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PostPosted: Tue Jul 10, 2018 8:10 am 
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Pascal told me a few years ago that he didn't support the second-hand market. I suppose what he meant was that if you wanted to upgrade, you had to do it through a dealer.

I had 3 Audiomat pieces in my dream system — amp, phono stage and DAC — but only the DAC, the Maestro 3, is still available. Oh well. I put them there after listening to them all in various places, including Mutine. That DAC, at least, is extraordinary.


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PostPosted: Tue Jul 10, 2018 7:31 pm 
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Lavantha wrote:
It is unfortunate that this thread went sideways as I was really hoping I would hear from other Audiomat owners and their tips and tricks since information on this gear is soo very thin on the ground.

I'm a fan boy but this was in spite of the Canadian distributer who lived up to billings as sent emails about obtaining some basic information on a used Arpege Reference (age of unit/instructions) and was ignored. I was prepared for this but still surprised as have had dealings with extremely small manufacturer's and have had same day responses (Peter Daniels is a true gent). I went into Audiomat ownership expecting this but still a bit of a surprise. I have, however, had very good service from Acoustique Technologies who I dealt with for replacement tubes and some chassis screw.

I purchased the Audiomat used mainly in response to the general wisdom about the magic between 3/5 speakers and small watt push/pull tube amps. I had some Spendors at the time and found at the end of the day they responded better to transistors and no real magic happened. I subsequently was fortunate to get a long term loan of some Harbeth p3 and after listening to them with a number of amplifiers I thought I'd try the Audiomat just to say I did. Yowzah! Insanely good pairing and some serious synergy between the two. I recently came across some Reynaud's and thought I couldn't pass on this pairing and it has been the most musically satisfying set-up I've owned (Naim CD player) and not by a small margin.

The Arpege is dead quiet and no reliability issues to date (touch wood). My tube amp experience is limited but have owned Audio Research Classic 30 and an Audio Space. The one critical area to me that sets the Audiomat apart is in the area of PRAT. Being a Linn/Naim devotee I had assumed that going to tubes was a trade off but the Audiomat, in my experience, is a close second to Naim in this area.

So not sure what all this rambling means but hope it does persuade others who are possibly on the fence to give the brand a try. Audiomat deserves to be much better known in North America and the costs do not seem to me to be out of line with the quality of their product and musicality. My available funds only allow me to play in the shallow end of the pool so feel fortunate to have scored the Arpege.

I acknowledge I do not have the level of experience to make blanket recommendations but can say Audiomat has been a major landmark on my audio journey in a most positive way. Love to hear from others on their Audiomat journey.....


What went sideways is that if one gives an informed opinion on Audiomat (I think owning two units in the past qualifies me in the Audiomat "past" owners group), and that if this information turns out to be negative, it seems to spoil the party. Asking for opinions should mean to welcome the good and the bad, always, and not feel insulted if one's experience didn't turn out rosy. I think Audiomats are nice machines, well crafted, but ultimately not worth the trouble. At least for me. And please remember, my experience dates all the way back to the year 2001 or so with the Arpège, and around 2006 for the Prelude. Back then, the importer was touting that Audiomats were in such demand that the company could not keep up with production. At the rate the dealers were unfortunately dropping the line, this could hardly have been true....too bad, they do sound nice. In the case of my Arpege and Prelude, very tubey and warm, but still nice. Some of today's tube amps sound more neutral of course, if this is to your liking. Like the saying, the best tube amps and the best solid state designs almost meet at the top and sound more alike than different.

I had to give up tube amps a few years ago because of a simple fact - I only listen for short 20-30 min periods at a time. And it takes at least this long for the tubes to get to sound to their potential - just. So I had to go back to a solid state integrated with a well defined but very smooth sound. I still like tubes best, but there are amazing ss out there.


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PostPosted: Tue Jul 10, 2018 8:54 pm 
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Lavantha wrote:
It is unfortunate that this thread went sideways as I was really hoping I would hear from other Audiomat owners and their tips and tricks since information on this gear is soo very thin on the ground.

I'm a fan boy but this was in spite of the Canadian distributer who lived up to billings as sent emails about obtaining some basic information on a used Arpege Reference (age of unit/instructions) and was ignored. I was prepared for this but still surprised as have had dealings with extremely small manufacturer's and have had same day responses (Peter Daniels is a true gent). I went into Audiomat ownership expecting this but still a bit of a surprise. I have, however, had very good service from Acoustique Technologies who I dealt with for replacement tubes and some chassis screw.

I purchased the Audiomat used mainly in response to the general wisdom about the magic between 3/5 speakers and small watt push/pull tube amps. I had some Spendors at the time and found at the end of the day they responded better to transistors and no real magic happened. I subsequently was fortunate to get a long term loan of some Harbeth p3 and after listening to them with a number of amplifiers I thought I'd try the Audiomat just to say I did. Yowzah! Insanely good pairing and some serious synergy between the two. I recently came across some Reynaud's and thought I couldn't pass on this pairing and it has been the most musically satisfying set-up I've owned (Naim CD player) and not by a small margin.

The Arpege is dead quiet and no reliability issues to date (touch wood). My tube amp experience is limited but have owned Audio Research Classic 30 and an Audio Space. The one critical area to me that sets the Audiomat apart is in the area of PRAT. Being a Linn/Naim devotee I had assumed that going to tubes was a trade off but the Audiomat, in my experience, is a close second to Naim in this area.

So not sure what all this rambling means but hope it does persuade others who are possibly on the fence to give the brand a try. Audiomat deserves to be much better known in North America and the costs do not seem to me to be out of line with the quality of their product and musicality. My available funds only allow me to play in the shallow end of the pool so feel fortunate to have scored the Arpege.

I acknowledge I do not have the level of experience to make blanket recommendations but can say Audiomat has been a major landmark on my audio journey in a most positive way. Love to hear from others on their Audiomat journey.....


Great to hear from another owner who has had an excellent experience. I've also found them to be a landmark brand on my audio journey.

The Arpege is a great unit!

I remember the first time I heard it many years ago at Rob Doughty's Applause Audio. It really stood out.

Joe De Melo at Acoustic Technologies is a great guy and has always given me great service.

He did excellent service work on my Prelude Reference to prepare it for sale, and the happy owner did happen to comment earlier in this thread I believe.

I did recently move to the Audiomat Phono 2.

It's an excellent phono preamp but because I was using the inexpensive Dynavector P 75 Mk 4 previously, I can't really make any useful comparisons to similarly priced phono sections. All I can currently say is that the Phono 2 makes the Dynavector P 75 sound noisy and bass shy. (It's an unfair comparisont as the Audiomat is about 5x the price)


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PostPosted: Sat Jul 28, 2018 11:49 am 
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Toby wrote:
Pascal told me a few years ago that he didn't support the second-hand market. I suppose what he meant was that if you wanted to upgrade, you had to to it through a dealer.

I had 3 Audiomat pieces in my dream system — amp, phono stage and DAC — but only the DAC, the Maestro 3, is still available. Oh well. I put them there after listening to them all in various places, including Mutine. That DAC, at least, is extraordinary.


Hi Toby,

I was very happy to receive issue #99 of UHF yesterday.

It's always a blast to receive an issue- I have every available back issue, and it's the only magazine worth reading cover to cover, as well as the only one I keep as a reference in numerical order.

I've learned about some incredibly musical gear from UHF that turned out to be as good or better than claimed in each case, and Gerard & Co. have saved me from thousands of dollars in potentially stupid purchases over the years.

I did actually book an audio consultation with Gerard recently (and gladly would have paid three times what he asked) to get his take on my system.

After we spoke, I made a move on an Audiomat Phono 2, which I currently use along with an Opéra Référence. (I wasn't aware the Phono 1.7 is supposedly equal or superior to the Phono 2 at the time, but the Phono 2 is so good I don't really care right now!)

I'm using a Rega P9 source with the modest but tricked-out Denon 103R (Paradox Pulse aluminum body, Soundsmith cantilever / stylus upgrade) and it's a really excellent and musical sounding combination for not insane money.

I'm curious, what is your favourite Audiomat amplifier? How do you feel the Opéra Référence compares with the Récital?


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PostPosted: Sat Jul 28, 2018 2:26 pm 
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@T-Dogg, I'm afraid your post was actually meant to be a PM, but if it was, there's nothing too personal in it, and I'm happy as always to share my wonderful opinions in public.

My favourite Audiomat amp was the original Récital, which my s.o. and I spent an hour or two listening to with Pascal at his invitation, several years ago. I haven't heard the Opéra Référence ( or the Récital Mk II ), but I note the quote from the UHF review of the Récital in Issue 73, on the Mutine site : "Musicality that invites few comparisons." I'm sure I'd be happy with either one anyway.

Re Audiomat phono stages, I was happy to read that the Phono 1.7 is better than the Phono2, since the 1.7 is what I now have to dream of, the Phono2 being unavailable. The Phono2 is magical, as you surely know.


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PostPosted: Sat Jul 28, 2018 2:48 pm 
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Toby wrote:
@T-Dogg, I'm afraid your post was actually meant to be a PM, but if it was, there's nothing too personal in it, and I'm happy as always to share my wonderful opinions in public.

My favourite Audiomat amp was the original Récital, which my s.o. and I spent an hour or two listening to with Pascal at his invitation, several years ago. I haven't heard the Opéra Référence ( or the Récital Mk II ), but I note the quote from the UHF review of the Récital in Issue 73, on the Mutine site : "Musicality that invites few comparisons." I'm sure I'd be happy with either one anyway.

Re Audiomat phono stages, I was happy to read that the Phono 1.7 is better than the Phono2, since the 1.7 is what I have to dream of, the Phono2 now being unavailable. The Phono2 is magical, as you surely know.


Toby,

It wasn't meant to be a PM, but I see how it would have read like one.

I've heard a few generations of Arpèges, Prèludes, and Opéras, and the differences sounded (and looked) evolutionary rather than a major change of course- I don't think Audiomat gear changes massively from generation to generation.

I'd like to hear the Récital, I'm sure it's quite something, but the Opéra is so good I'm totally satisfied at the moment.


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PostPosted: Sat Aug 04, 2018 9:26 pm 
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Hi guys,

I stayed 20 years away from forums... too often derailing.
But reading some nonsense on this one (as well as some nice and touching stuff), I decided to register here.
So...
- "You need to send Audiomat amplifiers to Mutine to change tubes"... FALSE.
It's better to send an Audiomat amplifier to Mutine for a change of INPUT tubes... because this needs a re-calibration; it costs 250 cad since it takes around 12 hours to be done well... to be honest, I hate doing it; but then, input tubes last between 18.000 and 50.000 hours; hence, we had to do it 2 times in 22 years on hundreds of machines. And even then, some (like Paul Candy, the reviewer) changed their input tubes themselves, and are still happy.
- For output tubes, all Audiomat amplifiers except the Récital are auto-bias.
- The Audiomat tubes are matched on the same amplifier model... very long and tedious too. Since years I send my customers to thetubestore, they buy a matched quad (cheap!) and get 95% of the amplifier's potential.
- What is vital is to use the same tubes as used on the machine at the factory; don't change, as an example, Sovtek EL34 for JJ EL34... whatever you might think, you can stress the amplifier. Same for the input tubes (and on top you change it's sound, while all Audiomat are famous to be balanced from the start). In the past, when we accepted to take care of 2nd hand machines, each time we put back the original tubes, the customer was flabbergasted.
- The Récital was a fantastic machine... but the Solfège Référence 20 is as good, with different strengths and weaknesses, for half the price... and half the TOC, since it uses 4 output tubes vs 8. This plus the crazy weight is the reason why we stopped its production. In fact, it was my project (beginning under the "Concerto" name, ages ago), but the guys at Audiomat France were never comfortable with this big, heavy, difficult to carry, and so hot machine. The advantage of its 90 watts was driving near impossible loads... but the new generation design of the SR20 does it too... and people know that even an Arpège drives speakers like some powerful transistor amps.
- Contrary to what could be believed, there are big differences between generations; that's a problem with Audiomat: they want to use only "music names", ran sort of short, then re-use them... but at the end, an Arpège Référence 10 is way better than a Prélude Mk1; a Prélude Référence is better than a Solfège... you get the idea. I kept telling them how bad it is on a marketing standpoint, because of the confusion it creates... oh well :)
- What never changes is the famous "Audiomat musicalilty"... yes, they sound just "real", so even ancient models can surprise people.
- The reason I stopped taking care of the used market? Spent 14 hours per day for 10 years... audiophiles seem to believe we live of fresh air! They claim it's "good for the brand"... not so true IMHO. Now I keep my time for my customers... those who come visit me, share our experience and our passion, and have the intention to buy from us... that's not only rewarding, it is very efficient for both.
Endless "internet speculation" is a modern disease... and at the end, all my visitors just conclude that most of what they read is useless... unfortunately. Sound is one of those activities where nothing will replace an audition... and yes, North-America is so vast... it became my major frustration, while in Europe I could visit each of my customers.
- Those who claim I never answered their emails forget to mention that I often receive mails written like this:
" Hi, what is the price of the xxx.
Joe"
... could be in Africa!
I always answer emails written in a courteous manner, with the customer's full information... trust both ways is a good start :)
So yes, even for a sonic question, when done that way, I do answer.

Cheers to all,

Pascal Ravach
Mutine


Last edited by Mutine on Sun Aug 05, 2018 8:03 am, edited 1 time in total.

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PostPosted: Sat Aug 04, 2018 10:05 pm 
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^^
Some good info.
I love my Audiomat pieces and for the record, Pascal was great with me in regards to communication(needed a remote)


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PostPosted: Sun Aug 05, 2018 7:48 am 
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@Mutine, welcome to CAM, Pascal !


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PostPosted: Fri Aug 10, 2018 6:32 am 
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Mutine wrote:
Hi guys,

I stayed 20 years away from forums... too often derailing.
But reading some nonsense on this one (as well as some nice and touching stuff), I decided to register here.
So...
- "You need to send Audiomat amplifiers to Mutine to change tubes"... FALSE.
It's better to send an Audiomat amplifier to Mutine for a change of INPUT tubes... because this needs a re-calibration; it costs 250 cad since it takes around 12 hours to be done well... to be honest, I hate doing it; but then, input tubes last between 18.000 and 50.000 hours; hence, we had to do it 2 times in 22 years on hundreds of machines. And even then, some (like Paul Candy, the reviewer) changed their input tubes themselves, and are still happy.
- For output tubes, all Audiomat amplifiers except the Récital are auto-bias.
- The Audiomat tubes are matched on the same amplifier model... very long and tedious too. Since years I send my customers to thetubestore, they buy a matched quad (cheap!) and get 95% of the amplifier's potential.
- What is vital is to use the same tubes as used on the machine at the factory; don't change, as an example, Sovtek EL34 for JJ EL34... whatever you might think, you can stress the amplifier. Same for the input tubes (and on top you change it's sound, while all Audiomat are famous to be balanced from the start). In the past, when we accepted to take care of 2nd hand machines, each time we put back the original tubes, the customer was flabbergasted.
- The Récital was a fantastic machine... but the Solfège Référence 20 is as good, with different strengths and weaknesses, for half the price... and half the TOC, since it uses 4 output tubes vs 8. This plus the crazy weight is the reason why we stopped its production. In fact, it was my project (beginning under the "Concerto" name, ages ago), but the guys at Audiomat France were never comfortable with this big, heavy, difficult to carry, and so hot machine. The advantage of its 90 watts was driving near impossible loads... but the new generation design of the SR20 does it too... and people know that even an Arpège drives speakers like some powerful transistor amps.
- Contrary to what could be believed, there are big differences between generations; that's a problem with Audiomat: they want to use only "music names", ran sort of short, then re-use them... but at the end, an Arpège Référence 10 is way better than a Prélude Mk1; a Prélude Référence is better than a Solfège... you get the idea. I kept telling them how bad it is on a marketing standpoint, because of the confusion it creates... oh well :)
- What never changes is the famous "Audiomat musicalilty"... yes, they sound just "real", so even ancient models can surprise people.
- The reason I stopped taking care of the used market? Spent 14 hours per day for 10 years... audiophiles seem to believe we live of fresh air! They claim it's "good for the brand"... not so true IMHO. Now I keep my time for my customers... those who come visit me, share our experience and our passion, and have the intention to buy from us... that's not only rewarding, it is very efficient for both.
Endless "internet speculation" is a modern disease... and at the end, all my visitors just conclude that most of what they read is useless... unfortunately. Sound is one of those activities where nothing will replace an audition... and yes, North-America is so vast... it became my major frustration, while in Europe I could visit each of my customers.
- Those who claim I never answered their emails forget to mention that I often receive mails written like this:
" Hi, what is the price of the xxx.
Joe"
... could be in Africa!
I always answer emails written in a courteous manner, with the customer's full information... trust both ways is a good start :)
So yes, even for a sonic question, when done that way, I do answer.

Cheers to all,

Pascal Ravach
Mutine


" Now I keep my time for my customers... those who come visit me, share our experience and our passion, and have the intention to buy from us... "

So, if I get this right, customers that have purchased two (2 - deux) Audiomat amps in the past (like me)are no longer to be treated as customers and do not deserve your attention? Only potential customers need to apply? Audiomat is a very well respected company in France, but honestly, if all communication, sales and after-sale support and advice is restricted to a one-man operation, (and semi-retired at that, self-proclaimed) is this sufficient? Most high-end customers do not want to engage in this much trouble of "sharing their passion" in person with a company's spokesperson.

I maintain my opinion that Audiomat make great-sounding amps, but with very laborious support.

Twelve hours to "re-calibrate" an amp for a simple input tube swap? Really? During my Audiomat ownership days (2 amps) I swapped input tubes numerous times with improvement and/or change in sound being tube-dependant...like most other tube amps.


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PostPosted: Fri Aug 10, 2018 7:37 am 
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See? That's exactly why I kept away from forums... ill-informed comments...
So...
- I never said "potential" customers... your invention. I said simply said "my customers"... Nobody ever complained, since I treat everyone with respect... I just ask the same respect in return.
- You confuse Audiomat and Mutine... we are their North-American distributors... we manufactured in QC from 2000 to 2008, only the amps and one phono.
- I am not a "spokesperson"... what a contemptuous term. I am since 30 years a distributor known by his customers for his passion and integrity. They have seen me very critical of my own manufacturers, to the point these consider me as their most demanding customer :)
- Your insult about Audiomat's supposed "laborious" support is funny... since 30 years the brand earns the highest marks for their reliability and life-long support! What I stay away from is the used market, after loosing so much time to bring back to specs amps modified by people pretending to "know better"... not to mention badly modified ones... we keep pictures for a future publication about this.
- If you can't detect the improvement brought from a real temperature-controlled calibration, too bad for you. We did it twice for customers with superb systems, and in both case they were stunned by the improvement. Moreover, I mentioned I hate doing it, and that customers can get a good 95% of their amps without it... so attacking me on that point is both stupid and vain.
Now if you pretend to know Audiomat amplifiers better than us, you should propose your services to the brand...
- You mention tube-swapping... none of our close, long-term customers like it... they discover each time that Audiomat amps are so well balanced for the intended tubes that changing them changes the sound, but loses vital qualities too...
- Now, Mike, after all this negative comments from you... would you have the courage to disclose here who you are and what is your personal experience with my company and my products? Full systems descriptions, conditions of the models? So we could all benefit from your rare expertise...


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PostPosted: Fri Aug 10, 2018 8:54 am 
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CAM Forum Rules are at this link.

All users can benefit from taking note of the guidelines on tone and courtesy, a little below the top of the linked page.

In particular, if a user feels a post has infringed these guidelines, or other rules, they should not call the poster out in the topic thread. They will expose themselves to sanction if they do. Instead, use the "Report this post" button at lower right of every post field.


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PostPosted: Fri Aug 10, 2018 9:18 am 
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Quote:
"Most high-end customers do not want to engage in this much trouble of "sharing their passion" in person with a company's spokesperson."


There are numerous "by appointment only" dealers who operate in this fashion. I was just on the west coast and interacted with three such stores- the Goldmund showroom in LA, True Sound in Campbell, CA, and Pitch Perfect Audio in LA. It's a perfectly normal and acceptable business approach, and a common way of selling higher end equipment. Pascal / Mutine is not breaking new ground here.

Quote:
I maintain my opinion that Audiomat make great-sounding amps, but with very laborious support.


Once again, you may not LIKE the way the support is organized, but what makes it "laborious"? There is a fully authorized service centre in Montreal, and one in California. Both do excellent work. There is nothing labour intensive about picking up the phone or sending an email and getting a product serviced. This is not an opinion- I have had my previous Audiomat amp checked and serviced before sale at Acoustic Technologies, and I had an excellent conversation with Nick Gowan at True Sound last week in California (who was very generous with his time). Your comments in this thread have often been opinion masquerading as fact.

Quote:
Twelve hours to "re-calibrate" an amp for a simple input tube swap? Really? During my Audiomat ownership days (2 amps) I swapped input tubes numerous times with improvement and/or change in sound being tube-dependant...like most other tube amps.

Why do you assume the poster is lying about this? As mentioned, you can attain 95% of the performance of the amp doing it tube swaps yourself. Is it so hard to believe that the distributor of the gear in question may be able to extract MORE performance? I don't think we'd be questioning whether a Linn technician can optimize the sound of a Linn turntable. What makes you so certain that what was stated is incorrect?


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PostPosted: Fri Aug 10, 2018 1:50 pm 
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[quote="Mutine"]


- "You need to send Audiomat amplifiers to Mutine to change tubes"... FALSE.
It's better to send an Audiomat amplifier to Mutine for a change of INPUT tubes... because this needs a re-calibration; it costs 250 cad since it takes around 12 hours to be done well... to be honest, I hate doing it; but then, input tubes last between 18.000 and 50.000 hours; hence, we had to do it 2 times in 22 years on hundreds of machines. And even then, some (like Paul Candy, the reviewer) changed their input tubes themselves, and are still happy.
- For output tubes, all Audiomat amplifiers except the Récital are auto-bias.

Mutine:
Could you please explain further about this “re-calibration” of the input tubes? I have heard of course of re-biasing output tubes (not necessary on Audiomat amplifiers as you state), but never of calibration for input tubes. What is calibrated? Why does it take so long to do it ? Why can’t the end user do it?
Thank you in advance for any information you can provide.


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PostPosted: Fri Aug 10, 2018 3:00 pm 
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Hi Mendel24,


Sure, since you ask so kindly :)

Simply, there is no auto-bias for the input stages.
And contrary to what has been stated, it's not something Audiomat would want to change... other systems ended up with an inferior sound... not the technique in itself, but the impact of the needed components with their specific designs.

Now, if you owned a tube tester, and could find the exact same values for the replacement tubes, no calibration would be needed. But this never happens, and tubes values change with time, even at the beginning.
Being maniac, I pre-burn a bit input tubes before putting them in the amplifier; in France, Denis created an "input tubes burner" and gave 300 hours to some tubes (the infamous 5965...)!

The reason for the 12 hours? I am slow, careful, maniac... and can recognize it without shame :)
Audiomat guys in France do it in a few hours, while building other amplifiers.

I did it myself a couple times, as a training... my fastest job took 6 hours, my slowest job took 12 hours; hence my decision to charge a flat rate since I want to take my time. And even at 6 hours, this is 40 cad per hour... way lower than any shop or service center charges!

Why the long process? Because we must un-solder and re-solder components, compare several specs in closed loop then in open loop, adjust, and each time let the amplifier stabilize, with the cover, until it reaches the same temperature (this means: stabilized temp in the lab; 2 kW auto-transformer to keep a perfect 120V supply; dual-tracer memory scope; stable generator (here, B&K); I even use digital temperature probes to be sure it's stable (Audiomat France calls me nuts for that... ok). We change resistors and capacitors in the amp to match the tubes... only Audiomat pushes it that far, but the results are worth the trouble.
Nothing could prevent us to do it in one hour... but then it is a bad job, confirmed by listening sessions.
Well, as I said... I hate doing it.

Eventually, it was Paul Candy's experience, ages ago, that pushed me to relax a bit and test "non-calibration"... as far as the customer uses the exact tube brand and model, matched tubes, (and similar gains if possible), the result seems really ok.
Too different gains end up in a change in the bandwidth, maximum power, distortion and CR.. the 4 concerned parameters.

Now... the 5% loss is nothing compared to all the deficiencies in most systems.
This might sound "over-stating", but I am sorry to say that most of my visits to customers, in the past, made me quite shocked... so few systems have the "magic", the ultimate musicality, immersion, emotion, for which I fought all my life, regardless of the budget or the choice of sources... here, each visitor tells me how surprised they are... this never made me proud, but sad. The few times I encountered a system I liked, it was a relief.
That's why I always suggest to Audiomat owners to relax and peacefully analyze their system.
Same when they ask me what they could "upgrade" in their amp... nearly always the upgrade must come from the system...

About sharing information, I never had issues with that. But I signed a NDA agreement with Audiomat.
They too were open-minded in the past. But they were copied (in Quebec city, and in Europe), then they refused to let the diagrams and procedures leave our labs; furthermore, they discovered that too many end user did a poor job servicing their amps themselves... then accused the brand of inferior performances.
Or worst, and frequent: sold their Audiomat to another person; ignoring the mods, that person would be disappointed too...
Hence the decision to let only Authorized Service Centers to get the correct information.
It is unfortunate, but I can understand them.
Same old story: good, intelligent people suffer because stupid ones break the game...

On top, legal implications can be severe.
Touching the wrong plots on the board can be lethal.. we have huge voltage and huge current, as with many tube amps, ... and in North-America, with the very "judicial" mentality prevailing here, I was confirmed by lawyers that we could be held responsible if we "support" people's own interventions...

The key point is: the input tubes really last 18.000 to 50.000 hours (the oldest tubes last more...).
So unless people "play" with an Audiomat, bypassing the strongest quality of these amps - being patiently balanced at the factory for the chosen tubes - , nobody worries about getting them re-calibrated... for most it happens every what... 30 years?

Ouch, long post. Hope this answers your questions. Feel free to ask more if needed.

Cheers,
Pascal


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