PSVANE SUMMIT KT88 TUBES - REVIEW
PSVANE SUMMIT KT88, 6sn7 VACUUM TUBES - REVIEW
My recent experience with the PSVANE Summit tubes has led me to consider these tubes, in particular, as a component-level change and not just a tube change. Why? I answer this question in fairly good detail below.
This is my second review of a PSVANE tube class having reviewed several of the Horizon Series tubes—6SL7-AT, 6SN7-AT, KT88, EL34-AT—last year. And to a one, each Horizon tube made a significant difference across the entire frequency range of the various amplifiers, integrateds, and preamplifiers in which they were placed. There was simply no going back once the various Horizon tubes had been placed. The PSVANE Summit tubes, however, are at an entirely different level both technically and musically. Further, every device benefited significantly from the use of the Summit tubes and represented a component-level change!
Historically, having ‘rolled’—exchanged—a good number of tubes across amplifiers and especially with the New Old Stock (NOS) tubes, there would be improvements in segments of the frequency range—bass, midrange, treble—but very seldom did the improvement span the entire range. Despite the promises of certain NOS tubes, I’d often have to send them back or, well, take the loss as they would ultimately diminish the music. For instance, a given NOS tube would improve treble extension and resolution, while diminishing bass response and thinning out the midrange. On the other hand, certain NOS tubes would provide a robust bass response feeding up to the midrange for good body and texture, while rolling-off the top end and thus diminishing treble extension and resolution. So there were distinctive tradeoffs. And the newer batch of tubes were, in general, thin across the frequency range, often with anemic or missing bass, a threadbare midrange, with an extended yet hard treble.
One of the areas, where the newer tubes were making great strides was in regard to the 300B tubes. Last year I reviewed the Traformatic Rhapsody—a 300B integrated—which had the ability to utilize two types of 300B tubes—solid plate and mesh plate. The difference? The solid plate tubes employ, well, a solid plate in their internal construction and the mesh plate tubes a mesh plate. The difference in price between the two tubes was not insubstantial, though the differences in performance between the tubes were not substantial, but marginal, and often subjective. There were those who heard the difference and those who did not.
This, however, is not the case with the various PSVANE tubes relative to all other tubes and in the case of the Summit tubes, well, the difference is night and day. How good are they?
REFRAIN: Unlike most reviews, this review will be non-sequential, as it will start with how the equipment actually sounds and not the process of physically “undressing” it and/or laying out its various accoutrement, specifications, etc. Think of this review then, as a non-linear movie—Memento, Kill Bill, Pulp Fiction, Eternal Sunshine of the Spotless Mind, The Queen’s Gambit, In the Shadow of the Moon, etc.—that likewise starts at the end and winds its way to the beginning.
THE SETUP
I used the PSVANE Summit tubes in the Lyric Audio Ti 100 MkII Integrated and in the Atma-Sphere MP-3 Preamplifier.
The tubes employed were:
Summit Series KT88 (2)— Lyric Audio Ti 100 Mk II
Summit Series 6SN7-AT (2)— Atma-Sphere MP-3 Preamplifier
After 50 hours the tubes were ready or sufficiently burned-in to begin their review, though they will be very impressive, immediately, when placed into the one’s amplifier, integrated, and/or preamplifier.
The System - Reference Two Channel
Shanling ONIX SACD/CD Transport
Bricasti Design M1SE DAC w/ethernet
Rega Planar 8 Turntable w/Ania Pro cartridge
Grimm Audio PW1 Phono Preamplifier
Atma-Sphere MP-3 Preamplifier
Atma-Sphere S-30 Amplifier
Aurorasound HFSA-01 Integrated/HPA
Lyric Audio Ti 100 MkII Integrated
Meze Audio Empyrean II Headphones
Meze Audio POET Headphones
Devore Fidelity Orangutan O/96 Speakers
Audience FrontRow Reserve Interconnects
BlackCat Level 2 Setsuna Interconnects
BlackCat TRON AES/EBU and SPDIF Digital Cables
Grimm Audio SQM Interconnects (XLR, RCA)
Kubala-Sosna Realization Speaker Cables
RSX Technology BEYOND and MAX Power Cords
SEISMION Amplifier Stand (powered)
TORUS RM20 Power Conditioner
THE SOUND
Lyric Audio Ti 100 Mk II & Summit KT88s
The PSVANE Horizon KT88 tubes had put to shame all other tubes across multiple classes, in terms of their technical and musical performance, as I stated in my review last year. The PSVANE Summit KT88 tubes would return the favor and surpass the Horizon KT88 tubes in every respect and it was not subtle, nor was it subjective.
The moment I began the music, with the Summit KT88s, I had to check to see if I was still listening to the same album—Tomasz Stanko’s, Suspended Nights—as the soundstage had dramatically increased! It was as if the front wall had been pushed back several feet and the performers were now beautifully layered front to back, across this extended soundstage! The previous, non-Summit KT88 soundstage(s) had been engulfed, subsumed! Further, the ‘presence’ of the performers was much more palpable, tactile given the added weight which the Summit KT88’s imparted. And the relative positioning of the various performers was also more discernible. In this respect, the Horizon KT88’s had quickly been surpassed, in all the aforementioned areas, by their Summit KT88 siblings. But it didn’t stop there.
When the Summit KT88’s had fully burned-in, transparency, resolution, and detail were all vastly improved, at another level entirely. Treble high or treble+ information—cymbals—hi-hats, rides, crash, etc.—were far better resolved, which brought to bear more air, ambiance, atmosphere. Even the ability to more clearly differentiate the tone and timbre of various musical instruments was vastly improved. I heard musical information from my listening seat, which I had only ever heard wearing the best electrostatic headphones (STAX SR-X9000, Dan Clark CORINA)! And all of this had come with a mere tube change! Amazing.
The bass with the Summit KT88’s in place now had greater scale and weight, the rumble of an orchestral movement was more prominent, daunting, and there was increased transparency and resolution. This had the effect of introducing the orchestral rumble earlier or being able to hear it earlier and it made Charlie Haden’s and Paul Chamber’s bass licks more natural, felt, and in-room.
Overall, the Summit KT88’s ability to ‘unmask’ performers and instruments previously buried in the mix and micro-details, only the best electrostatic headphones had revealed was, again, truly, astonishing. This was transparency, resolution, and the subsequent detail at a level or two above the Horizon KT88’s and all other tubes I’ve utilized. Additionally, the weight combined with the midrange clarity of the Summit KT88s brought Billie Holiday, Sarah Vaughn, Norah Jones, and others palpably to life.
This change ‘via tube’ was even greater than the Grimm Audio MU2 streamer versus the MU1 streamer and any attendant DAC. How on earth was it possible for a tube(!) to bring about this kind of a sea change—“a profound transformation”—in an amplifier or preamplifier or integrated? Of course, I had to ask PSVANE how this was possible. Their answer:
“We did not set out with a rigid or predefined target for the Summit project. Rather, the goal was to explore and validate how far our current technical capabilities and material standards could be pushed, and to see what level of performance we could realistically achieve. The SUMMIT series fully surpasses the ART series.”
Well, the PSVANE engineers nailed it and in every respect! What they have created is something quite new. I’ve heard many Uber-expensive tubes and relative to the tubes they had replaced, the changes were rarely, if ever dramatic. Often these tube changes took time to discern, which is to say, they were not dramatic and, perhaps, even subjective. This is not the case with the PSVANE Summit KT88 tubes
The PSVANE Summit KT88 tube change had, in fact, transformed my $10k single-ended, integrated amplifier into, well, a $20k single-ended integrated! This same integrated was now able to best ever more expensive integrateds and separates than it had before! The reason why I’ve kept this integrated in my reference system, despite repair issues with its manufacturer, is that it has often sent $20k+ integrateds and separates searching for somewhere to escape the musical pounding they had received. Some of the brands which had been musically punished by this integrated you would know very well. Now even their upmarket siblings (read more expensive) would not fare well, because of a tube change! Don’t believe me, give them a try. It won’t take 15 seconds to get it.
Atma-Sphere MP-3 Preamplifier, S-30 Amplifier & Summit 6SN7s
Well, without disrespect to PSVANE and its engineers, what I have written above for the Summit KT88 tubes applies in, literally, every respect for the Summit 6SN7 tubes, which transformed and raised an already exceptional Atma-Sphere MP-3 preamplifier into a class above. The Atma-Sphere MP-3 with the Summit 6SN7 tubes revealed information previously unavailable, such as the ‘background birds’ three seconds into the track “Arbakkinn” on Olafur Arnalds’ Island Songs. There are few amplification devices of any kind able to do this so early into the song and only the best electrostatic headphone systems, mentioned above, can do this easily. And the bass response(!) of the MP-3, designed by a standup-bass player (Ralph Karsten), with the Summit 6SN7 was now even more potent and in some cases frighteningly so! The Atma-Sphere MP-3 with the Summit 6SN7 tubes was now able to do all this and more! This speaks volumes to the PSVANE Summit series of tubes or, at least, the Summit KT88s and the Summit 6SN7s tubes being able to up-level a given component. Amazing! And I will keep you informed as I review additional tubes added to the PSVANE Summit series.
CONCLUSION
The PSVANE Summit KT88 and 6SN7 tubes represent a profound ‘intervention’ with regard to their respective tube classifications, which I consider component-level changes. They are not mere tube ‘rolls’ and this is based explicitly upon how they impact an audio system. There is simply no getting around this fact. For the sum of $280 for 2-Summit KT88’s tubes and $340 for 2-Summit 6SN7 tubes, your audio system, regardless of its price category, will be improved and bettered in all respects. It will take you, perhaps, 15 to 20 seconds to understand this sea change, as the musical notes are processed across the quantum computer posing as your brain.
Without further ado, the PSVANE Summit KT88 and Summit 6SN7 tubes have become the first tubes to win our highest award—DIAMOND AWARD—for excellence and for pushing the envelope with regard to high fidelity sound, in every respect. No doubt, you will see them again, as the end of the year awards are given. Bravo!
Pros: Transformation of the complete musical landscape for any amplification component which utilizes the PSVANE Summit KT88 and/or Summit 6SN7 tubes.
Cons: None.
COMPANY
PSVANE
Room 602, Building H2, Phase II, Jiahai Industrial Park,
Zhongqing Road, Shaping Street, Kaifu District,
Changsha, Hunan, China 410201
