The Triode/Ultralinear switch is another dubious one because a circuit is either optimised for one or the other. Such amps often sound worse in triode mode giving a softer focus and a slightly echoey effect which some interpret as greater depth. Ultralinear has more leading edge bite. Even with the 104db Loth-X Polaris, they don`t respond to triode mode on most EL34 triode/ultralinear switcheable amps – just sounding more round-shouldered and wishy washy.

Yet reviewers extol these gimmicks as if they are the way forward.

Not to mention the environmental issues.

Anything that is well designed should reach near optimum performance within half an hour.

In demonstrations, this type of sound initially impresses many customers because there is a feeling of more detail achieved by means of a stark, spotlit soundstage. Long term this type of synthetic sound doesn’t satisfy. Welcome to the ‘brave new world’ of dry, mind over heart hi-fi, stripped of tonal colour.
A counter-reaction to this was the re-emergence of some single-ended designs which are initially entertaining with honeyed tones but long term you feel that you are seeing things through rose-coloured spectacles and missing insight into the recording especially at the frequency extremes.

The new Croft range of amplifiers include the Series 7 and 7R  power amps which are directly coupled to the speaker like an OTL, yet more user- friendly and universal in application.
The latest Croft pre-amps have greater `speed` than their predecessors due to a simpler circuit but still possess body, detail and a midrange to die for. They include a superb phono stage which when compared to the vast majority of non-valve outboard phono stages on the market, give a feeling of depth and body unlike the grey, metallic-sounding transistorised competitors. The fad for stepped attenuators has evolved into one for passive transformers such as the Music First. This too is stark, hyper–detailed, initially impressive but not musical unless used with overly-rich ancillaries.

The Goldenote range of CD players are free of the synthetic overtones of the majority of non-valve CD players while avoiding the veil that many valve CD players place in the signal path to appear `organic`. Some CD players have switchable valve/non valve outputs and multiple settings which allow you to account for the sound to yourself and others by saying ‘you have not optimised them yet.’ 24 bit is not necessarily better than 16 bit, nor are upsampling and HDCD necessarily progress.

The use of overdamped MDF speaker cabinets has led to a lack of natural reverberation in most modern speakers. So much so that I feel many pre 90’s classic designs to be still unsurpassed. Emotionless, 2 dimensional detail-led designs are the order of the day.

The problem is that the Hi-Fi magazines are inevitably driven by ‘NEW’ products so that there is continually something exciting to report each month. 99% of this equipment will be forgotten in the following weeks, thanks to the flavour of the month type of reviewer who tells you to run naked to your local dealer to buy the latest !£$* (especially if 80% of the budget is spent on all singing all dancing casework with flashing LEDS and huge, chunky knobs milled from solid platinum). Anyway, the vast majority of this gear will either lack the all round strengths to endure beyond the reviewers flights of fancy, or will be just a passing fad. How many raved about products become classics?

Conversely, excellent products reviewed incompetently slip the net, especially if the manufacturer doesn’t want to donate the equipment in question or spend thousands on full-page advertisements – if you catch my drift.

As you can see, negative colouration can take many forms……