Just then Stereophile's review of the BAT VK-80i integrated fitted with 4 x 6C33C published. In it writer Alex Halberstadt interviews designer Victor Khomenko to learn more. "While working on the design of the first BAT power amp the VK-60, Khomenko considered the usual beam tetrodes like the KT88 and the 6550 but decided they weren't sufficiently linear. He also ruled out large radio transmitter triodes like the 845 and 211 because of the lethal voltages and massive transformers they required. The 6C33C solved both of these problems but introduced one of its own: The tube has an unusually wide range of sample-to-sample variation and a high failure rate. According to Khomenko, during the selection process he discards a great many 6C33C-Bs." From the previous page we remember the 211's 3'600Ω plate resistance and ~1'200V plate voltage. I asked Attilio what such a plate resistance means for the transformation and turns ratio of his output transformer; what run-on effects there are for bandwidth and phase shift; and what the advantages of such voltages are to begin with. Unlike Victor, Attilio after all strategically embraces the massive transformer requirements and lethal voltages. Is this just the understandable pursuit of wringing 19 non-paralleled watts from a single bottle where a 300B tops out at ~8 watts? Or does an extreme ratio between plate voltage and music-signal voltage pack sonic payback which fully justifies the heat strain on parts and users plus extreme impedance step-down ratios that still don't come anywhere near the low output impedance we expect of generic transistor amplifiers? The first formal cover letter I received in response to my questions was still more generic:

"Attilio Vittorio Caccamo founded Tektron in 1991. He discovered tubes when very young whilst repairing vintage radios. He found their sound warm and enveloping by conveying even the smallest nuance of the human voice or even the silences between the notes. Thanks to his careful study of tubes and their potential, the Tektron brand soon became a reference in Italy and abroad for anyone searching for quality NOS valves or tube amplifiers. Meticulous attention to the sound and differences between tubes—their brands, production plants, even year of production—has always been mirrored by equally meticulous attention to customer requests and special needs with artisanal product that guarantees the quality of the largest companies but is made in small batches of a few carefully crafted pieces. Attracted by the past but looking towards the future, Attilio began his production of amplifiers with the Heritage range characterized by the use of wood, with particular attention on Italian species like the olive tree. The most recent addition to the catalogue is his Masterpiece series. Each model is a unique piece built by hand with extreme care. From the chassis in fine materials to wooden inserts carefully crafted by Italian cabinet makers, each is a precious treasure chest that contains a technological heart of the highest level. The aim was that of a continuous challenge to ourselves to create an ever better product which combines a pure effective aesthetic with sonics at the highest level. Just as the cosmetics blend into the furnishings of the homes that host them, the sound adapts like a very thin transparent case to the music you wish to reproduce – invisible but protective."

"In the new Masterpiece models we tried to elevate our projects to a still higher technical level without regard for cost. So we developed a new power supply with two new inductances of still lower ripple to obtain significantly less noise and better filtering. We improved the quality of the parts and transformers which are made to our specs by a specialized Italian company. As regards Neptune's choice of 211 tubes, this was predicated upon some considerations. Thanks to tests we carried out over the last few years, for us the 211 is one of the best tube options for sonics, bandwidth, dynamics, current and power. Among other things, the high driving voltage of ~1kV allows for a better match even with top speakers of not necessarily high sensitivity i.e. the majority of commercial options to market. Those achieve a faster more dynamic sound than for example a 300B would produce." The price list ex VAT was very specific of course already on first attempt: €12.5K for the Venus preamp, €12.45K for the parallel single-ended KT170 40wpc Mercury amplifier, €13.64K for the 20wpc 211 Jupiter SET, €17'090 for the 40wpc parallel single-ended 211 Mars, €13'420 for the 40-watt parallel single-ended KT170 Saturn integrated and €16'220 for today's challenger. We can break this info down as follows. One, with my 23% Irish VAT, Neptune demands a full €20K. Two, there are no push/pull or class A/B designs anywhere in the Masterpiece range. Three, the series only uses two power tube types, the 211 triode and KT170 tetrode. Four, to double power, some models pair output tubes for parallel single-ended operation. Five, no matter what model, max power is 40 watts per channel. Attilio must consider that sufficient; or expects us to use speakers which won't need more. To exceed his power spec would require still beastlier glass like 805, GM70 or other industrial exotica; or phase splitters and push/pull operation. That's for other brands like Audio Research, BAT, Octave, VTL & Co. Tektron's finest remains dedicated to classic single-ended mode; and to tube types in current production.

Aside from ongoing Chinese 211 options and the aforementioned German Elrog, Neptune fanciers can also go Czech with KR Audio before dipping into NOS inventories. For current-production 6SN7, options increase and tube rollers are encouraged to not overlook their importance in voicing the final sound. Hoping to learn more about Attilio's new 211 output transformer and its design challenges as well as more specifics on other upgraded parts in the Masterpiece range and how sonics eclipse prior Heritage models some of which cost even more, I reframed my original questions. Not that I was asking for keys to the kingdom. I just hoped to pry loose some insights on how engineering a high-voltage 211 SET differs from the challenges a classic 300B variant might represent. Wherever reviewers aren't engineers like I'm not, asking nosy questions on behalf of readers and the hobby's knowledge pool is all our kind can do on the objective score. We include however much or little comes back. Then we take a few photos and move onto our subjective evaluations. On the appointed day, FedEx's 'out for delivery' note said 71kg. Serious iron promised a few huffs and groans before it'd be in position to fire. Time for an extra helping of porridge? What soon stared at me in our hallway 60x60x82cm large atop an integral mini pallet wrapped in black shrink killed all appetite. Lifting on a full stomach felt ill advised. Channelling Jason Momoa was better, no long black mane required. What emerged from thick panels of cut foam clad in a black drawstring bag was wrapped in translucent film and beneath it this note: "Warning!!! To clean the steel parts, use only the included chamois cloth. Always handle with cotton gloves (pair included) to preserve the amplifier." Why can cheap Chinese wristwatches execute polished true stainless steel whilst a €20K hifi amplifier needs cotton gloves? With heavy condensation and streaky discolorations disfiguring its surfaces upon arrival, Neptune looked worse for travel. I'd have to hit my G spot of glamorous gleam past these initial impressions. Due first was popping the underbelly for a look-see at the innards.