Tube Preamp Reviews

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Art Dudley Posted: Oct 29, 2006 0 comments
"It's a series of tubes."—Senator Ted Stevens (R-AK), explaining how the Internet works
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Art Dudley Posted: Sep 23, 2006 0 comments
RCA's time-honored 6SN7 may be the coolest tube of all. The octal-based dual-triode has its own Wikipedia entry—something not even the 2A3 or 300B can boast—along with its own website. The 6SN7 is chunky, rugged, and handsome. Best of all, it's available, probably because people keep coming up with very good uses for it. In that sense, the 6SN7 is the Campbell's Cream of Mushroom Soup of the tube world.
Michael Fremer Posted: Aug 27, 2006 0 comments
Still burning in my bank of childhood memories are misty images of the glowing green lettering on the McIntosh tube preamps and tuners that populated the windows of the audio stores that once lined lower Manhattan's Cortlandt Street. Leonard's and most of those other retailers are long gone—as are most of the audio brands that shared their windows with McIntosh, and that once symbolized the might of American innovation and manufacturing. Even the World Trade Center, the controversial complex that replaced Cortlandt Street's "Radio Row," where the hi-fi industry was born, is tragically gone.
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Wes Phillips Posted: Jul 23, 2006 0 comments
If you review hi-fi long enough, you get to the point where you've heard it all before. Actually, there are several versions of that point: One is where you've heard all the claims before, and the other is where you could have sworn you've actually heard this component before.
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Art Dudley Posted: Dec 24, 2005 0 comments
My opinions keep changing—more evidence of life before death, I suppose—including my thoughts on audio-system hierarchies. I used to think that preamps were among the most sonically influential components, certainly more so than power amplifiers. I'm not so sure anymore (footnote 1).
Michael Fremer Posted: Dec 18, 2005 0 comments
Not every audiophile needs an amplifier powerful enough to tax a small town's power grid while simultaneously draining his or her bank account. So, having quickly sold out of its ultra-limited-edition, extravagantly powered and priced combo of kWp preamplifier ($14,995) and kW power amp ($27,995) that I reviewed in January 2004, Musical Fidelity (footnote 1) set about capitalizing on the enthusiastic reviews earned by those giants with less expensive, less powerful, "real-world" replacements.
Robert Deutsch Posted: Nov 26, 2005 0 comments
It's been 10 years since Balanced Audio Technology (BAT) introduced their first products: the VK-5 line-stage preamplifier and the VK-60 power amplifier. (I reviewed both in the December 1995 Stereophile, Vol.18 No.12.) The success of these and other BAT products has allowed designer Victor Khomenko (the "VK" of the model designations) and partner Steve Bednarski to quit their day jobs at Hewlett-Packard; they were joined by Geoff Poor as a partner to handle the sales end of the enterprise. BAT's current lineup includes several preamps, phono stages, a CD player, and tube as well as solid-state amplifiers. The top of BAT's preamp range is the VK-51SE, which costs $9000; their top tube power amp is the VK-150SE monoblock ($17,000/pair); if you want their best phono stage, the VK-P10 will set you back $8000.
Dick Olsher Posted: Oct 30, 2005 Published: Nov 30, 1990 0 comments
A "CD processor," is how I distinctly heard Cary Audio's Dennis Had describe it. The venue was Stereophile's High End Hi-Fi Show in New York last April. Nothing really unusual in today's digital marketplace, I thought to myself, though a bit out of character for a company dedicated to vacuum-tube technology. But wait a minute. Dennis had described it as an analog CD processor. Analog!? Well, yes, the unit processes the analog signal from a CD player.
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Art Dudley Posted: Sep 25, 2005 0 comments
On the first morning in June I opened all the windows in my listening room and played Classic Records' LP reissue of Dvorák's Cello Concerto (RCA Living Stereo LSC-2490), with Piatigorsky and the Boston Symphony Orchestra. The sunny weather put me in a fine mood, and so did the sound of my music system, which made me feel prouder than usual: Was ever a Linn record player more expertly adjusted? Wasn't I smart for keeping those Lamm monoblock amplifiers? Could a pair of Quads possibly sound better than mine?
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Michael Fremer Posted: Jul 24, 2005 0 comments
A straight wire with gain? That's what a line stage is supposed to provide, but few in my experience actually accomplish it, and I'm not sure that most audiophiles would really want it that way. Some want a bit of tightening and brightening, while some prefer a bit of added warmth and richness. But whatever the preference, none of us wants too much of a good thing—the tighter, brighter line stages better not sound etchy and hard, and the warmer, richer ones better not sound thick and plodding.
Wes Phillips Posted: Apr 03, 2005 Published: Nov 03, 1998 0 comments
They say you never forget your first time. For me, it was an Audio Research SP-6B that had been heavily modified by Analogique in NYC—which meant, among other things, that yellow capacitors shunted other yellow capacitors all the way up to the top plate. That first taste of the High End—prior to that, you might say my face had been pressed against the window—was definitely love at first listen. That SP-6B was warm yet detailed, and I ended up building a system around it that at least one friend described as a huge musical wet kiss.
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Wes Phillips Posted: Mar 13, 2005 0 comments
The spirit moved upon the earth.
The rocks cra'ked asunder,
Darkness smote the light,
Seas boiled away with a thought,
And all life was extinguished.
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Art Dudley Posted: Jun 27, 2004 Published: Jun 01, 2004 0 comments
The first time I heard an Audio Note preamp was seven or eight years ago, when I sampled their entry-level M1—a refreshingly musical thing that brought the same kind of color and drama to preamplification that Audio Note's more famous products brought to the driving of speakers. And the M1 cost only $1250 at the time, with phono stage. (Newcomers, please don't wince: That's awfully cheap for what it was.)
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Kalman Rubinson Posted: Jun 19, 2004 Published: Jun 01, 2004 0 comments
When PR guy Adam Sohmer first told me about the Fosgate Audionics FAP V1, I thought that the impressive-looking device would be the first all-tube preamp-processor—heck, the first tube anything—in my multichannel system. Then I looked closer at the user's manual I'd downloaded from Fosgate's website. Hmmm. No Dolby Digital, no DTS—just Dolby Pro Logic. Of course, the FAP V1 is Jim Fosgate's signature expression of Dolby Pro Logic, and I guess that counts for something. But the more I thought about it, the more interesting a prospect the FAP V1 seemed.
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Jonathan Scull Posted: Jun 06, 2004 Published: Dec 01, 1999 0 comments
I suppose that most high-end designers dream about making a Statement Product—their best effort, without regard for price. Victor Khomenko, majordomo of Balanced Audio Technology, got the bug and came up with the VK-50SE. This hugely full-functioned line-stage preamp derives its Special Edition (SE) moniker from the eight hot-running, super-hush-hush Russian 6H30 Reflector SuperTubes that populate the circuit board.

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