Thoress 845 amp


  • Thöress 845 mono block amps
  • Recent Posts: Part-Time Audiophile
  • RMAF 2016: Whetstone Audio delivers Thöress, Sperling, and Fuuga for one hell of a ride
  • Q&A with Reinhard Thöress
  • Thöress 845 mono block amps

    Scot Hull audio consulting , auralic , high end , schroeder , tad , totem , viva 1 Comment The thing about Peat and Scotch There was a moment I thought I might be in serious trouble. One moment, in particular. Not then. I was blind to the immanent threat until it was almost too late. Looking back, I can clearly see it was my fault. That I should have known better. And that my sense of humor was about to lead me right off a cliff. Not in a bar. Not at the tail-end of a long ass day, with piles of food and enormous steins of beer capping it all off.

    Not about Scotch. There I was, sitting across the table from Brian Cox. In some local touristy bar, right off the Marienplatz in Munich. Brian, gentleman that he is, gave me a second to make sure he was hearing correctly, but that flat stare really ought to have given me pause. Dunkleweiss bier, poured freely through the course of the evening, is my only excuse for how slow to pick up on that I was. By the time I knew something was amiss, my entire corner of the bar was silent. In fact, Brian was oh-so-carefully taking off his jacket, never taking his eyes off of me.

    It was a tense moment. Who drinks that nonsense? I saw Brian pause and shake himself as he was rolling up his first shirt-sleeve.

    Another American, obviously. I left shortly thereafter. Manolis Proestakis and his lovely wife Masa, the proprietors of Tune Audio, rounded out our little set — Knut Skogrand of Skogrand Cables had just retreated after pints — and pounds of delicious pork products.

    Fellow Traveler, Dr Panagiotis Karavitis, had talked me into meeting them all downtown, so I blame him for my near-bludgeoning. No Brit would ever bloody the nose of an American over peat in Scotch. And then buy the next round.

    Lovely people. Lovely country. And for the record, peat-in-Scotch is just fine. This year, I got a bit of an assist. So, I did. I booked an extra day. Well … sort of. I took a week off from work — all I could spare from the day job. The first day was all-travel.

    The last day was all-travel. The intervening days? High End was four days long, so that meant I got one extra.

    Look at me, being all loosey-goosey. Wild man! I arrived on Wednesday. I knew I was going to be horribly jet-lagged, so I drugged myself and stole 7 hours of crappy sleep on the plane. Guess what? I was still jet-lagged. Which is probably why it seemed like a good idea to walk the 3 miles from the hotel to the BMW Museum. On the plus side, I managed to get my daily Fitbit-mandated 10, steps pretty much all at once, so I caught a cab back to the hotel completely guilt-free.

    Being driven into and around and then out of Munich, I spent a lot of time just looking around at stuff. Especially cars. Germans drive a lot of nice cars. I need more data.

    One of my favorite moments came at the end of a long day crushing out 12, steps on the High End show floor, which was followed by John Darko marching Michael Lavorgna and I off to a biergarten. The waitress was spectacularly rude. Darko found ordering a round of beer to be absolutely hilarious. One of the latter, an awesome guy and a real-life German, ordered dinner for us non-German-speakers.

    Happily, the food was spectacular. The weissbier? Beyond expectation. All the walking? Pretty much beyond all credibility.

    Even with all of the pork and steins, I think I lost weight on this trip. A first! Yeah …. Not so much. But it could be that the high-end is just not an American thing anymore.

    I have a whole lot more over at Part-Time Audiophile. Not for lack of love, or anything other than a sense of space. Dr K and I rolled up about 60 rooms for this show, and quite frankly, we only dented the surface. That was pretty nifty. A full system from Pro-Ject , including speakers, a turntable and an integrated amplifier.

    Joseph Audio Prism — small stature, but a surprising amount of the award-winning Pulsar is now in a half-priced package. Avantgarde horn systems. Just because they may well be the prettiest horns currently being made. Kharma — a brand long-vanished from the US-based audio scene, and the loss has been felt. This is an extraordinary line of speakers — and electronics.

    FM Acoustics — spectacularly priced electronics and speakers, made up to the n-th degree of fit-and-finish. Sonic Studies is coming out with Amarra-for- Tidal. Love the idea that Amarra can soup-up the already-excellent Tidal sound.

    Looking forward to this one. Some of the finest audio critique out there today and I am completely envious of his catalog of reviews. Once Custom Sound — what is the deal with the Victrola-like horns? Love it — and the dangling globes are pretty nifty, too. One of the best displays on the Halls. Best In Show And now, for the coveted ha! Best In Show Awards. These speakers are the absolute berries.

    Fast, deep, articulate and musical, as well as deeply attractive. For a loudspeaker that costs as much as a car, this one has not only the looks but the sound to back up that price tag.

    Very impressive. The sound by day-three was astonishing and the improvement over day-one was stark. Another three days, and this might be a different stack-ranking. Horns with solid-state?

    And it did work. Vitus Audio : Another surprise for me, in that I knew nothing of the speakers or the ancillary electronics, but I was familiar with Hans-Ole Vitus.

    And he was wringing some incredible sonics from that room in Munich. Driven by Kondo electronics, the room was one of the most enduring draws at the show, pulling big crowds all day, every day. This is a product that can be sold in box stores, and comes from a company with extraordinary digital chops. Very impressive — and at this low price, completely disruptive.

    For the turntable, we get minimalist design matching a minimalist footprint, a giant motor, and an idler mechanism. It looks stunning; compared to its stable mate, the new amp has more than enough power, a lot more finesse, runs cooler and carries a lower price-tag.

    Winner winner, chicken-dinner.

    We are happy to see that recognition coming from the others. Please read the whole review here. It is also a full-blooded sound, unequivocally warm and smooth.

    Playing Sinatra was putting a piece of silk on my cheek — equally sensual, just as palpable. This is the sound in which the tone plays a leading role, which reminds me of devices made by other great Japanese masters, such as Mr. He shares with them the love of fullness and flow of music.

    Same as the preamplifier, also the whole system delivers a warm, powerful, rich bass. The output delivered by the KR Audio s was enough to play really loud with the difficult-to-drive Harbeth M I think the priority was the continuity of the whole band and basing it on a strong, solid foundation. The sound is so saturated that everything seems large and tangible including the low bass.

    On the other hand, if there is a strong foreground, like with Miles Davis, it is really strong. BY the way, this year marks the 10th anniversary of the death of this great master. It was an unusual harmony, air was vibrating, as if it was inseparable from the instrument itself — even though it was imaged precisely, without the blurring of its edges. You will not be bored with this sound. There is no impressive depth, no precise edges, selectivity, and even some remarkable resolution. The German system makes sound of different recordings more alike, masking their weaker sides and extracting their internal tension, richness and pulse.

    What would be exactly the same direction as followed by the above mentioned, Mr. It is difficult to maintain objectivity, because it engages listener encouraging him to abandon objectivity.

    Playing Sinatra was putting a piece of silk on my cheek — equally sensual, just as palpable.

    Recent Posts: Part-Time Audiophile

    This is the sound in which the tone plays a leading role, which reminds me of devices made by other great Japanese masters, such as Mr. He shares with them the love of fullness and flow of music.

    Same as the preamplifier, also the whole system delivers a warm, powerful, rich bass. The output delivered by the KR Audio s was enough to play really loud with the difficult-to-drive Harbeth M I think the priority was the continuity of the whole band and basing it on a strong, solid foundation.

    Manolis Proestakis and his lovely wife Masa, the proprietors of Tune Audio, rounded out our little set — Knut Skogrand of Skogrand Cables had just retreated after pints — and pounds of delicious pork products. Fellow Traveler, Dr Panagiotis Karavitis, had talked me into meeting them all downtown, so I blame him for my near-bludgeoning. No Brit would ever bloody the nose of an American over peat in Scotch.

    And then buy the next round. Lovely people. Lovely country. And for the record, peat-in-Scotch is just fine. This year, I got a bit of an assist. So, I did. I booked an extra day. Well … sort of. I took a week off from work — all I could spare from the day job. The first day was all-travel. The last day was all-travel.

    RMAF 2016: Whetstone Audio delivers Thöress, Sperling, and Fuuga for one hell of a ride

    The intervening days? High End was four days long, so that meant I got one extra. Look at me, being all loosey-goosey. Wild man! I arrived on Wednesday. I knew I was going to be horribly jet-lagged, so I drugged myself and stole 7 hours of crappy sleep on the plane.

    Guess what? I was still jet-lagged. Which is probably why it seemed like a good idea to walk the 3 miles from the hotel to the BMW Museum. On the plus side, I managed to get my daily Fitbit-mandated 10, steps pretty much all at once, so I caught a cab back to the hotel completely guilt-free. Being driven into and around and then out of Munich, I spent a lot of time just looking around at stuff.

    Especially cars. Germans drive a lot of nice cars. I need more data. One of my favorite moments came at the end of a long day crushing out 12, steps on the High End show floor, which was followed by John Darko marching Michael Lavorgna and I off to a biergarten.

    The waitress was spectacularly rude. Darko found ordering a round of beer to be absolutely hilarious. One of the latter, an awesome guy and a real-life German, ordered dinner for us non-German-speakers. Happily, the food was spectacular.

    Q&A with Reinhard Thöress

    The weissbier? Some off which do sound phenomenal. While others suffer from tonal imperfections. The aim was to create a phono machine equipped with facilities for tonal manipulation in order to restore such imperfections. When I got started with the design of the Phono Enhancer it was already clear to me that the switchable de-emphasis curve approach was not the way to go for. Simply because, in practise, the tonal difference between individual vinyl records even between those issued by the same record company in the same period of time prove to be much more pronounced than the differentiation in tonality given by even the most distinctive de-emphasis characteristics established in the pre-RIAA microgroove era.

    In fact, the difference between these various characteristics is rather small, often negligible, whereas in the most cases the bass turnover frequency the most crucial edge frequency is Hz.

    Michael Fremer pointed out in one of his articles that switchable de-emphasis characteristics on phono devices are not only useless but irritating and puzzling to the user. On the other hand, I found that conventional bass-and-treble tone control is much too coarse for the kind restoration facility I imagined apart from the fact that it is sound destructive and goes along with clumsy circuitry. So I formed the concept of introducing tonal manipulation via edge frequency SHIFT, rather than creating boost and attenuation facilities in the context of a FIXED edge frequency, as it is the case with conventional tone control.

    Hereby the crucial control parameters are naturally given by the 3 edge frequencies bass, middle and treble of the de-emphasis characteristic, of course.

    And this idea readily turned out to be most fruitful and indicated the road I was to follow. Tone control by shaping the de-emphasis curve itself without any additional clumsy circuitry.

    Minimal and puristic. Just the kind of circuit topology which pushes up my heartbeat. MD: Could you elaborate a bit on the design of the Phono Enhancer? RT: Tying in to the above comments, I can tell that the crucial point was to create a topology which allowed to control the edge frequencies of the de-emphasis characteristics independently of each other by means of varying resistor values. The favourable control range of each dial has then been determined and optimized by ear trough evaluating hundreds of vinyl records with my laboratory sample.

    Just as it behooves for a practitioner and music lover like me. RT: The main concern was not so much to improve sonics but to simplify the circuit without sacrificing sound quality or compromising signal to noise performance.

    I wanted to determine the infimum mathematical term for the greatest lower bound of the concept, so to speak. Purely active MC phono amplification with excellent signal to noise performance with a modest lot of 2 triodes per channel operated class-A at high idle current. A good example of a how minimalist circuit can be further condensed down to the bones.

    So why should one pass the signal through three OPAmps operational amplifier ICs each of which is composed of an army of at least 30 individual on-chip transistor operated at piddly idle currents. As it is done in numerous phono devices which are claimed to be high end products? Moreover, after reconsidering the implementation of the tone dials I have found a way to completely abandon residual switching noise still present in MKI and earlier MKII units.

    MD: Could you tell our Readers what is your favorite music? A legendary progressive rock??? The band members themselves are true giants in music, who have managed to integrate all kinds of styles into their own musical language. Hard to believe but true.


    Thoress 845 amp