Tube Preamp Reviews

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Robert Deutsch Posted: Dec 24, 2006 0 comments
Everybody loves a bargain. No—make that: Most people love a bargain. Some just want the best, and they don't care about the cost. Some even distrust and reject out of hand any product that's not expensive enough. If you're one of these people, you might as well stop reading this review right now—the PrimaLuna ProLogue Three and ProLogue Seven are not for you. $1395 for a tube preamp? $2695 for a pair of 70Wpc tube monoblocks equipped with four KT88 tubes each? Must be based on old designs in the public domain using cheap parts carelessly assembled...
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Chip Stern Posted: Oct 19, 2000 0 comments
It's a reviewer's privilege to be able to switch back and forth between tube and solid-state gear (or combinations thereof) as the mood or the assignment moves him. Still, I find I'm inevitably drawn back to the Epicurean delights of triode tube gear. When done right, there's an alluring musicality to it, like the breath of life. However, in any tube vs solid-state contest, the relative tradeoffs between tone and resolution—sweetness and articulation, euphony and frequency extension—must be taken into consideration.
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Chip Stern Posted: Jan 26, 2003 0 comments
Rogue Audio's Magnum Ninety-Nine tubed preamplifier is derived from the original Rogue Sixty-Six that I reviewed in October 2000. The Sixty-Six was designed to offer consumers a taste of high-end performance in a vacuum-tube line stage. By constrast, the Magnum Ninety-Nine's pedigree is pure audiophile, with a more sophisticated mu-follower circuit topology aimed at the purest expression of performance.
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Kalman Rubinson Posted: Dec 09, 1997 0 comments
In just a few years, Sonic Frontiers has evolved from a parts and kit vendor to a full-line audio manufacturer (footnote 1). Their initial offerings were well received, but their kit origins were apparent in the layout and cosmetics of their products. While SF still offers kits (like their high-value Assemblage DAC-2), the new line of vacuum-tube electronics has world-class construction, design, and packaging. This generation of SF equipment is evidence of their advanced evolution, even though their constructor genome can be detected in the use of audiophile-preferred, as opposed of OEM, components.
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Brian Damkroger Posted: Oct 03, 2002 0 comments
I had a wonderful audio moment the other night. It was late in the evening, after a long day. I was standing in the middle of my makeshift listening room—Trish's dining room—and in spite of the fact that we were moving in just a few weeks, I'd just unpacked and set up my combo of VPI TNT Mk.V-HR turntable and tonearm with Grado Statement cartridge and dug a box of LPs out of the stacks in the garage. I cued up Dave Brubeck's Time Out (Columbia/Classic CS 8192), and the first notes of "Blue Rondo à la Turk" froze me in my tracks.
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Chip Stern Posted: Nov 24, 2002 0 comments
Over the course of several months, during which time I auditioned the Vacuum Tube Logic TL-5.5 tubed line-stage preamp with a variety of power amps and loudspeakers, I began to reassess many long-held notions about the "characters" of solid-state and tube components. Sometimes the TL-5.5 revealed its musical pedigree with all the midrange juiciness and sublime textural detail that one traditionally associates with a triode front-end, while at others it evinced a level of focus, transparency, and frequency extension I more readily associate with solid-state purity—all in a stylish package featuring a remote volume control and a full range of performance enhancements that belied its affordable price.
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Paul Bolin Posted: Oct 12, 2003 0 comments
What comes to mind when you think of VTL? If you're like most of us, enormously powerful tube power amplifiers are inseparable from the name. To contemplate VTL is to think of some of the finest-sounding, most potent amps ever built—from the late-1980s, 400Wpc Ichiban, the first massively powerful tube monoblock of the audiophile era, to the mighty Wotan and Siegfried amplifiers of today. All well and good, as far as it goes.
Robert J. Reina Posted: Jun 05, 2015 7 comments
For me, the highlights of any audio show are finding a room with great sound and visiting it often throughout the show, to relax and absorb a wide range of great music. At the NY Audio Show in April 2012 in New York City, it was the room occupied by the Valve Amplification Company. There, I fell in love with the sound coming through the Signature Mk IIa line-stage preamplifier, and remembered that while I'd heard many VAC products at audio shows over the past two decades, and had enjoyed the sound every time, I'd never had a VAC product in my house. I requested a review sample.
Wes Phillips Posted: Nov 12, 2008 0 comments
You know me. I'm not perzackly an audio slut, but I am easy. When Audio Advisor's Wayne Schuurman called me to pitch the Vincent KHV-1pre tube-transistor headphone amplifier, he pretty much had me at "tube" and "headphone." But I wasn't familiar with Vincent Audio.
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Robert J. Reina Posted: Jun 14, 2013 0 comments
As I've lately had the pleasure of reviewing some impressive tubed components, I asked myself why I hadn't ever reviewed anything from VTL Amplifiers. My history with VTL goes back to the 1986 Consumer Electronics Show in Chicago (wouldn't it be great if CES returned to that city?), where Vacuum Tube Logic cofounder Luke Manley and his father, the late David Manley, made a big splash with David's preamps and amplifiers. To publicize the fact that amps were designed and made in Britain, the Manleys wore the cheesiest Union Jack T-shirts I'd ever seen—the kind they sell in those cheap tourist traps in Piccadilly Circus. When I recently ribbed Luke about those shirts, he admitted that "They fell apart as soon as we returned home." I told him that I hoped his products were more rugged.
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Larry Greenhill Posted: Jun 24, 2007 0 comments
I've long admired Vacuum Tube Logic's line of amplifiers and preamplifiers. Owners Luke Manley and his wife Bea Lam routinely appear at the Consumer Electronics and Home Entertainment shows with luxurious, microprocessor-controlled tube gear, soothing new music, good-sounding rooms, and a friendly, unhurried manner. Their show setups are dialed in so well that I often find myself taking refuge there, sitting and listening for hours with other Stereophile writers.
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Larry Greenhill Posted: Aug 26, 2007 Published: Feb 26, 1995 0 comments
I had been sent a sample of the Woodside SC26 tube preamplifier during my June 1994 review of Woodside's MA50 monoblock amplifier (Vol.17 No.6). Although I used a number of preamplifiers during that review, I was most impressed with the MA50s' spacious, three-dimensional soundstage when driven by the SC26. At the time, I had an impression that the SC26's sonics combined a midrange richness with a good dynamic range. Although I had to return the Woodside MA50s to the importer after I reviewed them, I continued listening to the SC26.
Michael Fremer Posted: Jul 22, 2011 0 comments
Though essentially a two-man operation based in Athens, Greece, Ypsilon Electronics has been, since 1995, turning ears and eyes throughout the audiophile world with purist, hand-crafted electronics whose sound seems to defy characterization. Even under audio-show conditions in difficult hotel rooms, and often driving unfamiliar loudspeakers, the sound of Ypsilon electronics seems to evaporate in ways that few products manage, leaving behind less residue and more music.
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Robert J. Reina Posted: Apr 07, 2014 0 comments
When Carolyn Counnas, co-founder of Zesto Audio, contacted editor John Atkinson to ask about getting the Leto, the company's tubed line stage preamplifier ($7500), reviewed in Stereophile, JA suggested that I do the job. I'd recently reviewed competing designs from Nagra and VTL (see reviews in April 2013 and June 2013, respectively) and I was thrilled—I always look forward to hearing a tube preamp from a company I'm unfamiliar with, and besides, I'd seen pictures of the drop-dead-gorgeous Leto. After nearly 30 years of reviewing all sizes and pedigrees of preamps, power amps, and integrateds, I'm weary of staring at nondescript rectangular boxes in various shades of silver and black.


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