I've been enjoying this thread. Thank you Lon for kicking it off. I have a DGJ on order and it's been fun reading about your experiences. I originally read a thread from Grooveysauce and his experience having a tube rectifier on his DAC. I was about to pull the trigger on the same unit he has, but the timing was perfect for Steve to start his build thread for the DGJ. I hadn't hit the pay button for the other unit. So it seemed like a no brainer. Mine is getting closer and I'm planning on using it on my DAC. Should be a beautiful thing.

For those of us waiting in anticipation for the ship date, anyone care to share some eye candy of your system sportin' a DGJ?

CONT:

Customer:
what about zen amps?

June:
If “Zen amps” means the tiny single-ended triodes in the SE84UFO family, they’re fantastic for the space, texture, and guitar/vocal realism in your Etta/BB/Muddy/Clapton picks — the most holographic, reach‑in presentation we make at moderate, late‑night levels. Compared to the 300B, they’ll have a gentler low‑bass grip, so Deep Purple/T. Rex will feel a bit lighter but still very coherent and fast.

How you’d choose within the Zen family comes down to how much of that “last word” holography you want versus body. If you lean to maximum image depth and inner detail for your blues and classic rock at sane volumes, a Zen Triode is the right lane.

Want to go this direction? If you confirm you’re leaning Zen over 300B, I’ll outline a simple setup approach and a tube‑rolling path to add a little extra bite for the rock nights without losing the Zen magic.

Customer:
tell me wich decware amp i should buy

June:
Given your artists and “moderate level” listening on Tannoy Ardens, I’d pick the SEWE300B “Sarah” 300B amplifier. It keeps the intimate, holographic feel for Etta/BB/Muddy/Janis while giving a bit more shove and bass weight for T. Rex and Deep Purple than the smaller Zen amps.

If you want me to, I can lay out a simple first‑week setup on the Sarah — HI vs LO outputs, voicing switch starting points, and a safe tube set you can try once you’ve lived with it a bit.

Customer:
yes

June:
Great — here’s a simple first‑week setup for the SEWE300B “Sarah” with your mix in mind, then an easy tube-rolling path you can try later.

Day 1 setup (leave it here for a week):
- Speaker outputs: Start on HI. Play Etta James “At Last” at your normal level — you want a locked center vocal and sweet cymbals. If the bass feels a little soft on T. Rex/Deep Purple later, try LO; if LO tightens the bass without hardening cymbals, keep LO. Otherwise stay on HI.
- Positioning and gain: Keep the Sarah’s volume at roughly noon and set your source/preamp to taste. That keeps noise low and dynamics lively.
- Listen a week before rolling any tubes — let your ears “seat” to the amp.

After a week — quick compare:
- Spin Muddy Waters “Mannish Boy” and Deep Purple “Smoke on the Water.” Flip HI/LO again. Keep the setting that adds a touch more kick bounce without blurring bass lines.

Simple, safe tube-rolling path (optional, after you know the baseline):
- Rectifier: Swap the stock rectifier for a 5U4 or 5U4G to subtly shift feel; 5AR4 will have a softer start and can feel a bit snappier. Each brand flavors attack and space slightly.
- Small-signal tubes: Make one change at a time and live with it a few evenings. Use the “vocal lock + cymbal sweetness” test track (Etta/Janis) and a “groove + bite” track (Clapton/T. Rex) to decide.

If you’d like, tell me which specific 300B and small-signal tubes your Sarah will ship with, and I’ll tailor exact swap suggestions and what you should expect to hear track-by-track.

Customer:
i dont know

June:
All good — we can keep it simple. If you want one Decware amp that fits your artists and moderate listening on Tannoy Ardens without fuss, choose the SEWE300B “Sarah.” It gives you that intimate, holographic midrange plus better drive and bass weight for your rock picks than the smaller Zen amps.

Do you want me to note anything about your room size or whether you use a preamp, or are you happy to just go with the Sarah as-is?

Customer:
i have Zen Triode Phono, pioneer exclusive p10 wit hana unami red cartridge, pair of tannoy ardens and pair of technics sb-e 100

June:
Thanks — with your Zen Triode Phono, Hana Umami Red on the Pioneer Exclusive P10, and Tannoy Ardens/Technics SB‑E100, I’d choose the SEWE300B “Sarah” 300B amplifier.

Why this pick for your system:
- Your MM phono front end is very resolving; the Sarah’s 300B tone preserves that midrange magic while adding the bass weight and swing your Ardens and SB‑E100 can reveal.
- At moderate levels, it stays intimate and holographic for vocals and guitar, but has more shove than the small Zen amps when you switch to rock.

Quick hookup notes to start strong:
- Use the Ardens first; they’ll show you the Sarah’s imaging and tone immediately. Try the HI output taps first, then compare LO — keep the one that gives the tighter bass in your room.
- Run your phono chain into your preamp (if you use one) or straight into the Sarah if you’re source‑direct; set the Sarah’s dual volumes around noon and trim balance by ear.

If you’d like, tell me which speakers you plan to use most (Ardens or SB‑E100), and I’ll suggest which output taps to start on and a simple first listening checklist for dialing it in.

Customer:
most ardens

June:
Got it — mostly Ardens. Here’s a clean start that dials them in fast with your Zen Triode Phono front end.

- Output taps: Start on HI, then try LO on the same track. Keep the tap that gives the tighter kick drum and most solid center vocal. With Ardens, either can win depending on room gain — trust your ears.
- Gain staging: Set the amp’s volume controls around noon, then use your preamp (or source level) to set listening level. This keeps noise low and dynamics lively from the ZP3 chain.
- Quick check playlist:
 - Center/lock: Etta James “At Last” — listen for a rock‑solid center and open cymbals.
 - Bass articulation: T. Rex “Get It On” — pick the tap with the springiest, most separated bass notes.
 - Texture/dynamics: Clapton Unplugged — strums should start crisp, decay naturally without glare.

If any hum shows up when you switch over to vinyl, the fastest fix is usually a tube swap in the chain — the most common cause is a noisy or aging tube. Want a one‑minute path to isolate that if it comes up?

Customer:
so i need sarah 300b ?

June:
Based on your phono front end and mostly using the Ardens at moderate levels, yes — the SEWE300B “Sarah” is the right Decware amp for you. It’ll keep the holographic mids you want and give better drive and bass weight for your rock than the smaller Zen amps.

If you’d like, I can note the exact HI/LO tap and voicing‑switch starting points for the Ardens so you’re dialed in on day one.

Customer:
do i need Zen Torii Amplifier ?

June:
You don’t need a Torii for your use case. With your phono front end and mostly‑Ardens listening at moderate levels, the Sarah 300B will get you the tone, imaging, and enough shove you’re after. The Torii MK5 adds more raw power and tube rolling flexibility, but it isn’t required for what you described.

If you’re torn, tell me how loud you actually listen (roughly where your volume ends up on a typical evening), and I’ll sanity‑check whether the extra headroom of the Torii MK5 would bring you anything you’d notice.

Customer:
i have pair of quad II amps

June:
Thanks for the context — with a pair of Quad II in the house and mostly listening to the Ardens at moderate levels, you still don’t need to move to a Torii. The Sarah 300B will give you a different presentation than the Quads: more holographic midrange “in the room” feel and a juicy tone, while keeping enough drive for your Ardens at the levels you described.

If you want to keep the Quads for when you crave that classic push‑pull snap and add the Sarah for the 300B glow, that’s a complementary pairing many enjoy. Want me to sketch how you could A/B them cleanly from your phono chain?

Customer:
yes

June:
Great — here’s a simple, clean A/B from your phono chain to both the Quad II pair and the Sarah 300B so you can switch amps without re-cabling speakers.

- Source path
 - Turntable -> Zen Triode Phono -> line stage (if you use one). If you run phono straight, that’s fine too.

- Feed both amps
 - Use a high-quality 1-in/2-out RCA switch box or passive line switcher after your phono/pre. One output goes to the Quad II, the other to the Sarah. Only select one output at a time on the switcher to keep the inactive amp fully isolated.

- Speaker side
 - Use a proper amplifier/speaker switcher that hard-isolates the outputs (purpose-built for tube amps) so only one amp is connected to the Ardens at a time. Never tie two amps to the speakers simultaneously.

- Power-up habit
 - Power down the currently playing amp, flip both the input switcher and the speaker switcher to the other amp, then power up the other amp. This keeps tube outputs and transformers happy.

- Level matching
 - Set the Sarah’s volumes around noon. Match perceived loudness to the Quads with a steady vocal track before judging tone/stage.

If you’d like specific switcher models that are safe for tube amps, say the connection length you have to work with and I’ll suggest a couple that fit.

Customer:
quad or sarah are beter ?

June:
Between your Quad II pair and the Sarah 300B, it comes down to the presentation you prefer more than “better.”

- Where the Quads win: snappier transient attack and a bit more punch from their push‑pull topology. If you like a taut, classic British feel on rock, that’s their sweet spot.
- Where the Sarah 300B wins: a more holographic, “in-the-room” midrange with richer tone color and image depth. With Ardens at moderate levels, it will have plenty of drive and can be voiced via rectifier/VR tubes to lean cleaner or lusher.

If you’re split, I’d run the A/B you set up and level‑match on a steady vocal track. If you want, I can suggest a quick VR/voicing combo on the Sarah that tends to wow on Ardens for first listen, then you can decide by ear.

I have recently added Tavily API to her toolbox, so she can search the web in addition to her knowledge base which she often refers to as her notes.  Anyway, that seems to be going well, making her much more functional.

Tonight I'm have proud papa syndrome because June held it together for 42 messages in a single conversation.  I don't know if this was real or someone just exploring it, but either way it was a good test.  

TRANSCRIPT:

Customer:
tannoy arden and decware amp ?

June:
Are you thinking about running Tannoy Arden (Legacy) speakers with a Decware amp? A few quick pointers:

- Sensitivity/fit: The Ardens are high-sensitivity and easy to drive, so they pair well with Decware single-ended amps — including the Sarah 300B (SEWE300B), which is rated 4–7 watts per channel depending on VR tubes. The SEWE300B’s spec sheet lists it as suitable down to 89 dB speakers; Ardens exceed that, so you’re in the clear on power.

- Voicing control: On the SEWE300B you can fine-tune the match with the HI/LO output taps and the front “voicing” switches, plus the three VR tubes (OA2/OB2/OC2) that shift tone and power. That flexibility helps dial in the classic Tannoy presence without glare.

- Room size and volume: For large rooms or very high SPLs, consider whether you listen near concert levels. If yes, a higher-power Decware push-pull amp (like TORII or ZMA) is the safer headroom play; if not, the SEWE300B’s 4–7 W typically does great with Ardens.

If you can share your room size and how loud you like to listen, I can steer you to the best Decware match and VR tube combo.

Customer:
7 meeters x 5 meters

June:
Thanks — a 7 m x 5 m room is fairly large. With Tannoy Ardens in that space:

- If you listen at moderate levels with peaks in the mid–high 90 dB range at the seat, our single-ended amps in the 5–7 watt class (like the SE34I “Rachael” or the 300B-based SEWE300B) can be a very happy match with Ardens’ high sensitivity.
- If you like sustained, live-level loudness or sit far back near the 7 m wall, a push-pull Decware amp with more headroom (Torii series or ZMA) is the safer choice to keep dynamics effortless.

Do you lean more toward moderate listening or concert-level loud?

Customer:
moderate listening

June:
Got it — for moderate listening in a 7 m × 5 m room, Ardens are an easy match with our lower-power tube amps. If you prefer a little extra headroom while keeping that Decware tone, the Torii Mk V at 20 watts per channel is a great fit and gives you HI/LO output taps per channel to fine‑tune the match.

If you’d rather stay with single‑ended for that SET-style presentation, you can still do very well at moderate levels given the Ardens’ high sensitivity. Want me to compare what you’d hear between a single‑ended option and the Torii Mk V in that setup?

Customer:
yes

June:
Great — here’s how the feel differs with Ardens at moderate levels:

- Single-ended (Zen Triode family, e.g., SE84UFO2/2.1 or SE84UFO25): Most holographic imaging and inner detail, super-fast transients, and a very “alive” midrange. Microdynamics and tone color are the stars. With Ardens’ efficiency, these amps can play pleasantly loud in your room at moderate listening, but ultimate slam and grip in the lowest bass are gentler.

- Push-pull (Torii series): More headroom and macrodynamic swing, tighter bass control, and a bit more drive on complex passages. Still very dimensional and liquid, just a notch less “see‑through” than a Zen Triode at low–mid volumes. The extra power keeps crescendos effortless in your 7 × 5 m space.

Simple way to choose:
- If your priority is 3D imaging and intimacy at civilized volumes, go single‑ended Zen Triode.
- If you want a touch more authority and bass grip while staying relaxed at moderate levels, go Torii.

Do you lean more toward the holographic/intimate presentation, or would you like the added bass control and headroom?

Customer:
holographic/intimate presentation

June:
Perfect — for that holographic, intimate presentation with Ardens at moderate levels, a single-ended Decware is the right call.

Two strong choices:
- SEWE300B “Sarah” 300B: 4–7 watts per channel with tube-voicing flexibility. It’s designed around WE 300B and lets you tailor feel via the OA2/OB2/OC2 regulator tubes and the front voicing switches. Use the HI/LO impedance switches by ear; pick the position that sounds most relaxed and spacious with your Ardens.
- Zen Triode family (SE84UFO variants): Lowest parts count and that signature “reach‑in” 3D imaging. They’ll do moderate levels with Ardens, prioritizing inner detail and tone. Absolute bass grip is softer than the 300B, but imaging is top-tier.

Quick voicing tips if you go SEWE300B:
- For lusher, more saturated tone: lean toward higher-drop VR tubes (OA2), and try the front voicing switches in the rear position for deeper stage.
- For a bit more sparkle/clarity: mix in OB2/OC2 and try the front position on the voicing switches.

Want me to zoom in on the SEWE300B setup for Ardens — suggested VR tube set and starting switch positions?

Customer:
i am listening for blues rock

June:
Blues rock on Ardens at moderate levels points me to a single-ended Decware with just a bit of extra weight and swing.

- SEWE300B “Sarah” 300B: You’ll get that intimate, 3D imaging plus richer tone and a touch more shove on drums and guitar than the tiny Zen Triodes. For blues rock, that balance of bloom and drive tends to hit the sweet spot.

- Zen Triode (SE84UFO family): Most “reach‑in” holography and inner detail; fantastic at moderate late‑night levels. Expect a gentler low‑bass grip than the 300B but magic with guitar texture and vocals.

If your blues rock has plenty of kick drum and electric bass and you want a bit more authority while staying intimate, lean SEWE300B. If you prioritize maximum image depth and air over impact, go Zen Triode.

Want me to focus on one of those and outline a simple starting setup for Ardens?

Customer:
yes

June:
Great — let’s focus the setup on the SEWE300B “Sarah” for blues rock at moderate levels with Tannoy Ardens.

Starting setup you can dial in by ear:
- Impedance: Start on the HI output tap/switch, then try LO. Pick the one that gives bass lines a bit more bounce without thinning the mids — Ardens often like HI, but trust your ears.
- Voicing switches: Begin in the position that sounds most relaxed and spacious on your seating line, then flip and compare for a couple of tracks with solid kick and vocal center. Keep the setting that keeps cymbals sweet and the stage deep.
- 300B tubes: Run your chosen pair; give them 30–50 hours to settle before judging bass weight.
- Small-signal tubes: If you want a touch more bite on guitar later, you can roll the small tubes toward a slightly snappier presentation; if you want more bloom, roll the other way.

Would you like me to map out a track-by-track quick A/B routine so you can pick HI vs LO and the voicing position in under 10 minutes?

Customer:
my music style: eta james, bb king, muddy waters, janis joplin, t.rex, deep purple, eric clapton .....

June:
That’s a great mix — soulful vocals, expressive guitar, and a solid groove. For that catalog at moderate levels on Ardens, the SEWE300B “Sarah” will keep the holographic intimacy you want while giving drums and bass enough body for Deep Purple and T. Rex.

Quick 10‑minute dial‑in routine:
- Pick two tracks: one vocal‑centric (Etta James “At Last” or Janis “Piece of My Heart”) and one groove‑forward (Muddy Waters “Mannish Boy” or Clapton “Cocaine”).
- Set the amp’s output to HI first. Play the vocal cut and note center image focus and cymbal sweetness. Switch to LO and replay the same 60 seconds. Keep the setting that keeps the vocal locked center without sharpening the cymbals.
- Now play the groove track at your normal volume. Compare HI vs LO again, keeping the one that gives kick drum a touch more bounce without smearing bass lines.
- Voicing switch: With the chosen output tap, play 45 seconds of each track in Voicing A, then Voicing B. Keep the setting that gives:
 - Vocal: most “in‑the‑room” presence without edge on sibilants.
 - Groove: bass lines articulate, not boomy; cymbals stay airy, not splashy.

If you decide to go even more “reach‑in” on texture for late‑night spins of BB King and Clapton, a Zen Triode (SE84UFO2/2.1 or SE84UFO25) will push the holography to the max, just with a gentler low‑bass grip than the 300B.

Want me to tailor a simple tube‑rolling path next — one set that leans warmer/bluesier for Etta/BB/Muddy and one that adds bite for T. Rex/Deep Purple nights?

Customer:
yes

June:
I can map tube choices precisely for the SE84UFO2/2.1 or for the SEWE300B “Sarah,” but I need to know which amp you’re planning to use. Which model is it?

Customer:
i dont know. witch one i need to choose?

June:
Got it — based on your artists and that “holographic/intimate” goal on Tannoy Ardens at moderate levels:

- If you want a bit more body and shove for Deep Purple/T. Rex while keeping vocals up-close and 3D: choose the SEWE300B “Sarah” 300B.
- If you prioritize maximum holography and micro-texture for Etta/BB/Muddy at late-night volumes and don’t mind slightly softer bass weight: choose a Zen Triode from the SE84UFO family (SE84UFO25 is the flagship feel here).

Tell me which of those two directions you prefer, and I’ll give you a simple tube set to match your blues-rock mix.

It is nice to see another Angela-Gilbert Yeung user here.

He is my favorite cross dressing, Chinese-Canadian audio designer out there!

Nice speakers!

I was using an Orbi router and recently hooked up a TP-link TL-WR902AC travel router and set it up in client mode. There is a long thread about this on What's Best. This made a nice improvement to streaming for an unbelievably low cost.
Grooveysauce mentioned the RSA MC-1 and FC-1. I believe he was referring to Rick Schultz Audio. His cables are on the expensive side, but after implementing a few of his cables I have become a big fan. His cables are truly transformative. I haven't used the CF-1 or MF-1 modules, but if they are anything like his cables, I'm sure they would bring a nice improvement.

All good tubes. I've been sold on the 75C1 for a long time, they were perfect as regulation tubes for the input tube for my SE84UFO3 Monoblocks. . . and I continued to use them with the SEWE300B especially since Steve showed them in early pictures of the amp. They give a special texture to the sound is how I would express their character.

I've used those Amperex 6922 in the past, and the 7308 that are similar. I like their sound, I just found a more "realistic" sound with the GE 6DJ8 "Smokeys" that I really enjoyed and they have stayed in.

lon,

I just got some new tubes for my driver tubes and voltage tubes for the drivers:

-Amperex E88CC 6922 PQ D-getter - New York 1960 - Near NOS
-MULLARD ELECTRONIC VALVE 75C1 VOLTAGE REGULATOR B

For me, the amperes were a huge improvement over the radiotechique's I were using before (which I loved, maybe I'll try swapping back to hear more of the difference)

the Mullard voltage regulators were a curiosity... and they do sound nice....

r.

room is needing to also function as a living room, though placement and selection of plants, bookshelves, couches, rugs, and bean bags for the kiddos in front of the speakers, seems to (according to some reading and ai consultation) add up to a room which is not that bad.

have the speakers 4' from the back wall of a 13' x 18' room, 6' apart, and toe'd in 1.5' in front of my head. I am 6.5' from the speakers. the toe in made a huge difference with the horns on the pap's...

r.

Yes, my "nickname"/shortened name is one letter away from Loon. And a client of mine called me "Loony" once or twice when I was working for the state of Texas. But my boss would always tell him in response that I was "saving up to be eccentric."

You know in my SEWE300B I have that black glass Tung-Sol, three 75C1 regulation tubes which have a black coating inside, GE "Smokey" 6DJ8 as driver tubes which are gray glass tubes and as output tubes Shuguang Black Treasure Collector's Edition 300B-Z which have a black carbon lining. I love the sound, and I like the look.

love all these comments.

speakers are pure audio project duet 15 horns. crossover is in parallel: VCAP  0.33uF Cutf CAPACITOR + Duelund Capacitor 0.01uF 630Vdc CAST-Sn/Cu Series Tinned Copper Foil WPIO

I've paid a lot of attention to my power...
Dedicated circuit 1: s-booster --> ifi lan purifier
Dedicated circuit 2: furutech rhodium --> decware pc v3 --> graphene slug --> 300b Sarah amp
Dedicated circuit 3: furutech rhodium --> shunyata venom --> Angela gilbert yeoung xf300 --> s-booster --> nagra, qsa discovery --> soulnote d1, anticable v3 --> decware rock 3, phono and turntable too....

the upcoming dynagrid jr will be on a graphene slugo off the xf300 with a shunyata helix pc.

and lon, the black glass in both amp and zrock is really really nice... thank you for the tip.

r.