stock TH900, yes VERY bass heavy with sucked out mids and deadly sharp, piercing treble
The modded TH900 sounds similar to Verite Closed and my other friend who also heard this briefly agree as well. I hope I can do a side by side comparison between the two. TH900 has better macrodynamics and slam, but VC probably outresolves it a bit with better microdynamics. Staging is great on both, but TH900 sounds great even without the help of Starlett. (I’m listening to it straight off of my macbook pro right now haha)
Good lord that stock TH900 FR is nightmarish, how can that be a thing people listen to! (EDIT: Apologies, shouldnt have been that harsh about the FR, wouldnt work for me at all but doesn’t mean others won’t like it.)
The modded one is much better. Treble still looks a bit wonky but may not be too bad relatively speaking. I don’t think my treble preferences match the Harmon curve anyway my Auteur ain’t Harmon across the treble and I like how it handles it.
Outside of the VO, my most want to try can is a Utopia. Especially after seeing @Resolve recent FR measurements, Harmon curve treble. It comes up used often enough that I may be able to snag one.
I’m not sure tbh, my friend got them from somewhere since he’s the one that modded it haha. They’re very flat leather like the Verite pads, but very squishy and comfy.
The BHA-1 is really hard to beat for the price. And the warranty is unreal. I close friends has one and he drives his HD800s with ease. The amp seems right at neutral with a hint of warm.
The biggest difference is TCR low vs high impedance. I prefer how low impedance is noticeably less constricted.
I noticed no material difference between XLR SE and balanced [EDIT: upon further listening, XLR SE has more detail in the treble region in a favorable way].
TCR low impedance, high vs low gain is the most interesting comparison. Low gain is more dense but laid back, whereas high gain has more air and a more forward presentation. I’ve pivoted and find myself preferring high gain recently.
XLR compared to TCR low impedance high gain, is somewhat richer and more dynamic with a taller vertical soundstage. It’s quite impressive but TBD if more quickly fatiguing.
The difference in profile between the various outputs, output rolling if you will, makes the amp even more appealing and customizable for those tweakers/rollers. I hope my ears aren’t broken, but this is what I hear on August 10th.
I compared the stock input tube with 6N6P input tube. The stock tube has a more pronounced “you’re there with the musicians” effect and more engaging presentation of vocals and mids. The 6N6P tube is more U shaped with emphasis on the high treble and deep bass. Besides the difference in tonality, the 6N6P lacked what I had found so special about the Starlett - being transported to the time and place of the performance. Recall Donald’s earlier comment that the 6N6P tube offers the most variety compared to the stock tube set. This impact of showcased and engaging mids and the effect on the overall musical/emotional experience reminded me of Zach’s comments that he focuses on the 200 hz to 2 kHz region that comprises most musical instruments/vocals, and the resulting euphonic ZMF sound signature.
The 6N6P was unimpressive to me. I agree it flexed the FR to a U shape but the sonic changes were mild at best, even compared to swapping different versions of the 6CG7. It didnt add anything better over the 6CG7 so I discontinued using it. Could be the tube wasnt broken in or fully warmed up but it was purely an experiment so I didnt prolong my exposure. It was a really limited eval. Might go back to it later when I get my full complement of cans just to see if there are going to be headphone specific tube line ups that I favour. Im more in to listening to music than listening to tubes right now anyways.
The 5U4G had a much more pronounced U compared to the 6N6P. Didn’t try them together.
You have an amazing ability to retain bits of useful information from the likes of Donald and Zach! I barely remember the details of my conversations, mostly because I was blown away by their personal touch service and my own lack of technical knowledge. You should consider starting a thread as a compendium your conversations, as there may be people, such as myself don’t have the knowledge to understand these interesting nuances.
Thank you for your comments! It’s good to hear that you find some of my posts useful and interesting. I like your idea and will see about venturing to start my first thread. Not restricted to audio, but I tend to try to understand the artisan’s philosophy/vision/background so I can better/fully appreciate and experience that which they are seeking to present to the world. Cheers.
The Genalex rectifier, new production, is the most consistent tube and as far as I can tell is a part of of all Starlett orders. Should be around $30. I have seen some places mark this up a lot. Just FYI if anyone is looking for a backup.
There are new production 6CG7s, havent seen any new production 6W6s. The supplied power and preamp tubes seem to mostly be vintage.
I wasnt told what tubes I was getting (also didnt ask) when I ordered but I do know that Donald listens to it and tests it before shipping.
Helpful to know, thanks. I trust Donald’s decisions/selections.
But perhaps the comparisons/impressions we see of stock don’t in fact use the same tubes. Granted, tube rolling has less of an effect on the Starlett compared to other amps.
