Audio Research PH6 Manual Do Utilizador
The biggest change in the PH6 is internal. The
PH5 used a hybrid circuit that employed both
solid-state and tube gain stages. The input stage
used a low-noise JFET section, while the RIAA
equalization and gain stages used four 6922EH tubes
-- and no step-up transformers. The PH6 uses the same
hybrid circuit and JFET section, and eschews step-ups,
but it replaces the
6922EH tubes with
two 6H30s in its gain
and output stages.
I asked Dave Gordon
of Audio Research
why the company
made the tube change,
and he told me that it
was part of a change to the 6H30 across the board as the
company’s tube of choice, because the 6H30 is a more
dynamic, higher-
resolution tube.
It’s also a higher-
current tube, which
may be part of the
reason for improved
dynamics and greater
resolving power.
Mostly Dave said
that the engineers
and listeners at Audio
Research think that
while the 6922 is a
fine tube, the 6H30
is a better one. I can
also imagine that
designing and building around a single tube allows for
some cost savings that are either passed on or allow for
better parts to be used elsewhere in the product.
PH5 used a hybrid circuit that employed both
solid-state and tube gain stages. The input stage
used a low-noise JFET section, while the RIAA
equalization and gain stages used four 6922EH tubes
-- and no step-up transformers. The PH6 uses the same
hybrid circuit and JFET section, and eschews step-ups,
but it replaces the
6922EH tubes with
two 6H30s in its gain
and output stages.
I asked Dave Gordon
of Audio Research
why the company
made the tube change,
and he told me that it
was part of a change to the 6H30 across the board as the
company’s tube of choice, because the 6H30 is a more
dynamic, higher-
resolution tube.
It’s also a higher-
current tube, which
may be part of the
reason for improved
dynamics and greater
resolving power.
Mostly Dave said
that the engineers
and listeners at Audio
Research think that
while the 6922 is a
fine tube, the 6H30
is a better one. I can
also imagine that
designing and building around a single tube allows for
some cost savings that are either passed on or allow for
better parts to be used elsewhere in the product.
he very first thing I noticed after adding the
PH6 to my system was how much of the music
it passed on. There was abundant texture to
every instrument and voice, along with a noticeable
sense of acoustic space surrounding each -- and all
before I had given the PH6 much break-in. It kept
improving over the listening period. There wasn’t any
one thing the PH6 did that stood out and shouted
“This is why I was made” as much as simply presenting
an overwhelming sense of more, along with
a corresponding sense of less being in the way.
sense of acoustic space surrounding each -- and all
before I had given the PH6 much break-in. It kept
improving over the listening period. There wasn’t any
one thing the PH6 did that stood out and shouted
“This is why I was made” as much as simply presenting
an overwhelming sense of more, along with
a corresponding sense of less being in the way.
To use that hackneyed expression, it was as if
a window between stereo system and listener
had been given a thorough cleaning.
a window between stereo system and listener
had been given a thorough cleaning.
Dead Can Dance’s music is both complicated
and detailed. Into the Labyrinth [Mobile Fidelity MOFI
2-001] has a sense of atmosphere and space to create
2-001] has a sense of atmosphere and space to create
the proper mood.
Thanks to the PH6’s
low noise floor,
not only was the
instrumentation
allowed to flourish,
but that sense of
atmosphere came
to be a part of the
Thanks to the PH6’s
low noise floor,
not only was the
instrumentation
allowed to flourish,
but that sense of
atmosphere came
to be a part of the
musical presentation. The PH6 did so without making it
seem artificially injected -- it was just a natural part of
seem artificially injected -- it was just a natural part of
listening to this LP.
One of my favorite
review LPs -- okay,
one of my favorite
LPs, period -- is Dave
Bailey’s One Foot
in the Gutter [Epic/
Classic BA 17008].
Over and above
the superb music
is its studio sound,
which, when properly
reproduced, can
make you feel as if
you’re in the studio
review LPs -- okay,
one of my favorite
LPs, period -- is Dave
Bailey’s One Foot
in the Gutter [Epic/
Classic BA 17008].
Over and above
the superb music
is its studio sound,
which, when properly
reproduced, can
make you feel as if
you’re in the studio
with Bailey, Junior Cook, Clark Terry and the rest. The
PH6 not only gave me that sensation, it added a dose
of reality by retrieving copious detail, such as the snap
of Bailey’s sticks on the drum head or cymbal. Terry’s
flugelhorn had a bit more of the brassy blat that makes
it sound like the real thing, giving the opportunity to
suspend disbelief for a few breathtaking moments.
The PH6 gave me many such moments as I listened to
albums front to back.
PH6 not only gave me that sensation, it added a dose
of reality by retrieving copious detail, such as the snap
of Bailey’s sticks on the drum head or cymbal. Terry’s
flugelhorn had a bit more of the brassy blat that makes
it sound like the real thing, giving the opportunity to
suspend disbelief for a few breathtaking moments.
The PH6 gave me many such moments as I listened to
albums front to back.
Bass, a bane of most tube equipment, was outstanding.
The PH6 fleshed out the lowest frequencies and gave
everything room to breathe -- as a big instrument like
an upright acoustic bass should have. I adored the way
Ray Brown’s playing sounded as I listened to Soular
The PH6 fleshed out the lowest frequencies and gave
everything room to breathe -- as a big instrument like
an upright acoustic bass should have. I adored the way
Ray Brown’s playing sounded as I listened to Soular
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