audio research vsi55

Audio Research VSi55 Review

Few would deny that a well-built valve amplifier can produce excellent sound, but the problem is that they aren’t as user-friendly as solid-state devices – at least not to the uninitiated. While you can buy any sensible transistor integrated, plug it in, and expect a reasonable sound regardless of your system, thermionic valves aren’t exactly the same.

Loudspeaker sensitivity and impedance, amplifier output power, and output transformer quality all become important considerations. Then there’s the fact that valve amplifiers are typically sold as power amplifiers only, necessitating the purchase of a matching preamp, and that they’re almost always devoid of features. Then there’s the matter of valve life, as well as the possibility that the amplifier will need to be serviced. The list could go on…

Surprisingly, it is precisely these concerns that draw a particular type of fanatical audiophile. The fact that tube amplifiers aren’t the most user-friendly of gadgets is precisely what attracts these enthusiasts, who boldly proclaim that with tubes, “no pain, no gain!” If you’re this type of fan, you’ll want to look elsewhere — the Vsi55 isn’t for you!

It’s essentially an integrated version of Audio Research’s VS55 power amplifier, which was formerly quite popular. It’s a large, imposing-looking device that’s not unattractive, and it was released in 2005 for £2,895. It measures 14x8x16 (in old money) and has a machined, anodized aluminium top plate with a huge inset Audio Research logo in the center. The output and mains transformers, as well as the housing, are finished in a deliberate matt black.

The front panel has a long LED volume display that also shows the source selected and whether or not muting is active. The bank of control buttons on the right includes power, mute, source (which switches between the five inputs), and volume up and down. The included remote duplicates all of these controls; it’s not the most attractive device, but it gets the job done. In comparison to most of its tubular competitors at the time and now, the Audio Research Vsi55 is an ergonomic dreamboat.

There are five pairs of single-ended inputs labelled CD, Tuner, Video, SE1 and SE2, as well as a full-range mono subwoofer output, voltmeter test points for establishing bias, and adequately sized loudspeaker terminals with both four and eight ohm taps, as well as an IEC mains plug around the back. For families with young children or pets, the amplifier features an optional perforated cage-type top cover (which cost £250 when it was new).

As with the sibling REF2 MkII, Audio Research claims that very short, high-performance input relay paths are used. The active circuitry is largely the same as the VS55, but with a 7dB gain boost for increased sensitivity. It also has the same Class A input (with controlled DC heater supply), three 6N1P driver stages, and partial cathode-coupled Class AB output stages with two pairs of 6550EH output tubes. Three small rubber socks are included for the input valves, allegedly to reduce sound-deadening resonance.

The control component is passive, with microprocessor-controlled relays that greatly contribute to the simplicity of use of this amplifier. When you turn it on, a flashing LED indicates that the output is muted for thirty seconds while the unit heats up. The amplifier then switches to the last input selected and to mute mode, which is a welcome loudspeaker (and ear)-friendly option given the amplifier’s significant power. The electronic input selection and warm-up features, along with remote control, as well as the exceptional build quality and finish, make the VSi55 an instant hit with seasoned valve-ophiles and solid-states alike.

The VSi55 is an unabashedly simple, user-friendly, one-box solution to the problem of home audio amplification. It sounds fantastic in its own right. Audiophiles looking for a mix of significant power and speaker driving ability, as well as a very engaging and propulsive sound, will adore this. It sounds a lot like a valve version of a decent transistor integrated, with a lot of grip, punch, power, and precision – and a lot of bass – but with true timbral accuracy and a really vivid midband.

The VSi55 is actually tenacious, whereas most valve amplifiers soften and attenuate bass guitar notes, becoming loose and fluffy in comparison to solid state. It’s a little warm down south, but it’s very tight and powerful. It doesn’t have the same amount of grip as Naim, but it’s comparable to good solid-state designs from the time, like as Musical Fidelity’s A308 Integrated. Until the volume is turned up to ear-splitting levels, there is no sense of compression or suffocation.

It lacks a forensic, ‘hear-through’ midband, thus it isn’t as precisely etched as a top solid state design. However, it isn’t that far off — the VSi55 takes pride in delivering a wealth of detail with zeal and attention. When compared to solid-state equivalents, the lack of midband ‘clang’ that properly implemented valve amp designs offer never ceases to amaze me. This is exactly what the VSi55 provides.

If the combination of barrel chested bass and beautifully punchy and propulsive midband coupled to wonderful tone accuracy sounds too fantastic to be true, you’ll be relieved to learn that this Audio Research integrated isn’t without flaws. Treble isn’t as bright as the bass and midband. It’s a sweet, generic cymbal sound, but if you listen to Dr Feelgood’s Down By the Jetty (a thrashy new wave album), you’ll hear the exact same pleasant, warm characteristic. The highs are essentially devoid of actual incision or analysis – even Sugden’s A21a Class A solid state integrated, which costs a third of the price, performs better. Those looking for silky smooth, velveteen high treble should opt for a decent parallel single ended design, which will produce a more organic and cohesive upper mid and treble, but remember to utilize horn loudspeakers – or crank up your hearing aid…

The VSi55’s many abilities come together to create a riotously musical event. You may play it a variety of music and sit back and be surprised. The mesmerizing electronic strains of Kraftwerk’s Computer Welt revealed tremendous quantities of midband clarity, revealing the track’s sequenced electronic drumming like few amplifiers I’ve heard before. Even at ear-splittingly high volumes, Yazz’s Fine Time’s enormous, thumping basslines demonstrated how meaty those output transformers are. When you listen to gentle, acoustic rock like Susanne Vega’s Freeze Tag, though, the amplifier transforms from a beefy monster to the epitome of delicacy and calm…

I still think this is one of the most user-friendly valve amplifiers I’ve seen. Its fantastic sound and exquisite appearance will appeal to tube purists, but its ease of use, power reserves, and plethora of features will entice an entirely new sort of buyer – one who had previously only considered a high-end transistor integrated or entry-level pre-power. It’s an unabashedly all-encompassing design that succeeds in achieving its goal. In a nutshell, tubes that do not tear.

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A friend recently asked, "What is it like having a well?" Indeed, the thought that I had bought a house that drew its water supply from under the very ground the house sits on seems oddly novel in a modern world. I replied that in practice there’s very little difference from public water -- you turn on the tap and water comes out. It’s not as if we ferry wooden buckets on our heads from well to bathtub. But, get this -- the water actually tastes great and is basically free.

Tube amplifiers don’t share a whole lot in common with wells -- for one thing, you certainly shouldn’t put them in water -- but in a way they serve as a reminder that older technologies can sometimes meet modern needs, occasionally with surprising advantages. Like the conveniences of the electric pump and water softener that pressurize and treat my groundwater, tube amplification can be paired with contemporary technologies such as microprocessors to achieve the best of both worlds.

Tube lovers have always praised vacuum-tube technology for its "natural" sound, in contrast to the perceived harshness of solid-state gear. Distortion is to thank, specifically tubes’ penchant for producing even-order distortion -- the kind that pleases many a pair of ears. Tube diehards have always known this and espoused a kind of naturalness-as-accuracy dogma that sometimes borders on zealotry. Unfortunately this has led to many quarrels with solid-state supporters -- beer steins are thrown, accusations of tone-deafness fly, and otherwise grown men ultimately sulk on the shoulders of their nonplussed spouses.

Fortunately, vendors such as Audio Research Corporation hope to bring peace on Earth as they introduce ever-more-accessible tube amplifiers at increasingly affordable prices.

Minnesota-based Audio Research Corporation is a veteran of the audio-tube industry. In fact, the company and its founder, William Johnson, played a large role in resuscitating vacuum-tube technology in high-end audio at its founding in 1970. The $2995 VSi55 tube integrated amplifier is based on the design of the popular and respected VS55 power amplifier . The company’s deep product catalog includes full lines of preamps and power amps, as well as very pricey Reference-series monoblocks and even a CD player. In this context, the VSi55 represents a budget-oriented release from Audio Research.

The push-pull VSi55 delivers 50Wpc via output taps for both 4- and 8-ohm speaker loads. Audio Research calls the VSi55's design "enriched" class-AB1. This class-AB operation keeps a significant amount of current flowing through the tubes even when idle. This idle current is higher than average for a class-AB design, hence the "enriched" qualifier and a factory-set bias level of 65mA per 6550 tube.

Aesthetically, the VSi55 is basic -- black with square buttons. Some will find the physical design bland and clunky, while others will consider it tasteful and classy. A cage to protect the tubes is not included with the VSi55, but it is available separately for $200.

The left half of the unit’s face contains a series of small LEDs that indicate status, including mode of operation, selected input, and volume. The volume display is unfortunately vague -- there are 20 LEDs but 70 volume steps overall, meaning that a given LED represents a small range of steps. The right half of the face simply features six square buttons used to power the unit, mute or adjust the volume, select inputs, and toggle stereo or mono mode. You cannot select an input directly, but rather must toggle along to the desired one.

Two matched pairs of 6550EH output tubes -- one pair per channel -- are included. Three 6N1P dual triodes are used for the input stage. These tubes are rated to 2000 hours, and as such, Audio Research does not recommend leaving the unit powered on continuously. Rather, they suggest an optimal hour of warm-up time prior to listening. The VSi55 has output-tube-bias adjustment pots adjacent to each output tube, with jacks for measurement on the rear panel. A plastic adjustment tool is included.

System setup

The VSi55 was mated to a pair of ProAc Response Two S speakers, which feature an 87dB sensitivity. These loudspeakers are normally driven by a Primare A20 70Wpc solid-state integrated amplifier. The Primare originally sold for about $1400, or less than half the list price for the VSi55. Cabling includes Canare 4S8 speaker cables terminated with large spades at the amplifier and bare wire at the loudspeaker ends, and DH Labs BL-1 interconnects. Source is a Marantz CC65SE CD player fed through an Audio Harmony TWO harmonic filter.

The sound of music

The conventional wisdom is that ProAc loudspeakers mate especially well with tube amplification, often described as letting them "breathe" or "open up." There is perhaps no better example of this quality than Tori Amos’ Under the Pink [Atlantic 82567-2] and a cut such as "Bells for Her." This spare and haunting track packs most of its punch with quiet spaciousness -- the air that surrounds each ringing note. Here the VSi55 shines, opening a wide and hushed soundstage. Ms. Amos also relies heavily on capturing the breath that surrounds her own voice, and here as well as on "Icicle" the VSi55 is suffused with airiness.

An open and airy quality implies a kind of delicateness. No doubt, when presented with delicate material, the VSi55 exhibits a light touch, but not without a sense of control. Kenny Rankin’s rendition of "Blackbird" on Mark Levinson Live Recordings at Red Rose Music Volume One [Red Rose Music RRM 01] features gentle picking and supple vocals. Although I’ve never understood why this somewhat dull selection from the Beatles’ rich catalog is so often covered, this particular interpretation does nicely highlight how gentle the VSi55 can be without sounding weak or frail.

That same sense of calm control is apparent with the rare disc OasisAcoustic Volume II [Oasis ACO2], especially on the provocatively titled "Orgasm" performed by David Wilcox. This acoustic song, a kind of lyrical musing on the afterglow of the aforementioned title, is performed in a live club environment. Both the VSi55’s sense of spaciousness and command of delicate material come together in reproducing the club atmosphere as well as Wilcox’s guitar. While on the, er, subject, the next track in sequence, as performed by 23rd National Fingerstyle Champion Steven King, is a multilayered picker’s delight. The VSi55 viscerally resonates King’s rubber-band-like twang.

At the upper end the VSi55 demonstrates great discipline in avoiding any traces of sibilance. Alison Moyet’s live recording "There Are Worse Things I Could Do" on her EP Solid Wood [Columbia 662326-2] sounds very closely miked. Moyet's rich voice soars, at times inviting some harshness if not outright clipping on some integrated amplifiers. But not here -- the VSi55 keeps Moyet reigned in, but not so much so that she loses any sense of scale. She's also not freakishly big, like a giant head in the room. If there’s a shortcoming here, it may be that her large presence is a bit imprecise. It seems as though she should be standing room center, yet her position is difficult to pinpoint.

Adept handling of delicate and airy material probably comes as no surprise to a tube aficionado, although it’s still worth emphasizing how well the VSi55 hits its mark in this area. What may be more ear-opening is that as the material grows busier, more dynamic, and even heavier, the deceptively rated 50Wpc VSi55 continues to hold its own. Return to Tori Amos and her bouncy rant against a music business to which she doesn’t conform, "Cornflake Girl." The song gets busy -- literally -- as Ms. Amos begins to throw everything but the kitchen sink into the tune in a kind of sly protest. This is where lesser integrated amps become congested and wilt, but the VSi55 maintains its legs throughout. It doesn’t lose a second off its pace as Amos slogs through her banging piano solo beneath all sorts of tonal strife.

Throwing a heavier load onto this integrated’s glass tubes, I turned to Smashing Pumpkins’ ambitious opus Mellon Collie and the Infinite Sadness [Virgin 7243-8-40861]. Billy Corgan has solidified his reputation as one of the most melodic whiners in rock and is famed for his attention to detail in the studio. Whether intentional or not, then, Mellon Collie is a dishearteningly compressed-sounding recording with flat highs and attenuated lows. It’s the kind of disc that sounds best on apologetic or poorly disciplined equipment, which the VSi55 certainly is not. That’s why the driving nihilism behind "Zero" lacks punch -- not because of any inaccuracy with the VSi55, but because it’s been recorded (or at least mastered) to compact disc that way. Similarly, bassist James Iha’s turn at the mike on "Take Me Down" fails to benefit from the midrange emphasis lesser integrated amplifiers lend to the mix. The VSi55 shows the track’s blooming overproduction as it is -- for better or worse.

In stark but wonderful contrast, the remastered edition of Metallica’s Master of Puppets [DCC GZS-1133] suffers from none of the Pumpkins’ flatness. There’s no doubt this is heavy stuff from an era when Metallica actually played heavy metal. What’s happened to their sound since is too disturbing to discuss. In any case, Master is glorious on the VSi55, instantly crushing any doubt as to the ability of a 50Wpc tube integrated amplifier to satisfy an urge to head-bang. On "Master of Puppets" and "Orion" -- and, heck, every other track on this masterpiece -- dynamics rule the day and bass drives the affair. Some may feel that audiophile gear as precise as the VS155 is too refined to blast thrashing metal. It's true that the VSi55 doesn’t add any distortion that isn’t already there. But still there’s plenty.

Speaking of bass, this integrated amplifier has plenty to spare. The Everything But the Girl retrospective like the deserts miss the rain [Virgin 5426162] includes a sampling of tracks from the duo’s second incarnation as dance-floor favorites heavy on, well, sampling. "No Difference" relies on solid, weighty beats, and the VSi55 delivers. It surely drained the ProAcs beyond their 27Hz -3dB rating as well as any integrated amplifier -- and triggered yearnings for a hefty 12" subwoofer. There’s more low-end action to be found on "Walking Wounded," with its drum-and-bass backbeat and all sorts of springy rattles and plops. It’s all very mechanical-sounding, just as it’s meant to be, but warm rather than steely cold. Tracey Thorn’s voice has always had a certain natural bloom to it, and the VSi55 encourages it.

Ultimately, the VSi55 exhibits an open and airy head, with the swift legs to keep up with dynamics and pace, and the biceps to keep heavy material from sinking. Its vision is perhaps not quite 20/20, as imagery falls short of completely pinpoint, but this is countered with an overall attitude that manages to be both unapologetic and satisfyingly warm.

At $2995, the VSi55 costs more than twice that of my system’s usual integrated amplifier, the Primare A20. The Primare exhibits a noticeably drier tone and lacks the bass command so apparent in the VSi55. In fact, despite the Primare’s 70Wpc rating versus the 50Wpc VSi55, the difference was never evident and, in fact, the VSi55 sounded more muscular. Musically, the only edge in the Primare’s favor would be in terms of imaging, but even here the difference is slight.

I prefer the Primare’s digital look and especially its precise volume control. When using multiple sources with an integrated amplifier, there are often variations in volume between them. With the Primare, it is very easy to remember that, say, a volume level of 50 is appropriate for one source but is ten points too high for another. Suitable adjustments can be made in advance of pumping out the sound. The imprecise volume indicator on the VSi55 was much more troublesome in this regard.

Of course, the Primare is also a solid-state integrated amplifier. I leave it powered on continuously. Doing so with the VSi55 would significantly reduce the life span of the tubes and increase the unit’s overall cost of ownership. Ultimately this is a matter of personal preference.

To the uninitiated, tubes may seem to possess a sense of fragility, with their typically low (on paper) power ratings and exposed glass organs. The Audio Research VSi55 is a strong argument against this impression. Musically, the VSi55 does not exhibit any sense of weakness or an overly light touch. Put another way, the VSi55 can play Metallica -- loud. Yet it’s no brute either, and readily lends an open airiness to delicate material.

Tubes don’t last forever, and they can be hot and even marginally dangerous in an environment with bustling children, cats, ferrets, and the like, which means extra cost for the protective cage. Some may not appreciate the basic aesthetic of the VSi55, and its user interface, while perhaps advanced for a tube-based component, is somewhat limited by today’s digital standards.

But taking everything into account, especially sonics, the Audio Research VSi55 is a distinguished performer in its price range and rightfully occupies an audition spot alongside elite integrated amplifiers.

...Aaron Weiss [email protected]

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• Utilizing microprocessor-controlled relays
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USER REVIEWS

I have renewed interest in audio after listening to my favorite track 'Heavy Fuel' (dire straits) at a friends place, The friendly audition gave a whole new meaning to the track and my search began soon after for a replacement of my system which was low mid end: Roksan Caspian integrated with Roksan Caspian Power and KEF Q15 (yes!) speakers. The CD drive was a Roksan caspian too. Since then I auditioned tons of equipment looking for the sound I wanted (within the budget I had): voice quality and clarity. The one I really liked was the mid end Naim system driving $ 8000 KEF 207's with $ 3000 cable set! Out of question. Then I Iooked at a Plinius 9200 / Dynaudio Contour & excite combo, Roksan with Sonus fabor Cremona, Plinius 9100 with JBL 4318's and many others. Then I chanced upon this dealer who was selling ARC's - they were new but obsoleted. I liked the full punching power (even thought this is rated at 50W) immediately. We used Wadia 581SE CD player with few different speakers: among then JM labs1027BE - where the sound was sweet but somehow lost punch. Then i spotted a B&W 705 in the corner and requested to connect it. Magic! I instantly knew this is sound I wanted though some of the mid end clarity was missing. On plus side I preferred a book shelf at that point which would not overcrowd my place and the 705 were pleasing to look at. At home, I did not have the Wadia, but my trusty Roksan Caspian CD. Paul Simon's 50 ways to leave your lover from 'still crazy after ..' sounded great with the drums but vocals a bit subdued than I would have liked. Goriilaz all albums sounded a bit noisy. But then I switched to Natalie Cole Still unforgettable: She simply stood out - made a live appearance in my home especially with 'why dont you do right?' The cymbals were just right, the sax not too over bearing and voice golden. Its good that I listen to these types more often. I tried a bit of east Prem Joshua's Taranga (if you dont have this CD get it!). Fully satisfied with strings standing out. So whats next? First I am going to upgrade my cables to see if I can get the clarity better - I attribute it to lack of the mid range driver in 705 and also the CD player. Then slowly I am going to upgrade my CD - possibly to a ARC CD3 and the speakers - either to KEF (when I hit the lottery) or B&W 703 or 803. But I will keep the i55 for very long time for sure.

The sound. Build quality is impressive as well

none yet that come to mind

My first entry into tubes and I am very happy I finally mde the switch. The imaging, in both dimensions, is really nice. The best part of it is the high-mids and high end, which is completely musical; you never hear anything in the highs that sounds digital. Everything is really transparent. It will make you look at your speakers carefully to be sure they are evyerthing you want as this amp really is flawless at this price point.

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• Audio Research Manuals
• Owner's manual

Audio Research VSi55 Owner's Manual

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Table of Contents

• Accessories
• Preparation for Use
• Description of Controls
• Rear Panel Connections
• Installation
• Operating Procedure
• Muting Provisions
• Output Tube Bias Adjustment
• Disposal and Recycling Guidelines
• Warranty Terms and Conditions
• Specifications

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• Page 1 Owner’ s Manual Model VSi55 STEREO INTEGRATED AMPLIFIER 3900 ANNAPOLIS LANE NORTH / PLYMOUTH, MINNESOTA 55447-5447 / PHONE: 763-577-9700 FAX: 763-577-0323 www.audioresearch.com...

Page 2: Table Of Contents

• Page 3 Model VSi55 2-17-03 VSi55 Manual-1 / 3-03 / MUTE MONO SE 1 9 10 1 1 12 13 14 15 16 17 18 19 20 O O O O O O O O O O O O O O O O O O O O...

Page 4: Preface

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Audio Research VSi75 Integrated Amplifier Review

Many audiophiles seem to gush about the warm, euphonic tube sound, while still others lament the soft, mushy bass output and lack of sparkle in the higher frequencies. I found the sound of the VSi75 to fall somewhere in between both tube and solid-state in its audio presentation and feel that it might actually appeal to both crowds.

Audio Research VSi75 Integrated Amplifier

• 75 watts per channel
• Solid, clean construction
• Uncluttered easy to read front panel
• Biasing the tubes is straightforward & easy
• Built in timer keeps track of tube hours

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I must admit that I am a solid-state kind of guy. I don’t particularly like fussing with my equipment once I set it up and power it ON. I don’t care to wait for things to “warm up” or “settle in”. I want my music and I want it NOW. That said, it is also true that good things come to those that wait and patience is a virtue. Those of you that are used to tube equipment or are perhaps a connoisseur of fine vinyl probably already know this. I have listened to enough tube amps in the past to know that they provide a different listening and setup experience than solid-state devices, so I was prepared for the challenges that can come with tubes (or valves, as they are referred to in Europe). I found setting up the VSi75 to be painless… and delightfully engaging.

Power Output:

75 watts per channel continuous from 20Hz to 20kHz @ 1 kHz armonic distortion

THD @ 1kHz:

1.5% @ 75 watts, .05% @ 1 watt

Power Bandwidth:

(-3dB points) 12Hz to 70kHz

Frequency Response:

(-3dB points at 1 watt) 1.0Hz to 70 kHz

Input Sensitivity:

0.55V RMS Single-ended for rated output (32.5dB gain into 8 ohms)

Input Impedance:

52.5K ohms Single-ended

5 x single-ended RCA

Maximum Input Voltage:

Output polarity:.

Non-Inverting

Front Panel Controls:

Volume up, Volume down (103 steps), Power, Input, Mute, Bias

Output Regulation:

approximately 2dB 8-ohm load to open circuit (damping factor approximately 4)

Output Taps:

8 ohms, 4 ohms

Overall Negative Feedback:

10 volts/microsecond

4 microseconds

Power Supplies:

electronically regulated Low and High voltage supplies for input stages, automatic 40 sec. warm-up/brown-out mute

Power Supply Energy Storage:

approximately 350 joules

Power Requirements:

100-125VAC @ 60Hz (200-250VAC @ 50Hz) 400 watts at rated output, 600 watts maximum, 210 watts at idle 1.0 watt power off

Power Tubes:

2 x matched pair KT150

Driver Tubes:

Dimensions (wxhxd):.

14.5”x 9.25” x 16.25”, rear connectors extend .88” beyond chassis

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With a solid, brushed aluminum chassis, the VSi75 weighs over 36 pounds and has an almost industrial look to it. It looks like someone made the unit by hand from the ground up and took their sweet time doing it. The internal circuit boards (from what I could see) look like they have widely spaced etchings, with the components being well-spaced with ample room to breathe. The VSi75 upgrades over its predecessor (VSi60) include a matched set of four KT150 power output tubes, two 6H30 driver tubes, some solid-state regulation, and a JFET input stage. The VSi75 is single-ended only, so all five inputs are RCAs with very sturdy posts. It also has a tape output, which is handy should you possess a reel-to-reel rig. The RCA connectors in the back are very solid and substantial so you will never have to worry about them wearing out or coming loose over time.

On the matter of the tubes, most are manufactured either in the USSR or China. I’ll not get into the joys of swapping out tubes (like vinylphiles and phono cartridges), and my comments will stick to the supplied stock tubes from ARC. The KT150s are bigger than their predecessors and provide more output than the KT88s. The internal workings of the VSi75 did not have to be beefed up for these newer, more powerful tubes, because the boards and wiring are already “over-built” enough to handle the extra output. The tubes came in a separately boxed section from the amplifier that provides ample foam protection. Each tube is hand-labeled so you can place them in their proper connector.

Also included is a yellow plastic screw driver so you can bias each tube to match the output voltage. They should all be matched to 65mA and I’ll go into the trimming process later. Each tube base has a key slot, so you should have no trouble lining them up and popping them in correctly.

I always wear gloves when handling tubes to prevent oily finger smudges, which causes them to heat unevenly, and in case one should break while being inserted. Remember to push straight down and not at an angle. Once the tubes were set, I attached the supplied power cord and fired it up. I know it sounds simple, but the act of putting in the tubes and biasing them makes for a more intimate connection with the VSi75, than a solid-state device. It’s sort of a “Hey, I did that.” experience.

The VSi75 comes with a remote made from solid aluminum. It is a simple device that I found it to be quite useful, and not just because it powers the unit on and switches inputs. When the VSi75 is powered on, it takes 40 seconds (counted down on the display) before you can use the volume, which starts at a default of ZERO and MUTE. This is a design choice that prevents someone from turning the unit on with the volume all the way up. Unmuting and turning the volume up is easily done from the remote.

Also, checking the bias for each tube is controlled from the remote as well as checking the number of hours you have on the tubes (they are good for about 2000 hours before they need replacing). All this info can be read from the large front panel display, which is dimmable. I really liked the display, as it was easy to see from across the room and it could be dimmed all the way off if you just want to bask in the tubes’ dim glow.

Biasing the tubes will allow you to optimize the output for each one so they output the same volume per channel, and it prolongs their service life. Biased too hot and the life is decreased, too little and the sound quality takes a hit. I found the tubes were already-well matched and only a slight adjustment was needed to bring them even.

The included plastic flat-head driver works well for this task. Why plastic? Do you think it would be a clever idea to fish around in this thing with a metal stick with all that high voltage inside waiting to be released? Also, I recommend biasing after the tubes have had ample time to warm up, say around 20-30 minutes. From the remote, you select each tube to be biased and just watch the display as you make your incremental adjustments. I know some amps out there are self-biasing, but this really was not a difficult chore and it gave me that nostalgic feeling; like tweaking a turntable.

I have read elsewhere that it is recommended to burn the VSi75 in for over 100 hours before you give it a serious listen. I never had the luxury of that time table, but I can make a few comments about the sound over time in general. When I listened for my first three-hour session, I thought the sound was a bit harsh and the bass to be slightly bloomy. The soundstage was also a bit two-dimensional and lacking in depth.

As the days went on, these things resolved, and the top end sparkled, but never sounded overly etched or strident. The bass, which I found surprisingly robust for a tube amp, had plenty of power and gave the music a warm, solid foundation. The word “burnished” came to mind several times during my auditioning. It had authority but with a warm, soft analog edge. I’ll try to describe it in more detail in the listening section later.

For my listening set-up, I used an OPPO UDP-203, Kimber PBJ interconnects, Zu Audio Julian speaker cables, and Revel Concerta2 F36 full range speakers. I did not put a subwoofer into the mix, though that could have been an option. I wanted to judge the VSi75 without the assist of a sub. It never fails to impress me how good a simple two channel set-up can sound. Two components and a set of speakers… Boom!

Most of my critical listening came with the VSi75 having over 20 hours of burn-in on it. I can not comment on the sound quality after more than 100 hours, but I can extrapolate that over time, the sound got better with a more 3D sound-stage and overall, a smoother and mellower sound. I am not a proponent of solid state device burn-in, but I am when it comes to tubes. Be patient, the sound evolution is part of the process.

Human vocals are usually a great test for testing the naturalness of the mid-range. I played some Frank Sinatra, Live at the Sands and got a really good sense of the venue’s space. Besides the extraneous noises of people laughing and glasses clinking, the feeling of being there was almost palpable. Through the smoky room, Sinatra’s voice floated above the din and sounded full and natural. The highs were there, but I did notice a slight roll-off of the tape hiss from the digitally-remastered recording. That was true for most of the older recordings in my collection. The treble detail was still there, just that slight hiss was gone. Not a terrible thing in my book. Another good voice recording was Roxy Music’s Avalon. Brain Ferry’s restrained and seductive sound was mesmerizing and yet so enjoyable. The bass underpinning was also well-supported and had a slightly “fat” quality to it that really enhanced the emotion of the band’s iconic sound. This recording was a surround remaster SACD, but even in stereo it still sounded open and spacious.

Flipping genres, I listened to some of Handel’s Organ Concertos. The orchestra was well spaced out in front of the organ, which was centered on the backwall. The strings had nice bite and a warm sheen. Again, there was a lack of stridency in the upper registers, but not a lack of detail. Though the organ was a small chamber instrument, it had plenty of sparkle and the bass notes were solid. Moving about 150 years forward in time, I compared Handle to Aaron Copland’s Symphony for Organ and Orchestra with E. Power Biggs on the organ at Avery Fisher Hall in NYC. Recorded in 1968, this organ is miked closely and has a very large personality. The music is deliciously jazzy with syncopated rhythms that would challenge any world class orchestra. The bass from the organ is quite present as are the large brass instruments and tympani. It was here that I thought the VSi75 would run out of propane, but it played this music loudly and without any hint of being pushed too hard. Again, I was aware that the 40-year-old tape hiss was being attenuated and softened, but I never felt that the treble details suffered. I would never have thought of organ music in general being played with a tube amp before, but the VSi75 could really reproduce a 32-foot pedal with authority!

If your tastes run more to rock-n-roll, I played everything from the newly remastered Sgt. Pepper album to The Who’s Greatest Hits. I really am hopelessly “old-school”, I guess. With The Who’s Join Together, after the synthesizer and harmonica intro, I noticed that when the bouncing bass line comes in, it was big and in your face.

The VSi75 laid it down with power. I expected the bass to sag a bit, but that didn’t happen. Roger Daltrey’s husky tenor sounded full and lush. Boy, he could really belt out the vocals back then. Today, of course, he’s deaf as door knob… but who today can capture the raw emotion of his voice? Certainly no one from American Idol.

Overall, the VSi75 has the finesse to play any type of music genre, with perhaps an edge in reproducing vocals and acoustical instruments. It is refined enough for classical music, yet can punch out rock-n-roll, too.

• Sound that appeals to solid state or tube lovers
• Plenty of dynamic power
• Easy to read panel display
• Perhaps a headphone jack

Because of the solid-state and tube marriage, the VSi75 has some sound characteristics of both and can easily win the ears from both sides of the aisle. I have found in general, that bass can be a bit weak and flabby with tubes. That is not the case with the VSi75. Though the bass was a slightly rounded on the bottom octave, it had plenty of slam and muscle, even when playing my favorite pipe organ music. The warmth of tubes is partially due to the removal of treble harshness, which most people will enjoy. This thing is built like a tank and the quality can be seen on the outside and heard on the inside, where it counts. The VSi75 is easy to set-up and operate, so no one should feel intimidated by the glowing glass tubes on top. The built-in features keep track of the tube life, assist in biasing, and the power-up process ensures you don’t accidentally damage anything with an unintentional volume power surge. The solid remote should last as long as the unit. Though it’s not backlit, I usually only find that a minus in home theaters. The Audio Research VSi75 is an investment piece; whether you are moving up to your first tube amp or are thinking about setting up a primo stereo system from the ground up. The Audio Research VSi75 integrated amplifier is a sound choice that will pay musical dividends for many years to come.

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Audio Research VSi-55 Power Amplifier Vacuum Tube Upgrade Kit

WELCOME TO AUDIOZOMBA – VINYL & VALVES FOR THE TRUE AUDIOPHILE

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Product Information

£ 24.95 – £ 44.95

Choose your Vacuum Tubes – Complete Set of three long life NOS USSR military spec 6N1 (3) matched Trio –  direct drop in Upgrade for this amplifier.

Choose from Standard, Premium or Elite Grades.

Individual upgrade replacement tubes also available – see Main Description.

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Description

Description:.

We sell Vacuum Tube Kits for the Audio Research VSi55 Power Amplifier.

Choose from a matched Trio of 6N1P, 6N1P-ev or rare 6N1P-e (the Elite!). Graded for Quality and rarity.

1.Standard:

6N1P by former Novosibirsk Plant (NEVS) Russia c.1980s NOS. robust vacuum tube with good results. 2000 Hrs Life Expectancy.

2.Premium :

A ruggedized 6N1P called 6N1P-ev by former Voskhod Factory, Russia c.1980s. Famous ‘Voskhod Rockets’ made to Military Specification including nickel plated pins for good conductivity and gold grid for improved sound. Life expectancy 5000hrs. A robust vacuum tube which will deliver excellent results and reliability.

A rare 6N1P variant from the 1960s known as 6N1P-v by Former Reflektor Plant, Russia. These are an outstanding vacuum tube built to military specification and nickel plated pins for improved conductivity. They contain large amounts of rare earth metals such as Caesium and Gold, now too expensive and scarce to employ in modern tubes. These rare earth metals improve both odd and  even  harmonics and will sound superb in any 6N1P application. These are sold strictly subject to availability and may not be restocked once current supplies diminish. 5000 hrs Life Expectancy.

See Option Details in drop down menu.

Because our Audio Research VSi55 Vacuum Tubes are graded, they are an excellent Upgrade.

Above all, they Fully Bench tested. Certainly No Leaks or Shorts.

As a result of being Manufactured to a high specification in the Former USSR, these valves are highly robust.

Voskhod, NEVS or Reflektor Plants. Life expectancy: 2000 – 5000 hrs.

Military grade means improved tighter and deeper bass! Open mid-range, detailed treble, better timing and overall cohesion.

Our Kits are also available for other ARC Models:

If you are unsure about your Amplifier’s requirements you can download a .pdf User Manual for free here

Free 3 x BS310 Set of Audio Research Tube Damping Rings . Full fitting instructions included.

*Always check for the correct vacuum tube in your Manufacturer’s User Manual.

Fitting the wrong tubes can be dangerous, can damage your amplifier and can invalidate your 30-Day Warranty

Additional information

We offer a no-quibble 30 -day return & refund on all our products. please refer to our return & refund policy for full details., we aim to ship next working day by your chosen postal service. see our shipping policy for further details., related products.

Fatman i-Tube Carbon Edition 1 Amp Vacuum Tube Upgrade Kit

Choose Your Grade of Vacuum Tubes –  6N1 (2) Standard or Premium & 6E2 Magic Eye Indicator Tube.

Free BS310 Standard heat resistant silicone anti-vibration dampers.

These tubes are compatible with our 20mm Anti-Microphony Damper Rings

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Audio Research VS55 Power Amplifier Vacuum Tube Upgrade Kit

Choose your own vacuum tube grade.

Complete Set of three long life NOS USSR military spec 6N1 (3) matched Trio -  direct drop in Upgrade for your Audio Research VS55 Amplifier.

Free set of 3 x silicon damper rings included.

6N1 Tube Equivalent 6N1P Vacuum Tubes

Amplifier Tubes: 6N1 Tube Equivalent 6N1P 6N1P-ev  6N1P_V -

Choose your own grade from Standard 6N1P to audiophile Elite Options!

Available in matched groupings.

Fully Bench tested - No leaks or shorts guaranteed.

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Eufonika H4 Tube Amplifier Vacuum Tube Upgrade Kit

A Choice of Vacuum Tubes – Complete Set of 3 long life NOS USSR military spec 6N6 (2) & standard or premium 6N1 (1)  - direct drop in Upgrade for stock Chinese 6N6/6N1 amplifiers

Pre-amp Tube comes with a free BS310 Standard heat resistant silicone anti-vibration damper.

*The 6N1 Pre-amp section tubes are compatible with our 20mm Silicone anti-Microphony Dampers

Individual Upgrade replacement tubes also available - see Main Description

*Always check for the correct vacuum tube in your Manufacturer’s User Manual. Fitting the wrong tubes can be dangerous, can damage your amplifier and can invalidate your 30-Day Warranty

Audio Research VS-110 Power Amplifier Tube Upgrade

Choose your vacuum tubes –.

Complete Set of long life NOS USSR military spec 6N1(5) matched Quintet

Choose from Standard, Premium or Platinum Grades.

Free set of 5 x silicon damper rings included.

Scroll down for Detailed Product Description

Fatman i-Tube MKI / II Vacuum Tube Upgrade Kits

Choose Your Grade of Vacuum Tubes –  6N1 (2) Standard, Premium or Elite Grade & 6E2 Magic Eye Indicator Tube.

Individual Upgrade replacement tubes also available - see Main Description.

* *Always check for the correct vacuum tube in your Manufacturer’s User Manual.

Logic3 MIP004 Valve 80 iPod Dock Tube Upgrade Kits

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Dared MP-5BT Valve Amp Vacuum Tubes

Premium Vacuum Tubes – Complete 3 Set long life NOS USSR military spec 6N1P-ev (1), 6N2P-ev (1) & 6E2 (1) direct drop in Upgrade for stock Chinese 6N1 amplifiers

Our 6N1/6N2 valves are compatible with our 20mm Anti-Microphony Damper Rings

Schitt Valhalla 2 Headphone Amp Tube Upgrade Kit

A Choice of Vacuum Tubes – Complete Set of 4 long life NOS USSR military spec 6N6P (2) & standard or premium 6N1P/6N1P-ev (2) matched pairs - direct drop in Upgrade for stock Chinese 6N6/6N1 amplifiers

Free BS310 Standard heat resistant silicone anti-vibration dampers. Full fitting instructions included.

*The 6N1 Pre-amp tubes are compatible with our 20mm Silicone anti-Microphony Dampers

Always check for the correct vacuum tube in your Manufacturer’s User Manual.

Liston 12 RV-1080 Tube Amplifier Vacuum Tube Upgrade Kit

A Choice of Vacuum Tubes – Complete Set of 4 long life NOS USSR military spec Premium 6P1P-ev (2) & Standard, Premium or Elite 6N1P/6N1P-ev/6N1P-v (2) matched pairs - direct drop in Upgrade for stock Chinese 6P1/6N1 amplifiers

Pre-amp section comes with a free pair of BS310 Standard heat resistant silicone anti-vibration dampers.

*The 6N1 tubes are compatible with our 20mm Silicone anti-Microphony Dampers

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At the heart of our Power Amplifiers is decades of proven Audio Research vacuum tube technology, a legacy unrivaled by any other manufacturer of tube electronics. Developed through hundreds of hours of critical listening, the carefully selected components comprising our Power Amplifiers combine to provide an array of amplifiers which transcends traditional hi-fi, instead relaying music with realism and tangibility.

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Rebel Wagner Forces, Threatening March to Moscow, Abruptly Stand Down

The mercenary group had seized the Russian city of Rostov-on-Don, the center of Moscow’s military operations in Ukraine, posing a grave threat to President Vladimir Putin’s government.

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By Paul Sonne

A domestic security crisis that threatened the government of President Vladimir V. Putin of Russia appeared to ease late Saturday, when a mercenary tycoon, whose forces had seized critical facilities in southern Russia and begun an armed march on Moscow, abruptly stood down after cutting a deal that allowed him and his fighters to escape prosecution.

The mercenary leader, Yevgeny V. Prigozhin, who had brazenly seized control of the Southern Military District headquarters in the Russian city of Rostov-on-Don and stationed his fighters and tanks on the streets, demanding a change to the Russian military leadership, said his Wagner private military company had made it within 200 kilometers (about 124 miles) of Moscow, the capital, without injuring any of its fighters.

But he said the group had reached the point where Russian blood was about to be spilled “on one side.” And out of a sense of responsibility, he would turn his forces around and send them back to their field camps.

Many questions remained unanswered as the day ended in Moscow, but the outlines of a deal Mr. Prigozhin had negotiated began to come into focus. Aleksandr G. Lukashenko, the leader of Belarus and a close Putin ally, mediated the agreement.

The Kremlin’s spokesman, Dmitri S. Peskov, told reporters that under the deal, Mr. Prigozhin would go to Belarus, and the criminal case opened against him for organizing an armed insurrection would be dropped.

The Wagner fighters who did not participate in the uprising would be given the option of signing Russian Defense Ministry contracts, Mr. Peskov said, and the rest would avoid prosecution, considering their “heroic deeds on the front.”

“There was a higher goal — to avoid bloodshed, to avoid an internal confrontation, to avoid clashes with unpredictable consequences,” Mr. Peskov said. “It was in the name of these goals that Lukashenko’s mediation efforts were realized, and President Putin made the corresponding decisions.”

As for Mr. Prigozhin’s demands to end the “disgrace” of the Russian military leadership, the Kremlin spokesman said such personnel decisions were exclusively the domain of the Russian commander in chief and scarcely could be subject to such negotiations.

The announcement by the Kremlin capped a calamitous day that began with Mr. Prigozhin’s flaunting his brazen seizure of the military offices. It continued with an emergency televised national address by Mr. Putin, in which the Russian leader vowed to put down the armed mutiny and derided the Wagner fighters as traitors stabbing the motherland in the back.

Russia, Mr. Putin warned, risked spiraling anew into a tragedy akin to the Russian Civil War from 1917 to 1922, when “Russians were killing Russians and brothers were killing brothers.”

“We will not allow this to happen again,” he said. “We will protect our people and our statehood from any threats, including from internal betrayal.”

The Russian leader, who did not mention Mr. Prigozhin by name in his recorded remarks, said “inflated ambitions and personal interests” had led to treason, and he vowed the harshest punishment for anyone who had “consciously chosen the path of betrayal.”

He admitted that the situation in Rostov-on-Don, a city of about 1.1 million people, was difficult, saying: “In effect, the work of civil and military institutions has been blocked.”

The dramatic moves by Wagner — which for years did Mr. Putin’s shadowy geopolitical bidding in nations abroad and suffered profound losses on the battlefield in Ukraine before turning its sights on Russia itself — represented the biggest domestic blowback Mr. Putin had faced since launching his war in Ukraine last year.

For a brief moment, the group of fighters appeared to pose one of the gravest threats to the Russian president’s leadership since he took power more than 23 years ago, and showed the risk posed by armed formations operating outside of government control.

The head-spinning sequence of events that played out in less than 24 hours plunged a nation already struggling to wage the war in Ukraine into a full-blown domestic crisis, pitting a Russian president seeking to squelch domestic dissent against a former convict and caterer turned mercenary boss, who once helped a beleaguered Russia on the battlefield but eventually became a political liability for the Kremlin.

In the middle of the day on Saturday, with Mr. Prigozhin apparently in control of central Rostov-on-Don and initially refusing to back down, there appeared to be relatively few ways out of the crisis that would not involve clashes within Russia or risk a significant loss of lives.

Regional officials along the major M-4 highway linking Rostov-on-Don to Moscow, about 600 miles north, had said that convoys of military equipment were barreling north on the highway and urged local residents to stay away.

Videos verified by The New York Times showed signs of active fighting along the highway south of the city of Voronezh, including helicopters and a destroyed truck along the road, after reports that Wagner fighters had entered the Voronezh region, which is halfway between Rostov and Moscow.

“We’re blockading the city of Rostov and going to Moscow,” Mr. Prigozhin had said early in the day in the courtyard of the military headquarters.

The Russian Defense Ministry, addressing the Wagner fighters directly in a statement, told them they had been tricked into Mr. Prigozhin’s “criminal adventure” and would be guaranteed safety if they contacted the authorities.

Perhaps the most shocking scene of the day came when footage surfaced of Mr. Prigozhin in control of the Southern Military District headquarters, where he appeared to have two top Russian military officials surrounded by Wagner guards.

In the video, Mr. Prigozhin demanded to meet with Russia’s top military officer, Gen. Valery V. Gerasimov, and the country’s defense minister, Sergei K. Shoigu, to end what he described as a “disgrace.”

“We came here,” Mr. Prigozhin says. “We want the chief of the general staff and Shoigu. So long as they are not here, we will be staying here.”

Throughout the video, Mr. Prigozhin sat casually between the two uncomfortable Russian officials — a deputy defense minister, Col. Gen. Yunus-bek Yevkurov, and a deputy military intelligence chief, Lt. Gen. Vladimir Alekseyev — as he criticized the Russian military’s poor leadership in Ukraine.

General Yevkurov asked Mr. Prigozhin to let the regular soldiers from the military district’s headquarters leave. “Absolutely not,” Mr. Prigozhin replied, before berating the general for killing fighters by “throwing them into a meat grinder” in Ukraine “without any ammunition, any thought or any plans.”

Mr. Prigozhin berated the general for showing disrespect by referring to him using the informal “you” in Russian, and said if the Russian military had been able to talk with his group in a normal tone, he wouldn’t have had to come.

General Yevkurov later asked whether Mr. Prigozhin saw the actions he was taking as justified. “They’re absolutely correct,” Mr. Prigozhin said. “We are saving Russia.”

By the end of the day, Wagner fighters had maneuvered a tank out from where they had parked it between the gates of the Rostov-on-Don circus, and Mr. Prigozhin was photographed waving goodbye out the window of a vehicle.

The situation created by Mr. Prigozhin initially seemed like a dramatic denouement for a man who spent years in prison during the Soviet era but rose to riches after making inroads with Mr. Putin in St. Petersburg in the 1990s and winning government catering contracts.

Last year, he stepped into the spotlight as Wagner took on a greater role in prosecuting Moscow’s struggling war effort in Ukraine, eventually wresting control of the Ukrainian city of Bakhmut amid staggering losses.

The situation led to a harsh rivalry between Mr. Prigozhin and top Russian military leaders that burst out into the open as he released expletive-laden public videos assailing them for incompetence.

The infighting between Mr. Prigozhin’s force and the Russian military for months appeared untenable, with the expectation that Mr. Putin would ultimately take action to curb the disunity. But then, nothing happened.

In audio recordings released late Friday night, Mr. Prigozhin suggested that Moscow had finally sided with the Russian military and accused the Defense Ministry of launching an attack against a Wagner camp in Ukraine, an accusation that the Russian authorities publicly rebutted.

A Telegram channel affiliated with Wagner on Saturday accused Mr. Putin of triggering the civil unrest himself by refusing to send “one or two degenerates into retirement” and siding with them over “the most battle-ready unit in Russia.”

After Mr. Prigozhin backed down, the Telegram channel, called APWagner, erupted in anger: “I am tearing up my contract.”

How exactly Mr. Prigozhin had planned to outmuscle Russia’s sprawling security services wasn’t clear.

By late Saturday, no units within the Russian military or police appeared to have defected to Wagner, and no prominent Russian officials had expressed open support for the mercenary group. Top officials across Russia released comments supporting Mr. Putin, making the Wagner boss appear isolated.

The popular pro-war Russian blogger Mikhail Zvinchuk, who writes on Telegram under the name Rybar, said that while he wasn’t whitewashing Mr. Prigozhin’s actions, the mercenary boss “gave voice to all those problems and weak links that it became unacceptable to discuss aloud.”

Mr. Zvinchuk noted that Mr. Putin not only ignored Mr. Prigozhin in his remarks, but also did not mention the defense minister or the chief of the general staff, “which says a lot.”

Considering there appeared to be some sort of agreement with Mr. Prigozhin, the question of whether there would be consequences for the Russian defense minister and top military officer remained, the blogger added.

Despite one of the most significant threats to Russian national security in years, neither had said anything all day.

Reporting was contributed by Anton Troianovski , Anatoly Kurmanaev , Valerie Hopkins and Neil MacFarquhar .

Paul Sonne is a foreign correspondent for The Times, focusing on Russia and Ukraine. More about Paul Sonne

Our Coverage of the War in Ukraine

News and Analysis

The top American military commander in Europe warned that Ukraine could lose the war with Russia  if the United States did not send more ammunition to Ukrainian forces, and fast.

Ukrainian lawmakers passed a mobilization law aimed at replenishing the nation’s exhausted and depleted fighting forces .

China’s top leader, Xi Jinping, and Russia’s foreign minister, Sergey Lavrov, met in Beijing . The visit came days after the United States threatened new sanctions against Chinese companies if they aided Russia’s war in Ukraine.

A U.S. Lawmaker Speaks Out : Representative Chuck Edwards, a Republican from North Carolina, has emerged as a vocal proponent of U.S. aid to Ukraine in a party that has grown hostile to it. He discussed his recent trip there  in a Q. and A.

Hollowing Out a Generation: Ukraine desperately needs new recruits, but it is running up against a critical demographic constraint long in the making: It has very few young men .

Conditional Support: Ukraine wants a formal invitation to join NATO, but the alliance has no appetite for taking on a new member  that would draw it into the biggest land war in Europe since 1945.

How We Verify Our Reporting

Our team of visual journalists analyzes satellite images, photographs , videos and radio transmissions  to independently confirm troop movements and other details.

We monitor and authenticate reports on social media, corroborating these with eyewitness accounts and interviews. Read more about our reporting efforts .

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Moscow 1941: A City and Its People at War Audio CD – CD, November 28, 2006

Purchase options and add-ons.

• Language English
• Publisher Tantor Audio
• Publication date November 28, 2006
• Dimensions 6.4 x 1.1 x 5.3 inches
• ISBN-10 1400103193
• ISBN-13 978-1400103195
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Product details.

• Publisher ‏ : ‎ Tantor Audio; Unabridged edition (November 28, 2006)
• Language ‏ : ‎ English
• ISBN-10 ‏ : ‎ 1400103193
• ISBN-13 ‏ : ‎ 978-1400103195
• Item Weight ‏ : ‎ 10.4 ounces
• Dimensions ‏ : ‎ 6.4 x 1.1 x 5.3 inches

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Rodric braithwaite.

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