Solid State Preamp Reviews

Associated equipment for this review included LP, CD, and FM stereo musical sources. CDs were played on a Krell MD-1 transport driving a Krell SBP-32X D/A converter. Quad FM-66 and Day Sequerra FM Reference tuners provided music from WQXR and WNCN, our local New York classical music stations. LPs were played on a Linn Sondek LP12/Lingo, an Ittok arm, and a Spectral moving-coil cartridge. Records and CDs included those I've nominated for the magazine's annual "Records To Die For."

Because preamplifiers interact differently with different power amplifiers, I used three different solid-state power amps: a Krell KSA-250, a pair of Woodside M-50 monoblock tube amplifiers, and the Mark Levinson No.27.5. Loudspeakers included full-range Quad USA Monitor ESL-63s on Arcici stands, B&W Matrix 805s, the Sonus Faber Minimas, Snell B Minors, Totem Acoustics Model 1s, and Chario Academy Ones. In order to test deep bass response, when playing the Quads I switched in a single Muse Model 18 subwoofer run in bi-amplified mode.

Parallel output interconnect cables were plugged into the Six's dual main output jacks to allow both balanced and single-ended outputs. I preferred Cogelco Yellow balanced interconnects for the system because of the long runs between amp and preamp. The system had greater clarity and transparency in balanced mode. Single-ended AudioQuest Topaz interconnects were necessary when the Woodside Tube M-50 monoblocks were plugged into the system. And OCOS speaker cables, supplied by Sumiko, were used to drive the loudspeakers in bi-wired configuration.—Larry Greenhill