Ref-75-SE delivered ...


It arrived late yesterday via UPS. I had company over last night so I didn't hook it up 'till this morning. I had it playing by 7:30.

I sold the REF-75 early last month and was using my spare, which is a great sounding ARC- Classic 60. Man, if someone is looking for a musical amp at a reasonable price, the CL-60 would be a good way to go. It kind of has that vintage tube sound. Listening to music through it, is kind of like watching a good Technicolor movie. Hey, who doesn't like watching the original version of The Wizard of Oz? Its not right, but its beautiful. I mean, when you walk outside, Technicolor doesn't hit you in the face ... reality does.

Which brings me to the REF-75 and the REF-75 SE.

I bought my original REF-75 over two years ago, brand new, with KT120 tubes. What struck me about that amp was the lack of grain, the soundstage and the tonality. It played big and it played beautifully. That's what I thought until I swapped out the KT120's for a new quad of KT150's. Now that brought the amp up to a new level. Audio nirvana, I thought. Hummph, silly me.

Enter the REF-75 SE.

Fist thing, I let it cook for about a half hour in order to get the amp to stablize so I could check the bias. Good thing too because both sides needed biasing. The right channel was all way over to the "Caution" level.

Upon initial listening, I was really taken by how quiet this amp is ... I mean QUIET!! Not digital quiet, that kind of quiet just sounds totally artificial to me. What I mean is ... its a natural quietness unlike any tube amp I've ever heard.

For the first two hours, it was better than the REF-75 it replaced by maybe 20% or so. At the two hour mark, things really started to open up. Here's what my notes say:

Quiet!
Articulate.
Dynamic.
Decay of notes.
Presense.
Fast.
Leading edge of notes.
Weight in the lower registers of the piano.
Sustained notes - has me hanging on a thread.

So how does this play out when listening to music?

Like most of us, I have a little section of records (among thousands) that I use for reference purposes. They are the ones I listen to first when evaluating new equipment. I know every nuance of these records. Listened to them hundreds of time.

First up - Sue Raney on the Discovery label. The SE allowed me to hear the volume of air, and the force and reduction of force that was coming out of Sue Reney's chest and up through her throat. On the third cut, there is a triangle that the percussionist delicately hits. With all previous amps, I thought there was just one triangle. Turns out, there are three. For the first time, I could hear the slight difference in the notes. That was hidden before.

Second up- Sammy Davis Jr. Sings. Laurindo Almedia Plays. Reprise RS-6236.
Again, like the Sue Raney album, the air coming out of Sammy's chest and across his vocal chords and all of the subtlety of that was in his total control. Then, I realized that all of the really great singers do this and that's why they have the great instruments they do.
The guitar work being done here by Almedia is superb. Not my favorite guitarist, but on this album his playing grabs you by the emotions. BUT, through this amp ... a different world. The leading edge of the notes and the subtle decay of those notes make this album extra special now.

Keep in mind that we are only two hours in on this new amp at this point. The sound stage is still constricted and the 3-D imaging is on a par with the Classic 60, and not as good as the old REF-3.

Over the course of the day, I continued listening for a couple of hours each time. The more time that passed, the better the amp got.

Next Album .. about 4 hours in: The Norman Luboff Choir .. "But Beautiful" Columbia CS-8114. This is a demo quality record that has a tremendously wide sound stage. Its fun. The chorus is spread behind the speakers and goes from wall to wall. And now, I'm getting a 3-D image like never before. The articulation in each chorus member's voice has never sounded better ... not even close. There is a female soloist named Betty Mulliner who has her place behind and just to the left of the right speaker. With all other amps I've had, she has sounded diffused. The original REF-75 brought her out of the mist ... but not like the new SE. Now, she is in total focus and its like I can see her head move and hear her lips smack. I can get a true sense of her personality. Same thing on every vocal record I played today. Get this album if you like beautiful classic pop music from the 40's and 50's

Next: John Williams Paganni:Guitar trio - Hayden: Guitar Quartet. Columbia MS 7163. Again, this is a sound stage spectacular. I love this album, not just because I'm a classical guitar freak, but because its a great test of equipment when looking for correct tonality. Like the once vague female soloist in the last album, there is a cello in the right rear of the sound stage that keeps getting more refined as my system improves. With the REF-75SE .. gone is the vagueness. All of it. That cello is now in the room, tonally correct, and very moving. And John Williams? For the first time, I heard the strings of his guitar vibrate. The decay of the notes seemed to last forever. How may accolades can I pile onto Mr. Perfection on the classical guitar? Buy this album, you won't regret it.

Finally a mono record to die for: Dave Brubeck's Jazz Impressions of The USA." This record never came out in stereo. Near as I can tell reading the liner notes, it was recorded sometime in '55 or early '56. This is Paul Desmond at his very best. Not as hard boppin' as the Oberlan College album ... but man 'O man ... the second cut "Summer Song" has Paul Desmond right there in the room. Its never sounded better than today.

So, that kind of gives you guys a hint of what was going on at my place today. The amp burned in for 12 hours, and toward the end the sound stage has filled out nicely, dynamics are startling, musicians were in 3-D relief, and most importantly to me, the instruments all sounded tonally correct.

My source tells me that at this point, the amp is only scratching the surface. He says ... wait until 200 hours has gone by before seriously writing any review of the new amp. I couldn't wait ... its that good. Bottom line for all ARC REF amp owners ... even at this early stage, I can honestly say... the SE kills the old amp. Go for the upgrade.
128x128oregonpapa
Bifwynne,

Sorry I'm a little late to this thread, but on 4-9-2015 you stated:

"The only issue I had ... and a minor one at that ... is burned bias resisters in my amp. And the cost to fix is minimal. There is a local authorized ARC service rep who lives near me and makes house calls. So, maybe once a year, I pay him a hundred bucks to stop by and he replaces the resister(s) and I'm back in business."

Are you saying that once a year that your bias resistors are burned due to a power tube that goes bad? Thanks.
Rlf, no ... not exactly. What I am saying is that if and when a power tube goes arcs, it will usually take out one or more bias resisters. IME, arcing does not occur very often. Maybe once a year or every 18 months ... that's been my experience.

Burning a bias resister is not a fault of the amp. It's just what happens with tube amps because that is what tubes do.

Some amps have circuit breakers. The tube pops ... and you click the circuit breaker.

ARC amps do not use circuit breakers. I once asked Len or Kal why so. They answered that it's ARC's design philosophy. ARC intentionally doesn't use circuit breakers because the ARC designers believe it adds an artifact to the circuit ... which ARC considers a negative.

I can't speak to ARC's design philosophy. But as a consumer, I wish ARC could figure out a way to design a non-intrusive bias circuit breaker. I don't like dropping a hundred bucks to fix a burned bias resister and I don't like having my amp out of service for two or three days waiting on the tech.
Rif & Bifwynne ...

It seems that anything extra that is in the circuit detracts from the sound quality. That's why the equipment sounds better with the display lights turned off. This is correct, no?
Thanks Bifynne,

That used to happen with my old ARC VT-100 MKII power amp too. Back in the day I used to run my VT-100 with a PS Audio Power regenerator. Fortunately when a power tube went bad the power conditioner would shut down before the bias resister blew, so I was spared trekking my amp to the local ARC repair person

As a relatively new owner of a Ref 75 (on its way to become a SE), I was hoping that ARC had taken care of this issue since their mid 90s designs like the VT-100 and VT-200.

Like you, it's not the money as much as the unconvince of having to get it repaired.
I'm up to 170 hours on the new amp now. It continues to improve. Last night I put on a sound stage spectacular. Here's a promo copy for sale on Ebay:

http://www.ebay.com/itm/ANDREAS-VOLLENWEIDER-White-Winds-Original-PROMO-LP-from-1984-CBS-FM-39963-/361281480275?pt=LH_DefaultDomain_0&hash=item541e0de653

The sound stage was from floor to ceiling and from wall to wall. I'd recommend this album to anyone who doesn't have it. On good recordings like this one, the sound flowing out of this amp just seems to wrap around you and immerses you in the music. Its like watching a Cinerama movie of sound. The only other time I've had a sound stage like this was back in the 80's with my Accustat Model 4's driven with 800 watts per channel of high quality solid state amps. Wow!

Happy listening ...