Solid State Preamp Reviews

Upstairs
I have three separate audio systems, at three price levels. This allows me to introduce a component under review into a matching system, where components complement each other harmoniously and musically.

What I had been calling my reference system, I am now calling the upstairs system. This system is built around the Wilson Audio Sasha DAWs, which I reviewed in December 2019, driven by the mighty McIntosh MC462 solid state stereo amplifier, which I reviewed in April 2019. Phono stage and preamplifier are tubed, from Audio Research. The upstairs system is where I began my auditioning of the Primare PRE35 Prisma as a preamplifier, using my external CD player as a source.

One of the many aspects of the review process I enjoy is the opportunity to listen to recordings afresh, recordings I may not have heard in some time, often discovering previously hidden elements exposed by the new component.

To begin exploring the sonic characteristics of the PRE35 Prisma as a preamplifier, I listened to Burt Bacharach's 2005 album At This Time (CD, Columbia/Sony CK 97734). Less well-known than many of his other works, this was Bacharach's first release after a seven-year hiatus. In the meantime, 9/11 happened; listening now, this album appears darker and more political than the ones preceding it. Some of the beats are from Dr. Dre.

I have a personal sonic reference frame for this recording: I was a guest in Capitol Records Studio A at the session at which Bacharach added a string orchestra to several of the tunes, including the instrumental piece, "Danger," with biting strings popping in and out over dark, low Dre synth loops.

My impression was that the sound of the PRE35 Prisma was very close to that of my reference Audio Research REF6SE preamplifier, but it was not identical. Deep lows were more forward on the PRE35, the highest highs audible to me a little brighter—in other words, voiced a little differently at the extremes. At first, I didn't find it comfortable.

Recalling the well-known phenomenon of burn-in—Primare says its products sound best after 24 hours of play—I kept playing music and kept listening. And over time, either its sonic signature changed, or I adapted to it. For one of my picks for the latest Records to Live For, I chose Frank Sinatra's Capitol period album set. I also found another great album, similar but different: Frank Sinatra: The Complete Capitol Singles Collection (16/44.1 FLAC, Capitol Records/Qobuz). The singles versions, I learned, are different from the same songs on the album. As I listened to these songs, the PRE35 Prisma's sound came together. The fullness of bass that had seemed excessive earlier was now a deep, placid ocean for Frank's voice to sail over.

I pulled out another CD I haven't heard in a while, the soundtrack to the 2009 movie Avatar (Atlantic 521681) by the late James Horner, a skillful orchestrator with a gift for melding sophisticated synthesizer elements with a full orchestra. With the PRE35 in the system, the rumbling low drones in the opening cue, "You Don't Dream in Cryo," had an impressive, cinematic heft—heftier than through my reference preamp. The orchestral textures and vocals were neither thin nor harsh; the delicate details I heard enhanced this highly complex multitrack soundtrack recording.

Downstairs
For the first time in my current house, I have assembled a quality system in the living room. It is based on the classic McIntosh MC275 tube amplifier driving the current edition of Alan Shaw's two-way standmounts, the Harbeth C7ES-3 XD—a particular pleasure; I owned an earlier version a few years back and missed their exceptional musicality. I was eager to hear how well this solid state/tube combo would play together. Downstairs, I used the Primare's full capabilities as a streaming DAC/preamp with music sourced from Qobuz.

The 2022 Broadway cast recording of Stephen Sondheim's great musical Into the Woods (24/48, Craft Recordings/Qobuz) got my Grammy vote for Best Musical Theater Album of the year—an easy pick. Sondheim's complex, rapid-fire lyrics demand high-quality playback: All those transient consonants and sustained melodic vowels must be heard clearly to fully appreciate the artistry. The lyrics were cymbal clear, and the pit orchestra sounded energetic but never harsh—better, in fact, than at a typical, amplified live Broadway show.

One of the most interesting young jazz artists I have heard in a long time is vocalist Samara Joy. Her eponymous debut album (24/96 FLAC, Whirlwind Recordings/Qobuz) covers standards such as "But Beautiful" and "Everything Happens to Me" and showcases her precise voice, which can be quite dark when the lyrics call for it but is not heavy or thick. Joy is not afraid to tread on Ella's territory, and she has the voice, skill, and musical maturity to pull it off. With this music, the PRE35 Prisma/MC275 pairing was an excellent fit, providing burnished timbres and precise imaging.

I gave my legal pad quite a workout jotting down extensive notes while listening to Giles Martin and the Abbey Road crew's new remix of Revolver (24/96 FLAC, Apple Records/Qobuz). When I first learned that Revolver would be getting this treatment, I wondered how it could be improved—it has always been a great-sounding record. (It currently occupies the #11 slot on Rolling Stone's 500 Greatest Albums list.) Then I learned about Abbey Road's proprietary demix process, which was employed in the production of this album (footnote 2).

I asked my friend, producer Joe Harley, how he felt about the new remix. Joe said he thought vocals are more distinct now, and the stereo mix is more evenly balanced. To me, the most apparent changes were the opening piano notes in "Good Day Sunshine," which now have wonderful heft, and the horns in "Got to Get You into My Life," which have an invigorated, incisive punch. The demix process allowed Martin and his engineers to revitalize this classic album. Pairing the PRE35 Prisma with a tube amplifier allowed me to hear and appreciate the changes.

Self-identifying
Working through this review of the Primare PRE35 Prisma streaming preamplifier made me ponder my audio identity. I don't listen to music with headphones for pleasure; I've spent too many years using headphones while editing and mixing. (I use in-ear headphones on Amtrak, though, to block out other people's cell phone conversations.) And I don't take as much listening pleasure from mono as I do from a fine stereo soundstage (unless of course it's a Billie Holiday 78 on one of my Victrolas—you can't beat that!). At the other end of the aural divide, I am not a surround sound guy; I don't want the music sneaking up on me. I am not into biamping either. Too fussy, too expensive. But I do like the yin yang combination of solid state and tubes.

The Primare PRE35 Prisma is a finely honed, well-made, and—considering the state-of-the-art technologies it incorporates—fairly priced streaming preamplifier. Its simple Scandinavian aesthetic belies its rich functionality and flexibility. If you are looking for a streaming preamp with its feature set and have a budget and system to match, you should put the Primare PRE35 Prisma on your short list for audition. Recommended. Lagom!

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Footnote 2: See Ken Micallef's interview with Giles Martin elsewhere in this issue.