Any current forum members with ART300 amps ?

[joeinid]

Curious what speakers you are using and what you like/love/hate about the amps. Same goes for an ART150 if you own that one.

Thank you.

[Big Dog RJ]

Hey Joe(inid); sorry, I have to mention the brackets simply because they're two Joe's on this forum... or maybe more.

Don't own any of them but have extensive experience on both. At one point earlier this year in Feb, after experiencing the ART300's on both the Alsyvox ribbons and CLX's, I nearly closed on a pair. However, then I realised after heading back home three critical aspects:

1. The CLX's really don't require that kind of power at all, not to mention the Alsyvox either, which have even higher efficiency, even a 30-50w amplifier will drive them with ease.
2. I don't want to over-energize the room, that kind of power is pointless unless you need to fill a large room.
3. For some darn reason I just prefer the KT120 tube! Similar experiencing the GAT, which I was seriously considering again at one point but I just prefer the 6H30PI tubes over the 6922. Don't get me wrong, both the KT150 and 6922 are fantastic but it depends on what application they're used in. For example, the 6922 used as a driver tube is superb but for me as an input tube I prefer the M8080 Mullards. The 6H30PI used in the CT5 and ACT2 are my all time favourite and it is a personal preference. The 6922 used as an input tube, both in the GAT and ET series preamps, I find are far more neutral sounding, without adding hardly any color at all. Again based on personal preferences, I prefer a bit of warmth and color, call it that caramel affect / golden glow that CJ was known for.

To summarise comparing the two amplifiers setup alongside their separate speaker systems:

1. ART300's
Driving Alsyvox and CLX's, they can go extremely loud. Zero distortion and the amplifiers hold together extremely well. Absolutely no breakup, unflinching accuracy and sheer dynamics with superb transient control, which I believe is in a class of its own! This is largely due to the beefed up heavy duty power supplies and the power of the KT150 tube. They are outstanding and can virtually hold strong for unlimited high decibel levels, provided the speakers can take it. That power and high voltage input, plus more Class A power coming into the speakers, they really need to live upto their specs, and in this case both the Alsyvox and CLX's live upto that!

On certain recordings though, the power of the KT150 can at times feel overblown, where natural tonality is definitely reproduced but with a more full cream affect to it. As if adding more cream to your coffee which is already overflowing with cream... this is where I prefer the KT120 because of that naturalness but then again perhaps it was the recording, I don't know.

I've also auditioned the ART300's on the Maggies 30.7's, which was another revealing experience to such an effect, it was like being on the stage with the rest of the performers.

As you can tell, the ART300's are for very large rooms with very large speakers, with ample space and critical placement. Once all set up optimally, this is definitely another step closer to the real thing. You can't just go for the ART300's without adequate room nor speaker setup properly and expect them to work just because of being top of the line... doesn't work that way. These are very serious power amplifiers and must be set up optimally in a properly matched system in order to fully experience and understand what these amplifiers are about. Only then can you truly appreciate them.

I must say, although I've heard quite a few others using the KT150's in their power amps, such as Jadis, Ayon and a few others, JF has perfected the KT150 topology to utilise it in the ART300's and has created something truly special. Afterall, these are top of the line, and didn't win the amplifiers of the year award for nothing...

2. The ART150
This one is another beauty, exactly the same as the monoblocks but with half the muscle. It's like comparing Ronnie Coleman (ART300's) with Frank Zane (ART150). Although Ronnie has sheer size and far greater muscle mass, Frank could still make a pose that was formidable to most B-builders and still hold strong. Similarly, the ART150 in the right application and installation can be all you would ever need in an amplifier.
The last time I experienced the ART150, it was driving the ML Ren15a's, superb! Yet again large room, and the same room the Neolith's were also demoed in but not on CJ gear, rather driven by Momentum amplifiers.

Having the CLX's and owning an ART150 would have been just perfect but then again after auditioning the AG DUO XD's with the ART27A, this shifted my thinking totally about low powered tube amps. That performance was just as equally superb compared to the Alsyvox and CLX's, of course with some added thunderous LF thanks to the built-in bass drivers and dedicated 1000w class D amplifiers found in the DUO XD's.

The Class A ratings in power on all three of the ART series amplifiers that are now offered by CJ, are much higher compared to the previous premier and LP series designs. It is this initial Class A output power that fully grips and controls any speakers connected to them. Just after these amplifiers switch into Class AB, it is ridiculously loud that I sincerely don't think any audiophile who is passionate about quality recordings would ever listen at such high levels. However, there are those who do! Actually prefer that realistic soundstage and hard-pressed feel where bass hits you in the chest and the stage effect is recreated... I really don't see what's the point in blasting off the roof, especially at this high quality with SOTA gear. Is it to show off, ego thing... I don't know. One thing I do know is that if you know what you're after, the parameters of your room to work with, and the understanding of quality reference recordings, you can put together a superb system to capture every detail of your favourite music and be able to enjoy it at the highest level.

Comparing all four amplifiers: ARTsa, ART monoblocks, ART150 & ART300's, they're all equally outstanding, and offer truly unique experiences, especially when installed carefully in the right system with a suitable room. If the room is not addressed, things can go awfully wrong regardless of whether or not it's a superior amplifier. The preamp can be of many choices, depending on system layout and source component flexibility. I've heard these amplifiers with the GATS2, ACT2S2 and the CT5 from CJ side of things. Other preamps have been partnered with Momentum, CH Precision and Lamm Audio, again all equally impressive in their unique way.

So, which one do I like? Just the one I've already got at home! Good enough for me mate.
Cheers, Joe hope that helps.
RJ

[joeinid]

Hi RJ,

Hopefully in the next few months I'll have something new. Speaker depending, of course. Your answer really helps. Thank you for taking the time to respond.

Stay tuned.

[Bill Stevenson]

I have an ART150, which replaced an ARTsa. Speakers are Sony SS-AR2, which for those that don't know is a direct radiator free standing cone speaker of moderate size, 3-way. It is rated at 89 db sensitivity, and is nominally 4 ohms. A pair retails for $20,000 here in the USA. They are very highly rated and are particularly well suited to vocal reproduction.

The ART150 surprised me. I did not expect the improvement that it brought over the ARTsa, which is no slouch at all. Bass in particular is better, tighter, better defined, rivals solid state Class A amps. The sound stage seems broader and deeper, but this is difficult for me to articulate. The ART150 is somehow more natural. As a musician I have never really felt that sound stage, per se, was something that mattered to me very much. I never cared where the different sections were on the stage, never worried too much about locating a soloist relative to the supporting players. Mind you, I want to be able to clearly delineate the pianist, or the vocalist etc., but beyond hearing their performance, exact placement is not a priority to me. This reflects what I hear in live performance, where it is rare that it is possible to be close enough to locate individual players. The ART150 presentation is perhaps the most natural of any amplifier in my experience. Everything is there, everything is clear as a bell, and the flow is just as if the musicians are present in the room. Nothing forced, nothing unaccounted for, just you are there natural. All aided by the fact that the ART150 is noticeably quieter than the ARTsa was. Both amps are neutral and similar in terms of tone color and balance. Both amps are visually appealing although in this respect I prefer the more elaborate ARTsa. All in while both of these amps are top notch, it is clear the ART150 is a worthy up grade.

To round out the equipment list: GAT2, TEA1 series III, VPI HW-40 w?SoundSmith Experion and Consolidated Silver wire SUT for stereo and Technics SL2100 GAE with VAS Nova for mono. Also have digital sources including SACD, but lately have been doing all critical listening to vinyl.

[AnotherJohnson]

Don’t tell me that. Between you, Jeff Fischel, and Steve Javaherian, I’ll end up getting a pair of the Art 300s.

[joeinid]

Hahahaha!

I’m in the middle of an amp crisis myself. I keep going back and forth.

Thank you gentlemen.

[Bill Stevenson]

Both Jeff and Steve have to make a living. You can't trust them. Listen to me on this. I trusted them and look where it got me. Presently in Nirvana, that is where. In all seriousness, these guys are the best and would not steer anybody astray.

[AnotherJohnson]

I’ve dealt with both for many years.

For a salesperson, Steve is a real stand up guy.
For a CEO, Jeff is humble and bright.

Maybe you’re in the 7th level of Nirvana.

I’m a funny guy in that I’m nearly always happy with my systems. I am always pleased with better sound, but nearly always happy with what I’m listening to.

I do have fun trading though.

What I’ve found over time is that the best is the mortal enemy of the good. I think you’ve discovered this too from what you’ve said about the evolution of your system.

[Bill Stevenson]

There is no question that you and I seem to be on parallel tracks when it comes to our hobby.

[Big Dog RJ]

hobby...?

Not sure whether it's a hobby but for me it's a passion. After having spent most of my life around such gear, with much success and many disasters, I wouldn't call it a hobby. Wifey thinks it's an obsession to the point where an occasional slapping is involved to wake me up! Ah! Then all is clear...

If it's a hobby for you Bill then I guess it is but I sincerely believe that CJ owners wouldn't call this a hobby, especially with the fine inner quality our CJ gear delivers, it's far more than that.

Cheers mate, RJ

[AnotherJohnson]

It’s a hobby for me too. Like collecting motorcycles, or guitars, or lenses and camera bodies, or cigars, or XO Cognacs.

It’s a symptom of excess discretionary resources.

It can become obsessive. I have friends who have had to stop cold turkey once their wives realized where their obsession was taking the family budget.

Like all my hobbies, I’m winding things down. I’ve sold off the major part of most of my collections (I think I am a collector of collections).

The audio hobby is different from my other hobbies in that it is enjoyed more or less passively. Comfortable recliner and remote controls in hand - and I am good to NOT go.

[Bill Stevenson]

Sold my last motorcycle 2 years ago, no guitars though, with me it is drums and pianos, getting down the finals on those too. But the audio is only changing focus. We are selling one of three houses and the audio equipment in it is going to be donated or sold or liquidated one way or the other.

[AnotherJohnson]

We were talking about paring down houses this morning. Maybe buy one and sell two to end with three. It could be a chance to consolidate a couple of audio systems.

Back to the OP, if I were springing for ART 300s, I’d want to hear what Jeff listens to as the reference ... so I’d get a pair of these.

https://www.audioartsnyc.com/zellaton

Specifically the Reference Mk II.

[Big Dog RJ]

Yes, Jeff now uses Zellaton speakers as a primary reference point. CJ used to reference with Wilson's back in the day, I believe it was the Wamm series or grandslam... one of those. Used for several decades until Jeff took over and Zellatons it was.

I've heard their Stage series speakers, not their reference line, driven by CH Precision amplifiers. Very impressive and very impressive price tag, we're talking over half a million just for amplifiers and speakers alone, forget it! Not in that league, never was and never will be even if finances permitted. I believe it's a crime to spend that far on hi fi, plus you really don't have to go that far in order to achieve high quality sound, it's not necessary.

I must say though, if sonic memory serves correctly, the Zellaton sound was quite similar to YG Acoustics Anat III, driven by Solution amplifiers. Another impressive combination with an equally impressive price point, this is big boys gear and ultra-high-end.

Anyway, it's definitely a good thing to know that JF is using one of the very best in terms of reference set up, for gearing up CJ amplification to spec.

Cheers to that!

Definitely a passion! RJ

[AnotherJohnson]

He said he is also using one of the more modestly priced Wilsons.

Modestly priced is sort of humorous since Wilson’s idea of low prices is what most of us, including me, consider absurdly expensive. I’d rather have the CLX ARTs than any comparably priced Wilson.

FWIW, my post about the Zellatons was with tongue in cheek. The Reference Mk2 is priced at three times what I consider for a new car.

I know that discretionary money is different for each of us ... some of us who came up from little just wont write the check, even if numbers say we could. But $170k for speakers is Sports Star or Commodities Trader, or Tort Lawyer comfort level. It’s not for savers.

[AnotherJohnson]

They got a new pair of Wilson Sabrina Xs in when I was picking up my replacement ND8006.

They sound good ... but I can think of 6 or 8 that sound better for less money.

At this level in the Wilson line I think you’re paying a premium to be able to say “Wilson.” But that’s just me.

Gosh, all this CJ gear JUST SOUNDS RIGHT. I guess we’re lucky that the popular opinion driving magazines don’t gush over it. The best sound available for nearly any speaker comes through CJ electronics.

Thank you Jeff.

[admin]

I remember reading an article about the CJ factory. If memory serves, they were using Wilson Sophia speakers in their testing room.

EDIT: Here is the article with pictures: https://parttimeaudiophile.com/2012/03/ ... d-johnson/

[roberto]

Hola Admin,
In the late 90s, I remember that Lew was a happy owner of a pair of Odyssey model by Martin Logan. Also, many high end companies did use the Logans as a tool design, due to the complexity of having a capacitive load. I remember there was a wide list, and Mark Levinson, Krell, Jeff Rowland, Conrad Johnson, were in this list.
Happy listening!