Note: The writer is not in any way connected with Herbie’s Audio Lab. He is not a dealer, distributor, publicist or PR man of Ultrasonic and Hal-O products. The following mini-review was based strictly on the opinion and personal experience of the writer and does not attempt to persuade, cajole or induce the readers to buy these products.
Listening Impression:
I’ve had the misfortune of owning several microphonic and/or noisy tubes, such as NOS 6dj8’s and 6922’s, both European and American made (I’ve already discarded the microphonic tubes but kept some of the noisy ones). That’s why I started a thread in this site and solicited the opinion of several senior members about tube microphonics. I searched the net about the subject and have read quite a few articles plus some regarding several products that claimed to reduce them significantly and at the same time improve the equipment performance by lessening vibration. Tube dampers made by Herbie’s Audio Lab caught my interest. I read many testimonials but I remained unconvinced and at best, skeptical: how can a ring with three small wheels that intends to hold a glass tube prevent or lessen the vibration induced from within and from without? Again, I asked the opinion of several members known for their expertise and long years of experience in electronics, in general and audio, in particular. I got varied and candid answers from these individuals ranging from being mildly effective to downright baloney! I thanked them for being straightforward and honest. Many will ask, what do I need dampers for, since I already got rid of the microphonic tubes? Because of inherent stubbornness and the what if’s that’s bugging my mind, plus of course, the possibility of better sound quality, I decided to order four Ultrasonic 9 dampers (titanium rings) and four Hal-O 9 MidFi+ (budget rings) from Herbie’s website for my Sonic Frontiers SFL-2 preamp (that uses eight 6dj8’s or 6922’s, bought from Jopet). What the heck, it’s only (hard earned) money!
After days of waiting, I excitedly got the package that was sent through JAC. After just 15 minutes warm-up, I listened to Jennifer Warnes’ The Hunter (Private Music 1991) without dampers. It sounded good. Next, I carefully insert two Ultrasonics for the input tubes (1st row, these are the most sensitive), another two Ultrasonics for the output tubes(4th row) and the four budget Hal-O’s for the other tubes (2nd and 3rd rows). After listening for about 20 to 25 minutes, whatever acoustic difference that occurred, my poor, aging and battered ears can’t seem to detect. Damn! I wasted money again! Ninety bucks down the drain! (excluding JAC’s shipping charge) But I began to notice something after roughly a little more than 30 min. of listening. The percussion instruments seemed to sound clearer, especially the decay made by cymbals. The bass seemed a little tighter and the midrange sibilants seemed to lessen a bit. The background seemed quieter. Maybe considerably quieter! Thinking that I’m imagining things, I played The Carpenters Singles 1969-1981 SACD (Rounder 2003). Same result. Karen’s voice was really heaven sent. Bass is fat and round. But what’s striking is the chorus portion of Sing wherein Karen was joined by children, is a lot clearer that you can almost distinguish several individual voices. I tried Alison Krauss and Union Station Live SACD. Lovely voice, quieter background and uncanny resonance from Jerry Douglas’s Dobro/National guitar. I especially remember the hecklers in the crowd, in between songs, you can now understand what the hell they are yelling! Denon Jazz Sampler Plus The Audio Tool Box II (Nippon Columbia 1994): crisper, more vibrant percussions, better bass. B&W Presents: The Academy of Ancient Music/Christopher Hogwood: lovelier Canon & Fugue. Big, big bass, gritty riffs and bends in The Sky Is Crying, great(er) playing in Little Wing (plus I heard somebody spoke at the background in the middle of the recording) and acoustic realism in Life by the Drop (The Sky Is Crying by Stevie Ray Vaughan Sony Music 1991). Muddy Water’s deep haunting voice seemed to gain more prominence in My Home Is In The Delta and Good Morning Little Schoolgirl (Folk Singer SACD MCA/Chess). But more noticeable is the subtle, understated guitar playing by the young Buddy Guy is a lot clearer!
Conclusion:
While these products will not make a night and day difference when employed, they introduce a subtle yet effective result. On second thought, maybe more than subtle. Sort of a refinement that many will expect to only emanate from a hi-end component with of course, a hi-end price. In my view, modest up to mid-fi, possibly a notch higher tube components may benefit from Herbie’s dampers. However, I’m not sure about those truly hi-end, as I seldom hear those babies in action. Again, in my opinion, my hard earned money spent for Herbie’s dampers is justified and well spent!
Equipment & hardware used:
Sonic Frontiers SFL-2 Preamp with Amperex 6dj8’s, phase switch set to 0 deg
B&K EX-442 Sonata Series Power amp (unbalanced)
Marantz DV 6001 DVDA/SACD on Audioquest sorbothane feet(video section incl HDMI & front panel display completely turned off, upsampling also turned off)
KEF Q90 floorstanders
Castle and Isobar Power Filter/Line Conditioners
Stac AVR
DIY power cords using Hubbell plugs & braided Hitachi/Matsucrapa zinc coated copper automotive wires, with ferrites end to end
Audioquest Emerald and Acoustic Research IC’s
MIT Terminator 4 (low freq) and QED Qudos (hi freq) speaker cables
