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Everything started pretty much the same way as with other audio fans. I bought a fairly good high-end chain, enjoyed the music I listened to, and started to read more in audio journals. And then, a new model was announced, 5% better, oops... So, an endless story of frustration started: test a new amplifier, buy it, test another one, buy it... Weekend after weekend I tested cables and the lot, but was never satisfied with my equipment anymore. Then came a moment of awakening, and I had to decide whether I wanted to continue to listen to music or to start golfing, or do something else. But I decided for the music, sold my expensive equipment and bought a Klipschhorn with a 300B. And then I started to enjoy music again... But this was also the starting point of building my own equipment (and realizing that my earlier studies in electronic engineering could finally prove to be useful). My first creation was built as a huge Horn based on an Altec driver (from the good, old cinema world), I added matching 300B, VT52, RE604 and so on, then phono and line amplifiers in SRPP technology. The sound became better and better, and it was great fun. Over time my collection of old vinyl records grew to an impressive level, and I got more interested in violins and voices. Listening to these delicate recordings, the "Mono Triode" fascinated me more and more until I had the idea to build a new chain completely based on this technology, which I hoped would achieve world-class level. This was in 1988, and then the real adventure began. First, I had to realize that I could not buy transformers good enough for my project. After a long journey and a lot of money spent, I was lucky to find a wise old man who started to teach me much of the old, forgotten knowledge of building transformers. Together we built literally hundreds of transformers, tested, listened and approved or discarded them. This process continued over many years, step-by-step until our transformers reached today's level. Thanks only to this knowledge, ........... |
And this is what I believe today -- some aspects of myself -- or the way I think: The main aim in building an amplifier is only reached when there is nothing left to omit... DaVinciAudio Labs reproduction devices deliver sense and sensuality; the culmination of longing and craving.The concepts are not important. Only the Music matters. There is no right or wrong - there is only Music and how it reaches your soul. When Music touches your soul, when it moves you, can it be wrong? It’s not a question of valves or transistors -- it is only that I conceive of the vacuum tube, despite all its disadvantages, as the better element of amplification. The specific handling of highs and lows, the fading of the tone, the direct touch, how it takes you inside the music is unique and I could only find this to be achieved with tubes. It is probably a similar comparison between a Leica and a Nikon, or a mechanical chronograph and a Quartz watch. Needless to say, all my components are selected primarily for their aptitude and not their datasheets or prices -- all are verified by endless hours of listening, listening and listening again. So what is necessary that the goal can be reached? Everything has to be tuned and matched -- the circuit design, the component selection, the quality of the components. Every stage of the circuit design has to be sufficient and perfect in itself, and be able to perform without supporting constructions like back-coupling. I use two to three "single ended" valve stages for all my amplifiers. But the crucial parts for sound and musicality are my self-fabricated transformers. The huge cut cores at exorbitant prices combined with multiple interlaced coils, oilpaper insulation, special coupling coils, all together moulded in MU metal cans lead to works of art which noticeably affect the musical result. I insist on the highest requirements regarding the quality of components like valves, couplers, resistors and capacitors. That is why I produce my own transformers and cathode circuit resistors, both improved over many years to reach this extremely high standard, so that it is possible -- together with the best cathode circuit capacitors -- to create perfect valve stages. Other treasures include a transformer potentiometer at Line Driver Stage and a LCR-RIAA equalization at the phono stage. The integrated power supply consists of a transformer for the filaments with passive stabilization, and a transformer for the plate voltage with rectifier tube, oilpaper high voltage capacitors and two choke reactors in LCLC configuration. Peter Brem |