Tube Preamp Reviews

"It's a series of tubes."—Senator Ted Stevens (R-AK), explaining how the Internet works

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.

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).

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.

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?

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.