot so the 300B would fit a certain older WE ERPI unit and sub as a power tube or, with a jumper, a rectifier!-B)"
"History of tube sockets (primarily in the United States)
The earliest tubes such as the DeForest Audion were manufactured on light bulb machinery and used lamp bases and flying leads. A variety of leads, clips and fittings came into use but it soon became apparent that a base with multiple contacts which the tube could be inserted into was the simplest method of connection. Since tubes consisted entirely of filamentary diodes and triodes, four was as many contacts as was needed and so four pin connectors became the earliest standard. Although several proprietary sockets and tubes were introduced such as the Westinghouse WD11, the first standard basing was the UV four pin base. It had four short nubby pins and a bayonet pin on the side which was for mechanical purposes and was fitted in the socket like a bayonet. Later, the UX base was invented with four long pins in the same spacing and order, so that the tube could simply plug in downwards (assuming the socket was horizontal facing up). This base is still in use on the 811 transmitting tube, the WE 300B and for some industrial and medical electronic uses. Some tubes were designed so they could be used either in the UV or UX ("regular four pin" to us) bases and have both long pins and a side bayonet fixturing pin. UX bases are still made and common. (WE and commercial bayonet sockets had a different orientation of the pin slot. The 300A and 300B are identical except for the orientation of the pin slot so the 300B would fit a certain older WE ERPI unit and sub as a power tube or, with a jumper, a rectifier!-B)"
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Audiophile bill
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It's here!
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You like, Mike?
Bill, I LOVE this combo. The Lampi KR5U4G brings out what you would expect from the Lampi EML45 tubes. I could never find the perfect recti for them before. This is it!
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This combo is a home run. Lampi EML 45's and Lampi KR 5U4G. Wow.
I have 242's here on loan. I will be trying that combo next.
khonfused
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- May 28, 2016
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- 47
Rumor has it (out of Poland) that the 242 is only suitable with a balanced GG and not the unbalanced version.
Did I understand it correctly that those who tested and liked the 242 did so with a Big 7 not a GG?
Has anyone actually compared the 242 with a px25 in an unbalanced GG?
Did I understand it correctly that those who tested and liked the 242 did so with a Big 7 not a GG?
Has anyone actually compared the 242 with a px25 in an unbalanced GG?
What setting for 242 tubes? 101d or 300b?
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Guys, someone on WBF today asked about DSD 512 on the Lampi...I replied to him with a 242...
Hi, was just listening for a bit at Audiophile Bill's place. We tried the KR45s (which put me to sleep), the WE 101D replicas, and the KR balloon 300bs. We also tried the KR 274b and the 5u4g recti. We also had a Tara Cobalt, a Siltech Ruby double crown lent by a friend (it retails at 18k), and an excellent specially customized Sablon power cord. We also had Tellerium Q's second from the top speaker cable, to compare with the audience 24se.
Trust me, and think Bill will confirm when he comes online, these things made minimal difference. What made the difference was when we put my KR 242 in. Bam. End game. We did a lot of dems on Danse Macabre, and each note had a super grip with the 242s. The attack on each note, the pause, the time intervals, the dynamics swings, were all incredibly enhanced without having to listen for it. The dynamics and bass were superb, with extra cleanliness and resolution, the details in the bass just stood out. Soundstage, immersiveness, throw any term from that audiophile dictionary recently posted, and it was in multiples. The ease of the swing from low to high itself made it musical.
We also heard his Kuzma TT and Triplanar and Lyra Kleos. But over there fluidity in violin aside, the 242 stood out.
This is probably the strongest recommendation I will make since I have been posting about the Lampi. If you have a big 7, forget sending it for a GG upgrade. If you have a GG, forget about the 512 upgrade. First get yourself a 242 pair. If you have the GG, send it back to get it tweaked for a 242. Since Bill replaced his AR Ref 3 and Krell 750 fpbs with the Analog Domain integrated, his gain changed to allow the 242 to play, but we were still getting some distortion on some tracks, while Danse Macabre for whatever reason was playing fine.
10 times out of 10, a Lampi with 242 on PCM will beat a Lampi with other valves on DSD256. Haven't compared the PX25, Elrog or Tak 300b yet, but find it difficult to foresee a bigger jump. But hope that answers your query about 512. You can get it, but doubt that will be the differentiating factor.
Hi, was just listening for a bit at Audiophile Bill's place. We tried the KR45s (which put me to sleep), the WE 101D replicas, and the KR balloon 300bs. We also tried the KR 274b and the 5u4g recti. We also had a Tara Cobalt, a Siltech Ruby double crown lent by a friend (it retails at 18k), and an excellent specially customized Sablon power cord. We also had Tellerium Q's second from the top speaker cable, to compare with the audience 24se.
Trust me, and think Bill will confirm when he comes online, these things made minimal difference. What made the difference was when we put my KR 242 in. Bam. End game. We did a lot of dems on Danse Macabre, and each note had a super grip with the 242s. The attack on each note, the pause, the time intervals, the dynamics swings, were all incredibly enhanced without having to listen for it. The dynamics and bass were superb, with extra cleanliness and resolution, the details in the bass just stood out. Soundstage, immersiveness, throw any term from that audiophile dictionary recently posted, and it was in multiples. The ease of the swing from low to high itself made it musical.
We also heard his Kuzma TT and Triplanar and Lyra Kleos. But over there fluidity in violin aside, the 242 stood out.
This is probably the strongest recommendation I will make since I have been posting about the Lampi. If you have a big 7, forget sending it for a GG upgrade. If you have a GG, forget about the 512 upgrade. First get yourself a 242 pair. If you have the GG, send it back to get it tweaked for a 242. Since Bill replaced his AR Ref 3 and Krell 750 fpbs with the Analog Domain integrated, his gain changed to allow the 242 to play, but we were still getting some distortion on some tracks, while Danse Macabre for whatever reason was playing fine.
10 times out of 10, a Lampi with 242 on PCM will beat a Lampi with other valves on DSD256. Haven't compared the PX25, Elrog or Tak 300b yet, but find it difficult to foresee a bigger jump. But hope that answers your query about 512. You can get it, but doubt that will be the differentiating factor.