MBL Noble Line N11 line preamplifier MBL Chief Engineer Jürgen Reis

Sidebar 1: MBL Chief Engineer Jürgen Reis

Jürgen Reis, 59, whom John Atkinson respectfully describes as "an engineer's engineer," joined MBL in 1982, when the company was three years old. After improving the original MBL preamp, he designed MBL's first three-way speaker system, the MBL 101, in 1986.

As Reis's work continued, he found time to sing baritone/bass in the award-winning Hanover Choir, play guitar in a rock band, and serve as a recording engineer. With time for only one serious recording project per year, he currently records the superb ensemble Concerto Köln for Berlin Classics. For fun, he also records local orchestras, including "Orchester im Treppenhaus" (Orchestra in the Staircase).

"Listening to real instruments while you set up the microphones is a totally different story than listening at a mixing desk," he told me. "If I set up the microphones in the wrong position, I can mix endlessly and still not get a good result." The parallels with optimal system setup are clear.

Jason Victor Serinus: I already have dCS Rossini and EMM Labs DV2 DACs with excellent volume controls in my all-digital front end. What are the advantages of adding a preamp?

Jürgen Reis: If the output stage and volume control of the DAC are a perfect match for the amps, you do not need an analog preamp in between because you cannot beat a perfect match. But since you do not know, I hope that the design of the N11 matches the amps very well. I know that the N11 matches the D'Agostino Momentum monoblocks very well, but I haven't heard the Progressions long enough to know if the N11 will work as well with them.

If the tonal characteristics of the components match and balance each other, then the sound is more fluid. For example, if you have a power amp that is a little bit shy in bass and you compensate with a preamp that pushes bass a lot, you create a balanced sound, but you lack some fluidity. If both have the same characteristics, then they match better together. That's what a good preamp can do.

Serinus: Do most people use the N11 with other MBL gear?

Reis: Yes. But it's fine for you to use it in a different system because you are experienced with setup. If you have a system that, over the years, you've tuned to the sound you like, there will not be any addition that will give exactly what you want without retuning. You must play a little bit with cable or threads or feet to find a new balance. It's difficult for me to write a step-by-step guide of what to do, because unless you've experimented in advance, you have no idea what the tonal characteristics are for each component you add or change. You must change piece by piece.

Serinus: Could you elaborate a bit more on how you develop and tune your components?

Reis: I begin with a sound in my head. In the case of the N11, the sound was different from the Reference Line, different from our Corona Line, and different from the [previous, now-discontinued] Noble Line. Then I use my knowledge to create a schematic that I think will work, put this into a printed circuit board, and conduct first measurements. When I am happy with the measurements, then I begin to listen and "tune" the parts. I use different types of resistors and capacitors from different manufacturers. I also tune the isolation of the internal cabling and adjust how it's laid out. Then I remeasure and continue the process until I am happy with the specs and the sound.

Serinus: Given my reference components and 16 × 20 × 9 room, do you see me as a Noble customer or a Reference customer?

Reis: In between. You have a Reference-customer character, but your digital front end and cable tell me that you're more like a Noble Line customer. It's not about the price of the cable; it's about the sound. For you, I would mix it a little bit up, with maybe a Noble Line preamp and cable that would better integrate it in your system. If you had the Reference preamp, you might need to change the rack or feet a bit to match your taste.

I've had a bit of fear that you've set up your system and maximized your sound with a preamp that has, for example, a gain of 8dB or 10dB. In that case, even if my preamp is "better," the Unity Gain feature will not satisfy you. You may have to change something such as the feet to generate the sound that will make you happy.

Serinus: Do you tune your products with specific cabling, footers, and power conditioners?

Reis: For product development, cables I've known for a long time is a fixed variable that I do not want to change, because I know how those cables sound. I mostly use Wireworld Eclipse for speaker and interconnect cabling. Regardless of whether there is "better" cable out there, I know the Wireworld Eclipse sound very well, and it works all the time, at every show, in every setup. For digital cables, I use mostly AudioQuest Diamond for USB, SPDIF, AES, and LAN. Again, it works very well at every show and every setup.

Ultimately, cable choice depends on the room, the taste, and the racks. When I visit a customer and talk to them about their taste, I listen to some music, evaluate their room, and am then able to recommend a cable upgrade that matches their wants and needs.

I like the Finite Elemente Emperor rack a lot—it provides a good foundation—but the choice strongly depends on taste, room, and cabling. I also use the rounded-tip RDC cones from Clearlight Audio; their composite granulate is stable but not resonant. If I want a bit softer sound, I use Mpingo Discs from Shun Mook.

Every MBL product uses double-shielded transformers. Unless someone's AC is not stable, I would start without power conditioning. We have electrostatic shields in our components to prevent common mode coupling and electromagnetic shields to prevent differential mode coupling. All our products are measured to withstand HF frequency and do not radiate HF noise. But many/most customers either have different products in their setup or have some electrical disturbance that a power conditioner can help. They have to try and decide.

Serinus: As a recording engineer, do you find that the preferences and predilections of conductors and musicians and audiophiles match what you are trying to achieve, or do the preferences diverge and require compromise?

Reis: I've had lengthy discussions with conductors because of what they feel and how they hear. To achieve the right tonal characteristics, we have to speak a lot. Musicians create some emotions in their brain or body, and they want to experience these same emotions during playback. Because listening to real musicians triggers different areas in the brain than listening to phantom sources [speakers or headphones], good engineers have to engage in some trickery to help the brain feel similarly. The sound isn't the same from an acoustical standpoint, but you have to convince the brain that it's similar.

I rarely make compromises in dynamic range—the worst I've ever done was on a death metal recording with a dynamic range of 11. If you look at mass-market pop and rock, you will not find a dynamic range of 11; most mass-market productions have DR around 5 or 6. Mostly, I stick with mastering engineer Bob Katz's suggestions in this regard. When people ask me to record, they know I do not make compromises in dynamic range.

COMPANY INFO
MBL Akustikgerate GmbH & Co. KG
US Distributor: MBL North America, Inc.
217 N. Seacrest Blvd. #276
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ARTICLE CONTENTS

COMMENTS
Bogolu Haranath's picture

Some preamplifiers like the Parasound JC2 BP come with input gain controls ...... Also, some power amplifiers like the Parasound Halo JC-5 come with input gain controls ....... Do those pre-amps and power amps work similar to the 'unity gain' controls like the MBL N11 pre-amp? ..... May be JA1 could shed some light on this matter :-) ........

Bogolu Haranath's picture

Distortion levels 0.0005% ..... SNR better than 20 Bits :-) ......

Shahram's picture

I mean seriously. Chrome Gold? Yuck. I guess that appeals to the 70 year old audiophile.

Jason Victor Serinus's picture

And adds nothing of value. For the record, the version I reviewed, on which I based my visual assessment, was black and chrome.

Long-time listener's picture

You're right Jason. Ageism, like racism, is ignorant and offensive.

Having said that, putting a single knob or dial in the middle of a component's front face is pretty much the definition of design dullness (like the Cambridge Audio Edge). And MBL has made it not only dull, but ungainly, and gratuitously bling-ey as well. Not good moves.

And here we have a $14,600 pre-amp that you can't be sure will work well with whatever your DAC is. What a wonderful world we modern audiophiles are living in!

Jason Victor Serinus's picture

First and foremost, thank you. Ordinarily I do not call people out for stuff. But you're right on. These divisions of rank and privilege based on age, race, gender, sexual orientation, nationality, religion / spiritual path / or lack thereof, country of origin, and all the rest must be addressed and named for what they are.

We all have our differences in taste and aesthetics, which I respect. Even if you think this preamplifier is ugly as sin, you are not my enemy, and neither of us need defend our opinions. As with many products these days, the N11's front is minimal because, unless you use the remote, all functions are controlled by that one knob and six buttons, and displayed on the big screen. Some would say designs of the nature beat 4 knobs, 8 toggle switches, and the like, but others would not. Diversity is what makes the world go round.

However, the issue of what preamp will or will not work well with your DAC or amps or speakers or whatever is one of system synergy. System synergy is always an issue with audio components, whether audiophile quality or not. It's just that when we have little money to spend-there was a time when all I could afford was a used turntable, basic cartridge, used $25 headphone amp, and some aging and not very costly Sennheiser headphones-many of us see ourselves as "beggars can't be choosers." Undoubtedly there were more harmonious pairings of $25 or $30 headphone amps and Sennheiser or Koss or whatever headphones out there, but I never even knew that a simple change of one or the other could make an audible difference. When it comes to naïveté, I was "in the garden," so to speak, albeit not the one that Joni Mitchell sang about in "Woodstock."

There is one thing that I find dismaying about the comments so far. People have focused on words, attitude, income, cost, and looks. But no one seems to have paid much attention to this:

"I concluded my measurements of the Benchmark LA4 preamplifier in the January 2020 issue by writing 'Benchmark's LA4 is the widest-bandwidth, widest-dynamic-range, lowest-noise, lowest-distortion preamplifier I have encountered.' Its performance on the test bench reveals that MBL's N11 now takes that crown.—John Atkinson"

Although, subjectively speaking, the N11 may not be the most neutral or mind-blowing preamp I have ever auditioned, it is the best-measuring preamp that John Atkinson has ever had on his test bench. We're talking about four decades of testing. This is a major component, and worthy of consideration as a Best of the Year. John wasn't as impressed, measurement-wise, with the D'Agostino Momentum HD preamp I reviewed, but I consider it another worthy contender for all the reasons I detail in that review.

This, ultimately, is the reason why my reply is so long. This preamp is worthy of consideration by anyone who can afford it and who likes its looks and sound. It could very well be "the" preamp for many Stereophile readers.

One more comment. In the last two years, I've reviewed products that cost between $600 and $52,000. I kinda lose track of what review will be published in what issue,, but I think that my next product review is of a DAC that costs 1/4 - 1/3 the price of the MBL N11 (depending upon whether you purchase the DACs optional outboard power supply). I like the sound of that DAC a lot.

By nature, I do not automatically resent people who have more $ than I do, who drive nicer and newer cars than my '94 Toyota Corolla DX, or who retired when they were 30 years younger than I am now. I do have strong feelings about people who make their money by exploiting others, but that's a completely other issue in my book. I know people who work just as hard or far less hard than I who nonetheless make or who have made far more money through honest labor that serves humanity's highest good. Some of those people can afford and care about the five-figure products I sometimes review. I wish them all the happiness in the world.

Stay safe, my friend, and be well. And I say that to everyone, even my harshest critics and those who are contributing to the spread of COVID-19.

Long-time listener's picture

I appreciate all that you say. As far as whether I "automatically resent people who have more $ than I do," I don't. What I resent is that money seems to dictate what is popular, or even ideologically or politically correct, with respect to stereo stuff -- such as tone controls or balance controls -- and that leaves a lot of us out of the game. Tone controls for example are prevalent on cheap receivers, but rarely, if ever, on expensive equipment, and there is no justification for that in audio terms. Those of us who want to use them (I use then rarely, but occasionally they're very helpful) of course understand that there may be some tiny price to pay in terms of distortion or noise, but we consider it worth it. Yet the idea of "signal purity" is used to reject tone controls even by the same kind of people who put up with high levels of distortion in tube equipment. These things are not dictated by consumer needs, but by fashion, or ideology, or audio political correctness, and it's obviously the high end that is dictating those things, not the mass market. There actually was one pre-amp in recent years, by Luxman, that did have wonderfully versatile tone controls, and I would like to buy it but at $5,000, I can't really afford it (and I don't like messing with tubes). Actually I could afford it if I hadn't already bought the $4,000 NAD M32 which came "highly recommended" in Class A by John Atkinson. After buying it I found that (in addition to the tone controls I wanted) it had hard, brittle sound that made it fatiguing and unlistenable to me. So now I know that I can't trust Atkinson's ears and I ignore that aspect of his reviews, even if I find his measurements invaluable and I read them religiously. I applaud the fine measurements of the MBL. And resentment of money isn't the issue here. It's the stupidity and narrow-mindedness that makes people like me feel left out that creates resentment. And the casual recommendations of reviewers who don't really care about items that aren't in the stratospheric range of components they normally listen to and they don't care to live with them long enough to find out how they really sound. (I know what you're going to say in his defense -- whatever.) LTL

Jason Victor Serinus's picture

Hello L-t L,

Please understand that when I was discussing resentment on the part of people who can afford equipment we can't afford, I was not thinking about you personally (or impersonally, since I have no idea who you are). I was making an observation about a recurring trend I see in the comments section.

Your comment about tone controls is interesting, because I just reviewed an integrated with tone controls. It will take two months for that review to appear here, and less for it to appear in print (and available, along with recording reviews and comments and letters that are not available online, to subscribers for a whole $12.95/year). I didn't like the effects of those tone controls at all. I'm rather relieved that in my discussion, I didn't invoke "signal purity." The thought wasn't even in Ms. Ivory Snow's mind. I just know what I heard.

I find John's ears extremely acute. I wouldn't be surprised if his recent Esenvalds recording, to which I gave a RotM and which Gramophone praised highly for its engineering, scores a Grammy nomination in the engineering department. It is possible, however, that the NAD was a far better match for his system than for yours. This could lead to a whole discussion of the "absolute sound" of components. But a simple mention of that myth is more than sufficient, as far as I'm concerned.

Time to go running before the rain hits. Be well,
jason

Long-time listener's picture

Good for you. I think he needs to be a little more thoughtful in his reviews, and ask himself if what he is hearing is something he would really want to live with himself. Recommending the Aerial 5T for Class A, after describing how difficult it was to set it up to get good bass response -- and how he did that only by ignoring manufacturer placement recommendations, and only by using a $20,000 amp known for its bass control -- is one example. Also, I tried the NAD M32 with three different sets of speakers (one being his "Class A" Aerials), so sorry, it's not just that it was a poor match for my "system." With each of the three it sounded hard and digital relative to a (less expensive) solid state amp with the same power rating.

And again you express your dislike for tone controls. In every single review they are either ignored, or disparaged. Reviewers always say something like, "And then I got out my Reference Recording pressing of Bruckner's 9th by [fill in the name of an orchestra and conductor not known for playing Bruckner, since it's not really the music that counts here], which allowed me to hear the delicately filigreed highs..." Duh. Of course we never see: "And then I got out my 1939 Toscanini Beethoven 9th (or my 1958 Miles Davis "Miles Ahead," or my early '80s digital Karajan Bruckner), where the wonderful tone controls of the Luxman allowed me to tame the steely highs, and to hear more realistically proportioned weight in the bass." No, that will never happen. You'd rather "hold your ears and grit your teeth," or however it was that you once described it. That's not the audiophile experience all of us want to have. But we often don't have much choice in the matter.

Bogolu Haranath's picture

May be JVS could review the two chassis flag-ship tube pre-amp, Mcintosh C1100 ($13,000) ...... Hi-Fi News measured 0.00009% - 0.0005% distortion levels for C1100 :-) .......

tonykaz's picture

"purview" is 'Scope of Influence'

Jason Victor Serinus's picture

There is a wider definition of "purview." You may want to look at this one: https://www.merriam-webster.com/dictionary/purview.

tonykaz's picture

Purview is legal terminology typically associated with being outside the limits of your Job, authority or knowledge. i.e. a plumber offering legal advice.

Considering that the MBL person did the majority of the important parts of the review, this MBL review may very well have been outside your purview. I found his insights helpful and necessary.

Tony in Venice

ps. Oxford English Dictionary is the Standard. The 20 Volume Edition is appropriate for writers.

tonykaz's picture

"purview" is 'Scope of Influence'

Bogolu Haranath's picture

Anybody who can afford Wilsons, D'Agostinos, dCS, Nordost cables and Grand Prix Monza racks is 'privileged' :-) .......

tonykaz's picture

and a bit of a snub to lesser peer groups.

There is an implied 'Velvet Rope' divider with this sort of attitude.

-------------

MBL is super nice sounding, gaudy gear that is probably hell on the cleaning lady. The entire MBL System is Jaw Dropingly stunning in appearance and Sound Quality ( if you are "privileged" enough to be in the Same Room with it playing Lang-Lang ).

Tony in Venice

Anton's picture

1) That MBL preamp is stone cold guaranteed to match well will your Nagel prints! How’s that for synergy?

2) Anybody remember when the reference was “the absolute sound” and not comparative differences between pieces of gear? This has been a quantum shift that was discussed 40 years ago as a pathway we should be wary of. Now, we compare gear to gear.

Jason Victor Serinus's picture

Score two points for the Gipper.

Bogolu Haranath's picture

That MBL pre-amp also matches well with the round meters on the Progression amps :-) ........

dial's picture

1) I agree with what you say, we must be equal in rights. But if you own a lot of money, you are superior. Also how do you know someone is part of a minority ? I'll answer for you : because sooner or later he'll tell you about that.
2) I find D'Agostino & MBL pres extremely ugly. Why ? Because their design has nuthin' to do with function, it's just a waste of metals. That said, a photo of the back panel is missing, even on the MBL site. I like various colors of the ups & fronts but really this is a technical engine.
3) I was touched by your sentences about good gear purchased second-hand bringing a lot of pleasure, count me in !

Jason Victor Serinus's picture

Thanks for your comments. You can call me Jason.

Personally, I've never found that someone with a lot of money is superior. Never. I've just known people with a lot of money who think and act like they're superior. They certainly have access to superior health care, but that's another discussion.

As for being part of a minority, no one has to tell you that they're African-American unless their skin is very light. Same for Latino or Native-American. As for why they or a gay man like me would want to tell you, the answer is multi-layered, complex, and somewhat removed from a discussion about audio (unless someone disparages my critical opinion because of my sexual orientation, which I assure you happened many times to Harry Pearson, if often behind his back). All that need be cited here is that the reason for being out front about who someone is includes the desire for equal rights, the desire to live our lives as we see fit as long as we don't hurt others, and the deep human need to be recognized for who we are rather than whatever the larger society wants to mold us into.

To your second point, the D'Agostino Progressions have a far simpler and less costly design than the more expensive Momentums. Is some of their price difference due to the cost of cabinetry? Absolutely. From an economic standpoint, have these companies found that attention to design translates into sales? Absolutely. Ditto for watch manufacturers, headphone designers, and auto companies. If aesthetics didn't translate into sales, companies wouldn't spend the time and effort.

Are there ways in which this reality is ultimately saddening, because it means that excellent engineering doesn't reach a lot of people who can't afford the book due to the price of the cover? Yes. But many people do judge books by their covers, just as they judge people by the color of their skin, the pitch of their voice, and the clothes they wear. And there you have it.

It's gratifying to learn that something I wrote touched you. Thank you.

jason.

Bogolu Haranath's picture

At least, people with lot of money can afford Wilson Master Chronosonic or XVX and D'Agostino Relentless amps ...... So, they are 'superior' :-) ........

Jason Victor Serinus's picture

?

Bogolu Haranath's picture

.....'cause ....They can even buy The Washington Post :-) .....

Ortofan's picture

... back panel:
https://www.gzhifi.com/zw/images/201904/1554590615982812025.jpg

davip's picture

What is the point of this 'pre'-amplifier (indeed, all line-level pre-amps)? No digital source that I'm aware of requires pre-amplification to provide levels suitable to drive a power amp, and the only source that does require pre-amplification -- a phono one -- is not catered for in this pre-amp by the absence of a phono input. So what point this device?

All the rattling about "Unity-gain" being better than a competitor's over (pre-)amplified pre-amp is a straw-man argument as it side-steps the obvious (and usually $0, unless you want to spend $5K on an auto-former) option of having no pre-amp AND better sound.

While I don't question the ability of a $14K pre-amp to show a clean pair of heels to a $140 one, I do question whether there is any digital medium of any bit- or sampling-rate whose sound quality merits such expenditure or such a wide-window as will only throw the faults of that medium into sharper relief. Spend the $14K on sealed vinyl and play it through the $140 amp -- guess which will sound better.

Let's not get into the whole "...things sounded better with the pre- in-circuit than a passive ... more 'drive' etc" thing. If transparency and fidelity are the goal, then assuming appropriate impedance matching no preamplifier is better than a pre-amplifier that isn't needed when dealing with line-level sources. In a world where companies are falling over themselves NOT to offer phono inputs, why the hell does anyone make pre-amps anymore (and who the hell buys them?!)?

And yes, it's blingy and fugly. Looks like it belongs in a financial-adviser's kitchen...

At risk of being censored, here in the UK we would say that this is kit for "wankers", irrespective of the depth of their pockets.

Canadianwalker's picture

I can't help but mention the Schiit Magni Heresy headphone amplifier. It costs 100usd and has a preamp output. It is unity gain or has a switch for higher gain. It's distortion measurements are close to the MBL and does the same job, minus the switching and any phono preamp.

So basically, for digital it can do the same job. I think part of the difference in sound you are hearing between a DAC that has a volume control and using the MBL may be attributable to most of the DAC volume controls being digital. That makes for perfect matching between channels etc but you are listening to a must reduced dynamic range and possibly the low level detail is lost or distorted by comparison to full scale digital reduced in volume by a unity gain stage with an analog volume control. Something to consider anyway.

dial's picture

I read your comments with great attention, what you write is always worthwhile.
1) Well, capitalism isn't a the best economic system (by far) but his goal is to win a lot of money to simply survive. If not, you stay unprotected. 2) OK you win again, it was in close relationships so private, two bi or lesbian women and a cool guy really not attracted by me. Nuthin' to do with audio gear. For non whites, I've lived in USA when it was still possible (visa problems -not the credit card, that was busy there eh-), the native-american saw their lands stolen, many slaughtered, africans own simply nothing for a lot of reasons (not necessary coming from slavery). In the old world, things are different. I know some arabs, africans and so on, their skin is not a problem (well not for me) because I tell them I'm interested in the brain mainly. I'm not after image or people into that, but understand it's up to them if they want to. They all came from poor countries with demographic ahem difficulties. Never heard anyone (except if paid) talk about racism. Perhaps I'm lucky, who knows ? 3) Progressions look better well for me, finally after reading again your review and comments, the thing annoying me is the round VU-meter in a rectangular shape. For the Classe got no complaint (at last he thinks !). 4) or PS : When I was younger I got my first job in a high end hifi place, whose brands included Threshold, Audio Research, Piega (remember them ? They still exist at very high prices too !), some german and french products too (less high end but good enough) like french Goldmund. Best regards my friend and for all music lovers here and everywhere ! (excuse my poor english mates !)

Jason Victor Serinus's picture

Someday, if we meet, we must share stories. It would be great. Meanwhile, be well.

jason

krahbeknudsen's picture

I certainly agree that the design is an acquired taste. Moreover, I would assume that most people would buy such a pre-amp for the long term. In that respect, I would be worried about the durability of the colour LCD screen and the possibility of getting a replacement after say 6-8 years.

Fruff1976's picture

That was the first thing that crossed my mind. Not only from a replacement standpoint, but the graphics alone could make it look dated. It already sort of looks like Sega Genesis.

hb72's picture

very interesting article, especially the interview. I must confess, I was not aware footers would allow as much tuning toward ones own preferences, as e.g. the choice of cables (IC & power). I always thought there is a more general i.e. uniform gain in SQ by reducing component vibrations.

dial's picture

To Jason, yes take care too, friends and family. If you come to Europe or if I go to the US (I'm a bit afraid by your second Civil War nowadays) I'll drop you a line. You're THE humanist of the hifi world, like a breath of fresh air.
Strictly for business now and to answer to Krahbeknudsen, it's impossible to know if a buyer wants to continue with this pre (or others hi-end gears) after some years of use. They change constantly for other brands, becoming more upfront. For example Goldmund or FM Acoustics aren't reviewed anymore anywhere and so many brands disappear or rather sink without trace especially in Europe !
But some people still need replacement for their Sonographe CD player or California Audio Labs DAC... Vintage is another market.

Charles E Flynn's picture

From https://gearpatrol.com/2020/06/30/whats-actually-the-difference-between-a-cheap-and-expensive-stereo-receiver/ :

In general, the bigger and better the speakers you have, the more powerful the stereo receiver you’re going to need to drive them. But power isn’t everything. For example, the Yamaha R-S202BL and the more expensive Cambridge Audio AXR100 can both deliver 100-watts per channel, but what makes the Cambridge Audio AXR100 better is the build quality of the built-in amplifiers. Not only are the components higher-grade, but the AXR100 also has both right and left channels, which contributes to more accurate sound.

Jason Victor Serinus's picture

50 per channel.

Bogolu Haranath's picture

Mark Levinson 5805 integrated amp is specified as 125 WPC into 8 Ohms, by the manufacturer ..... Stereophile measurements show, it can also drive 2 Ohm loads with 370 Watts :-) ........

Glotz's picture

As I just bought the Benchmark HPA4 (line section the same as LA4), and sighed to myself, a bit deflated, but still smiling. It held the crown for a few scant months.. lol.

I love MBL designs, and I'm sure I would love silver and that white variant (I forget the color name). Otherwise a bit too blingy for my tastes.

That being said it sounds like it's a superlative preamp... though I would go with their speakers as a first purchase choice to...pretty much anything extant.

Great review as always, Jason.

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