...SOLD...
From the beginning this preamp was intended to be an exercise in the 6J5 way of simplicity and I calculated bias such a way they could both share the same power supply. The two units are very similar in terms of HV and current requirements and it helps me to make a quick switch for comparisons.
Parts and construction
Even if the circuit is as simple as the 6J5 line preamp, implementation is different. All parts take place on a thick CNC aluminum sub chassis that fit in a much larger cabinet mainly due to transformers size.
High quality L pad attenuator (Siemens silver contacts rotary switch, Dale RL7R resistors) and other selected components to match these superb transformers. Loctal sockets are original Siemens ones and input rotary switch a Grayhill 44H.
Bias is set by Dralowid vintage German carbon resistors, they have a slight grain and a laid-back sound I like very much.
During my tests I noticed better dynamics and lower distortion increasing RL to 160 Ω. Also the C3g works better without feedback.
Be aware of possible oscillations with high Gm tubes. I used grid and anode ferrite beads soldered next to the socket lugs. Wires should be as short as possible and close to chassis (connected to ground and acting like a shield).
Construction details
pictures are worth a long story
almost done, still waiting for the silk screened front plate
On the bench for tests
Low distortion (0.08%@1Vrms) and good squares (100Hz and 10KHz) for a transformer coupled tube without feedback.
Listening report
The rectifier plays a considerable role in the result and among the many ones I stock I prefer, for this preamp, the Mazda GZ32. This is a great sounding tube and still a bargain for the price. My all-around favorite one is the above mentioned plus Philips 5R4GYS, Belvu 5U4G, RFT EYY13, Mullard GZ30, STC 5Z4GY/S depending upon use.
This preamp needs some burn in time to reveal its own character.
Sounded thin and obscure at the beginning, with “thump” bass, but after 2 weeks listening to different kind of music it gained in transparency and revealed a surprising analytical capability with lot of dynamics as said before. It is now evident that this preamp has a completely different character and appears to be detailed to the extreme (it makes me feel the 6J5 sound coarse, which is not). This restitution, like under a microscope, can be an inconvenient on poor or just average sources. I have some CD's, mainly AAD's, I can't listen to because I hear the surface noise of the original material! The C3g is an incredible information catcher but with very little soul.
This, to my ears, puts the preamp on the cold side of music reproduction and I will reserve it for string music, piano or small baroque formations. For me it is not an all-around preamp, but I have to say that my trials were made with the 801A amp/La Scala speakers, a very “clear” combo and probably not the best suited for this tube. I would certainly have a different perception using my Wharfedale Super 12 RS/DD and MC1/60 amp but with a very small listening room it is not possible to have the two systems at the same time.
Another interesting point is a great 3-dimensional restitution, almost like the E80CC SRPP. This peamp has a wider / deeper sound-stage that gives the sensation of being surrounded by music. The 6J5 is flat by comparison. If you like that kind of sound the C3g is the tube to go, taking in consideration that it can be the fact of the tube, the transformer or both...
However, ambiance is not rendered accordingly, and I miss the very living like 6J5 restitution, its "rough" sound gives a more human and pleasantly textured music.
Once again it is just a matter of taste and not a definitive judgment.
some CD's for this test
