Current system after 25-years of buying, selling and upgrading.
I am waiting for an Ars Sonum 30 Watt integrated and I may replace the separates - looking for a simpler approach to audio - but I may not be able to let go of the CAT which is one of the best amplifiers in the world. We'll see. Happy for now, and may stop searching something different - at least for a while.
I think it is a good way to control the writes and provide plenty of outlets without degrading a direct wall connection, it does not improve anything as far as I can tell, but it seems like a very good way to "create" extra outlets.
System edited: I sold my Music Reference RM9 SE which I suspect I will regret, but with 3 amps and a fairly easy to drive speaker, I just did not need all that horsepower. It is umdoubtedly one of the best tube amps ever made.
System edited: Sold my beloved Joule LA150 Signature Edition this week, because in my system, which is single-source, passive-friendly impedances, and with no need of any gain, I think the Lightspeed Attenuator is the very best volume-control tool I have ever heard in my system with my single-ended amps. I have not yet tried it with the Atma-sphere setup, but I suspect I will keep the Atma-sphere as a pre/amp combo and use the LS with my other amps.
Ah. The Master BAM is still on order. One problem is that when I get it, I won't have the SuperBAM to compare with directly, so it is blind faith to an extent. For $1,100 to upgrade, it better be a clear improvement, for that kind of money you could buy alot of stuff, including something called music.
System edited: Sold the fantastic Accustic Arts transport/dac combo and will now be using the EMM Labs CDSA SE. Boht great, but I now prefer the one-box approach; simpler seems better for my taste.
System edited: Went back to the Bent Tap-X. Still love the Dodd, but battery maintenance was a pain. My sytem is very well suited to a passive approach and I think in my system, the Bent is pretty hard to beat and I've had some pretty good stuff from CAT,LAMM,ARC,JOULE,PLACETTE,and DODD. Bass reproduction is really outstanding with this unit. Look for the price it is pretty hard to beat.
Very different. The Ars is warmer and the bass is looser "tubier"(not saying the J is deeper). Which sound signature you would prefer is difficult to say, they are both good combos. Very hard to put a comparison into words. I will say that if I had to own one or the other I would proabably choose the Dodd/J.
Most recently I have had CAT JL2, Music Reference RM10, RM9, RM9SE, Pass XA30.5, Pass Aleph J, Quicksilver V4s amps and CAT SL1 Ultimate, Lamm LL2, ARC LS25, Placette Active and Passive, Bent TAP-X, Joule LA-150 MKII, Goldpoint Passive Attenuator, and a Dodd Battery Pre and an Ars Sonum integrated. Of all these combos my preferred combo for my ears is the Atma/Atma combo - you'll see what I mean when you get them. I'm not sure if the Atma pre is the best for the Atma amp, the amp sounded might fine with the Joule preamp as well, but felt going to a balance is what should be done. Frankly all this gear is very good, and most of my experience is that this is really hair-splitting, but the Atma amp really doesn't sound like other amps, and its sound can be addictive - the most live and real to my ears. I suspect that some of the amps would beat the Atma with certain speakers - both the CAT and Music Reference RM9SE are capapble of driving a lot of speakers very well - but the Merlins don't need a lot of power or current so to some extent they may be overkill. For a very low cost, the Dodd Battery Pre with the Pass/First Watt Aleph J is incredibly good. Merlins are usually best with tubes, but the Aleph J is very low damping, little negative feedback, Class A, single ended, and very easy load for tube preamps -- you could do a lot worse. Let me know what you think of the M-60s, I'm smitten.
The Amperex 6922 PQs worked well in my CAT, and Gary Dodd seems to favor Amperex in general. Mine are coming from Andy and VTS so I'm fairly confident they will measure very well and be well matched. Mullards might be interesting to try, I assume the would be warmer, with more midrange "push". The way Gary uses the triode halfs is a real benefit to tube rollers. P.S. I have not used the Dodd with the Atma-spheres yet, I'm afraid to find out I might like it better than the MP-3 - though as a linestage it seems very quiet to me and the combination seems to work very well to my ears.
Don't know to measure that, they are quite different. Both the Dodd and Music Reference are strongly in the neutral, balanced camp - they are not as wet, and colorful as the Ars. Which is better? No idea in general, but I tend to prefere transparency, neutrality, and speed which I think the Dodd/RM9 combo has (let alone my Atma-sphere combo). I loved the Ars so I'm not sure this sort of thing can really be answered - they sound different, and as audiphiles I think we like hearing different gear and taking their measure. I will say that the 200 watts of the RM9 SE with KT88s does provide a bigger sense of space and venue than the 30 watt Ars - but you know, I think this is hair splitting. I could live with the Ars with no problem, and I think you would agree.
You were right. I've been through a lot of preamps and the Dodd is incredible. Interesting, Norm, a fella just north of me also bought a Dodd this week; he also owns Merlins -- coincidence? Have you rolled the tubes in the Dodd? I think the JJs are might good as is, but we'll see what the Amperex can do.
System edited: The Dodd is the best pre I have had in my system, though the BENT TAP w/autoformer is right there. I think the BAM of the Merlin benefits from the tube buffering. Being off the grid seems to be a really good idea. Will be rolling Amperex D-Getters to play with the sound a bit, but the standard JJs are excellent to my ear.
System edited: Dodd pre is beautiful to look at and listen to. Very quiet like a passive with tube bloom. One the best tube preamps I've heard; I'm waiting for some Amperex 6922s to replace the JJs the unit comes with.
I would not think Cardas would be ideal with your Vandersteens. The best wire for me with the Vandersteens were the Alpha Core Goertz cables - I used the silver, but I don't know that they actually sound very different than their copper versions.
System edited: The BENT TAP-X with autoformers is a revelation. Storngly recommended - I come form ARC, CAT, Lamm, and Joule preamps. In the right system (sensitive amp and 100kohm input impedance, short cables), you must hear this.
Well the Ars is gone. The Joule preamp is gone (I preferred it to the CAT, Lamm, and Placette Active paired with the CAT JL2). And the CAT JL2 is gone. I'm now enjoying the Atma-sphere MP-3/M-60 combo which works better in my system with the Merlins than any combination I previously had. The Merlins are here to stay, so it all revolves around making them work their magic. The time spent with the Ars was very enjoyable and if I were ready to go integrated, it is the one integrated I have heard that I could happily live with paired with the Merlins; a great match, and for many folks a combination that would provide a lifetime of enjoyment. In addition to the Atma combo, I also run a Gold Point or Music Reference passive attenuator with the Music Reference RM9 Special Edition - the amp that convinced me to let go of the CAT (I had several amps previously trying to knock the CAT off its perch). I think I will keep both pre/amp combos as I love them both and picking one over the other is impossible for me.
System edited: Atma-sphere amp is the best I have had in my system after having CAT JL2, Music Reference RM9 Special Edition, and Pass XA30.5. I'll keep the MR as it is a fantastic amplifier
System edited: The Music Reference gear seems to be competative with any tube amps on the market. Especially the RM9 which unfortuantely is no longer manufactuered.
My phone camera does not work. I have those ruber cork squares between the MDF and 2" Timbernation Maple slabs with Herbis IsoCups supporting the equipment. Comparing the RM with the CAT and PASS, I'm quickly becoming a Roger M. fan.
System edited: Have added the Ars Sonum and it works so well with the Merlins, I'm considering getting rid of the CAT, something I never thought I would do. We'll see.
Kyyuan, I think whatever choice you make on the pre you will be happy. This is all great equipment and it may come down to ergonomics - I don't think you can go wrong with the VAC or Joule or CAT. These are all pieces you can sit back and enjoy - and which is best is more about your ears than the peiewces themselves. I'm keeping both the ARS integrated and CAT amp, one for winter/fall the other for spring/summer - I bet you can guess which is which.
The Berning I was looking at was quickly sold, rare sightings, and I took that as message. In the back of my mind I don't have many (any) doubts the CAT is superior, but I was looking for a lowe maintenance, cooler running option. I'm afraid I might never be able to let the CAT go. Kyyuan, I take it you own Merlins, if so, the ARS should be temptin indeed, especially, but not because, of the price difference. You'll be suprised how small it is, but wait till you listen, perfect synergy from both desingers. Good luck. By the way, the Joule pre was my favourite after having CAT SL1, Lamm LL2, and Placette passive and active - but at the end of the day, they were all great, and we're really splitting hairs, they are all fine and worthy and in the top ranks of the stuff I have heard.
I think orchestral music in some rooms and at certain volume levels could pose the challenge which is why I'll keep the CAT around. But, I suspect you will have to work hard to be disappointed, it really is that good, but as you sense, 30 watts is 30 watts, but that is a good amount of watts for the Merlin, most, if not all of the time.
Hi Ken. I think the Ars is superb and a real life saver for the summer months when the CAT raises the temperture 5-7 degrees. If I had to do it all over again, I would have quite happy simply have the Ars with the Merlins and being done with it, but I love the Joule/CAT combo as well and it can play all types of music at all types of levels - but I could EASILY live with the Ars and stop worrying about the next fix.
System edited: I've been tinkering with preamps for a while. Started with the CAT SL1 Ultimate, then tried the LAMM LL2, and most recently, the excellent Placette Active linestage. Just got the Joule LA-150MKII, and with the CAT JL2 driving the Merlins, it is just the type of sound I was looking for. The Joule adds just a bit of body and organic smoothness that are ideal for my tastes pushing my amp and speakers - might not work equally well with other systems, but it is ideal for me.
Actually, for two years, I was listening to the ARC as a transport for an Audio Logic DAC, so I don't trust my memory of the ARC as a stadalone. That being said, I would say the ARC was warmer than the Audio Logic, even though the DAC had a tube. I'm not comfortable with warmth as a adjective for the AA, but let's say it is very organic, with great flow, an almost analog quality. But I have an overall neutral system with Placette/CAT/Merlin - I suspect with different speakers, amps, etc, the digital source would sound warmer or more neutral based on the ancillaries. Most importantly to me, the AA was clearly more involving and realistic to me than the ARC/AL combo and they were no slouches. If I was seeking warmth, I would do it with downstream components rather than the source, but that is just me.
System edited: Everything sounds good so far. I'm considering the Ars Sonum integrated amp to replace my Placette and CAT JL2. Much less expensive but designed with the Merlin VSM in mind. Bobby@Melrin claims there is great synergy between this little 30 watt integrated and his speakers.
System edited: I replaced the CAT Sl1 Ultimate with the Placette RVC. I loved the CAT, but with a single source and proper impedance matches, the Placette was superb. I could not justify keeping the CAT. By the way, if you do have multiple sources and/or need the CAT's phono stage, the RVC provides remote volume and mucgh finer volume settings for your CAT (or other pres). It is well worth the $1,000 for that alone. Try there 30-day offer, you see what I mean.
System edited: Added VenHaus Digital IC and I thought a well worth "upgrade" from DH Labs Digital Cable. This change improved the palability of the image, a greater sense of the physical volume and position of an instrument.
System edited: The additon of the Audio Logic DAC has been a worthwhile imporvment -- I had no idea the ARC CD3 could be improved so much - it sounded pretty darn good before.
An interim step to CAT with the Vandersteens would be Audible Illusions PRE with Quicksilver V4 MONO AMPS. A wonderful combination with Vandersteen. I have also heard that Audio Research works particularly well with VS (and Magnepan and Proac), as well as the McCormack Amplifier for solid state.
Hi Ray. I have never heard the MKI (I may have erroneously suggested so elsewhere). I do have the MKII and it is great. I can't say what the differences are sonically, but I do know that the changes were all in the power supply. I'm no engineer, but I do get the idea that the quality of power supplies are critical in all pieces of audio equipment, and I also know that Ken Stevens has a long track record of making "upgrades" only when they make a definte improvement. So I would think the upgrade is "worth it" once you reach the point of small (but "siginficant")but incremental improvements to your system. However, I think your best bang for the buck would be to get the VS subwoofers. It will improve theperfomance of the 3As in the mids and highs, improve dynamics, and will work really well with the PASS Alephs which are wonderful in many areas, but "weakest" in the deep bass. By having the deep bass bi-amped, I would think the PASS would really shine with their wonderful mid-range qualities.
When you get the JL2, be sure to have several friends with you. At 200lbs packaged it is a back breaker, but I feel fully comfrtable knowing that it is not likely to ever be stolen while left unattended. I switched to the JL2 from a pair of Pass Aleph 2s - I could not believe the improvment. What was stunning to me was how much my bass improved (acoustic bass). I wasn't expecting that from a tube amplifier. As far as upgrading the SL1 - the one you have is pretty darn good. Some have argued it is better than the Ultimate - oh well, keeps the hobby interesting.
Brian, are you still considering the 2Wqs? I would assume there would be some improvement in the clarity of the bass, positioning flexibility, and an improvment in the midrange by taking the deep bass out of the box (intermodulation distortion?). I have to assume the 5/5As would be better than 3a/2wq, but it is hard to really demo this, at least im my area. Anyone who has gone through this process, please add your comments.
Czapp, I have not heard it with any other amps - it is a recent replacment for my Pass Aleph 2. There are not many owners, but those that have used it seem to think it is the best they have heard. Many claiming it is superior to not only the JL1 monoblocks, but the JL1 Special Edition. Who knows if it is true, but it is nice to here if you own one.
From Arthur Salvatore's Website
CONVERGENT AUDIO TECHNOLOGY (CAT) JL-1 The CAT is the most versatile, "powerful" and expensive amplifier we have ever recommended. It may also be the finest in overall performance, though that will obviously depend on speaker matching and personal listening priorities and tastes.
So far, only one of our (tight knit) group as heard this amplifier in depth. However, he has an "all-out" analog system and extensive experience with every other amplifier on this list, plus hundreds of others in his 30 year audio "career". I trust what he has told me, though I will add a personal "caveat" at the end.
The Facts These are mono amplifiers that weigh 190 lbs. each! The "standard" model, which was both auditioned and purchased by my associate, costs $ 20,000 a pair. The "Signature" version, with silver wire output transformers, cost $ 50,000 a pair. The output transformer weighs 55 lbs. by itself. The power transformers are even larger. This is a serious amplifier. The designer and manufacturer is Ken Stevens.
The JL-1 doesn't use (direct-heated) triode output tubes, like every other amplifier that has ever been in this class. It is also the first "push-pull" amplifier ever listed in this class. Instead, it uses (8 per channel) pentode tubes that are wired in triode. It is, like the more recent Jadis JA-80/200, able to work with 6550s, EL-34s or 6L6s. This particular model, used by my associate, was operated with 6550s.
(Important Note- A reader, who is also a distributor, informed me that this amplifier sounds best with the KR Enterprises KT-88s.)
The input tube (and phase splitter) are a 12AX7 and a 12AU7, plus there are two 6DJ8s used as driver tubes (which is unusual). The input tubes, as this is written, are still stock EIs from Yugoslavia, which will allow further sonic improvements to be made when the finest NOS tubes are used as substitutes.
A Short Sonic Description According to my associate; "the JL-1s are the most emotionally exciting amplifiers I have ever heard". He feels they provide an overall "visceral" experience that is unique.
While they are rated at "only" 100 watts per channel, he claims they have more "impact, solidity, weight and control" than any other amplifier he has heard, and that includes many of the 500 watt (Jadis, Krell, Classe, Pass etc.) "monster" amplifiers, and the Altec/Tutay 1570 and Wytech Topaz tube amplifiers already on this list.
What about "refinement"; especially considering the CAT's triple disadvantages of a push-pull circuit, and 8 (pentode) output tubes per channel? He claims that the amplifier is still very pure, but not quite the equal of either the (also Class A) Wytech Topaz or the Golden Tube 300B in their greatest areas of strength; liquidity, purity etc. This observation is not surprising of course.
He felt that on digital sources, the differences were virtually inaudible, though on the finest analog sources, the above mentioned SET designs still had a noticeable advantage, but only on the best recordings, and even then, only where the music is simple and uncomplicated. On the other hand...
On high-power, complex orchestral works; he feels the JL-1s are so far superior in their (dynamic) strengths, that any "downsides" are "relatively trivial", and aren't worth talking about. This is the reason why he much prefers these amplifiers, overall, to any rival he has yet heard.
What about "value"? Are they really worth $ 20,000 (in parts, labor etc.)? My associate has taken the amplifiers (not literally) apart. He feels they are very well built, but still somewhat overpriced. Of course, we don't know what the unique and gigantic output transformers actually cost to build, but he felt they should sell, in an ideal world, in the $ 15,000 to $ 16,000 range. They still offer equal, or better, value than most of the amplifiers in the $ 20,000 range. (Of course, considering their sonic achievement, they are the best value we know of in that price range, or above.)
Personal Caveat- I only "heard" these amplifiers once but, if I remember correctly, it was in show conditions, which is basically meaningless. My associate's "taste" is slightly different than mine. I favor purity and low-level information somewhat more than he does, but those qualities are still high priorities for him also. I believe his "taste" is more "mainstream" than mine is, so most readers of this website will probably agree with his assessment and feelings concerning these amplifiers.
What I know for certain is - knowing him as long and as well as I do - if a picky person like him is so impressed and enthusiastic about these amplifiers as he is, they must be damn special, and that's why they are here.
Further- Since the above recommendation was written, the Antique Sound Lab Hurricane became available. According to my associate, it is "competitive", though still not quite equal to the CAT. It is now, in Triode operation, in Class B (Upper). It is only $ 4,400 a pair.
CAT JL-2- This is their current model. It is a stereo amplifier, in triode operation. None of us has heard it, but I have received appraisals of its performance from some readers, and everyone of them has been very impressed with it. One reader recently wrote that he actually preferred it to the JL-l in a direct comparison. Here is the relevant part of his letter:
(The JL-2)..."drives my Soundlabs M-2's like no other amp ever has. If your colleague loved the JL-1 monos he would find the lower priced stereo version "purer" with a lower noise floor but still outstanding bass (but not quite as good as the JL-1's ). I had the chance to compare them directly as I wanted the JL-1's to sound better. As I am a monoblock type of person. ...They only looked more impressive, sounded fantastic but not as fantastic as the JL-2. The JL-2 reminded me more of the single ended triode sound."
FROM GERMAN REVIEW:
THE CAT by Reinhard Wendemuth AUDIO August 2001 THE FANS OF THE LOVINGLY CALLED "CAT", THE CLASS TRADEMARK OF "CONVERGENT AUDIO TECHNOLOGY"; NO LONGER BELIEVED, THAT IT WOULD EVER HAPPEN, THE STEREO-VERSION OF THE LEGENDARY TUBE MONOBLOCKS JL1. BUT NOW IT IS HERE - AND EXCEEDS THE HIGHEST EXPECTATIONS. In issue 4. 1998 AUDIO magazine celebrated the JL1 LIMITED Edition as "the best amplifier of all time". The Limited Edition version of the JL1 monoblocks , from Convergent Audio Technologies, sounded better then anything that we had ever heard up to that time. At that time it topped the "AUDIO BEST LIST" at 125 points, which in the meantime has been topped only recently by the extremely expensive, 300.000 Mark, "Krell MRA". This rating is especially remarkable since this is a tube unit. With this rating technique, "Audio", is especially careful with recommendations, because of the universally problematic characteristics of tubes. The CONVERGENT amplifier is an exception to this rule. The measured values are far beyond good. The JL2 has practically no limitations regarding choice of loudspeaker. Exceptions are absolutely seldom. Tubes in general have a shorter lifespan than transistors, but are very easily replace. With every "amplifier" one should be prepared that with the rare failure of a power tube, the hardwired cathode resistor will be lost. In this case a good service technician is needed, to ensure a weekend of musical pleasure.
However, the quality of the Russian 6550 power tubes supplied by Convergent, is so great that such problems will be limited to every 2-3 years. Surprises can be controlled with visual monitoring of the tubes. Tube lifespan is recognizable by the deterioration of the silver mirror finish.
Convergent became quieter and quieter since the Drum-role of the "Limited Edition" a good three years ago. In the beginning we still hoped soon to be able to present fans with the price advantaged stereo version of the JL1. But the German distributor had to keep asking us to be patient.
Ken Stevens, president and manager of R & D is not to be rushed. He releases a product only, when he is fully satisfied. Because of this he has lost many potential clients over the years. Other manufacturers constantly bring new or just slightly up-dated products to the market, just to stay in the picture.
Self Competition Those who waited for the JL2, will now be rewarded for their patience. As advertised the new stereo amplifier not only sounds better, but is also comparatively more price advantaged than the Monoblocks of the JL1, which is widely known for its exotic wound transformer and sold for in excess of 100.000 Mark. This raises the suspicion that Convergent does not want to sell anymore JL1s and certainly no more "Limited Editions". It is hard to imagine a worse marketing strategy. But the people at Convergent are honest. Actually it would not have done any good to hide the quality of the JL2. During the AUDIO listening test, the performance of the JL2, was so outstanding, that it left no doubt as to its superiority.
Just how did Ken Stevens do it? Two monoblocks which share the same housing, but otherwise with the same technical efforts can be accepted. However the JL1 (AUDIO 6/97) did not have the same openness and detail and registered 5 points lower. The answer to the question: what he worked on in that long development time, kept the developer to himself. He only gave the lame reply "many buildingblocks were exchanged for better sounding ones", and that he optimized the already comprehensive, 22 layers boxed transformer to deliver the advantages of pure class A single-ended triode sound..
The JL2 also improves in the area of convenience. Previously the multimeter power supply was simply shipped as a separate unit, it is now built in. This makes the recommended fine tuning after a tube change childs-play.
Convergent does not need any special attention in the set up of the unit to prove its absolute world class superiority. Basically the new JL2, was clearly less capricious than other tube amplifiers, without sacrifice to the certain special something, which is inherent to this species. This certain something makes even lesser recordings a musical experience. In addition the exceptional qualities were not limited just to the mid range, but also on both ends of the frequency spectrum JL2 underlined its unmistakable superiority. It was unbelievable how well she handled the not at all easy to control reflexsystem "Wilson Watt/Puppy 6", with regard to precisely controlled basses. In fact how wonderfully the JL2 harmonized with the legendary Wilson boxes, is proof of how much less critical it reacts to the selection of the speakers, in comparison to other tube units. Amazing also is the strong sound of the clarinets, without the usual mistake to cover the sometimes sharp sound of the instrument. Just as the Spanish say of their famous artist Diego Velazquez, to have the ability to paint in the air, the Convergent JL2 is equally capable with its three dimensional and lively sound.
Happy those who can obtain one of these rare units!
Czapp, I have not heard it with any other amps - it is a recent replacment for my Pass Aleph 2. There are not many owners, but those that have used it seem to think it is the best they have heard. Many claiming it is superior to not only the JL1 monoblocks, but the JL1 Special Edition. Who knows if it is true, but it is nice to here if you own one.
From Arthur Salvatore's Website
CONVERGENT AUDIO TECHNOLOGY (CAT) JL-1 The CAT is the most versatile, "powerful" and expensive amplifier we have ever recommended. It may also be the finest in overall performance, though that will obviously depend on speaker matching and personal listening priorities and tastes.
So far, only one of our (tight knit) group as heard this amplifier in depth. However, he has an "all-out" analog system and extensive experience with every other amplifier on this list, plus hundreds of others in his 30 year audio "career". I trust what he has told me, though I will add a personal "caveat" at the end.
The Facts These are mono amplifiers that weigh 190 lbs. each! The "standard" model, which was both auditioned and purchased by my associate, costs $ 20,000 a pair. The "Signature" version, with silver wire output transformers, cost $ 50,000 a pair. The output transformer weighs 55 lbs. by itself. The power transformers are even larger. This is a serious amplifier. The designer and manufacturer is Ken Stevens.
The JL-1 doesn't use (direct-heated) triode output tubes, like every other amplifier that has ever been in this class. It is also the first "push-pull" amplifier ever listed in this class. Instead, it uses (8 per channel) pentode tubes that are wired in triode. It is, like the more recent Jadis JA-80/200, able to work with 6550s, EL-34s or 6L6s. This particular model, used by my associate, was operated with 6550s.
(Important Note- A reader, who is also a distributor, informed me that this amplifier sounds best with the KR Enterprises KT-88s.)
The input tube (and phase splitter) are a 12AX7 and a 12AU7, plus there are two 6DJ8s used as driver tubes (which is unusual). The input tubes, as this is written, are still stock EIs from Yugoslavia, which will allow further sonic improvements to be made when the finest NOS tubes are used as substitutes.
A Short Sonic Description According to my associate; "the JL-1s are the most emotionally exciting amplifiers I have ever heard". He feels they provide an overall "visceral" experience that is unique.
While they are rated at "only" 100 watts per channel, he claims they have more "impact, solidity, weight and control" than any other amplifier he has heard, and that includes many of the 500 watt (Jadis, Krell, Classe, Pass etc.) "monster" amplifiers, and the Altec/Tutay 1570 and Wytech Topaz tube amplifiers already on this list.
FROM GERMAN REVIEW:
THE CAT by Reinhard Wendemuth AUDIO August 2001 THE FANS OF THE LOVINGLY CALLED "CAT", THE CLASS TRADEMARK OF "CONVERGENT AUDIO TECHNOLOGY"; NO LONGER BELIEVED, THAT IT WOULD EVER HAPPEN, THE STEREO-VERSION OF THE LEGENDARY TUBE MONOBLOCKS JL1. BUT NOW IT IS HERE - AND EXCEEDS THE HIGHEST EXPECTATIONS. In issue 4. 1998 AUDIO magazine celebrated the JL1 LIMITED Edition as "the best amplifier of all time". The Limited Edition version of the JL1 monoblocks , from Convergent Audio Technologies, sounded better then anything that we had ever heard up to that time. At that time it topped the "AUDIO BEST LIST" at 125 points, which in the meantime has been topped only recently by the extremely expensive, 300.000 Mark, "Krell MRA". This rating is especially remarkable since this is a tube unit. With this rating technique, "Audio", is especially careful with recommendations, because of the universally problematic characteristics of tubes. The CONVERGENT amplifier is an exception to this rule. The measured values are far beyond good. The JL2 has practically no limitations regarding choice of loudspeaker. Exceptions are absolutely seldom. Tubes in general have a shorter lifespan than transistors, but are very easily replace. With every "amplifier" one should be prepared that with the rare failure of a power tube, the hardwired cathode resistor will be lost. In this case a good service technician is needed, to ensure a weekend of musical pleasure.
However, the quality of the Russian 6550 power tubes supplied by Convergent, is so great that such problems will be limited to every 2-3 years. Surprises can be controlled with visual monitoring of the tubes. Tube lifespan is recognizable by the deterioration of the silver mirror finish.
Convergent became quieter and quieter since the Drum-role of the "Limited Edition" a good three years ago. In the beginning we still hoped soon to be able to present fans with the price advantaged stereo version of the JL1. But the German distributor had to keep asking us to be patient.
Ken Stevens, president and manager of R & D is not to be rushed. He releases a product only, when he is fully satisfied. Because of this he has lost many potential clients over the years. Other manufacturers constantly bring new or just slightly up-dated products to the market, just to stay in the picture.
Self Competition Those who waited for the JL2, will now be rewarded for their patience. As advertised the new stereo amplifier not only sounds better, but is also comparatively more price advantaged than the Monoblocks of the JL1, which is widely known for its exotic wound transformer and sold for in excess of 100.000 Mark. This raises the suspicion that Convergent does not want to sell anymore JL1s and certainly no more "Limited Editions". It is hard to imagine a worse marketing strategy. But the people at Convergent are honest. Actually it would not have done any good to hide the quality of the JL2. During the AUDIO listening test, the performance of the JL2, was so outstanding, that it left no doubt as to its superiority.
Just how did Ken Stevens do it? Two monoblocks which share the same housing, but otherwise with the same technical efforts can be accepted. However the JL1 (AUDIO 6/97) did not have the same openness and detail and registered 5 points lower. The answer to the question: what he worked on in that long development time, kept the developer to himself. He only gave the lame reply "many buildingblocks were exchanged for better sounding ones", and that he optimized the already comprehensive, 22 layers boxed transformer to deliver the advantages of pure class A single-ended triode sound..
The JL2 also improves in the area of convenience. Previously the multimeter power supply was simply shipped as a separate unit, it is now built in. This makes the recommended fine tuning after a tube change childs-play.
Convergent does not need any special attention in the set up of the unit to prove its absolute world class superiority. Basically the new JL2, was clearly less capricious than other tube amplifiers, without sacrifice to the certain special something, which is inherent to this species. This certain something makes even lesser recordings a musical experience. In addition the exceptional qualities were not limited just to the mid range, but also on both ends of the frequency spectrum JL2 underlined its unmistakable superiority. It was unbelievable how well she handled the not at all easy to control reflexsystem "Wilson Watt/Puppy 6", with regard to precisely controlled basses. In fact how wonderfully the JL2 harmonized with the legendary Wilson boxes, is proof of how much less critical it reacts to the selection of the speakers, in comparison to other tube units. Amazing also is the strong sound of the clarinets, without the usual mistake to cover the sometimes sharp sound of the instrument. Just as the Spanish say of their famous artist Diego Velazquez, to have the ability to paint in the air, the Convergent JL2 is equally capable with its three dimensional and lively sound.
Happy those who can obtain one of these rare units!
What about "refinement"; especially considering the CAT's triple disadvantages of a push-pull circuit, and 8 (pentode) output tubes per channel? He claims that the amplifier is still very pure, but not quite the equal of either the (also Class A) Wytech Topaz or the Golden Tube 300B in their greatest areas of strength; liquidity, purity etc. This observation is not surprising of course.
He felt that on digital sources, the differences were virtually inaudible, though on the finest analog sources, the above mentioned SET designs still had a noticeable advantage, but only on the best recordings, and even then, only where the music is simple and uncomplicated. On the other hand...
On high-power, complex orchestral works; he feels the JL-1s are so far superior in their (dynamic) strengths, that any "downsides" are "relatively trivial", and aren't worth talking about. This is the reason why he much prefers these amplifiers, overall, to any rival he has yet heard.
What about "value"? Are they really worth $ 20,000 (in parts, labor etc.)? My associate has taken the amplifiers (not literally) apart. He feels they are very well built, but still somewhat overpriced. Of course, we don't know what the unique and gigantic output transformers actually cost to build, but he felt they should sell, in an ideal world, in the $ 15,000 to $ 16,000 range. They still offer equal, or better, value than most of the amplifiers in the $ 20,000 range. (Of course, considering their sonic achievement, they are the best value we know of in that price range, or above.)
Personal Caveat- I only "heard" these amplifiers once but, if I remember correctly, it was in show conditions, which is basically meaningless. My associate's "taste" is slightly different than mine. I favor purity and low-level information somewhat more than he does, but those qualities are still high priorities for him also. I believe his "taste" is more "mainstream" than mine is, so most readers of this website will probably agree with his assessment and feelings concerning these amplifiers.
What I know for certain is - knowing him as long and as well as I do - if a picky person like him is so impressed and enthusiastic about these amplifiers as he is, they must be damn special, and that's why they are here.
Further- Since the above recommendation was written, the Antique Sound Lab Hurricane became available. According to my associate, it is "competitive", though still not quite equal to the CAT. It is now, in Triode operation, in Class B (Upper). It is only $ 4,400 a pair.
CAT JL-2- This is their current model. It is a stereo amplifier, in triode operation. None of us has heard it, but I have received appraisals of its performance from some readers, and everyone of them has been very impressed with it. One reader recently wrote that he actually preferred it to the JL-l in a direct comparison. Here is the relevant part of his letter:
(The JL-2)..."drives my Soundlabs M-2's like no other amp ever has. If your colleague loved the JL-1 monos he would find the lower priced stereo version "purer" with a lower noise floor but still outstanding bass (but not quite as good as the JL-1's ). I had the chance to compare them directly as I wanted the JL-1's to sound better. As I am a monoblock type of person. ...They only looked more impressive, sounded fantastic but not as fantastic as the JL-2. The JL-2 reminded me more of the single ended triode sound."
Thank you Slipnot1. I love the vinyl in spite of being so inconvenient. It will be intersting to see if any of the new digital formats reach a point in terms of sound quality and software avaialbilty to truly comepte with vinyl - I've not yet heard a digital format that provides more low-level detail than good vinyl on a decent turntable.
