By Juan C. Ayllon Please see the addendum located at the conclusion of this review for the latest information. I first heard the aural impact of a McGary amplifier at the Dr. Vinyl room at AXPONA (Audio Expo North America) 2023 held this last April at the Renaissance Schaumburg Convention Center Hotel in Schaumburg, Illinois. Together with a Sikora turntable and DS Audio cartridge with phonostage, the McGary SPA1 Vacuum Tube Preamplifier and MA1 Vacuum Tube Monoblock amps enchanted with the music they channeled through a pair of Usher Audio ML-801 loudspeakers. Now, I own the pair of Usher ML-802s that I reviewed last year (you can read that HERE), and had reviewed that same pair of ML-801s at the show previously, so I was familiar with their signature sound. However, hearing them with McGary amplification was an extraordinary experience! “Miles Davis' trumpet sparkles and shines, the cymbal taps palpable in a vibrant soundstage brimming with realism,” I observed of their performance in my AXPONA 2023 report. Speaking later with Jose Ramirez (AKA Dr. Vinyl), he offered–and I accepted–the opportunity to review the McGary SA1E Stereo Vacuum Tube Amplifier, which his company distributes. “You’re going to fall in love with it!” he promised. About McGary Audio McGary Audio was founded in 2017 by Mike McGary, an electrical engineer who’s worked in systems engineering/project management/security for the Department of Defense for roughly 30 years, he says, “(I) introduced my first amplifier- the 'Stereo Amplifier One', or SA1, about the same time. It is a stereo vacuum tube amplifier that uses quality components, hand soldered using silver solder, and a rugged metal enclosure. Even…with a modest power rating of 30WRMS, it still sounds more powerful than many amps.” (“Introduction: McGary Audio.” March 20, 2021. Audiocircle.com) Based out of Gainesville, Virginia, he designs, tests, and hand builds their products, which are currently the SA1 and SA2 Vacuum Tube Stereo amplifiers, MA1 Vacuum Tube Monoblock Amps, and their SPA1 Vacuum Tube Stereo Preamplifier, and he backs them with a lifetime warranty. His products are sold through a small network of dealers, including Dr. Vinyl. SA–What? The McGary SA1E Stereo Vacuum Tube Amplifier is a Class A/B Ultra Linear Output Stage tube amplifier with low (9 dB) feedback. For those who like tube rolling, it’s compatible with these tube types: the 6L6GC, KT66, KT77, EL34, E34L, 6CA7, 6550, KT88 and KT90. At 13” W x 17” D x 8 ½” H and 46 lbs. with a powder coated 13 gauge chassis, it has a look and feel that screams quality workmanship. Up front, there's a power switch to the left marked "ON", and to the right, a white McGary logo that lights up when the amp is turned on. On the top of this review sample are, front to rear, two NOS General Electric input 6BQ7A tubes, two GE 6 SN7 vacuum tubes, four JJ KT88 output vacuum tubes, and three transformers. To the side, there are two columns of slotted vents. And at the rear, left to right, there's an unbalanced RCA right channel input, the right channel negative RCA amp output, a four ohm tap, an eight ohm tap, the IEC power cord receptacle, the fuse, left channel eight ohm tap, four ohm tap, and left channel RCA input. The SA1E rests on four rubber feet. You can read more about its robust features and specs HERE. The Environs My listening and A/V room is located in front half of the 32' x 22' main space in our finished basement with a painted exposed ceiling that's roughly 9' high. It employs a ceiling cloud, acoustic absorption panels and bass traps, as well as two 20 amp and two 15 amp dedicated A/V circuits. You can read about the design and finishing process at the link HERE. The reference system consists of the following:
The SA1E is seated atop a heavy, 1/4" steel plate isolated by four A/V RoomService EVP Equipment Vibration Protectors atop the subwoofer where my Pass Labs X150.8 amp normally sits (I catch flak about this all the time, but the revered amp designer, Nelson Pass, assured me that a subwoofer makes an excellent amp stand). The steel plate is used to mitigate any undue electromagnetic interference from the sub's large woofer magnet on the amplifier. For the purposes of this review, I left the subwoofer unplugged. Impressions and Listening Session It doesn’t take long for the McGary SA1E amplifier to settle in before I have some interesting takeaways. First, it doesn’t deliver the detail through the extended highs as my solid state Pass Labs X150.8 amplifier does. Being a tube amp, that wasn't a surprise. Moreover, the SA1E does not have the grunt or sheer power of the Pass Labs-–nor should it. The X150.8 A/B amp is rated at 150 watts per channel into eight ohms and 300 watts into four ohms, and since the Usher ML-802s are four ohm speakers, the X150.8 has 300 watts on standby to drive them with great authority and oomph! Interestingly, Kent English, a staffer at Pass Labs, mentioned that since the A/B meter on my X150.8 rarely budges--much less moves out of the Class A side--it’s probably using 13 to 16 watts normally, though. Conversely, even though the SA1E is rated at a mere 30 watts, it's more than enough to provide plenty of palpable and detailed bass, filling the large room with a rich and compelling presentation packed with plenty of bass and natural, balanced sound--so much so that I don’t miss the extra power of the X150.8. It's fine. Second, whether it’s HD TV or digital music from my server, the presentation sounds less digitized with the SA1E. The vacuum tubes, with their harmonic distortions, bring a more natural warmth to whatever is being served up. Recently Dan Clark of Dan Clark audio declared his preference for tubes, as they add a certain “there-ness” that solid state alone does not. (Schiit Audio. “Summer Synergy - Schiit Audio/ Dan Clark Audio Collaboration. YouTube.com) Whether you agree or not, there’s something to be said about the pleasant, organic effects that a good vacuum tube implementation can have when introduced into the audio chain–-and the McGary SA1E is certainly no exception! After some spellbinding listening and A/V sessions, it’s time to get down to business. Trumpet, trombone, bass, and drums drive the big band intro. Softening to sparking piano ivories, they simmer, then shine with Alexis Cole’s deep contralto voicing of Miles Davis’ lyrics–“The sea, the sky, the you and I…” in “All Blues.” (Alexis Cole. Sky Blossom: Songs from My Tour of Duty. Qobuz FLAC 44.1 kHz, 16 Bit. ). A tribute to Cole’s service in the U.S. Army’s West Point Band’s Jazz Knights from 2009 to 2015 (jazztimes.com), it’s rich and full-bodied as rendered by the SA1E. Her vocals, a smooth blend of nuance, rich tone and strength, deliver lyrics, then scat–-ensconced in cymbals and piano comps–-with clarity and control. That, and the sax solo that follows, are sublime. Textures and edges are articulated–but not overly so; a little darker sounding than my Pass Labs X150.8, it imparts a visceral, chiaroscuro-like contrast, sense of volume and three dimensionality with a rich, low end and lustrous midrange suffused with vacuum tube euphoric distortion–-sans uber detail in the higher frequencies. (Kenrockwell.com https://www.kenrockwell.com/audio/why-tubes-sound-better.htm) As a result, the presentation is fleshy and palpable, infused with a bourbon warmth and glow, rendering an aural treat of the highest order. With the McGary SA1E amp’s delivery, this FLAC file almost sounds like vinyl in a million dollar room at AXPONA! I am impressed. Stevie Ray Vaughan’s catchy lead-in guitar riff, Omar Hakim’s slamming snare, toms and bass drum, Rob Sabino’s keys, and David Bowie’s deadpanning, “I know when to go out/ I know when to stay in/ Get things done” seduce and, enjoined by Carmine Rojas’ electric bass, Steve Elson and Robert Aaron on sax, Bowie’s hard-driving 80s rock anthem, “Modern Love” electrifies with its raw energy, enticing you to dance (David Bowie. Let’s Dance (2018 Remaster). Qobuz FLAC 192 kHz, 24 Bit. Parlophone UK, February 15, 2019). But, unlike some 80s digitized recordings, it’s delivered with the ear-friendly warmth of tubes that conjures experiencing it on vinyl at high end nightclubs like The Limelight in New York City during the 80s. From the cheering crowd, the punch and clang of Stan Lynch’s drum kit, to the raspy whine of Tom Petty’s guitar and his nasal, baritone vocals, “Nightwatchman” is fierce in its fidelity, lifelike and palpable, packing plenty of punch (Tom Petty and the Heartbreakers: Live Anthology. Qobuz 44.1 kHz, 16 Bit. Warner Bros., November 23, 2009). The balance is believable: the highs don’t sound rolled off, and as a whole, the McGary SA1 delivers it vim, vivid and lifelike. Hold the phone! I’ve got this tick going. Wait. That’s my head bobbing! My foot’s tapping. This is a great recording, good music, and, bottom line, it’s rocking my world. Hilary Hahn’s brilliant bowing of her violin in “Allegro” is pure in tone, and together with the Los Angeles Chamber Orchestra conducted by Jeffrey Kahane, it evokes a sense of wonder with its deft artistry and sheer beauty (Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane. J.S. Bach: Violin Concertos. Qobuz FLAC 88.2 kHz, 24 Bit. Deutsche Grammophon (DG), September 1, 2003). Recorded in the Colburn School of Performing Arts’ Herbert Zipper Concert Hall, you get a sense of the space. If you enjoy classical and baroque, the McGary SA1 is one to keep on your short list of prospective amplifiers! Concluding Thoughts When Dr. Vinyl lent me his McGary SA1E Vacuum Tube amplifier for review, he told me that I'd fall in love with it, and when I announced to another friend that my review was nearly finished and was a favorable one at that, he said, "And?" "And," I said, "It's getting a good review." Do I love and enjoy it? Sure. But as much as I would enjoy keeping it around for its luscious charms, it glosses over some precious bits of information that I really want to hear--and that my reference Pass Labs X150.8 delivers--with more transparency and oomph. Moreover, my wife, Belle, a modern minimalist, has a low tolerance threshold for clutter (it's why I keep my turntable tucked away inside, not atop of our BDI Corridor media console when not in use!). "When are you returning that amp?" she recently asked. Large vacuum tubes protruding from equipment in shared spaces makes her anxious; she prefers the straighter, cleaner lines of Pass Labs--in small doses. It's a matter of preference. Regardless, the McGary SA1E Stereo Vacuum Tube Amplifier is an astounding amplifier, serving up some of the best rich, vivid and lush aural experiences tones that I've heard a tube amplifier deliver at home! I'm very impressed. If you favor that warm, euphoric, and natural, organic, and analog delivery that great tube implementation affords, at $7,000, it's an incredible deal. At very least, it's worth auditioning for yourself. Specifications
Addendum August 9, 2023–Joe Jurzec, who took possession of the McGary SA1E Stereo Tube Amplifier after the conclusion of this review, contacted me. He was initially disappointed with its performance with its current accoutrement of vacuum tubes: two GE 6BQ7A tubes, a pair of GE 6SN7s, and JJ KT88s. However, he found that by making key tube substitutions, he got better detail and soundstage, so he invited me to his home to hear those changes. We listened to the amp on his system, which uses a pair of Pure Audio Project Quintet 15 Open Baffle Speakers and a Purity Audio Design preamplifier in his room, that’s entirely different from mine in terms of room acoustics, cabling and equipment. Right out of the box, for example, I noticed a taller, closer, and wider soundstage with less bass coming from his Quintets versus my ML-802s. However, the point of reference would be comparing the McGary’s performance within that system and listening to the effect of switching tubes. We chose to compare performances by inserting a pair of Globe Lanai 6SN7s, then the original GE 6SN7s, followed by the Sophia 6SN7s. Lastly, we replaced the JJ KT88s with Psvane KT88 output tubes. We compared swap-outs on a variety of tracks. Needless to say, there were some definite differences in performance. With the original configuration, it was bolder and punchier through the midrange, upper and mid-bass, but a little rolled off in the highs although a certain harshness broke through–especially with Hilary Hahn’s bowed violin (Hilary Hahn. Hilary Hahn,Ysaÿe: 6 Sonatas for Violin Solo, Op. 27. Qobuz FLAC 96kHz, 24-Bit. Deutsche Grammophone (DG), December 2022); I actually enjoyed its warmer and in your face quality here, but Joe found the edginess of her bowed strings grating. With the Globe Lanai 6SN7s replacing the GEs, it was a little clearer, but not nearly as rich or bold through the mids, high and mid-bass; it still imparted a softening, tube warmth to the presentation. It was laid back and spread out the soundstage a smidge, but wasn’t as concentrated up front. For me, it was like adding a little water to a glass of whiskey. In David Bowie’s “Modern Love”, I really liked how the original mix of GE 6SN7s with the JJ KT88s rendered a more punchy and palpable delivery while dialing back the harsher details a smidgen. ((David Bowie. Let’s Dance (2018 Remaster). Qobuz FLAC 192 kHz, 24 Bit. Parlophone UK, February 15, 2019) Joe’s response was, “Meh.” (I also like playing my music louder than Joe likes). Now with the Sophia 6SN7s, the presentation regained greater definition throughout the spectrum–especially the highs. Then, by swapping out the original JJ KT88 tubes and replacing them with Psvane KT88s, there was an increase in gain, as well as bass. This last combination of Sophia 6SN7s with the Psvane 88s was a hit with both of us, striking that balance of lower end, clarity throughout the entire range on up through the highs. For example, in the John Mayer Trio’s “I’ve Got a Woman”, the drum bass, the texture and striking of the drumstick on the snare is detailed and clear, the low rumble of the bass, the growl and whine of Mayer’s guitar was captured with the balance closer to that which I’ve come to appreciate in my reference system with the Pass Labs gear, Usher ML-802 speakers, etc. (Try! Qobuz FLAC 44.1kHz 16-bit, Columbia Records, November 22, 2005). And now Joe is much happier with the McGary SA1E’s performance than before. Now there’s no way that I was going to schlep the McGary back to my house to give it another comparison in my system. That ship has sailed. However, the point is that by changing your tube selection, you can greatly affect the presentation of this amp, and we felt that with the combination of Sophia 6SN7s with Psvane KT88s, we got our optimal blend of soundstage, clarity throughout the sound spectrum, and bass-mids-highs balance. However, that’s a subjective thing; you might prefer a warmer, richer presentation that was exemplified by the original package. To each their own, right? Cheers!
McGary SA1E Stereo Tube Amplifier Retail: $7000 McGary Audio https://www.mcgaryaudio.com/
0 Comments
Your comment will be posted after it is approved.
Leave a Reply. |
|