You read the manual, yeah I connected RCA to my subs and didn’t bother changing them after that but interesting that it’s a known issue. More interesting still is the fact that you only just heard it for the first time with the Shiny Eyes.
A winch over your living room with a landing extending over your second floor balcony would be a bit much you think?
Congrats!
Unfortunately i am a dumb ass, i have had this issue w/ my Sugden amp. It is a fully balanced design and needs a different high level connection procedure and yet again similar isse w/ my EC Studio B, it too will creat a ground loop back into the amp when you try and connect it to high level in any fashion to the REL’s. All work jusst fine via low level RCA connection, it’s the speaker direct connection that needs to be appropriately planned. This FYI for anyone planning on purchasing or using REL subs.
This is typical of tube amps, the EC Studio is the same way just very acerbic when first turned on, takes a good 20 minutes to get over it. The Woo is a little different, tends to sound very flat at first, but again 20 minutes or so.
I usually try and power mine on for the better part of an hour before listening.
That is a good descriptive word, i had to look that one up. 
In all honesty there is not a tube based piece of equipment in the house that does not require a solid 20mins+ of warm-up but i wanted to put emphasis on the subject. The sound was particularly grating.
The weird misconception is that so many people seem pretty allergic to tube gear because of the warm up, but I’ve run into plenty of SS gear that needs the same. My personal amp needs some time to get to temp and I remember my P6 Pro needing quite some time.
Basically i turn on my gear, take a shower, enjoy once I am back.
@NickMimi i am not sure if you dove into the papers (i out them in the acme’s box) but they even say out it on for a minute or two without music, then after that go ahead and play what you want. It also notes the order to turn things on/off but it seems pretty straight forward.
Since Nick has some good thoughts down I will add mine a bit later / soonish. I think he nailed a bit and if it wasnt for “convenient” travel i would of loved for his thoughts with the lcd-3 too. Like the few other amps made for the audeze, this one loved the PF models.
I also would of loved to have heard it with a Lampi but i dont know where to find one…
The only difference for me, is I just leave most SS gear on 24/7.
The Liquid Gold I used to turn off because of how hot it ran, and warmup time on that was a good 20+ minutes.
For the setup in my office I know if I’m going to be able to listen when I look at my calendar in a morning, and just turn it on then.
The dead south are one of my fav bands today seen them live 2x. Here is a great set list:
+1 on this
Since i have some (forced) time on my hands, might as well get the thoughts down on this one.
I have only heard two 300B amps so grains of salt with this comment, but i feel the Radu Shiny eyes is an example of what people normally expect from an amp with this tube set, but extremely upscale, refined, and a bit luxurious.
To start off, this was on my main chain of the modded Lumin U1 mini, and Mojo v2xa dac into the Shiny Eyes. The amp was provided with a high end suite of tubes, PsVane ACME 300Bs, ’59 Mullard Fat Base GZ34, Multiple NOS C3g, all matching the luxury tier of the rest of the amp’s components. (You can read up on exactly what is in the amp here. ) Super filtered, transformers for everything, and those vented tube sockets i love, it was dead silents on and off, where some tube amps give a hum (the EC will hum when off but it gets “sucked out” once the power is flicked on). The amp was built with an Abyss AB1266 Phi TC in mind so let’s start with the bass.
Bass here is solid, and not like solid = good, i mean solid as it hit sooooo solid. It was extended and even, great kick and slam, and ohh the layers and texture. This was the only amp i really liked the LCD-24 on and it was that bass definition. EDM songs with that wobbly bass felt like you could feel the distortions in the subwoofer’s cones. It led to and blended so well with the mids. Very splendid and good authority.
The mids are a good middle ground between the heavily flavored Decware Taboo, and the drier cooler Studio B. Even with the ACMEs, which i thought were too cool and flat in the mids for the EC, the Shiny retained a bunch of romance. I didnt have the WEs but i could only imagine the mids then. Vocals were so clear. They stayed wherever they were placed by the mix, forward back whatever, but they were just clear. Lyrics i misunderstood on every other chain were no brainers. Guitars and instruments have great and accurate weight and timbre. The LCD2.2pf was an indulgence with that velvety liquid texture i just love about them.
The highs had tons of air and space to reach out but were still warm and sweet. Not like the taboo which felt rounded off and took me about 1 hour of listening each session to get used to. Here its that smooth liquid feel and great coherency with the rest of the range that dictates the treble. There is sparkle and chime but nothing crazy, but no peaks or hard edges. Just smooth without loosing texture or detail or anything else that is normally sacrificed on smoother offerings. IE: leading edges are round but not blunted or soft.
The presentation and feel is very eased, like the amp is not even breaking a sweat. Its not to be confused with being laid back, just more that it seems to make easy work of what you send its way. The stage size felt like it lacked boundaries and had the feel of being in a big open field. Though i will note it felt like objects were still a good balance between intimate and way out there. Very natural all around.
Detail was good and leaned more towards the macro side, i did feel tiny little things were lost vs the taboo and the EC as well. Dynamics had good swing without being overly done or bombastic. Once again micro and macro were good but i felt it tilted a tiny but towards the macro.
The amp did really really well keeping the delicacies and dynamics at all volumes, and may have been the best amp i have heard at low volumes. The EC needs more volume for things to pop and flesh out but here it feels the same but just lower volume. I also think the amp is underrated power wise, as at just 7-8 o’clock was plenty for any headphone, compared to 11-12 o’clock on the EC. TBH i know the Studio B is designed to run the 300Bs very easily, but i wonder how it would sound with a bit hotter biasing there, maybe a bit more meat to the sound? Not sure as i only goofed around with those things on guitar amps trying to overdrive tubes. Which also the Shiny does get a warm aura around the tubes, but im surprised how cool the EC stays.
So what kept me from keeping this amp? Welp, sonically i wanted something with a little more treble zing, the headphones i have need a little more. And thats mostly it sound wise. Physically the amp is big, and at least 60 lbs, it didnt sit on my desk well and blocked my view of the tv behind it. I could of made a riser like i am for the EC, but man it would be a much bigger shelf. There is also resale, i am not 100% committed to anything and seeing how much the original owner struggled to sell it wasnt encouraging. I dont know what space ill end up in, and if i did then there would be a great chance it would still be in my hands.
But in comes Nick. The amp came up a few times in passing chats and knowing his preferences and his needs it seemed like a fit. Also knowing how good of an amp it is, i wanted it to be used and by someone who would appreciate what it is. I also wanted it to go to a spot where i could possibly hear it again, and maybe if all the stars align in all the galaxies, possibly have a chance to grab it back at one point.
I look forward to more impressions and that possible article from @NickMimi
Great impressions @Souldriver, i’ve had a bad cold w/ fever the past 48hrs and w/ all the aches and pains in my bones combined w/ a congested head, I have not even attempted to spend time in my listening chairs. I have taken the time to read up allot on esoteric equipment and the fickle audiophiles that truly live the life of low wattage savagery and what a world it is 
.
Combined, I am in possession of 6 very low power (6wpc or less) SET and DHT amplifiers . I also own one very unique class A/B dual monoblock design integrated amplifier that has a full DHT pre-amplifier section w/ the ability to switch the DHT filament voltage between 2.5, 4, & 5 volts.(allowing for many combinations.) It also has the ability to run HP’s directly out of its balanced XLR outputs using a custom made XLR 3 pin to XLR 4 pin adaptor cable (Don’t own yet) or directly out of the speaker taps using a converter box (Do own).
I will state openly despite the fact that 4 out of my 6 amplifiers are designed for HP use, that is not my preference and i feel awkward, on this forum mainly dedicated to HP use, describing sound characteristics as often as i do. As long as people take what i say w/ a few grains of salt, we are all good 
I have realized i am also less sensitive to many here on the fine nuances you listen for, it’s all about space, imaging, background blackness, transparency and the ability to produce a holographic 2 channel (speakers) soundstage in my home. Besides a piano, (which i own and can direct comparison at my leisure) i have no idea what instruments or even voices for that matter are “supposed” to sound like, thus my opinion on sound characteristics others cherish will always be lacking or completely devoid because i’m not qualified to speak to instrument or vocal character. Lastly my ears are beat to hell, I am sure i have at least some hearing loss and the only 2 things i really truly hate are granularity and sibilance, i will tear a system apart and get rid of things when i pick-up any sort of graininess in the music or sibilance, otherwise i am basically very forgiving of many nuances as long as the overall presentation is pleasant to me. This is also a necessity because i never focus on any one particualr set up and perfecting it, i swap out equipment like folks change pants, which means during the year i will listen to many dozens of combinations, never taking the time or effort to perfect one single chain. I can give you a generic feel for things but it takes much more skill and experience than I have to really speak about equipment as far as i’m concerned.
I think our article section is a great feature and i have been lacking in providing input. I have started several articles and due to my own internally felt inadequacy’s I have deleted many hours worth of work because i disliked either the overall quality or lack of professionalism in my musings. 
. I have enough diverse and even genuinely exotic pieces on hand that i feel i am doing an injustice not providing at least some level of feedback to the community in a coherent and organized manner, so i will be listening to pieces w/ the intent on providing at least some good feedback this coming year, that is my new year’s resolution to myself.
Great job to everyone that continues to provide wonderful feedback across the spectrum, we have a damned great community here, better than most, especially with all the bad self righteous attitudes and fighting that exist in this hobby.
Have you tried this and heard much difference?
If i knew i would have saved the one from the Questyles for you.
And feel better!
Edit to add: each variety of tube requires its own proper voltage setting. When I say inhale tried each setting I mean I have done so based on the appropriate tube, you can’t switch the voltage setting haphazardly or you will burn out the filaments on the tubes if used incorrectly.
Yes, the sound characteristics induced into the sound can be wonderful but not each flavor or characteristic is always enjoyable or wanted depending on the type and style of music. I have enough variety of tubes in hand to know what I desired for some general purpose listening which is why I am currently using old 45’s and will be looking for some new production EML 45’s in both mesh and solid plate variety with the possible addition of their 45B if it works on my amp.
I also feel as a pre-amp alone it is extremely worth while and have very much enjoyed using it as such fully 50% of the time I listen to music which is why there is a permanent 2nd amplifier position in this chain of equipment.
I do not often listen to HP’s on this system and I have never before mentioned the XLR output option, it’s so very low on the list of desires and priorities that it may never materialize, but I felt it proper to include in my brief description of abilities.
And the logical follow up. What differences do you hear, and is it different per tube?
Read my edit clarification please.
I was speaking to using different style DHT tubes, the voltage has to be appropriate for the tube in use, you cannot randomly push a 2A3 or 45 with 5 volts, you will burn the filaments. They require 2.5 volts and that’s what you use.
What I have done though is run 300b’s, 6A3’s, 811-10’s, and now 45’s through the unit which each provide a variety of character and flavor
They all sound different, but a lot depends on the amp, especially those that let you use different tubes. The optimal load line for one tube can be different than for another, so not all circuits react the same way to different tubes.
I’ve run T100’s, 242’s and PX25’s in the pacific it still sounds like the pacific with any of them, but the lampizator circuit like a pre amp is trying to do something different than a power amp. Most of the DHT’s are designed to push anywhere between 2W and 20W, and a preamp/DAC needs to push single digit milliwatts
Ahhh gotcha, i responded before the edit was in.
@Polygonhell do you have any experience with slightly colder or hotter biasing on hi-fi amps? I get the feeling it is in “probably shouldnt” territory.
I understand the principle, with any tube amp your selecting what’s termed a load line, it the plate voltage/current line that runs through grid voltages.
Exactly what you select in this regard dictates the linearity of the amplification, which is probably the primary character of the amp. Pretty much what you have control of is the plate voltage, the effective 0 point of the input, and the maximum current flowing through the tube hotter is just more current, which changes the 0 point and moves the line. How it will affect a particular circuit depends.
Some amps have what are called constant current sources, that moves the line to be more horizontal, and often more linear, this is what the speedball add on for the BHC a is.
Most lower powered modern amps are auto biasing, i.e. you can’t play with it, higher powered tube amps often include bias pots, and in many cases what looks like a VU meter but is actually a mA meter you can use for biasing, my 2Channel amps each have 6 pots and a meter for trimming the bias across power tubes.
Doesn’t actually impact the sound much, if they are a little hot they get a bit more brittle, but that’s more likely a feature of the specific circuit than a generality.
I guess the amp would clip differently aswell if you were to push it that far.
Thats some good info. I also realised what i wrote and edited it to “probably shouldnt”. It shouldnt need to be said but its not recommended to meddle with an amp unless you have the know how.
I had reason to pull the Shiny Eyes amplifier from the main 2 channel and heft it upstairs to the smaller listening room and it turned into an interesting learning experience. I like it when I get some “WOW” factor, it makes things seem fresh and new 
This particular 300B amplifier exhibits a very large overall soundstage, the center imaging is not what i would consider tight but the music comes at you from everywhere which makes up for what would otherwise be a traditional shortfall. The extreme sense of holographic presentation is above and beyond what anything else I have on hand is capable of reproducing based on my room and equipment limitations.
In my large room it has been a sensory treat to play with various speakers and just lose myself in the grand soundstage, the Amplifier output exhibits a strong sense of color and enhancement of the music and a good sense of album choices is needed to really appreciate the sound character. You won’t necessarily enjoy just any music randomly chosen. (IMO)
In my small room I wasn’t sure at first what to think of the sound output, I had never experienced anything like this before. It feels like I’m “sitting inside the mouth of a massive speaker”, there is not necessarily music in front of me or behind the speakers as every other amplifier and equipment combination present. I guess due to the tiny size and footprint of the room the grand soundstage that is presented in the large room downstairs basically turns into you sitting inside the speaker upstairs. It’s different…
It’s unlike anything I have experienced before, I’m still trying to grasp and wrap my head around how this is possible. Even when I partially isolate the speakers, it’s a moot point with so much sound being presented around me and basically enveloping me where i sit.
This truly is a most incredible amplifier, there is so much character to the sound, the music is beyond alive, you are practically a part of the performance. Listening to this amplifier in 2 channel, sitting in my little 12x14 room is an experience like no other. It’s blown my mind how overly large and exaggerated a soundstage this thing produces. I’m currently swapping around tubes and front end components (DAC, Streamer) to see what if any changes transpire to the stage, i want to see if i can tame this thing in this room. In the bigger room, the very large stage is righteous, the walls are 24ft wide, the ceiling 18ft tall and it’s just such an open space that filling it is a real accomplishment, in the small room this massive soundstage is absolutely wild 
I’ll eventually comment more, the new/different experience caught me off guard.