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And in that album's hauntingly beautiful final number, "Crazy Man Michael," the sound of Richard Thompson's electric guitar, played through a Leslie rotating speakerwhich itself compresses the signal before it even arrives at the mixing deskhad some of its touch restored on its trip through the Sky 40. Dave Mattacks's drums in "Tam Lin," from Fairport Convention's Liege & Lief (Island ILPS 9115), though compressed in the original recording and more than a little dull, had never sounded so forceful as they did through the new trannie. Even the sound of that second-most-common of all instruments, the piano, became almost exotic in its vivid, colorful presence in the Melos Ensemble's recording of Schoenberg's Suite, Op.29 (L'Oiseau-Lyre SOL 282). The massed voices and vibraphone in the first part of Britten's Spring Symphony, in the recording made by the composer, vocal soloists, and the orchestra and chorus of the Royal Opera House, Covent Garden (Decca SXL 2264), came through with vibrant colors, and the Sky 40 seemed to highlight the dynamic interplay between soloists and chorus in the third part. The massed violins in Stanislaw Skrowaczewski and the Minneapolis Symphony's recording of Schubert's Symphony 8 (Mercury Living Presence SR90218) comprised a honeyed, colorful, physically huge force that I couldn't have ignored if I'd wanted to. (That said, I really wouldn't mind hearing an EMI original some day!)Īnd like all my favorite audio products, the Sky 40 allowed music to sound vivid. The brisker, sunnier fifth movement ( Presto) was no less well served, pizzicato notes popping out as they should, while the sixth ( Adagio) and seventh ( Allegro) movements came across with texture, color, drama, and driveall as well as I've heard from this record. The Sky 40 did a first-rate job of reproducing the unornamented, fugue-like first movement ( Adagio) with both clarity and texture, and with a fine and ultimately thrilling sense of momentum. By the end of "Love You To," I caught myself playing air tabla on my desktop (it seems the Sky 40 also allowed the music its fullest sense of drive), and I enjoyed, among other delights, the enhanced realism of the sound of Ringo's drum entrancea ride-tom beat followed by a floor-tom beatin "Here, There and Everywhere." (And, yes, as my dog could probably tell you, it was one of those listening moments when I also caught myself uttering, to the otherwise empty room, such erudite outbursts as "Holy shit" and "Wow.")įrom there I proceeded to the Hungarian String Quartet's 1966 recording of Beethoven's Quartet 14 in c-sharp, Op.131 (Seraphim SID-6007).
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I may move this post to the DIY sub-forum but figure this would be a good place to start.Arguably more important, the Sky 40 delivered as much impact, drama, and overall involvement as the more expensive Hommage, so much so that I felt compelled to listen to the album all over again, beginning to end. OK with metal or plastic housing instead of wood, but I don't have easy access to machine shop equipment if I need to machine a custom case or even just drill holes, etc. OK with a slightly more complex or technically complicated build, possible troubleshooting required, etc. Readily available components - I don't want to hunt for holy grail tubes, transistors, test batches of 100+ to find a good unit, etc. Similar footprint and heat signature - I don't want a space heater
Texture transformer 2 crack crack#
Total expenditure under ~$500 - rough cost of previous modded crack build
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Compatible with same tube families (12au) if possible - I want to use existing tube inventory Similar relax-fi, easy listening / non-fatiguing sound without dissolving into warmpoo, punchy-poo, etc.
Texture transformer 2 crack drivers#
OTL - specifically want an OTL sound signature for use with 300ohm HD6xx and ZMF Auteur drivers Can anyone recommend a DIY amp similar to the Crack sound-wise with the following:
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