Conrad Johnson ACT2 against Audio Research Ref 3

As a reviewer I'm somewhat reluctant to lay bare my impressions of my own gear in the public forums, so I've kinda been holding back in commenting on the ACT2. Nonetheless, having read Valin's remarks on the ARC Ref 3 I was struck by the similarity of some of his observations to those I made of the ACT2 in my August 1st Soundstage! review. (Of course he is a better writer than I.) This suggests to me both devices share at least a few common virtues. Although I've not heard the REF3, I'll take the TAS review as an accurate account of what was heard, and feel not uncomfortable about making comments within the context of publication.

To give but one example: As Valin wrote of hearing how notes from the REF3 linger in space before those that succeed them, I cashed out a similar hearing with the ACT2 in terms of the absence of smearing across the temporal boundaries of notes. This was in a context almost identical to one he mentioned later in his article - that of a piccolo cutting through an ff orchestral passage and rising above. Likewise we offered similar comments about the realistic quality of strings, woodwinds, and particulary the reproduction of the human voice. I found other comments that, in essence, describe the same characteristics though stated differently.

Whereas the TAS article stuck me as focusing (but not entirely) on nuance, my praise of the ACT2 pointed to its facility in the areas of dynamics and timing. It is the relative character of these attributes that for me - at least in my current stage of audiophilia - most distinquish the great from the near great, and are the most difficult to do very very well consistently across the frequency spectrum. And without commenting on the REF3, it is here that the ACT2 is sublime in refinement.

Dynamics and timing are rudiments of musical performance, and the heart and soul of life-like sound reproduction. Analysis may let us divy them, but they are processed synthetically in the hearing - at least that is my phenomenological take. And when a piece of gear - such as the ACT2 - rightly enables this synthesis it offers "that extant magical whatever that hints at the limbic level that live music is afoot".

The sound of gear from ARC and CJ have had differences for over 25 years, since both companies began offering their wares. And in one sense these differences represent a titanic struggle for your sonic soul, if not your wallet. Yin vs Yang, etc. etc. I do believe the house sound from both companies has grown closer over the years rather than more different while neither has lost their inherent character. When it comes to a purchase we each make our decision. Rather than debate which is "better", I am just happy that we have the choice between fine components such as the REF3 and ACT2.

First, a question ... what type of music do you play?

My current system includes the ACT2 and the Premier 140, so I've made my choice. I have not heard the ARC Ref 3 although I am generally familiar with ARC gear. Without intending to confuse further, the VTL TL-7.5 is another consideration.

The ARC vs. CJ comparison goes way back and both manufacturers continue to improve their line while retaining the same familial characteristics - their sonic DNA if you will - that has distinquished them across the years.

In terms of build quality each is best of breed from their respective houses and each will retain value over the years.
Both use the Russian 6H30, which pretty much rules out tube rolling.

In terms of sonics, from a 'classic' audiophile perspective these are gold vs silver, yin vs yang, warm vs. cool. While those terms hardly scratch the surface of each component's virtue, they are at the core of the approach from each manufacturer. There is no confusing their sound. In some respects it should be an easy choice based on your own preferences and priorities. This is not a Lincoln vs. Cadillac decision, more like a Ginger vs. MaryAnn dilemma (sorry) - the differences in approach from the two shops are profound, imo. I'd think of it as a long term purchase decision - what do I want to live with over time?

Wittgenstein wrote 'what cannot be said must be consigned to silence' - I would add, 'or to music'. To my ears the sound of the ACT2 is the sound of music.

Just curious, how many 6H30s are out there? Are they still in production and how much do they cost? What is their average life span?

The 6N30P (or 6H30Pi if you parse Cyrillic) is a current production tube. The 6H30Pi-DR is purportedly the NOS version - early '80s Russian military, while the 6H30Pi-EB is what CJ includes as stock with the ACT2. The former (DR) goes for $30-$50 each if you can find them - try Victor Khomenko at BAT or Evgeny at Conus Audio; 'twas Viktor who dubed this the 'super tube', iirc. The latter (EB, from Sovtek) run anywhere from $10 to $30. Some dealers offer them cryoed.

I've tried all three in both the ACT2 and the Premier 140. The DR (NOS) version in the 140 *may* yield a slight increase in top-end extension ... emphasizing *may*. In the ACT2 I have not heard a difference yet and have stopped fiddling with its tubes. Lifespan is a healthy 7500-10000 hrs.

Perhaps once my Ref 3 has settled down and is fully broken in, I may contact the local CJ dealer in Austin, and see if he can arrange for a demo at my place for me and my fellow Austin audiofools.

A wonderful proposal and I envy the opportunity to be part of that listening session. Of course you are most invited to share observations with us, ideally referenced to specific musical passages so we can play along at home. But all that is down the road. Best wishes as you break-in and enjoy you new linestage.

I wonder if this thread has helped Ginas??