Wow...nice work Steve, they look incredible.
Glad you got them to where you wanted.
Best,
Scott

And for reference, here is the picture posted earlier in this thread taken prior to the additional tubes.  




Steve

Really nice work all around Steve! Those VU tubes are beautifully ingratiating.

You have to see it in person to appreciate just how cool it is... the last video has two issues, the lights in the VU tube that you see moving are blurry. That is not the case in real life. Also the camera (phone) does not have the speed to capture how fast these actually move to the music! Unlike a VU meter which has a coil and mass, these are pure analog light.  

I have made a better video (shown below) and while I was unable to make it fast enough to really catch what the eye can see in real life, I was able to kill a lot of the blur by making the video black and white. So in this video you will see a nice crisp edge just like it actually looks.

Also, for those of you who have moments when you don't want any lights or things flashing at you, simply remove the VU tubes!  



After all, the 25th Anniversary Zen Triode amplifier would accept nothing less although I have already heard it call the new CSP325 a showoff.  ;)

So, I've already been informed this will be an object of lust for many who will probably not get one because they already have one or more preamps... or perhaps the budget for it. My solution to this might be a switch-box similar to the ZSB, but with VU tubes in it. They make top view tubes as well so they could be recessed into the front of a ZSB and look like glass knobs, until you turn on a source component and then they would light up with the music.  

See, the VU meters are to indicate source signals... and the relative strength of those signals... that is their purpose on the CSP325. They are fed from the selector switch. That way, say for example you have a source turned on, but forgot which input it was connected to... simply rotate the dial until you see the VU meters start working and you know your there. It's a natural for a switch box so I may find myself making a prototype of that too before it's over.



Steve

Steve, What settings do you find you are using for both Input and Output with the VU tubes?  I think you recommended 100% for the Inputs in the past.

Hey Brian, +1.

Randy

UPDATE - JUNE 24

So I'm having a fascinating experience with the Anniversary Amp's dynamics and resolution on two different sets of speakers that sound completely different from each other. Set A is actually an array of 4 drivers done in such a way to achieve perfect time alignment and frequency balance without using a crossover. The imaging of this system is 100% real 3D as are all of the timbres and tone, it is nearly perfect with zero mid-bass bloat... a real hardcore audiophiles dream. Set B is a pair of 15 inch full-range drivers that are the best in that category that I have ever heard. They are warm, slightly rolled, fast, and hit like a live concert at live levels so the dynamics and projection are completely captivating.

What makes these two speaker systems more interesting is the 6dB difference in efficiency. 94dB vs. 100dB. You wouldn't think that's very much but it's actually huge... transformative on an almost epic level when listening to a lower power SET amp such as the Zen Triodes.

So to greatly oversimplify things, one (the 94dB system A) sounds real and ULTRA refined with scary detail and perfect 3D imaging and the other has amazing projection and slam with a softer top end to compensate making it actually sound completely real when you are listening to amplified music that was recorded.

If the two were the same efficiency, the only difference in frequency balance would be that system A has zero mid-bass bloat and an extended top-end, and system B has an exaggerated mid-bass hit like virtually all PA gear, which ironically makes it sound real on todays pop music and classic rock, jazz, blues.  It actually comes from the low compliance suspension on the drivers, not the box!

I spent a night with system A listening to UltraAnalogue's master tapes of which I know the variables of how it was recorded. It sounded completely 100% real and amazingly loud for a 2 watt amp.

I spent the next night with system B listening to digital favorites, most 24 bit, and many with good rhythm sections, and played it 6 dB louder because I could. That was a holy crap moment that will definitely keep me coming back for more... it was so good. The incredible projection and tight focus made for very real imaging, but more like they are in front of you in your room vs. you are in the recording space hearing it live.

Tonight, I decided to throw another UAR master tape at system B to see what that is like, and lost interest right away. It was harder sounding, the projection and mid-bass hit potential of the tight cones featured the foreground and I could no longer hear the large room. I was amazed at how the huge 3D soundstage ie., the room, was gone and the musicians were in my face pushing the sound at me as if they weren't happy with my rate of absorption.

In system A everything was slightly smaller but in a space 30 times larger. In system B everything was twice as big but in a space no bigger than my listening room.

Which system would demo better at a show, even at DECFEST? System B would kill it big time. Only those who steal the room in the middle of the night would pick system A which is perhaps twice or three times as refined and nuanced. Still, I find myself having had a steady diet of System A type systems for years, wanting to get into system B and do a donut around the parking lot a few times and then feel the wind in my face as I get sideways through second gear with corn fields on both sides... So I guess the reality is do you want a Rolls Royce or an American Muscle car with a big block.

The 25th Anniversary Zen Triode amplifier gave me both with nothing more than switching out speakers... now that's a frikin amplifier!

Happy listening... I can't stop!

Steve  

Good stuff, Steve!  At my age and low to mid-level listening volume preferences, it sounds like "A" is for me.  Box up the set and send em' my way - my room is waiting

Archie, the only real way is by ear. There are of course many ratios that work and sound good. I'm not sure there even is a best setting because you will inevitably dial it in to music you happen to like and be actively listening to, and then months later as your journey takes you into new music, different recording styles and so on, you will likely prefer a new ratio. It's about the ability to change something, like honing the suspension for the particular race track and everyone knows you won't spend you whole life on one track.

Also, the tubes you happen to use at the time will also effect your preferences. I've been running the CSP325 with the outputs at about half-way or better and use the ZBIT to adjust input level which I have been keeping at 1/2 or less. In the past few days with the new speakers I've been working on, I have actually been running the output controls all the way up and the master volume lower as well as the input level. Now it sounds like I like it again....  better than ever as it brings out the dynamics of these speakers. So tight, so fast, so present. As you back out of the output level things gently back off and become more textured with more depth not all that different from moving from the front row to the 10th or 20th row. The more forward a presentation is, the less of the room you hear but the more of the instruments you hear so it's a viable tradeoff. Gain structures and impedance relationships between stages are what determine what row you will be in as much as the microphone positions in the recording.

Anytime you see an adjustment on a Decware product it means there is no correct setting. If there was, there would be no need for the adjustment.

Steve

Any idea how much the input pots cut the voltage per click?  I've been reading the ZR2 and CSP3 manuals and the ZR2 seems to push up voltage by a factor of 4 (max) and the CSP3 likes to see 1 to 2 volts on the input.  Since I put about .75 volt into the ZR2 I need to throttle it back about a volt when going into the CSP3.  Other than "by ear" it'd be nice to have an idea where the input pots would like to be.  There are a LOT of knobs to set!  

Just as a reminder, the CSP325 soon to be released does not have input level controls, so the chart for it would be as it the input controls were set to 10.

-Steve

I switched my ZR2 back to after my CSP3.  The way I interpret Steve's table is that if I put 1 volt into my CSP3 (which I do from my TT) the most I can get out of my CSP3 is 10.12 volts.  Since the ZR2 can take 15 volts input, I'm safe from overloading it and any distortion I thought I heard previously was from something else.  Of course, when I use my CD player I'll need to watch the ZR2 input since I can get 32 volts out of the CSP2 with the 2 volt input from my CD player.  This should alleviate any concern that I'm overloading my CSP3 on the input side.

Does this seem right?

Do you back off of the input?  I remember reading that your CSP3 has a resistor instead of input pots.  I don't know how the ZTPRE is configured.  The whole 3.38V max got me spooked since I'm not always confident of picking up on subtle distortion.

I have no input controls on the CSP3-25, correct--in that system I have the Taboo Mk IV-25 fully open.

In my main system I have my ZTPRE outputs at abut 13 of 20 on the inputs, volume full up, my ZBIT at about 17 of 20, and my Monoblocks at 17 of 20 (all stepped attenuators). I control volume with the PS Audio DSD DAC via remote with volume between 80 and 90 of 100.

Or if you have one of the coolest amps on the planet you can keep an eye on your voltage regulation tubes. . .

UPDATE CSP325

Tonight I added a 220K loading resistor on the Voltage Regulator tubes that are internal and designed to last 30+ years. After observing them over the past several months I found it desirable to slightly load them during the initial turn on cycle when the tubes are just warming up. This is because if the amp is on prior to turning on the preamp, you can have up to one or two seconds of high speed thumping as the tube repeatably strikes until the load is established and it stays lit. This subtle mod will largely eliminate the effect which is probably a good thing because we all know men will NEVER read the owner's manual where they learn the proper sequence to turn things on and off.

Anyway, that and reversing the power switch so it matches the UFO25 and making the transformer screws black to also match makes the bench sample now perfected and ready to be duplicated. Time to go upstairs and take dozens of pictures to try to get some that represent the actual look. Then make the page for it and start taking orders.  We're getting there!  I appreciate your patients.

Steve

Happy listening!

Steve

Regarding the Wilhem Reich discussion on the preceding page, I recently turned my speaker stands into orgone devices. My stands were 31" tall el-cheapo Sanus brand ones made out of horrible quality MDF. The tall parts of the stand were simply two pieces of MDF angled together to make it a V shape (if looking from the top). I needed much heavier stands to keep my Totem Rainmakers from rocking back and forth but then I thought why not pour concrete into these cheapos. Then I thought maybe bondo would be better. And of course the next leap was add some metal and quartz and make it orgonite - and that's what I did. Bought some resin, pounds and pounds of copper coated BB's, and some Madagascar sourced Rose Quartz pieces. $50 all in.

Now I have much tighter bass, no coupling to the suspended wood floor under the carpet and the added benefit of two tall chunks of Orgonite hidden in the stands.

So here is an example of why I believe in father Murphy...

As you know I have announced that the CSP325 is done and I am finishing the web page, which I still am.  The unit has worked flawlessly for the past 6 months of testing.  last night while listening I watched the left VU tube stop working properly.

Tonight I put it on the bench and found nothing immediately wrong.  I hate that.  Then what should be impossible voltages when all the parts test fine and are in the right place.  It's really not that complicated, yet it refuses to work properly.

I take a break and eat supper. The left meter doesn't work right, and the right meter works fine.  I come back from eating and now both meters are stone cold and neither of them work. This is also why I believe in shop elves.  I am now down to tracing actual wire instead parts sure as shit, I found a broken connection. It was connected, but broken... the worse kind.  I then was able to get things back online enough to finish testing things and found another broken connection.  It was connected, but broken... the worse kind.  It was a twofer.

Both connections broken from this being the original production prototype and having been taken in and out of the Paduke wood chassis perhaps 50 times or more.

Also you should know this exact final hour BS has happened with virtually every product release since the first day. It's so consistent you can set your watch by it.

Just thought you all should know, Murphy is real. He was an engineer who thought he knew it all and to prove it he created overly complicated hi-fi gear that sounded like crap of which he was in denial about until and after his death. He struck a deal to continue to be his annoying self in the spirit world by keeping men humble by making sure anything that can go wrong will go wrong for anyone who thinks it won't.

He is such an ass.

Steve

Ha Ha! I like your way of looking at these troubles.
I hope all will go well for you for a long time before the next annoyance.  

Brian

Ah yes! Exactly my experiences also. Murphy's Law is real. I think I mentioned it in one of my posts in the past. If you know there is some thing not up to the mark you but think it might work trust me Murphy will pay a visit. The worst are the one's were you think you have covered all your bases only for Murphy to drop by and only then realize you have not. It has caused me a lot of anguish in my professional career. Audio being a hobby for me so Murphy is more of pain than a major concern.

The CSP325 is now online.

https://www.decware.com/newsite/CSP325.html

Steve

Nice work Steve, inside and out.

The improvement over the CSP3 are apparent.

Awesome page! I added this news to the Decware Facebook page, and shared it with a few audio groups.

UPDATE

Well, with the CSP325 done and for sale online, the Big Betsy speakers (separate thread) and the Big Betsy Jr speakers completed I am excited to be able to get back to my vibration control platforms for Decware amplifiers!  

The designs have been perfected now, as I spent the whole last year prototyping variations and by comparisons know that the current design is on track. Starting with what will be the most popular size (10 x 17.5 x 3.25") it looks like the price is going to be more than competitive with popular alternatives on the market, and work twice as well.

I have been making some up while I wait for my new vibration meter to arrive sometime next month. I will be using it in the videos to demonstrate what I already know using a piezoelectric disc hooked to my scope. Anyway I am getting pretty excited about it because it's a product that I can't sell on a web page with just pictures and words. This one has to have a video that not only teaches about audio vibration but demonstrates why this approach is so effective.

After all, who would know better than the amplifier manufacture how to reduce vibration in the amplifier ; )

These things make an audible difference by actually reducing vibration rather than lowering the resonant frequency of the vibration which is all you can hope to do with a solid block of wood.

Doubtful I'll have the video done before DECFEST, but certainly shortly thereafter and yet another handicap in the audio chain can be lifted. We have clean power and now we'll have more vivid imaging and dynamics from less vibration than is possible from generic audio platforms.

I'll be selling it with some options too. For example, a package would include everything you need -- properly tuned sorbothane pads and the ebony metal tipped cones designed for the platform. Alternately, some may prefer just the platform by itself.  

Steve