In a moment of Zen, I take a journey through my own virtual Torii gate where the Shinto Gods may bless my audio purity. This is my version of sacred divinity.



























There are a total of four stages which form a very effective barrier against mechanical vibration and resonance which is detrimental to vacuum tube stability.

This base acts as a floating shock absorber which starts with interleaved rubber/cork pedestals underneath. The interior is isolated by the formation of fifteen tennis balls which are constructed of pressurized rubber wall material.  The deck simply floats upon the balls free from touching the surrounding structure at any point. The amp base has two-inch neoprene feet as the next barrier. The amp enclosure itself acts as the final barrier to block any interaction with vibration.  You can feel the spring action with only slight pressure upon the amp. The movement returns to stable almost immediately with a very firm feel.























The Japanese writing translated into English is as follows:



                     
            GREAT DIVINITY ILLUMINATING HEAVEN


































































































































This concludes my presentation.

Wow, fantastic work. I hope it sounds as good as it looks.

JD

I can see why you named it the 'Zenith'. I'd say it's next level but it's actually exponentially next level. Quite the attention to detail on all fronts and a beautiful new case to boot. The experience you're getting in your room must be outrageous. I can't imagine once the DAC and your other music projects are complete that it can get any better, but knowing you, it will.

Thanks for taking us along on your journey and keeping the DIY dream alive.

Just to inform all that if you ever question whether or not it is worth upgrading the volume potentiometer to a far superior Logarithmic type ALPS Blue Velvet 425G 100K x 2 audiophile grade potentiometers in your amp, (that includes your pre-amplifier if you have one) then let me just give you a clue about that.



The stock "El-cheapo" dual gang potentiometer which I presume to be a standard "linear" type due to the fact that the majority of volume input seems to be immediate at the early stages of volume control with the stock pot installed in the ToriiMK3?  Just an assumption since this has always been the case, and I see no other explanation for it.

This always was a undesirable feature which was part of this amp in stock form. Whether or not the stock pot was a linear, or the proper logarithmic type as what it SHOULD be, it doesn't matter at this point. It was not good enough for this amp design and should not have been used.  That pot caused me concern from the beginning with induced noise and inconsistency between the channels.  Now I realize it was actually a major "bottle-neck" to the full potential of performance for this design all along from day one.

What matters is that I have finally replaced that undesirable potentiometer with a highly upgraded version which should have been installed into an amplifier of this caliber when it was built.  

The design and layout of the ToriiMK3 amplifier is excellent. Too bad that the majority of parts inside other than the transformers and WIMA coupling capacitors being the exception, are substandard. But I guess that leaves room for more expensive upgrades to drive the cost up in order to get the top level of performance this design will most definitely provide if the proper element of quality components are installed.  And of course, we can't make this model TOO good, or what model could possibly be a "newer" version which then promises better performance?  High grade parts cost money!



Okay, before anyone goes off the deep end in defense of the original ToriiMk3, let's put this into proper perspective to make my intention clear here.  Number One, It is not my intension to degrade the ToriiMK3 design, or to be insulting to the designer.  In no way is that my intention. If you take it that way, I apologize in advance.  What I AM trying to reflect on here is that even with the great ToriiMk3 as it came stock from the assembly build, and as well as everyone that owns one has such high regard for its sound quality, my point is what actually (hearing and understanding) the difference at which the "next-level" can bring to an already great amplifier makes.

Look, don't you think that Steve knows this difference in what can be accomplished from stock form to that of SUPER-AMP status if he was so inclined to offer it that way? Of course he does, and he may very well have ultra modified versions of the ToriiMK3 which stands at the top of the elite offerings out in the audiophile world with nothing to exceed that ceiling.


So with that said, just understand the point I am making about perceived quality, and what can be obtained if you know how to achieve this world class standing. It is not difficult to do if you know what you are doing and have some decent skills to pull it off.


It all started with a great design. I just took that design further with extreme advancements which placed this amplifier into a much higher status of reference quality. I could not have achieved this without a solid design which became the platform for higher achievement.


Just think of this as having two options. A standard Mustang GT with a generous degree of performance features, or advancing to an ultra-modified Shelby beast with enough performance features and power to snap the neck of the unsuspecting passenger. Gotta love those 1200 plus HP ratings.  Nothing like a supercharged, well designed performance engine to shake your nads up a bit.

 I  look at the Zenith and think of it as my "supercharged Shelby" version.  And then there is the Dodge SRT Challenger. Nothing more needs to be said. I love the feeling of a supercharged Hemi when it is time to put the hammer down.  Talk about exhilaration to the MAX!  And that is the way I like my audio system.  I am starting with a GT, and advancing into a Shelby by comparison with every step of the way that I build within my audio room. That is my goal, not just a dream, or simply small talk. I am focused on what I can achieve.

 

Let me tell you from confirmed experience within a professional grade acoustical setting, using premium source components and well mastered music, this amplifier very well SHOULD have been the LAST amplifier one would ever "want" OR "need" if the level of performance matched my completely modified, highly upgraded Torii-Zenith model today.


A logarithmic (log) taper is essential for volume control to align with the human ear's perception of loudness, often referred to as "Audio Taper".

The Blue-Velvet ALPS potentiometer is a world class highly respected Japanese audiophile grade design which IS "logarithmic".


Is that really a big deal you might ask?  Is it really going to make that much difference?  To answer that subjectively, this of course lends your perception of the gained improvement by way of your acoustical setting (this makes up to 50 percent or more of the perceived quality of your music), plus the level of other upgrades within your amplifier, plus an extremely important factor, the quality of your source along with the quality of your recording.  All of these factors are relevant as to the degree of "improvement" that you may actually perceive.


To put that in perspective, if you have terrible room acoustics, poorly set-up speaker positioning, incorrect seating position, a completely stock version of the ToriiMK3 amplifier, and a mediocre source such as a CD player using a op-amp output stage, playing a poorly recorded CD (especially todays "RE-MOLESTED" TITLES), then I would predict that your perceived level of "improvement" would be marginal at best, to maybe barely noticeable at all.  When you build a system and room at the level I have today, this level of improvement is FULLY presented for what difference it actually makes in the amplifier.



What level of improvement do I hear now with the new ALPS potentiometer installed as the final upgrade to the Torii-Zenith?

That's like asking how powerful is a 44 magnum compared to a 9mm pistol!  There is absolutely NO equivalence here what-so-ever.


*NOTE: I purposely left the stock potentiometer in place during the amplifier upgrade process for one very good reason.  Actually, two reasons, one being that if I encountered any unusual test results with something being amiss when I first applied power, I did not want this to be part of the problem.  TWO, my main reason, was to hear this amplifier with ALL of the major upgrades without changing the potentiometer, to actually understand the level of difference between the new ALPS, and the original dual gang pot.


My analysis: If one word could sum it all up into one tidy package of expression...that word would have to represent all that matters presented within the most glorious representation imaginable.  It brings a new perspective as to the meaning of "lucidity" within musical form.  In reality, there simply is no single word which can even begin to convey what I hear now with this final mod in place.  

Leaving that old mediocre potentiometer in place was a true bottle-neck, restricting me from hearing the true potential of my new Torii-Zenith design.  That bottle-neck is rectified now, and all I can say without reserve is that what I am enjoying is indeed on par with that description of being "the most glorious representation of music imaginable".  


No longer is the volume forced to the front which comes on full-strength at only 25 percent of the volume control. No longer do I have static or unusual anomalies which seem to drift as they once did from the stock potentiometer. No longer does this forced input create a "forced" unnatural form of attenuation.  All of this was not so apparent to me until I heard the new amplifier with the upgraded ALPS logarithmic design in place.  All I can say is WOW, what a difference it makes!

I do not sugar coat anything when it comes to audio. I do not hold back on what I truly perceive to be good or bad. I give it to you straight from my personal perspective, sometimes cold and hard, but as always, with true perspective as I see it. This is NOT an exaggeration or something that I "think" I may be hearing.....far from it. This is absolutely real and absolutely a gain with considerable impact.  You make up your own conclusion. But before you do, do as I did and actually prove it to yourself. There will be zero room for doubt remaining in your mind.  To hear it, is to believe it.


If anyone was able to hear my new amplifier build in my acoustical setting, there would be a whole new understanding as to the potential which the superb design of the Torii MK3 has in waiting.  I strongly recommend that anyone who still has a ToriiMK3, to perform the same or similar modifications which I did.  Everything I did was critical and important for which to achieve the outcome that I did.  If you understood my upgrades, I focused heavily upon multi-stages of high-quality bypassing in the power supply, focusing upon 1uf, 0.1uf,0.01uf, and 0.22uf bypass capacitors in the form of PIO, and MKP film and foil polypropylene types for superior control and sound quality.  This was all performed within a surgical approach at deep inner levels of advancement for optimal gain in sound purity and definition.

 Topping these off with those monster four pin TDK Epcos capacitors, coupled with 8uf Vishay types, this created a power supply which simply is at the top of it's class.  To finish off with high quality coupling capacitors, and extended bypassing within that signal inter-pass-stage feeding the signal tubes, the real dynamic edge of clarity and perception was fine tailored by the exquisite Russian military FT-3 Teflon capacitors, which have actual silver within their design.  These are the king of capacitors by any standard.  They are the ultimate touch for any high-end amplifier or preamplifier used in the signal output stage.  

And certainly, of the highest regard, the fact that ALL signal path wiring is upgraded to the highest grade possible of 7n silver plated copper-solid-core in a Teflon jacket is what defines the true ability for all of these components to shine in "light-speed" fashion.  The transient response of this amplifier now with these ultra-upgrades is something which is in very special territory for performance standards.  This amp is so fast it will make your head spin! The attack-and-decay rate is spectacular to say the least.



If you have the ability to solder and work with something that has high voltage potential inside, then there is no reason other than prying a measly $30.00 from your pocket and ordering the much superior ALPS unit to find out for yourself what has been missing here. If you heard the difference, there would be no question within your mind.  Stay away from low budget potentiometers...THEY SUCK!




If you decide to order a new amplifier, make sure that you spend the extra cash for the potentiometer upgrade from the beginning. What is even better, get a top notch stepped attenuator set-up for the ultimate performance.  Trust me, for the much lower cost, especially if you make this upgrade yourself, the actual cost is nothing compared to the gain that you will get out of it.  THAT IS NO FREAKIN JOKE! That is absolute reality.


Now I have a full-on need to take this system beyond the imaginable.  After hearing how huge of an advancement that the modifications brought forth into what is now the Zenith model, I must explore the possibility to where further advancements may go....doing it MY way.



This has changed my order of priorities for future builds and upgrades for which to accomplish my ultimate goal.  I am now prioritizing a custom dual-mono single-ended zero feedback design which has separate power supplies, separate dedicated R-core (custom-built) transformers, and separate signal stage sections to keep everything completely separated and fully isolated. The use of isolation transformers will be incorporated as well. I will be using extreme high-end film and foil capacitors with the main output capacitors being that of the fantastic Ag-Cu-Oil designs along with the superb Russian K75-24 film-and-foil models which are extremely dominant in what you hear in the outcome.  The parts list for this planned build to make a stellar dual-mono zero feedback preamplifier is VERY high in cost, and some parts are difficult to obtain now.  This concept would easily become a model which only people with very deep pockets can even consider if it were a retail model bearing a high-end audiophile nametag. But in the DIY world, and if built correctly with high quality standards, this can be obtained for what I estimate, around $1500 to $2000, depending upon the chassis configuration, the actual cosmetics, and the actual quality of the materials and the way they are implemented.


Why do I need a high-end pre-amplifier such as this?  Simple. Because my new DAC stage only outputs 0.65v RMS to the tube buffer stage, which is a unity-gain design. Being unity-gain, it does not increase the signal strength as it is passed on to the amplification stage.  I had two choices here. One is to install a dual 1:3 set of high-quality step-up transformers after the single-ended outputs of the DAC chip to bring this low output level up to almost a full 2.0v which the Torii-Zenith needs to produce full output power.  That would produce an effective solution with very good sound quality. But, for the ultimate solution, the preferred solution is to send these low-level signals into a high-quality pre-amplifier stage for super refined control and sound quality.


I am going full tilt all the way down the signal path in this system.  I am determined to make it the best it could conceivably be by any standard.  This is going to take some time, but nothing great ever comes easy or fast.  The new DAC design will complement all of this to the highest regard in build quality.


The very last component that I shall build from scratch is the modified C-9 holographic enhancement circuit. That goes to the back of the list with least importance for now.  When it finally comes about, everything will be full-circle, and I will have accomplished my objective.  Perhaps I will have a few good years remaining to enjoy all of this, but the point is, I WILL enjoy this without paying a fortune for it.  


I'm past the dreaming stage.  I'm going forward!

Now for some data concerning the path forward:




DAC Digital Decoder 24 Bit 192K Optical Fiber Coaxial Decoding Board CS8416+CS4344


24-BIT D/A, supports 16-24 BIT.

Sample rate reaches 192K, support 44.1K 48K 96K 192K.

Function:

-Optical fiber and coaxial digital signal input (optical fiber priority).

I WILL BE USING COAXIAL DUE TO IT BEING LESS PRONE TO JITTER ISSUES. THE SIGNAL TRANSFER IS MORE ACCURATE.

-Output stereo audio signal 0.65VA.




This is a minimalist DAC rated at 105db dynamic range with as few of parts involved as possible. A standard 16 bit CD is usually limited to 96db which can be dithered to 120db, therefore conforming to the frequency response of the human ear.

With that in mind, a 105db DAC has a signal to noise ratio which exceeds standard CD limitations of 96db. The higher 105db range provides for a clean reproduction with a maximum rate of 20 bit information. This places it in the range of HDCD playback, with all of it's dynamic range intact. The audio quality is preserved with the full dynamic potential which is meant to be heard on the HDCD format.

HDCD is a 16 bit encoding format which uses active peak extension and low level range extension features which raises the dynamic range to a estimated 20 bit range. Theoretically, this corresponds to a 120db maximum range.

Even though true HDCD is designed to use actual filters designed for this format, the fact is that most high end CD players that don't have the HDCD chips installed can still play back the HDCD format with the dynamic range it presents.


Since I require the ability to reproduce the dynamic range of HDCD encoded discs, and I have an extensive library of titles encoded in the HDCD format, this requirement must be met.

The Cirrus Logic CS8416+CS4344 24 Bit 192K Decoding Board satisfies my requirements very well, making it perfect for my application.

The CS4344 features a linear analog low pass filter plus a fourth order multi-bit Delta-Sigma modulator. This goes beyond the limitations of standard CD quality which is 16-bit/44.1kHz. The Redbook CD standard is considered as the threshold of transparency for audio reproduction. Considering the fact that the CS4344 is a 24-bit DAC, it is easy to understand that this easily goes well beyond the Redbook stage of 16 bits, placing it in the higher performance category where the HDCD format resides.

The noticeable sound quality is quite easily detected in music playback. This DAC converts low resolution signals by way of high sampling rates, thus ensuring that any quantization noise remains isolated beyond the human hearing range. Even with the demands of HDCD encoding, the end result equates to optimal, totally transparent playback with accuracy kept in check.


The CS4344 DAC provides single-ended output architecture. This is advantageous for direct interface with the external tube stage buffer. You have heard that "Less Is More" when it comes to circuit quality. There is much to be favored in that regard.

Not only do we have limited circuit complexity and far fewer parts for the signal to pass through, but what is critical is that "even-order" harmonics are preserved which can define what the "tube sound" is expected to be.



Just in case you need clarification on why "even-order-harmonics" are desired, that which comes naturally with "single-ended" designs, here are some points:


When you hear frequencies centered around even-integer-multiples of the fundamental frequency considered to be "even-order", this equates to a harmonic structure focused upon the 2nd,4th,6th,and so on.  This is where a sense of musical quality comes into play.

On the other hand, the opposite occurs with "odd-order" harmonics which are generally non-desirable.

With "even-order" harmonics, you perceive a smooth natural timbre as exactly that, a natural harmonizing of the fundamental signal.

 Another beneficial aspect is that during clipping of the audio waveform, there is differential treatment between the two halves being asymmetrical in form.



Single-ended circuits require minimal components in the signal path compared to balanced designs. By using this CS4344 DAC, this allows for an almost direct path to the tube buffer stage with clarity and definition intact, free of the extra coloration which would exist by use of phase splitters and differential amplifiers required for "balanced" operation.

When we look at the importance of harmonic structure, we think of why SET (Single-Ended-Triode) amplifiers are so well sought after due to their even order harmonics for which they are very capable of producing.

Why does this make it superior to have single ended outputs rather than "balanced"? Think about the statement I made clear in the previous paragraph.

Now come to the realization that balanced outputs are designed to cancel out even-order harmonics!  That just about sums up why "less-is-more" in this instance.

When you examine a design with "balanced" outputs, you will find that in order to do this, two signal paths carrying opposite polarities come into play which create a symmetrical transfer function. The result being that cancellation of non-symmetrical distortion eliminates even-order harmonics which we really want to hear in the music!

You may have a quiet background, but is it worth losing the most valuable part of the music structure which in essence, is the life-blood of the music?  Not me. That is why I will not be sold on the idea of balanced outputs. If proper grounding enforcement was utilized, backed by the use of 1:1 isolation transformers in the circuit, there would be zero need for balanced outputs anyway. Keep your audio cables short and forget about it.


Another benefit for using single-ended-outputs is that vacuum tubes are less prone to the critical need for being perfectly balanced, that which degrades by a large extent over time and usage, increasing the gap of critical matching to where they won't perform as well as they should when used in a balanced system. With the single ended design, there is far more forgiveness as tubes age and begin to degrade. As a result, there maintains far more stability over the life of the tubes which can be used considerably longer.


The CS4344 has "Pop-guard" technology built in which eliminates power-on clicks and pops, therefore utilizing a simplistic interface which reduces the need for external components otherwise required for coupling to a tube grid.


Another major feature is that it has direct drive capability. The output is a clean -95db THD+N with a 105db dynamic range. This easily provides a clean high resolution signal perfect for matching up to a high impedance input such as a tube stage.

The ONLY benefit the system gains by use of expensive, complex "balanced" systems is that of the gained noise rejection when using excessively long signal cables, along with a barrier against the formation of ground loops which otherwise may introduce ground noise in the circuit path. So, if you use reasonable length audio cables, and have 1:1 isolation transformers built into the circuit path, this is no longer an issue. In the final result, the single-ended design is always going to be superior in audio quality once the noise ratio is brought under control. It is a win-win situation as the most logical design to use if absolute music quality is your focus.


The MOFI X10D tube buffer is an improved upgrade design over the original Musical Fidelity X10D tube buffer design. The new version comes stock with 1N4007 series rectifier diodes in the power supply.  I will be upgrading these to high performance "Ultra-Fast" UF4007 diodes which has a profound effect upon limiting switching noise in the system.

The X10D rectifies the voltage input internally for energizing the tube heaters and high voltage power supply. The upgrade to "ultra-Fast" recovery diodes such as the UF4007 marks a noticeable improvement to sound quality with much tighter control. The specifications for the UF4007 are: Voltage Rating: 1000 Volts. Maximum DC Blocking Voltage: 1000 Volts. Forward Current: 1.0 Ampere. Reverse Recovery Time: Close to 75 ns.


To note: The DAC stage typically requires a buffer stage between it and the signals going out at the line level stage. This is typically done through op-amps which are mediocre for doing this task, leading to a hard edgy sound so typical of digital. The whole idea is to transform the digital bits into an analog form which must be formatted at this point to the best it is going to be if the overall sound character of the system is to be perceived as analog music, close to what it was before the analog to digital process was derived from the studio masters (typically analog tape). That is unless the original studio master was digitally mastered. Regardless, it began as a live analog source which is what we hear as normal.  

The main benefit of the single-ended output stage is that the "op-amps" have been deleted from the output buffer, along with all the other sound coloring components which are required for an op-amp stage to be effective.

So, what is usually done in order to produce a usable analog signal strong enough to pass on to the amplification stage, is to introduce a set of high quality step-up transformers typically around the 1:4 ratio + or -, that will increase the gain to a sufficient level for driving the next stage. In general,2V RMS is the standard for single-ended outputs, and 4V RMS for balanced XLR outputs @ 0 db FS.  FS = Full Scale which the 2v/4v standard refers to maximum output where the audio signal has reached the maximum digital level.

The alternative: use a preamplifier.

The majority of amplifiers out there are designed to reach maximum rated power using an input voltage of between 1 to 2 volts RMS. It really depends upon the design of the amplifier as to how it will respond to the actual voltage input. The Torii amplifiers do very well in this regard with very strong output based upon the 2v signal.  If the speakers are rated at 93db sensitivity or higher, then this is absolutely enough volume to satisfy anyone that has any sense to keep their hearing intact. If you doubt that a 25 WPC tube amp such as the Torii-Zenith can push the volume this intensely with strong dynamics, then bring your a** over here and I will correct your misunderstanding.


The Cirrus Logic CS8416 digital audio receiver supports sample rates up to 192 kHz. It provides eight channels of digital input data. The output produces extremely low jitter levels using a low-jitter clock recovery system which basically re-cleans and filters the incoming audio stream with a refined restoration process. The resulting jitter is an excellent 200ps, making it ideal for audiophile audio quality.


As I said, typically, the necessary approach yielding the best results are to use step-up transformers in place of the op-amp stage following the DAC single ended outputs. If the signal is too weak before sending out to the next stage, then the quality of the signal falls subject to distortion. Everything hinges upon impedance factors between the DAC output stage, and that of the tube buffer stage. The 24-bit/192kHz CS8416+CS4344 DAC module is generally sufficient to drive an outboard tube buffer stage directly, provided certain input impedance requirements are met.

Just keep this in mind: This DAC configuration is limited to a mere 0.65V RMS which is nowhere near the level it needs to be for a line level path for amplification.  We MUST provide gain here to increase the voltage preferably to a solid 2.0V RMS if the amplifier is to do its job correctly. In order to do this within audiophile standards in the purest form, there are two options, one which is most likely superior.  Those two options are high quality step-up transformers after the single ended outputs, or better yet, a high-end preamplifier which not only will provide the necessary gain, but also offer precise control before sending the signals into the amplifier. If you already have a preamplifier, then you have things under control with no further modifications needed.



This DAC board outputs a simple direct signal stream without the op-amp stage. The raw signal is compatible with the MOFI X10D buffer.

Tube stages typically present high input impedance ranging from 100kohms or higher. The CS4344 outputs a line-level analog signal which is rated @ 0.65V RMS (approximately 0.9V). This is much lower than the typical 2V RMS output of most CD players. A need for additional gain will be required in order to drive the amplifier to full power. The X10D is a unity-gain buffer, so it will not contribute to any significant degree of gain for the incoming signal.  That was the task for which the output transformers played the role of providing necessary gain to the signal. To gain a stronger signal, I would have installed a set of 1:3 step-up transformers as the gain stage, yielding an output of 1.95v instead of 0.65v RMS.


The DAC performance is characterized at a test load of 3kΩ. Providing that the tube stage input impedance is held much higher than this upwards of 100kohm or more, then the CS4344 will drive the load without distortion being problematic.


The X10-D tube buffer presents a high input impedance and a low output impedance, designed to act as a buffer between a source and an amplifier. The rated input impedance is 470kohms, with an output impedance less than 200 Ohms. Some reports have shown the output impedance to be as low as 26 ohms for what that is worth based on real world testing.


The X10D provides a consistent high impedance load to the source component, thus regulating varying impedance factors produced by amplifier inputs and interconnects.

The implementation of coupling capacitors is used to prevent DC offset from damaging or biasing the tube grid with negative impact.

The power supply design is critical for the performance of the CS4344 due to its sensitivity in order to remain stable.

The CS8416+CS4344 board is a perfect design for use as a digital-to-tube hybrid system. In most cases, the issue of signal gain will be under strong consideration.


Again, the X10-D is a unity-gain buffer designed for impedance matching, not amplification.





To be continued next post..............

And for some final thoughts and some insight to where this leads:




I just received a huge parts order where I managed to find authentic Japanese Nichicon Fine-Gold, Gold-Tune, and Super-Through electrolytic capacitors, along with a few ELNA Silmic II types for the power supply. These will also go into the high-end regulated Studer 900 power supply which powers the DAC board.

These esoteric audiophile grade capacitors are the best ever produced for electrolytics, with a high price tag to obtain them.  As for resistors, all are 1-percent-metal-film resistors by Dale/Vishay.

Of course, the electrolytics will all be bypassed with high quality PIO type capacitors as well as Wima and Vishay film and foil types in certain areas.  In critical areas, a few "Ag_Cu" polypropylene types will come into play for optimal sound quality.

I shall begin soldering the resistors and capacitors in place very soon after I get parts on order to build the dual mono zero feedback preamplifier. Should be next week. The remaining capacitors are mostly WIMA MKP and MKT types along with copper-foil-oil capacitors for the critical front end signal stage of the tube buffer. I will most likely pull the expensive copper-foil-oil 3.3uf main capacitors from the previous model DAC for use as primary output caps in this new X10D buffer board.

You would not believe how heavy this box of parts really is that goes into building this thing. When finished, it will be big and heavy.

Extensive bypassing will be done just as I did with the Torii-Zenith. Star grounding is a major aspect of this build to keep things very quiet in the background. Of course, this too will have power supply filtering directly as the power enters the unit to filter out EMI/RFI garbage.

In addition, 1:1 isolation transformers along with a soft start circuit will be included.  All transformers are high quality R-core types with shielding.  All internal wiring will be solid 7n silver/copper core heavy gauge wire. The solder used is premium Cardas Quad Eutectic Silver based, along with rosin flux to make high quality joints with excellent conductivity for the signals to pass.  This stuff flows like a dream.

Then once those units are finished, I shall begin building this new pre-amplifier.  


I like to have some time go by to think about things before I make it final.  We all know that nothing is ever final except for death.

So we shall see.


The most important thing about it, I will get my clean and accurate 2.0V signal that the amplifier demands. Most importantly, this being that I have a solid high-end DAC buffer stage which will be preserved and not compromised. What would be the point of this if that were to happen anyway! With a single-ended design free of op-amps, this is the way to go.


At least this is my opinion, and I'm sticking to it.

Of course, all things are subject to change.



Next, I shall show you a few images relating to my upcoming MOFI X10d upgraded tube buffer stage. This will mark the beginning of this stage.


Hope you get something out of this if not just something to pass the time away.

Hey Paul,
Another timely post! I am thinking of placing the SE8425 clone in the tech shop replacing the Heathkit S2. The clone needs a volume control. I've have ALPS in the ASKA amp and never had an issue in over 25 years. The ALPS are small and sealed.
Where did you source the log Velvets from?

Thanks Paul,
Kind of figured you got those off parts express. I found it also discontinued. There are other suppliers on eBay of that same part number with free shipping. But, from China….could be counterfeit?

I’ll be looking at the dual gang. Little room in there. Need to open her up to see if it can be squeezed in there.

KBG-MN: КБГ-МН

The KBG type, are the best vintage PIO capacitors. These capacitors provide excellent sonic characteristics. High tolerance is kept within a wide temperature range, with superior characteristics over such PIO capacitors as the highly regarded K40Y-9.

These are high grade ultra high end capacitors constructed with two strips of pure aluminum foil, (not a metalized film), but actual pure foil. This foil is separated by strips of oil saturated paper. Another feature which sets these above the rest is that they contain actual silver for an extremely low impedance factor. This is all encased within a ceramic body of heavy duty construction. These are the "killer" capacitors that will take the sound of your amplifier or DAC straight into the stratosphere!

These will define the sonic signature of this DAC.





As for creme-of-the-crop electrolytic capacitors, these reign king above the rest: The ultra-high-end Nichicon Super-Through Golds.

For the ultimate upgrade in the power supply.










And here is a close up view of the DAC decoder board circuit inside the anti-static film in all of it's simplistic form.










more to come................

And now for the most expensive capacitors within the build, and also the absolute best for this DAC!














Here is a set of high quality Silver-Mica capacitors for the front end of the tube buffer circuit.





















That is all for now.


I shall post progress as it unfolds.

Two years ago when Steve was fooling around with the Headwreckers in his room after playing those outside at the Decfest he made a statement that lit a light bulb in the dim noggin. He said something to the effect that the only way to blend a sub naturally is by keeping the harmonics intact. Furthermore, to do that is to use a single ended sub amp along with a single ended power amp. I did that and guess what 😳 he is absolutely correct.

Hi Randy, the sub amps are 2 of bobc's bridged Zkit inspired hardwired creations. I start talking about it in Flick's Charoit on reply #116.

Thanks JB, I’ll check it out.

Here is a quick recap:


When we are referring to an amplifier in "differential" mode, what this means is that this design is balanced from input to output.

The reason why this "balancing-act" leads to the elimination of critical even-order-harmonics is due to the out-of-phase condition of the signals passed by one-half of the amplifier matching the even-order distortion of one side, to the opposite "out-of-phase / even-order distortion" seen by the other half of the amplifier.

When these out-of-phase products combine as influenced by the differential component, this automatically erases the form which exposes the harmonic detail that was part of the even-order structure.

As a result of this cancellation, what is referred to as perceived "timbre", that which creates the natural embodiment of the music for which the richness of "TONE" is conveyed, are now missing elements which become a missing part of the audio puzzle.

People use loose terms in audio to define these traits as being "euphonic, warm, and musical".  When you hear people express those terms as something revealed in a very pleasant manner, they are actually referring to the natural even-order-harmonics that can only be heard in a natural perspective, by which an audio system retains these critical components within the music as you hear it. That is a fact which cannot be disputed. For that reason, I can only consider designs which do NOT use (balanced-differential-outputs) for obvious reasons which I just explained. I want the WHOLE puzzle, not just remnants from it.


When people who experience components which are influenced by that of a "balanced" system, they are hearing that which is referred to as being far more analytical and neutral in presentation.  The music is clear, and the passages are quiet, but where is the missing link?  You know exactly where it went!

Note: Do not confuse the difference between "cable-balancing" and that of true "balanced" circuitry. The use of XLR cables are designed to cancel external noise known as "common-mode-rejection". A "true-balanced-system" is what contributes to the elimination of harmonic distortion.  There is a difference there. Please feel free to do your homework, if you care to explore that situation more clearly with better definition. This does however remain a fact of audio.

If you run short, well-protected cables in your system, this should never be a problem to be concerned with anyway, unless you are plagued by external noise factors which are really bad. Keep your cables extended off of the floor and use proper shielding if necessary. In most cases, that is all that is needed for standard cables.


Here is another fact of how this unwanted cancellation anomaly occurs within Class-A amplifiers which again, removes the desired qualities of even-order-harmonics under normal Class-A operation. As I stated before, there are always consequences to the design factors chosen.



The single-ended design strongly influences second-order-harmonics which are "even-order", this of which presents the music with a warm textured full body presence with everything intact that you should be hearing.

With the normal "push-pull" design, this operation automatically cancels out even-order harmonics, leaving the full order of (odd-order) harmonics to prevail.  This makes for a somewhat synthetic sound which sounds too clinical and unnatural for human hearing to interpret correctly. Think of the difference between natural analog sound, and that of a digital transfer where the important qualities of analog are removed in the process.  If you understand this "audible" difference as being hard and sterile by comparison, then you can see the similarities here.


To put this into perspective which perfectly describes what is happening here is as follows:

The push-pull circuit works via two different sources receiving the same signal which are 180 degrees (out-of-phase) at the point where the signals enter the transformer output stage. As this relates to the fundamental signal, (being out of phase), the combined effect becomes a "push-pull-state" which forms a stronger signal. The path of even-harmonics flow "symmetrically", travelling in the same-phase-relationship per each separate line of conduction. When these push-pull signals converge upon the center-tapped transformer stage, the result is signal flow in opposite directions which end up as "cancellation" of the even-ordered-harmonics. To make things worse, the undesirable (odd-order-harmonics) are preserved, as they are immune to cancellation.


Because of this negative characteristic which we want to avoid, this is where the special feature of the "1A-operation" comes into play. This advanced feature works to achieve function as if the amplifier was a single-ended-triode-design, with ALL of the inherent qualities of that design as the main focus, while maintaining the power and control for which "push-pull" operation provides.


We now have the desired qualities of both amplifier designs combined within one form of amplification which gives us the best of both worlds. We now have regained the much desired even-order-harmonics while having the dynamic headroom that we need for optimal listening levels. Full 360-degree-ultra-clean Class-A power with nothing lost in the music.

How is that for a grand feat of engineering?  Very clever I would say.



Another unique feature which makes the ToriiMK3 design more advanced over other push-pull designs is in the technique where special bypassing of the output tube grids results with increased transparency, with a higher degree of "speed-and-control" as opposed to standard EL34 operation, which makes this tube perform at higher levels of performance.

This equates to detail transparency and focus, with improved transient response which leads to these factors.

This modification equates to a very noticeable improvement in music reproduction. There is zero-negative-feedback in this amplifier design.  All of these great traits combine into a sum greater than the whole, which place this amplifier design into an advanced stage of amplification which no other amp can surpass, let alone compare with.


Custom-wound-transformers for this amplifier design ensure maximize bandwidth and phase coherence. The use of "active-filtering" via a dual-stage arrangement of voltage regulation tubes, round out this highly refined amplifier design to the point where this now becomes the "elite-class" for which other designs fail to achieve.

That "sum-greater-than-the-whole" is the basis of it all which becomes the platform for which my surgical-precision modifications relying on premium grade audiophile quality components, transforms this great amplifier into the creation of my new "Zenith" model, for which I own today in all of its unbridled glory.

I started off with something great and turned it into something utterly fantastic, which is something that is a very difficult challenge to conquer. The new model is a result of making the right upgrade choices in a very well thought out logical manner.  By doing so, this brings forth a whole new level of sound quality for which this amp has now achieved "super-amp" status.

This also comes at a steep price which easily inflates the value of this amplifier by many times over what the original stock model cost. Cost is irrelevant for this amplifier. A price tag does not correlate to what this amplifier offers upon the human perception of music. Once you experience it, you have experienced the holy grail in the audio world. There is no higher pinnacle which extends beyond this level of achievement. It started with a great design. I finished it with just the right touch.


I previously showed you every aspect of the detail pertaining to this extensive, and costly upgrade modification. From the technical aspect of what I showed you, along with what I reviewed here concerning the ToriiMk3 design data, you should be able to understand exactly why I have achieved the "ultimate-amplifier-build" without question. If you were lucky enough to experience it, that is all the confirmation you will ever need to understand the truth within.


If you read my previous posts which begin in the previous page here on this thread, I explained within an extensive manner, the in-depth individual traits for how capacitors differ from each other, what each type of capacitor is optimal for, and why the exact design and material used for those capacitors are so critically important for defining the signature of a component, whether it be a DAC, or an amplifier.



I also explained in great detail as to how bypassing with capacitors work to define the purity and detail which one hopes to extract from a premium grade component.

I covered the importance of signal wire and that of proper grounding techniques to obtain that ultra quiet "black-background" behind the music.

I covered the creation of signal anomalies and degradation caused by other influence within the critical signal path.

I believe that I previously covered everything that is vital to understanding the following details for which identify these controlled tactics within my Zenith build. These previous explanations are the basis for my build guidelines in which to comply with the best implementation of these tactics as possible in order to obtain the results I am rewarded with today.


I did not just "randomly" throw parts into this build. The execution of this build is the result of extensive planning, paying close attention to those premium parts capable of performing the "ideal-duties" which I expect based upon predetermined insight, as I project the result of these parts in unison integrated as one.


I did my homework. This paid off in ways which went well beyond my expectations, well beyond anything I have ever experienced before in the world of high-end audio.  There is zero doubt within my mind that I have achieved the "holy-grail" here within this amplifier.


Perhaps what I am about to tell you will make this all very clear as to why I believe this is so with absolute confidence.


If you really want to know what makes my new Torii-Zenith tick like a superbly crafted Swiss watch, then this is for you.


It all starts here:



Continued in next post >>>>>>>>>>>>>

One of the better upgrades which were implemented in the original build was the capacitor choice used for the critical interstage section where the filtered power introduces itself to the front end signal stage. (coupling capacitors) This is where everything down path from here will be influenced heavily with the final sound that you hear.

This critical area demanded something of higher quality than that of substandard electrolytic types.  For optimal sound quality, this part of the circuit demands the highest quality possible if you expect to have the highest level of sound quality. These capacitors actually dictate what the perceived sound will be coming from this amplifier. Originally, this duty was governed by the use of premium WIMA film capacitors to insure the final sound is as would be expected from an amplifier of this magnitude.



I restructured this entire layout with a more refined version in which high-end Russian K75-24 PIO 1000v capacitors replaced the stock WIMA caps. The K75-24 capacitors are excellent for bypass duties where refined sound is critical. These have a very warm textured sound quality which reveals the finest of detail, yet under the caress of pleasant representation of rich tone. Music is lifeless without a strong sense of accurate tone to give it the life blood it needs in order to be vital. These excellent capacitors provide a rich presentation that is as smooth as buttered silk. These are the same capacitors used as the first array of bypass capacitor banks in the first stage of the power supply. The Russian K75-24 is well known for its "liquid" attribute which creates a smooth organic sound to the music structure.


It is important to note concerning the 10 second delay which the 5AR4 rectifier provides in the form of a "thermal-dampener". This allows the EL34 tube filaments to reach optimal operating temperature before the B+ voltage strikes the gas regulator tubes. The result of this protection creates a safety net which greatly extends the life of these K75-24 PIO capacitors, as well as the DC link capacitors due to the prevention of massive initial voltage spikes.


Let's examine the quality of the signal wires and what influence that has within this amplifier upgrade modification.


Every single signal wire within this amplifier build is replaced with superior (16 Ga-7n-silver-plated-solid-core-copper) which is encased loosely within a Teflon jacket, separated by means of a spiral spline which maintains an "air" dielectric surrounding the actual signal wire. This is a major upgrade which these 7n silver wires provide in a "air-tube" design.

This Teflon encased air-tube design works to minimize dielectric absorption, in which restricts the wire's ability to store and release energy into the signal. This becomes a major influence for ultra-fast transient preservation. These wires are rated at the speed of light for a very good reason. There will be no barrier which would otherwise restrict what the upgraded power supply is now capable of providing via the 5AR4 rectifiers.

To insure a quiet ultra-black background, active shielding of the critical internal signal cables is used where warranted. All internal wiring is custom with a strong emphasis on active grounding to maintain a quiet noise floor. The active shielding is created by first tightly winding the signal wires in a spiral pattern to cancel out interaction between the wires. The wire cables are then wrapped in copper foil tape, followed by a spiral reinforcement using fine copper wire on one end only. This copper wire is formed into a tightly twisted ground connector which gets soldered at only the receiving end of the signal path. This active form of grounding works to "drain" RFI/EMI interference to ground. The result ensures deep low-level detail with calm "blackness" between the notes.


With proper grounding techniques in force, I have achieved a noise free build which now reveals fine inner detail on a level never exposed before. With the active shielding draining away the radio frequency interference, the normal blurring effect that is typical of poorly grounded systems which conceal this detail is now lifted for the clarity which one should be hearing in the music. The technical explanation for this correction factor is due to lowering the "intermodulation-distortion"  which is induced by external environmental noise.




Now, let's examine why it is so critical for which to have proper room acoustics to work in conjunction with the highly detailed music which this amplifier is very capable of producing. If you think that one will actually hear what this amplifier really reveals without the support of proper room acoustics, then you have yet to learn anything about audio truth. If one is truly serious about quality audio, the correction of poor room acoustics should always be the first thing to deal with if you have your priorities straight. Do not fool yourself into thinking otherwise. Only the listener who denies this fact, is the fool that will never understand what really waits within the reality of a true professional grade audio system. Excuses do not fix problems, common sense backed by real effort does.



I spent countless hours of hard labor at a fairly large expense transforming my audio room into something which is on a level of correction perfectly matching my new super-amp build. Do you think I would be able to actually experience the rewards which I get now with the Zenith in place had I not brought the acoustic standard up to a level which conveys the superb qualities it has in store? Absolutely NOT!  In fact, my best guess would be perhaps 60 percent at best would be audible without the extreme level of acoustic correction factors that are built into this room. And I question the quality factor of what I actually would hear without the finely tuned acoustic setting in place.

It is no wonder why so many people are never satisfied with their components, constantly wasting money on them in an effort to somehow extract the acoustic "cure" by doing so.  You can modify those components all you want. Regardless of how much you spend on the components, the same limitations will always be there to restrict what you should be experiencing. Follow the path of truth and everything will be clear to you.


The room presents a major impact upon the quality of how the holographic imaging is perceived in the way that it actually should be revealed. People like to talk about how revealing and holographic their system sounds. But in reality, do these people really understand what true holography actually conveys in a setting which naturally extracts it in full unrestricted form? I know without a shadow of doubt that the answer to that is NO. They might think that they are hearing this, and to some extent, they may be hearing a lesser degree of it in an undeveloped manner.

With poor room acoustics, this guarantees the absolute cancellation of any sort of real holographic experience coming from ANY amplifier! If a person is talking to you clearly, but you don't receive the message because you tuned that person out, then what follows is mis-communication of a message which was pointless to have ever been said in the first place. A barrier was set in place to insure that message was never received for its true value.  Your audio system is complaining to you. Are you listening?


I know for fact that I would not be experiencing what I do now if I had not completely rebuilt my audio room in a logical manner for pure audio to be enjoyed. There would be no such thing as true three dimensional staging within this room otherwise. It would just sound distracting as if being in a large bathroom full of hard reflective surfaces.

There would be so much "echoed-distortion" followed by cancellations within this destructive path, that it would be absolutely pointless to have expensive high-end components in that room.  Just a waste of money otherwise with nothing gained in the process. It becomes torture to the ears when you listen to a distorted boombox inside of a trash can.

You might be surprised to find that the problem you are seeking to correct has nothing to do with your audio components. Stop being deceived by that fact.

Without all of the extensive diffusion tactics I have in place, along with the incredibly huge volume of absorption factors, which much is actually concealed within the boundaries, this room would have stopped me from ever extracting the qualities of my new Zenith build. That would have been a shame.

The result of that would be in the form of time-smearing as one detrimental part of that consequence. All of the fine micro-detail that I hear floating within the room would be non-existent due to the bombardment of hard surface reflections.

 Go rub grease all over your mirror and take a good look at yourself.  What do you see?  That image doesn't look so good now does it!


The Impact of Room Treatment on "Class-A" grade Holography is the final word in audio. It means everything in final form.


I can guarantee you that the degree of quality gained in this amplifier build would have been affected in a very serious manner. The upgrade to the Hazen-grid mod would have been blocked and never even perceived for its true value. The beautiful tone produced by those Russian K75-24 bypass capacitors would have been nullified and considered a failure due to this time smearing affect caused by bad room reflections. The phase accuracy of those high-end capacitors would have been distorted and severely degraded.

Again, this would have been an effort of pointless strategy if that were allowed to prevail. Defiance is "futile" when trying to coexist within a setting of bad room acoustics. You might want to actually discover that if you haven't already.  I will give you a clue, buying a set of expensive audio cables, or a $1200 set of esoteric capacitors will NEVER be a substitute for this corrective factor.  If nothing else, one must really understand that fact.



Continuing on with the components of the Zenith build and what they actually do to enhance the quality of this amplifier:


You may have noticed the massive twin 100uf WIMA DC-link capacitors which straddled the end of the ground rail directly over the volume potentiometer.  Those replaced a wimpy set of tiny electrolytic capacitors which were rated at a loose 20 percent tolerance. Kind of sad considering the important role these capacitors have on the sound that you hear.  The capacitance value is the same. That is where the similarity ends.



Replacing the electrolytics with WIMA DC Link film capacitors in the cathode bias circuit is a massive upgrade. In a Pure Class A amp, the cathode bypass capacitor is the "return path" for the AC signal.  By using high quality close-tolerance "film" instead of electrolytic, this virtually eliminates the "smearing" caused by high ESR (Equivalent Series Resistance).



Those tiny switches located on the top panel next to the VR tubes are there for two reasons. One switch serves as simply a choice between source input selection.  The other switch plays a very critical role in what you actually hear from this amplifier based upon what your room acoustics are telling you. This switch works to fine tune the "bias" of your room setting. In one position, there is a more "laid" back presentation in general form. In the forward position, there should be an alteration to the response in your room resulting into a more "forward" maximized sound-field. With the stock ToriiMK3 in place, these switch positions do make a noticeable difference, again, depending upon the surrounding elements which enforce that degree of change.  The change is not huge, but it does make a difference for you to choose from.



Now in the current form of the new Zenith transformation, the massive upgrade I put into place which replaced the substandard electrolytics have completely changed the manner in which this effect is perceived.


The result is that now, I can barely (if at all) hear any real discernable difference between the two settings.  Why is that?  Let's take a look.

The main reason for this stems from the fact that the wimpy electrolytic capacitors in stock form end up "struggling" with the shift in current and internal resistance factors.  With the new WIMA DC-link capacitors replacing them, these have near-ZERO ESR while providing MASSIVE current delivery. This works to stabilize the cathode voltage so effectively that the EL34 power tubes remain optimally "linear", regardless of switch position.  The amplifier is now invariant to what was otherwise, minor bias changes.


With the 5AR4 rectifiers and the massive TDK DC-link film capacitors supplying the brute force of the power supply, the power is so "stiff" (stable), that any small resistance change by this bias switch is not enough to create voltage "sag" (shifting effect), the same way in which the stock Torii amplifier did. Again, the Zenith design is now invariant to minor bias changes.  I still keep the position of that selection in forward mode. I always preferred it that way sonically, but it is rather irrelevant now.



Why do I call this a "Super-Torii"?  Because now with all of these critical massive upgrades in the loop, I have created what was considered an impossibility for this amplifier. I took it way beyond that limit to levels I doubt have ever been implemented in this design. It was great before. Now it is in a class all of it's own.  That makes it very special in my book. Nothing is impossible if you take the proper measures to discover the truth within.


The purple-aura which surrounds the vacuum tube-set like a glowing halo, along with the super-black noise floor is testament to that. Listening to it solidifies that message into stone.  It is real, and it is permanent. The effect of that original "Hazen-grid-mod" is readily expanded now with full authority. This amplifier is incredibly FAST!

The transient-response gained from all of this is something to admire with absolute pride! Now I know the true potential of this Torii amplifier design. To say it is "enlightening" would be a huge understatement to say the least.




Continued in next post  >>>>>>>>>>

I fabricated my own set of high-end speaker cables out of a repurposed set of high quality wax and copper flat ribbon inductors. These flat ribbons are close to .75 inch in width but relatively thin.  Flat ribbons have a much higher surface area to mass ratio than that of round wire. This allows high frequency transients to travel free of "time-smear" as opposed to thick round cables due to the internal magnetic fields generated by them.

Wax and paper are two of the most sonically neutral dielectrics available, making these types superior for speaker cables. Combined with the superior properties of the flat copper ribbon, this becomes the ultimate set of materials for which to make near-perfect signal paths. The absolute best dielectric is that of "air" itself. Considering these three primary objectives as a premium high performance design, my cables are based upon these attributes.

To maintain that desirable "air" around the flat ribbon conductor, I loose wrap each ribbon independently with wax paper in a spiral-configuration with slight overlap to prevent gaps. The ends are sealed with vinyl tape to keep the spiral in place. The overlapping edges are secured with a wrap of Teflon tape before placing the ribbons within a loose "air" sheath for the outer jacket. The ends of each ribbon are formed into a folded, and crimped pin which is strong enough to be soldered to a large copper spade terminal.


A major increase in signal preservation comes about by the elimination of the speaker terminals completely. Since these full-range speakers do not require cross-over networks, this allows for direct highly pure connections, bypassing the weakness of the terminal connections to insure the signal is not tainted by them.

 I run the cables directly to interface with the terminals on the driver itself with zero interruptions of the signal path.

The bare copper "folded-pin" is soldered directly to the tabs going into the driver spider itself.  This is a straight wire path as clean and direct as can be possible.  The other ends which connect to the amplifier posts do have the heavy copper spades connected (crimped) as they need to be removable. A direct soldered connection is ideal, but not practical for this use.


The voltage regulator tube becomes the final electrical "gate-keeper" in order to keep this signal path pure.

A gas discharge tube naturally has a tiny bit of inductance. This inductance in conjunction with the 1000v Russian PIO bypass capacitors work together to create a "low-pass" barrier. In turn, DC power flows freely, but blocks the high frequency switching "hash" from the 5AR4 rectifier tube. The final result is a pool of silent energy which maintains a silent "black" background in which creates an optimal path for the 7n silver interconnects and wax/copper ribbon speaker cables to collect from as the signal is passed.


What I have done here is to virtually "weld"  the 93db full range drivers directly to the EL34 plates. This is as close as humanly possible to hear with absolute clarity and distinction what the pure Class-1A circuit itself sounds like without the typical "veils" associated with standard cables. The path is short and direct without audible "clutter" getting in the way.



I custom built my own set of high performance, ultra clean interconnects for the source to amp connections. Again, we have to implement critical design factors in which to guarantee optimal signal passage without the hampering effects of external noise and time-smearing.


To gain absolutely optimal results when crafting the ultimate signal cable, this demands nothing less than high quality silver/copper core signal wire to insure pristine high speed passage of the delicate signals.  I used the same "16-Ga-7n-silver-plated-solid-core-copper" wire that was used inside of the Zenith for all internal wiring of the signal path other than grounding and the transformer leads.  This signal wire has a natural "air" dielectric surrounding it by way of a loose wrapped Teflon jacket which insures correct internal spacing of this "air-dielectric" via a internal spiral spine to insure that consistency. As I stated before, "AIR" is the superior dielectric for signal cables above anything else available. This is a critical function which must not be overlooked if you want the best cables possible.

The next critical step is to tightly twist these two signal wires together which creates mutual inductance necessary for common-mode-rejection. When an external signal from a noisy source such as wi-fi or cell use hits the twisted pair of the interconnect cable, this induces an equal voltage in both wires. Being these are twisted, the impending voltages effectively cancel each other out, allowing the pure untainted signal to pass freely on its way to the input signal tubes.  The next step is to wrap this twisted cable with copper tape with a final wrap of copper wire at one end only to form a ground drain path. This creates a dual-layer defense against RFI/EMI pollution.


That end with the copper wire drain connector gets soldered directly to the ground part of the RCA connector. I use high quality Nuetrik (pro-fi) connectors for optimal results in which to block ground noise. This grounding of the cable is only done to one end, that being on the receiving path.  As a result of these precautions, the signal passes untainted, void of ground noise for the cleanest transfer possible.  The final jacket can be that of a cotton sheath, or a wrap of Teflon tape is ideal. You can dress the cable with something like Tech-Flex if desired.  Just remember that what you select as an "outer" jacket will affect the electrical parameters of your cable design in detrimental ways if not chosen wisely.  A jacket of cotton or Teflon is your best choice here to avoid negative influence. These cables are absolutely transparent with nothing lost in the signal.


Now, moving on to another critical stage which is the final objective for which to pass these pure signals on to your ears.

This of course pertains to the speakers themselves.


I custom built my own high-performance professional grade set of highly advanced TQWT (Tapered-Quarter-Wave-Tube) enclosures which have passive bass radiators built into the rear to take advantage of the exiting back-wave. The lower frequencies are naturally amplified by these passive radiators to extend the bass response as if an active bass driver was installed.

The drivers are the incredibly well-designed "audiophile" grade (Tang-Band W8-1808) full-range models with bamboo cones, and huge arrays of premium neodymium magnets for optimal performance. This arrangement of magnets are unlike the typical driver which use only one large magnet, usually a lower grade standard ferrite magnet which is inferior for quality drivers compared to neo-magnets.

The technical aspects which make this driver so special is in the powerful neodymium magnet array in conjunction with a underhung voice coil. This leads to very low distortion factors with very tight control of the bamboo speaker cone. The neodymium magnets provide superior magnetic flux density in a small space. This allows for high efficiency while producing a crystal clear, powerful sound.

This driver was specifically chosen not only for the high end design features, but for the higher Qts rating (Q-factor) which makes this driver ideal for open-baffle designs or large open cabinet designs.

I do not care for standard closed box designs,(with the exception of a well designed subwoofer compliant to golden-ratios) or that of vented-box designs due to their unnatural character. Open baffle designs are popular due to the natural sound waves which they produce so very well within the room. The problem with open baffle designs is the lack of real low-end response. That was not going to work for me. Music without a strong, clean bass response is not worth listening to in my book.

So the only solution left is the ideal approach for which the "tapered-quarter-wave" design implements. The TQWT is very close to the sound quality of an open baffle, but with the ability to produce a deep, clean bass response with excellent definition, which the open baffle designs are very limited.

The phase plug is a copper plated aluminum design with an optimal balance of heat dissipation and high frequency dispersion.  The W8-1808 is well known for its smooth frequency response, particularly 15 degrees off-axis. This allows for excellent performance without the need for complex filtering to color and mask the sound purity. The combination of the underhung voice coil, and the copper-plated aluminum phase plug work together for achieving an extremely low distortion, high magnetic energy force with high sensitivity ratings ideal for use with low-powered tube amplifiers. This combination optimizes the magnetic field in order to create a smooth, linear response in a compact design.


My custom enclosure design was developed to deliver optimal response from this select driver in order to take advantage of its exquisite performance abilities. The only design good enough for this driver other than an open baffle design is that of a well designed TQWT design.

I took this design even further with the conceptual integration of tuned back-wave passive radiators for a well balanced low frequency extension. I also expanded on the TQWT design by the complex integration of a full unity "rear-slanting" angle-of-attack which places the entire structure at equal and constant proportions in relation with the built in slope set at 5 degrees from bottom to top. The entire enclosure complies with this degreed slope, not just the front.

This had to be carefully implemented in order to not degrade the mathematically calculated degree of internal volume manipulated by the critical degree of the sound-board divider placement which separates the front half of the tapered horn with the rear passage which excites the passive radiators on its way out of the back.  This internal mechanism is critically tuned for optimal frequency response and speed.  Altering its precise position will completely degrade the performance it was calculated to perform at.

This speaker design performs at optimal levels for a good reason. This design was ultra-refined with painstaking detail in order to bring the final dimensions into what it is today. This speaker is far more complex than it looks. It is what you (don't see) that makes this speaker one of the best designs ever built.  The advanced TQWT design eliminates the "boxy" compression of standard sealed enclosures and ported box designs. I get the low end extension without the "chuffing" sound that is common with vented(ported) box speakers.

The (5-degree-bilateral-slope) built into these enclosures create a critical mechanical adjustment. This structure arrangement angles the W8-1808 driver backward so that the acoustic centers of the high and low frequencies are perfectly "time-aligned" at my listening position. This is a major factor for why my system produces such a well balanced holographic atmosphere without smearing the time-domain.

Unlike a standard vented box or a ported design, I do not have that unnatural "air-movement-sound" which actually distracts from the music itself. No air turbulence, no chuffing, just a finely controlled airway (tuned horn) which is tuned to be optimal in its purpose. The TQWT design provides a broad natural reinforcement within the lower octaves. This is easily conveyed at the listening position by the presence of tight, articulate bass notes which sound "live", not compressed and uncontrolled the way most box speakers tend to sound.

You feel the intensity of the lower octaves without it distracting from the rest of the frequency range emanating from the front of the speaker. It all sounds balanced and flat across the spectrum, the way it should be heard. The tone and precision is an absolute high point of this well controlled design.  After I removed the original driver and high frequency driver which was part of the original design, that which required a complex sound-coloring crossover network, and replaced it with a purely direct full range driver without a crossover to screw things up with, that is when the birth of this speaker came about in the form it is today. That was such a major improvement making that upgrade.


I should have done this in the beginning.  One of those moments where hindsight is crystal clear.



Continued in next post  >>>>>>>>>>>>