Oggi arrivati alla cifra di spesa per un amplificatore di 1400 euro, nulla e' meglio di un valvolare.
Una opinione by internet:
In 1985 I bought an LP12, Naim amp and Kans. Over the following 19 years the system evolved to become a CD based system and was all Naim, a CDX/power supply, 32.5/snaps/160 and SBL's. I sold the lot 12 months ago and bought a Chinese kit valve amplifier, a pair of hi-fi world kit loudspeakers and a used Meridian 206B. I'm not going to preach, 'cos it's all a matter of opinion and taste, but I did this change because what I'm using now is better than the Naim system by some considerable distance.
Okay folks; let’s recap. We write the year 1937. Europe is gearing up for War and in the US the Western Electric Corporation is a making Amplifiers for the Cinemas of their time. This being a time when Film with sound was pretty much the latest thing since sliced bread. In these Cinemas various Amplifiers rated at a few Watts where driving huge Horn Loudspeakers. Yet even back then the Quest was for more POWER.
So Western Electric introduced the 300B directly heated power triode. With a massive 40 Watt anode dissipation it was the undisputed power-king of the Audio Triodes (which included the nimble sounding 2A3 and the charming but a little gutless 45 and so on).
With the new 300B it was possible to obtain between 6 Watt and 12 Watt output from ONE SINGLE VALVE. Now this was a huge leap up in power from the 1.5 Watt of the 45 and the 3.5 Watt from a 2A3. Many Theater Amplifiers where build using the 300B and it was also used widely in telephone Systems. It always was a fairly expensive Valve. Build ruggedly with a very long lifespan and excellent linearity it can in some ways be seen as the crowning achievement of “old-fashioned” Audio-Engineering and valve making Craft.
After the end of the War in 1945 the star of the 300B in Audio began to fade. More and more Amplifiers where introduced, using pentodes or tetrodes in the output stages. While allowing for much higher output power, these new valves and their associated amplifiers sounded nowhere near as good as their 300B based predecessors. But who cared.
Harold Leak in England build the 0.1 Series of Amplifiers; all featuring 0.1 per cent Distortion and more Power than the 300B ever could muster. Messieurs' Williamson, Walker (Quad) and Hafler (Dynaco) where busy nailing the lid on the coffin of the 300B as Audio Amplifier with their penthode and tetrode designs.
Still, in other applications the 300B prevailed and indeed, the 300B was manufactured by Western Electric (and the companies that followed on from it) until 1988. Not bad for the good old 300B, only the 6L6 has a longer history in production and unlike the 1988 WE 300B the modern 6L6 Valves are nothing like their 1940’s counterparts.
Now 1988 could have been the final fanfare for the 300B. Yet unnoticed by the general Audio-Public the 300B was making a slow comeback. In the 70’s a number of Valve Designers in Japan and France (among them Anzaï Zaïka, Ken Shindo and even Goldmund Founder Michel Reverchon) effected a Renaissance of Amplifiers using directly heated valves like the 300B.
By the time Western Electric shut down the 300B Production this Renaissance was spilling over into the US and the rest of Europe. With the WE 300B out of Production, other sources quickly appeared including the US made Cetron and Chinese “almost” 300B Valves.
After the fall of the Iron Curtain and with 300B fever sweeping the Audio-World, a lot of factories that had previously manufactured Valves for military purposes in the former Eastern Block had spare capacity and got in on the 300B Act. These Days 300B copies are available from many sources in China, Russia and the Chekz and Slovak Republic.
Even the WE 300B is back courtesy of Westrex and Charles Whitener, even though a Pair of the new WE’s does costs $800. The prices fetched by original NOS WE 300B’s are mind boggling. Anyway, with all these 300B Valves around and with all these yummy 300B Amplifiers around we need to know one thing.
If we ain’t got the green to make the scene for the real WE 300B’s (old or new) - what should we buy?
Svetlana, a joint Venture between Svetlana US and a St. Petersburg Factory originally manufacturing transmitter Valves, was one of the last companies to introduce their version of the 300B. What makes their Valve interesting is that Svetlana (or rather the Russian facility where the Valves are manufactured) has been making directly heated triodes for many decades.
Admitted, they made radio transmitter valves rather than Audio Valves, yet the people at the factory and in the Design-Lab’s have much experience in making directly heated triodes. Would all that experience be born out in the final Product?
I was very interested and when I finally received the Valves after a lengthy dispute with Her Majesties Customs about the fact that commercial samples send free of charge should NOT be subject to import duties (I lost by the way), I could hardly wait to try them out.
Living in a Box?
Well, we all know the presentation of valves from the former Eastern European Countries, do we? Dinky, undistinguished looking Cardboard boxes, often badly able to protect the Valve. Even more to the point, looking inside the valves, it is often possible to play guessing games of “How many Vodka did he have when he made this valve?”.
To say it kindly, consistency, manufacturing quality and presentation often leave a lot to be desired with eastern European and Chinese valves. Compare this to the effort Westrex now puts into the packaging of their 300B. They use reproduction of the original boxes, a nice looking wooden presentation Box.... Even unpacking a pair of the WE 300B’s must be an experience!
So how do Svetlana Shape up? I must say I was surprised. The matched pair valves come in a very nice and professional high gloss Box, with a nicely shaped Foam Interior that gives best protection to the Valves. A little certificate for each valve, listing the test-results is included.
The Valves themselves are superbly made, with pretty thick, solid glass and an internal design that follows the classic WE 300B almost to the dot. Instead of the yellow flash logo and WE Print, the Socket has a subdued golden Print with Svetlana Logo. Classy! The consistency of production is excellent, the two valves of a matched pair not only electrically but also physically a perfect match.
But what good is the best looking Valve if it does not sound good?
What is the Sound of one triode?
One of the most famous misquotes in "Ultra-Audio" is the classic "What is the sound of one Hand/Triode clapping?". It does have its roots in a Buddhist parable but it actually was more like this:
A Master was asking his student to clap his two hands together and describe the sound. Then he asked: "What is the sound of one hand?".
Obviously the answer is not so simple as to say non.... It shows that the 300B as Output Valve (or any other Output Valve) does not operate within a vacuum (though it does rely on having a vacuum inside). We cannot really talk about "THE SOUND OF THE Svetlana 300B", only about the sound of a specific Amplifier using the 300B and the interactions between the Amplifier circuit and the 300B.
To this effect the Svetlana 300B was tested in two different Amplifier Designs. Valves on hand for comparison where Chinese (Golden Dragon) standard 300B’s and Sovtek 300B’s. I would have loved to have a pair of original NOS WE Valves at hand to. Alas, no-one I know has enough money and determination to own these.
One of the test-amplifiers was the Edison 60 Kit, converted to use 300B’s. Here the Valves where operated in parallel single-ended configuration for about 18 Watt of Power. The Edison 60/300B operates the 300B’s with AC on the Heaters and in self-bias mode.
The other Amplifier used for testing the Svetlana 300B is my Fugue 300B Design. This is a very unusual Amplifier Design. It uses direct-coupling, a highly developed driver stage and valve-regulated power supplies; for what might very well be the “ultimate” 300B Amplifier. Here one 300B Valve produces around 12 Watt - 15 Watt of Power.
The Speakers used during the (very lengthy) evaluation of the Svetlana 300B where the Beauhorn Virtuoso Reference and Gold Horn Speakers. I also used a pair of DIY Speakers that where very close copies of the Wilson Audio Watt 3 / Puppy 2 System. I also used a pair of ancient Goodmans of England Axiom 201 twelve inch fullrange Speakers I recently acquired.
Used in either Amplifier the Svetlana 300B distinguished itself by low sensitivity to microphonics. You need to whack the valve pretty hard to hear much in the Speakers, even using the 103db/W/m sensitive horn speakers.
The Hum even when used with AC Heaters is very low, much lower than what is possible with the Golden Dragon 300B Valves. Used in the Fugue 300B Amplifier with DC Heating the Svetlana 300B is eerily quiet. The whole Amplifier measured a Signal/Noise Ratio of better than 96db with respect to 1 Watt with the Svetlana 300B.
However, the killer bit about the Svetlana 300B is the sound. Low noise and microphonics are good, but some of the quietest Valves are also among the worst sounding. Not so the Svetlana 300B.
Music is present beautifully open and detailed, but with also with authority. Indeed, what I noticed most about the Svetlana 300B was the tightness and depth of the bass. Sure the Midrange had all the beauty, naturalness and detail the 300B is known for. However here we have a 300B valve with BALLS! Compared with either the Sovtek or the Golden Dragon valve the Svetlana 300B digs deeper and offers a much tighter, more controlled Low End.
The other great strength of the Svetlana 300B is in soundscaping. If one changes from the Svetlana valves to the Sovtek or Golden Dragon valves the Soundscape almost collapses. All the beautiful extension and focus disappears and is replaced by a much smaller version of the same. This is not to say that the Sovtek or Golden Dragon 300B are bad in terms of Soundscaping. Compared to even very good Solid State Amplifiers or something like a Quad II they are miles ahead. Yet the Svetlana 300B tops this already excellent performance by a good deal.
If I where to sum it up, the Svetlana 300B gives you more of everything, compared to either Golden Dragon or Sovtek 300B’s, a lot more of everything actually.
The last item some may question is the longevity of the Svetlana Valves. A number of recently introduced 300B Type valves have suffered from a range of problems. I am happy to say that Svetlana 300B’s have proven themselves extremely rugged and reliable. During the development of the Fugue 300B Amplifier I “cherried” the anodes of the 300B’s repeatedly, yet the same valves are still in the Amplifier right now and sound great.
L'originale di cui solo la Svetlana ne e' l'esatta copia.
This is the top of the line tube by Valve Art. It uses the "upgraded" ceramic base and has other "improvements" which allow it to be driven with a higher plate voltage and current which, in turn, increase the wattage output. What amazed me, and was also confirmed by a friend of mine who has also played with many 300B-type tubes, is that this tube was worse then the cheaper lower line of Valve Art as reviewed above! Although i did try it using both the normal and also higher bias setting in the Art Audio amplifier, it seemed to definitely sound better driven with the higher setting. Unfortunately when she clipped, it was hard and nasty. i mean nasty nasty as in the mids all broke up horribly. The worst clippers in the whole 300B-type tube bunch here (worse then the Centron too). While i can not recommend this tube as a 300B direct replacement, it does have some good qualities when used at the higher bias operating guidelines for higher output.
Ramping up the bias to the higher setting seems to make the mids smoother, the higher a bit more liquid, and the bass is really full here. Still, the mids and highs sounded better with the lower line Valve Art 300B-C60 then with this upper line 6300B tube. The only advantage for using this upper line Valve Art over the middle line would be for more (maybe a tad too much) bass. On virtually all levels the middle line tube was better then this one if we compare them at near their proper operating guidelines as they were used in the Art Audio unit. Still, when used as a simple drop in replacement for whatever non-testosterone 300B you'd be much better off with the 300B-C60 then this higher priced ceramic based 6300B in my humble opinion.
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The Centron 300B is one of the only two made in the USA 300B tubes (the Western Electric being the other). The audio products division of Richardson Electronics Ltd. are also the keepers of the Bugle Boy name by the way. i tried to love 'em. i really did! Alas, they were so hazy as compared to other tubes here that in my listening they ranked dead last. i don't know what more to say. They just seemed slow, hazy, and just not nearly as good as the rest of the bunch. Not much in the way of microphonics by the way but even if it was totally dead microphonically speaking istill couldn't recommend it due to music reproduction quality issues.
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Part of the hold up on this entire review has been, well, just as i found a killer tube like the Valve Art, another tube would come along and blow all others away when used as a direct normally electrically run 300B. These new JJ Electronic 300B tubes made in the Slovak Republic have won my heart as the all out winner of this grouping in my systems to my ears.
Although a bit microphonic, it seems to have the best balance of smooth mids with upper and lower frequency extension in my beloved Wavelength Audio Cardinal amplifier. If fact i love it so much it now pretty much permanently resides on it as part of my main reference system, only giving way to the WE300B when i desire a more, um, seductive sound. Ambience and imaging are excellent as it inner resolution too! This is the latest 300B to arrive here in my humble abode and also the best so far for direct replacement on a normally run 300B amplifier. Some of you might worry about a bit of that blue glow on the top, but then again so did the WE300B have that at the beginning too. i feel there is just too much emphasis on that top blue glow. Yes, it does mean a few things, yet it's not necessarily gonna make your system sound like junk, burn down a small village, and release a nuclear warhead on your government. Sheeesh, relax and enjoy the music!
The JJ Electronic 300B seems to have all the things i love about 300B tubes! What more can i say then that? May i humbly suggest you try the JJ Electronic 300B? You too might find yourself in love while enjoying the music.
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With this newer generation of 300B variant, KR Enterprise really have a winner on their hands in my humble opinion. When used as a direct replacement for a normal 300B, the 300BXLS has all the good stuff the VV302 has yet with a smoother midrange which i had hoped the VV302 had. Also, the bass seems more tight and tuneful too. To add to all this, the highs are gorgeously smooth with impressive upper frequency extension. This is something the Western Electric 300B tends to really lack in.
Sure the WE300B has a lovely midrange which seduce many people including me, yet the lowest and highest octaves suffer a bit to my ears in my systems. If you can juice up the bias and voltages a bit, the 300BXLS can be utterly amazing. It's what you might have really wished Santa Clause brought you for Christmas instead of that lame necktie! MAN, Santa needs to get a clue! If you have one of those testosterone-driven super 300B variant amps the 300BXLS could be "all that and a bag of chips" for your music reproduction system.
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In Search of the Perfect 300B Tube
Peter Willenswaard, November, 1999
In the last two years, the available choices in 300B output tubes for one's low-wattage single-ended power amplifier have become an embarrassment of riches. If we include the souped-up versions—which, in fact, deviate from the original 1930s Western Electric (WE) specifications—the number of 300Bs to choose from now includes about 15 different brands and types. This calls for an evaluation. A few of the 300Bs examined here have been covered in subjective reviews in other magazines (Vacuum Tube Valley, Fall/Winter 1997, issue 8; and Glass Audio, March 1998, Vol.10 No.2), but the variety of 300Bs tested below is, I believe, the widest yet, and Stereophile's first. I hope my findings help Stereophile readers in their choice of a 300B suitable to their amps and tastes.
I decided to limit the test field to tubes that are assumed to more or less adhere to the original specifications, as only these can be tried in any amplifier designed to take standard 300Bs without having to worry about compatibility. "Heavier" versions, designed for higher anode dissipation, invariably draw far higher filament currents than the 1.2 amps the old WE needed, and usually draw more anode current at a given anode voltage and grid voltage. KR Enterprise's VV52B, for instance, draws more than 2A of filament current and about 60% more anode current with a normal grid-bias voltage. As it cannot be used in most amplifiers designed for a 300B without the amp having to be modified, it wasn't included in this overview. The new Valve Art (VA) 5300 is a borderline case, with a 1.6A filament current, but as the widely used VA C60 also draws 1.6A, I decided to let it pass.
In most cases, the higher anode-current draw of some 300B variants is not a real problem. The bias arrangements of 300B amps come in two forms: "automatic bias" (mostly passive, using a high-power resistor in the cathode circuit), in which case the anode current is only mildly dependent on the tube's actual properties; or "fixed bias." In the latter case, the amplifier's user can adjust the negative grid voltage so that the anode current specified by the amp's designer is met—unless, of course, the tube under consideration appears to be out of the amp's range of bias adjustment. If you cannot sufficiently reduce the anode current—especially if it is more than 20% higher than it should be—do not try a 300B in your amp for more than a few minutes. You might blow the amp's output transformer or power supply.
A higher filament current cannot be readjusted and therefore can be a problem. Filament current supplies come in three forms: AC, regulated DC, and passive DC (ie, silicon-diode rectification into an electrolytic capacitor, often followed by a low-value power resistor or a choke and a second electrolytic). In all cases, the filament winding on the mains transformer must be able to deal with the current drawn. Fortunately, most designers build a bit of extra margin into their mains transformers. Still, you should monitor the transformer's temperature, especially in the first few hours after replacing the tube. If the amplifier starts to smell funny—or, worse, if there is even the slightest trace of smoke—switch the amp off and never again use that tube in that amp.
In the case of a passive DC filament supply, safe operation also depends on the current capacity of the silicon diodes (and the series resistor, if present). If the current is too high, the diodes die without warning—maybe after a minute, maybe on second turn-on, maybe after an hour, maybe after a day. Fortunately, diodes can be easily replaced by someone who knows what he's doing.
In the third case, the amp is probably equipped with a 5V voltage regulator from the 78 three-terminal chip series. These come in two varieties: the standard 7805 (designed for 1.5A maximum output current) and the 78S05 (good to 2.0A). Though these regulators have internal current limiting and thermal overload protection and should therefore be indestructible, in practice not all samples are. It is therefore safest to operate these devices somewhat away from their maximum current and dissipation. They can easily be replaced in case of failure—again, if you know what you're doing. Always use the 2A S-version (78S05) as a replacement.
Now that we've discussed possible lurking hazards (life is never easy), let's take a look at the seductions posed by over-specified 300Bs. Some manufacturers imply that you get a higher power output from your amp when you install a high-dissipation 300B (eg, 18Wpc output instead of 9Wpc from a typical SE amplifier). This is not true. The amplifier would have to be redesigned to fully take advantage of a tube's higher maximum anode dissipation. The output generated is a strict function of the available power-supply voltage, the specified anode current, and the output transformer's impedance (including load). If, in an existing amplifier, an increased anode current should occur and result in higher power output (rarely more than one or two extra watts), this means that the output transformer wasn't correctly designed in the first place, and that there would be power loss using normal, traditionally spec'ed 300Bs to which it wasn't optimally matched. A "heavy" 300B might sound more powerful, though, because of its more rugged construction.
Before we turn to the evaluation itself, a few more warnings: I don't have to tell you that 300Bs are expensive, so treat them with care—and I mean more than just avoiding breaking the glass envelope. The 300B is directly heated, so the heater is not safely tucked away inside the cathode as in a 6CA7, a 6550, or most other power tubes—in a 300B, the heater is the cathode. It's hung from springs or wires inside the anode, in order to keep it from touching the grid. This kind of filament is brittle when warm, so let it cool completely before handling the tube—or the amplifier.
If you should ever see one or more segments of your 300B not glowing while the others are, beware of that tube: if a part of a broken filament should bend and touch the grid, the anode current will quadruple, which can damage your amplifier. Also, there are rumors that acids from your fingertips can migrate through the glass and slightly change the tube's performance, which is why certain people always use gloves while handling expensive tubes. I have never seen any proof of this assumption, but it's better to be safe than sorry.
The 300B has two thick pins for the filament and two thinner pins for anode and grid. This should exclude the possibility of inserting the tube into its socket in the wrong orientation, but I've seen sockets that don't care about pin size and will accept the tube in any orientation; needless to say, this could damage the amplifier. So study the socket before inserting a new 300B. Better still, while removing your old 300B, note which holes its thick pins were in.
And this article about the heavenly sounds of our beloved 300Bs was supposed to be fun...
The Roundup Eleven different 300Bs were tried in two amplifiers in many listening sessions—the sidebar lists the equipment used—with a listening panel present at four of the sessions. We had more than one pair available of most of the 300Bs, for backup and double-check reasons. I am happy to report that none of the tubes malfunctioned (footnote 1).
The test field was composed of the following (footnote 2):Golden Dragon 300B (stamped "AudioNote")Golden Dragon 4-300BGolden Dragon 4-300BLXJJ Electronics (Tesla) 300BKR Enterprise 300BXLSSovtek 300B (standard)Sovtek 300B (new type)Svetlana 300BValve Art 300B-C60Valve Art 5300BWestern Electric 300B (1998)
The filament current of each tube was measured at 5.00V DC precisely, and checked with three different digital multimeters (one of them a calibrated professional meter) to eliminate errors. Table 1 shows the results. Tubes with filament currents above 1.5A are a potential threat to amps equipped with standard 7805 filament regulators. Verify that the amplifier's power supply can handle a tube's filament current before you try it (footnote 3).
Table 1: Minimum & maximum measured filament currents
300B Type
min If
max If
Golden Dragon 300B ("AudioNote")
1.31A
1.32A
Golden Dragon 4-300B
1.23A
1.25A
Golden Dragon 4-300BLX
1.25A
1.28A
JJ Electronics (Tesla) 300B
1.33A
1.33A
KR Enterprise 300BXLS
1.40A
1.44A
Sovtek 300B (standard)
1.07A
1.14A
Sovtek 300B (new type)
1.26A
1.29A
Svetlana 300B
1.19A
1.21A
Valve Art 300B-C60
1.55A
1.58A
Valve Art 5300B
1.59A
1.61A
Western Electric 300B (1998
1.23A
1.26A
Footnote 1: After the review, four of the six Svetlana samples developed a short between grid and cathode after some 300-400 hours of use. Svetlana has since made changes to its line. I know that the Western Electrics, JJ Electronics, and Golden Dragons are reliable; I cannot tell what the others would do in an endurance test. Once Svetlana sends me the new samples, I'll report my findings.
Footnote 2: I decided not to include the AVVT. I've repeatedly seen VAIC or AN/AVVT (the AVVT's predecessors) 300Bs die before my eyes. I prefer to grant the AVVT 300B, now in its third incarnation, some more time to prove its reliability.
Footnote 3: If an amplifier develops a soft hum through the speakers following insertion of a high-filament-current 300B, this does not necessarily mean that the amp is damaged. It could also be that the extra current draw results in the 5V regulator being left with too little voltage headroom on the power-supply side, and no longer fully suppresses the 100/120Hz ripple.
If one is to give a reliable evaluation of a 300B, it is essential that the tube be burned in for an appreciable amount of time (footnote 4). One hundred hours are not enough; 200 hours seems to be a workable minimum (footnote 5). In doubtful cases, we added an extra 100 hours (see sidebar "A Tale of Burn-In"). If you count the number of tubes tested, including the backup pairs, and consider that we had three locations where burn-in could take place, and that eight hours of burn-in per day is a realistic figure (we avoided leaving the amps on unattended), you'll begin to realize the vast scope of this project!
On the basis of the comments of the listening panel (four experienced listeners, me being one of them), the 300Bs can be divided into three groups. Group C contains both Valve Arts, the Golden Dragon 300B and 4.300B, and both Sovteks. Group B consists of the KR Enterprise 300BXLS, the Golden Dragon 300BLX, the Svetlana, and the JJ Electronics. Group A includes only the Western Electric.
Before we go into the details, I want to emphasize that every 300B tested had the typical 300B sound character. Sound-quality differences were by no means irrelevant, but were smaller in my experience than those between the best and the worst 6SN7 or ECC83/12AX7 that I have heard. So even the most modest 300B should bring you some of that magic.
Second, the big deJongSystems amplifier exhibited much tighter control over the 300B than the AudioNote Kit One amp, which left more freedom to the tubes. Some 300Bs tend to abuse the liberty they get, especially in the bass (or the Kit One grabs its chance to run with the tube, if you will).
Group CSovtek 300B (standard): $184/pair. Basic 300B construction. A bit flat in tone, voices slightly colored (more so in AudioNote). Lacked precision and dynamics, high-frequency range somewhat detached; could do with better rhythmic control and a less confined space. Bass pressure was lacking when inserted in the DeJong amplifier, but the bass came out too fat in the AudioNote.
Sovtek 300B+ (new): $184/pair. There is no apparent difference in construction between this and the Sovtek 300B, but close inspection brought up a different grid wire. The new tube is also said to have a new filament and improved grid-support spring attachments, and comes with a white ceramic base instead of the usual black one. This tube was clearly more musical, with more air and improved rendition of reverberation. It still lacked some control, however. Bass was still a bit too pronounced in the AudioNote, but was now under control in the big amp.
Golden Dragon 300B: About $250/pair. Basic 300B construction. This tube sounded quite musical and considerably more open in the DeJong amplifier than in the AudioNote, where a loss of dynamics was noted, and voices were contaminated by a hard, edgy ring. Bass in the AudioNote was quite good, but lacked real fundament in the former amp. Focus was a bit vague, but there was no veil; in the AudioNote, however, some veiling was evident, and the entire presentation was rather dutiful and uninspired.
Golden Dragon 4.300B: About $340/pair. Construction is similar to the other Golden Dragon (above), though the plate is a bit different. The 4.300B was slightly less musical, with slightly more control and better focus, and was slightly better in the bass.
Valve Art 300B-C60: $179/pair. This tube features a solid graphite anode, and its gold-wire grid helps to avoid thermal runaway in fixed bias; also, the four pins on the base are gold-plated. The position of the small slot-pin on the side of the base deviates from its position on the WE. In the big amp, the rendition of the C60 was somewhat veiled, colored, and smeared, though the midrange was pleasant and velvety. It was pretty good rhythmically, if not very inspiring. Bass was round and soft, lacking real pressure. In the AudioNote it performed rather better, with a deep stereo image, wide space, and excellent rendition of reverberation. Weaker points: a bit of boxy coloration, not very dynamic, an emphasis on sibilants, control could be better.
Valve Art 5300B: $198/pair. This tube's construction is similar to that of the C60, but it looks as if a different filament wire has been used; also, the 5300B is provided with a white base. It sounded similar to the C60 as well, with a few improvements. The veil was gone, but it still couldn't achieve a higher level of inspiration; more of an easy-listening tube. In the AudioNote we noted somewhat better dynamics, a bit more control, a little less warmth, pretty impressive bass, and a wider image.
Group BKR Enterprise 300BXLS: $480/pair, 2-year warranty. Very rugged construction: this tube's weight is twice that of a normal 300B, and it's 15% taller. The vacuum is claimed to be unusually high: 10e-9 Torr against about 10e-6 for a normal tube. The anode has extra cooling fins for higher maximum dissipation. This tube worked well in both amplifiers, with very good bass. The sound was authoritative, but showed signs of uneasiness in very complex musical passages. Good air and reverberation, but some emphasis on sibilants; reasonably open and involving; okay rhythm, if sometimes a bit sluggish. Very good dynamics and fine detail when used in the AudioNote.
Footnote 4: Even when a 300B is fully burned-in, transporting it from one house to another can affect its sound quality: it may, like a good wine, require a few days of rest—even a week—to fully restore itself.
Footnote 5: A Valve Art or Golden Dragon, for instance, sounds quite nice after 100 hours, but after that still continues to develop, leveling out at around 200 hours. The Western Electric at 100 hours is not a shadow of what it can become once fully developed; 300 hours is a safer bet here.
JJ Electronics 300B: $199/pair. As tall as the KR, but not quite as heavy. Gold wire is used for the grid, and the grid supports are supplied with cooling fins (unusual in a 300B). Worked well in both amps. Very good bass—real pressure there—but with a trace of "hollow" coloration in the midbass when used in the AudioNote. Very involving, even euphonic—almost as if trying to make things nicer than real. Quite open, but a very thin veil was noticeable that resulted in a subtle soft-focus effect. Good dynamics, reasonably fine detail, threw a remarkably wide stage with the AudioNote. Lost some control in complex music. Rhythm okay, but rather speedy and not totally relaxed.
Golden Dragon 300BLX: About $500/pair. The "LX" suffix means that this tube is equipped with a titanium anode. The grid has gold wire. The position of the small slot-pin on the side of the base is different from where it is on the Western Electric. This tube was not as spectacular as the preceding two, but bettered them in letting the music swing. Bass was very nice in the AudioNote but lacked real pressure in the big amp. Fine detail was very good, with many subtleties, but fell short in large dynamics; apart from that, control was exemplary, with fine rhythm. It threw a wide stereo image with both amps—lots of air and space, with only a hint of veil, but no coloration. No problems with complex musical patterns.
Svetlana 300B: $304/pair. Construction is described as an exact copy of the original WE. This tube was very easy to listen to, and very involving and mysterious. "Swing" in music was even better than with the GD-LX. There were space, air, and reverberation; the sound was mellow (but not overly warm), and the highs sang. Dynamics were good, fine detail very good. Control was not quite 100%, but complex music remained intact. In the AudioNote, a trace of "hollowness" could be detected in the midbass, and voices sometimes developed a slight edge.
Group AWestern Electric 300B: $900/pair. It took WE some time to get it right (1990s production started 1½ years later than planned), but the result is impressive. This tube combined everything good that can be found, to a smaller or larger extent, in the tubes described above. It had the KR's authority, but was devoid of any obtrusiveness. Bass was deep, but in total balance with the rest of the spectrum, and was controlled and easy-flowing. It bettered all other tubes in air, space, width, and depth. Very involving, too. The only criticism is of the very slight edge on sibilants, and, in the AudioNote, a just-noticeable hollowness in the midbass (footnote 6).
As most readers know, the Western Electric is also the most expensive 300B, at $900/pair. (I've seen it sold at shows within the last year for about $700/pair.) For that price, it comes in a wooden case and with a one-year guarantee.
Conclusions In view of the results, and assuming the tube suits your amp and taste, the JJ Electronics looks like a real bargain. It is, however, the only 300B tested here that is not equipped with a center-tapped filament, meaning that it might be somewhat more sensitive to (residual) hum on the filament supply. If you want cheaper still, I'd go for the Valve Art C60 or the new Sovtek. A variety of tastes can be served in the $300-$500 price range.
But if you want the best, there's only the Western Electric.
Footnote 6: On the surface of it, one could say that the amplifiers are responsible for this coloration, not the tube. But the Golden Dragon 4.300BLX showed neither of these (admittedly minor) defects, and several other tubes in this group performed perfectly on both amplifiers. My conclusion stands: the WE itself was responsible.
By TNT:
Introduction
The Western Electric 300b has a long and distinguished history, which I don't intend to go into here beyond this brief resume! It was designed in the '30's specifically as a power valve for audio - cinema amps specifically. Since then it's been used in several configurations, but the one that everyone is familiar with is as a power valve in Single-Ended mode. It was this valve, more than any other that kept the Single-Ended torch burning during the bleak, transistor dominated days of the 70's and 80's. This was especially true in the Far East, notably Japan where original WE 300b's (increasingly difficult to obtain and after 1988 out of production) fetched astronomical sums and were used in hand made valve amps complete with such delights as silver wound transformers. This tiny backwater of high-end mavericks would have remained as it was had it not been for the opening up of the communist and ex-communist world, notably China and Russia.Why? Because these economies, starved of technological exchange with the West continued to run much of their electronics on valves rather than transistors. With the fall in demand for valves from their military, factories specialising in valves turned their minds to breaking into the western market. One of the first fruits of this were Golden Dragon and Sovtec's copy of the WE300b. Suddenly instead of costing upwards of 3000e to buy a pair of NOS WE's they could be had for 100e each. This made the 300b a relatively cheap valve and various manufacturers, in particular Audio Innovations in Europe, designed SE valve amps at a price the average (obsessed) audiophile could afford. Now we move on to the present where SE 300b amps can be bought from China for 600e complete with valves, and there are literally hundreds of different 300b amps available - right up to one's costing 100,000e +... For some the 300b is still the king of valves...
Of course with lots of amps around the choice of 300b's and their equivalents has expanded to the point where even Western Electric have woken up and started production again. These valves can be had for as little as 50e, direct from Russia or China, and up to 400e+ for top designer brands like WE.
So I decided to have a look at a few that were available to see what differences were to be found, and of course to try and optimise my nice new Audionote Quest Silver 300b Monoblocks! These amps are around 'mid range' as far as 300b amps go, at about 8000e. They use one 300b each which made comparisons easy, and best of all the French distributor was happy to send me half a dozen pairs of valves to play with. A huge thanks to him, with little to gain from the TNT link (not many visitors from France) he did it all in the spirit of enthusiasm - thanks Philippe, you are a gent...
Before I begin a three important points. First the cost of these valves can vary wildly depending on whether they are bought direct or from distributors. Searches on the net show variations running to 200%+ so you are going to have to look yourself. The prices where given are what Philippe Heitz charges, you may well find wild variations elsewhere...
Secondly a reality check. Though each of these valves sounded different and identifiable I wouldn't say that the differences were at all of the 'make or break' variety. If you have a SE 300b valve amp that you are unhappy with, then it is unlikely that a valve change we exact a cure. Likewise someone with 'entry level' valves will not reach audio nirvana simply by swapping valves. However that said often with hi-fi it is the little changes that can bring happiness, so only you can really decide... I also had a pair of new WE 300b's here as reference, these courtesy of the Loth-x amp under test a few months back.
Lastly about the typical 300b SE amp sound. Despite what you might believe SE 300b amps do not conform to the "warm and woolly" valve stereotype. If you are looking for warmth and weight go look elsewhere, an EL34 PP for example. 300b's are very open and clear in the midrange, to the point that some can sound pushy - the phrase "hear through" was invented to describe a good 300b amp. Given very efficient speakers they also can produce punchy fast bass and flawless high frequencies, but with normal speakers they quickly go flabby at the frequency extremes. So when I describe a valve as warm it'll still be much more open than most amps - everything is relative.
The 300b copies
Two valves here are to all intents and purposes - identical. The AudioNote (120e) and Audion 300b's both hail from China (so I've only put up a picture of the AN's). The Audion uses a slightly taller glass envelope, but on close examination the internals are practically identical, right down to the tiny constructional details, the brick red plastic base and the Carbonised Anode. These are made in the same factory I am sure. And they are very good:-) Overall they are well balanced and clean. The balance is pretty neutral, and they are quiet. Compared to the best they lacked a little drive, detail and air, but we're talking minor details here, and for their cost they really are good alrounders and you'd need to be running a very revealing system to become dissatisfied. Certainly I couldn't spot any difference between them.
Third up comes the Electro-Harmonix (also 120e) gold pin. This is, I believe, a specially selected Sovtec with a ceramic base. It's much the same cost as the Chinese tubes, though the 'cooking' Sovtec is considerably cheaper and probably the cheapest 300b available. This did sound different to the Chinese tubes. It had a slightly smoother and more laid back presentation, though once again the difference was not enormous. It was enough that if your system is just too pushy for it's own good then these might well help calm things down whilst retaining much of the openness of the other valves. On the other hand it could sound a little unfocused at times, particularly in comparison with the JJ.
Fourth is the Svetlana SV300b (around 180e). This also hails from Russia with quality control and marketing being centred in the USA. Of all the valves this one was the most like the WE. It also looked very similar with the same sized bulb, and if anything both the glass envelope and internals were better made than the original. With much the same sonic signature as the Chinese tubes, this one managed to add another layer of very fine detail as if coming from a quieter background. Bass if anything was tighter and better defined than the WE but back to back I'd be pushed to tell them apart. Personally I'd really have to need that slight extra warmth that the WE's possessed to justify shelling out more than twice as much for them.
"And now for something completely different"
All the above are essentially copies of the WE300b original, but other companies have produced tubes with the same electrical characteristics but with quite different constructions and the two most popular of these are the JJ 300b (170e) and the TJ300b (220e) gold mesh plate. These do sound different...
First off the JJ's. Of all the valves these were the best built, with the thickest glass and the neatest looking internals. I'm no expert in valve design (or even beginner) but the internal structure was notably different to the others and the glass envelope the biggest. They also didn't sound the same. Of the test these were by some distance the most revealing tube. Let me explain. One of the characteristics of a high-end system is the ability to show the difference between recordings. I don't mean that you can tell if it's the Beatles or the Stones, more that the recording venue/equipment/processing differences are very clear. It's the ability to spot when Paul McCartney is singing rather than John Lennon, to spot the difference between a 'Tele' and a 'Strat' but more importantly to be able to hear where one track on an album is recorded in a different studio to another. This is a double edged sword as such a system will pick apart poor recordings to the point that all things being equal, you will begin to play good recordings rather than poor.If the situation arises where you begin to avoid great music that is poorly recorded, then the process has gone too far (or you need to find another hobby). In this respect the JJ's were ruthlessly revealing, stripping bare the music to expose both its beauty and its faults. The Quest Silvers combined with the JJ's managed to walk the tightrope between music and analysis very successfully, but unlike the valves already described this would not be the case with every amp. I would hazard a guess that they could be the worse valve possible for the Loth-x 300b amp. Here they managed to make every other valve available sound as if they were missing things.
Now the TJ's. These are the most widely talked about 300b's on the market, They seem to have met almost universal praise so of all the valves these were the ones I just had to hear.
The biggest disappointment with 300b's generally is their appearance. The glass envelope is a voluptuously curved creation and they are big enough to look impressive. The problem is when you switch them on. If you switch the lights off you'll see the blue glow, but otherwise forget it. You can read by an 845, the 300b has the glow of a celibate glow-worm. Enter the TJ. The envelope is totally different, like a PX25 - big too - and by using a mesh plate the whole thing lights up, it's gorgeous and if looks are why you went for valves in the first place, then you've just got to buy the TJ's
But... But... Look at the pic, you can just see that the pins aren't parallel - the other of the pair was worse. They are also pretty thick. These valves were a VERY tight fit in the Quests, so much so that they damaged the valve bases so that they became loose with the other valves on test. But maybe I was unlucky. So I plugged them in. Yup, very pretty. And the sound had a beautiful beguiling tone, warm and smooth and delicious. The effect made voices sound rounded and organic. Recordings lost their harshness, things became more listenable. You can see where this is going. If the definition of the high-end is to extract as much as possible from the original recording then the JJ is the ultimate valve - the TJ take a big step back from this. It lays a warmth and ease onto everything and there is the feeling that this is an 'addition'. Add to this is the fact that they are the noisiest valve on test, with greater hum levels and you can see that my enthusiasm is not as great as some others that have tested the valves. As it is they are probably the perfect valve for the Loth-x 300b amp.
Conclusion
Six valves, with all the "copies" of the WE 300b giving a good account of themselves. Given a well-balanced amplifier any will do well, but of them all the Svetlana is my personal favourite being desperately close to the WE300b. Of the two 'compatables' I find the TJ difficult to recommend, poorly made, noisy and coloured, and with a high price it's for fashion victims first and foremost. The JJ is a scary valve. It is just so revealing - you get the feeling it is missing nothing. It is strong medicine, and for many ears and amps it may go too far, but once used to it you feel the others are cheating. I bought a pair for my own use. I also bought the Electro-Harmonix because they give me a tuning option for the Quests if I find a test component just too pushy for the JJ's. But if the TJ's had been better made and cheaper they would have done the job even better.
Il nuovo logo svetlana non e' piu' quello qui sopra nella foto ma:
SED products are made by SED SPb, a division of J.S.C. Svetlana in St. Petersburg, Russia. SED tubes are well known for their quality and superb tonal characteristics.The new logo incorporates the Russian factory symbol that appears on all SED-made tubes; all current production SED tubes and packaging will have the "Winged C" logo.
L'originale di cui solo la Svetlana ne e' l'esatta copia. 
