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I was a George Wright fan from the Listener magazine days; I used to have the WPP200C, but stupidly fried it with wrong tube a decade ago. So I jumped when I saw a prototype Wright phono stage offered for sale from the collection of the former audio reviewer / collector. Most importantly it was not expensive so taking a chance was easy. It is MM only, which is fine; I don't imagine that I'll be experimenting with MCs for a while. It's a unique piece and I'd love to know more about it, are there other Wright phono stage one-offs?
It has a screened faceplate, "Wright Phono Amplifier PH-1". It also has the real sign of early 2000s attempts at domesticating DIY culture - curved stained wood sides on an off the shelf looking black box. The most curious thing to me is the choice of tubes. After larger, varied, arrays he went the more conventional three 12ax7s, with a 6ca4 rectifier. I wonder why he stuck with 12ax7s in a phono stage he knew might be reviewed even as just a prototype? Maybe it was to a price point lower than the WPP 100 or 200C? The unit came with JJ 12ax7s and an EH 6ca4. Unfortunately I have been on the 12au7 side of the tiny tube world, ever since sold my Bogans and Fishers, so I only had a few 12ax7 pulls. Bogan and Fisher branded Mullards and some Sylvanias.
My question is does the third 12ax7, the buffer, have to be matched with the first two tubes L/R tubes, or is consistency the best thing? 12ax7s have become very expensive.
Even with a bit of rolling it's clear that the 6ca4 is the sonically the determining tube. Both the Mullards and Sylvanias 12ax7 sound good, but the biggest change was replacing the 6ca4, first with an RFT tube then a 60's Mullard. As you'd expect it gripped the sound and allowed the phono stage to bring out rhythms and relationships that were impressive. Yet, at the same time, it's a little dark and closed on top, and that is frustrating. It's held back. It's definitely rectifier, when I put the EH back the system it opens up - but the sound is bright and loses intensity.
Any thoughts would be appreciated.
Gregg
I bought it at Holt Hill audio, if you are in the Boston area it is definitely work checking out. Great guys.
Follow Ups:
Aren't there 2 Wright Audio companys?
GD
Don't see that logo on any other of his amps?
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First they came for the dumb-asses
And I did not speak out
Because I was not a dumb-ass
It definitely came from George, I have the original plain white box with his return address.
I only dabbled in the early 2000's SET world, but I seem to remember that "they" did try to commercialize George's amps around the time he died. I don't know any details though. I just remember thinking that I'll never get a Wright amp because they'll double the prices. it's part of my curiosity about this piece. It sounds great, it's not a giant killer, but it's perfect for me until I decide how far up the phono stage food chain I want to go and do I really, really... need mono EQ settings and tubes? I really do want them.... both.
Allan made Vacuum State products. I looked him up to check and both Wrights died around the same time (2010).
Gregg
I had some of George's gear in the early 2000s, a preamp, 2A3 SETs, and some custom made 10 SETs. He made decent gear at a reasonable price.
Jack
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Your interest may vary but the results will be same. (Byrd 2020)
I can't compete with the dead. (Buck W. 2010)
Cowards can't be heroes. (Byrd 2017)
Why don't catfish have kittens? (Moe Howard 1937)
Redenbacher's.......
Nice looking unit! Is the third 12AX7 working as a cathode follower for both channels? if so, it doesn't need to be matched to anything else. About the 6CA4, i wouldn't expect so much difference in sound unless one of the tubes is worn/defective or the operating conditions are non-ideal.
Thanks. Knowing that I can focus on pairs rather than triplets is great. It's odd that the rectifier had such an effect. I'm happy with the Mullard, so I'm not going to get another EH to test. Getting the unit up on some vibration treatment opened it up more. So, yes I'm happy.
Gregg
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