Review - Sylvania Black Plate 3 Mica D-getter 5751's

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treitz3
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Review - Sylvania Black Plate 3 Mica D-getter 5751's

Post by treitz3 » Sat Mar 17, 2012 4:01 pm

I'll start this off with the thought that the name is one hell of a long one for just a tube. I recently ran across a trusted seller whom I have had pleasurable buying experiences from in the past who was selling some Sylvania Black Plate 3 Mica D-getter 5751's. These tubes are apparently from way back in the late 50's and test at 95/98 for the yellow label and at 98/98 for the gold label. Though the labels are different colors, the insides of the 2 tubes are identical.

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I purchased these because they are highly touted for their musical ability and I was hoping for an improvement in the Jolida over the 12AX7 Ei gold pins that I have been running for years. The reviews I have read stated that this tube is one of the best sounding of the 5751's. Originally built for the military, it has low microphonics and low gain. It has been said that this tube can be dropped and hit the floor, not damaging the tube....I will not try this part out.

The gear used for the review -

Source - Jolida JD100 w/Nerve Audio PC, Transparent Reference IC's
Pre - Dodd Audio MLP tube preamplifier w/ separate external power supply, 4ea. 12AX7 Ei gold pins, Transparent Reference IC's and custom PC's
Amplifier - Musical Fidelity AC3r Dual Mono SS amp w/PS Audio Prelude PC and AudioQuest CV-8's w/ the 72v BP upgrade
Speakers - Tyler Acoustics Lynbrook Series Signature Edition, spiked and sitting on 1.5" solid hardwood blocks.

Since I only acquired two of them, these went into the Jolida CDP. The Dodd requires a set of four and I wanted to check out what all the hype was about and why these are such a [mildly] rare and sought after tube. The first day I put them in, I had just purchased a boatload of new music so I just played albums that were unfamiliar to me and I didn't really sit in the s.w.e.e.t spot until day two.

The sound -

The first thing I noticed was a pretty noticeable change in the separation of the instruments in the highest of frequencies but no other separation improvements were noticed across the spectrum. They were no doubt a lower gain tube. What used to be loud at the 10 o'clock position now was located at the 12:30 position on the volume dial. One of the other things about this tube that was noticeable was the quietness, it is a very quiet tube but something about this struck me as a little odd. They were quiet but with no new introduction of sounds, subtle or otherwise. The most noticeable thing I observed with these tubes was that the sound stage got considerably smaller. It was as if the sound stage was now located within the locations of the Tyler's, only occasionally would the sound stage move outside the realm of the mains. They didn't seem to move the sound stage, singers or instruments forward or backwards, compared to the 12AX7's.

Musical? Eh, I wouldn't consider them a musical tube at all. In fact, they were so un-life-like and non musical, they only lasted in the rig for two days after warm up. There came a point to where I just flat out missed listening to music. The overall sound I would describe as the same type of sound I get from listening to a Krell. Sterile, clinical and while accurate, they just never got me to the point to where I was relaxing and just enjoying the music. They actually made me miss "the music". The bass, especially on the lowest of registers, did not have the impact I have been accustomed too and a kick drum sounded rather relaxed. While listening, there was one point in which the sound [all of it] was rather "metallic". This is a word I have never used in any observation before but every sound seemed as if was brought forth with a brass knuckle. Nothing really seemed to just flow from the system with any sort of musical bliss.

All in all, I must disagree with the "musical" aspect of these tubes. They may sound great in other gear and in other applications but in this case with my gear, I think I will stick to the good ol' time tested and enjoyed 12AX7 Ei gold pins.
In search of accurate reproduction of music. Real sound is my reference and while perfection may not be attainable? If I chase it, I might just catch excellence.

The best way to enjoy digital music reproduction is to never listen to a good analogue reproduction.

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Re: Review - Sylvania Black Plate 3 Mica D-getter 5751's

Post by Zoot Horn » Sun Mar 18, 2012 11:34 am

eh,, send em to me

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Re: Review - Sylvania Black Plate 3 Mica D-getter 5751's

Post by TNRabbit » Sun Mar 18, 2012 11:44 am

Those pins are oxidized to hell; I hope you at least used some DeOxit on them before installing.....
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From FrankieD's lips to your ears: Sunfire - a quiet box of endless power.

Sunfire TG-IV/400~7 Amp
Carver SD/A-360 CDP
Benchmark DAC-1
Sony SACD/DVD-A
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Main: HotRodded AL-IIIs
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OconeeOrange wrote:"Gary likes to play it 'loud' as do I. His system begs you turn it up until you die"

RIP WIlliam B. Dibble, 1948-2012. I'll miss you my friend.

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treitz3
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Re: Review - Sylvania Black Plate 3 Mica D-getter 5751's

Post by treitz3 » Sun Mar 18, 2012 11:49 am

Yes, sir. De-oxed and the above review was the end result. Even after placing them in and out of the connectors many times to make a better physical connection. Unfortunately, I do believe that these have already been sold. I have extended the same courtesy to the buyer as he had extended to me on a prior purchase. If he does not like them in his rig, George, they are yours. I got them from Tracy over at the PF, FYI.
In search of accurate reproduction of music. Real sound is my reference and while perfection may not be attainable? If I chase it, I might just catch excellence.

The best way to enjoy digital music reproduction is to never listen to a good analogue reproduction.

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