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As a CD player, the KPS-20iL performed very well. It's non-inverting—pin 2 is wired to be positive on the balanced outputs—and has essentially linear phase and zero interchannel phase difference. The Krell's frequency response (fig.1) was essentially flat, lacking the premature HF rolloff of some earlier DSP implementations. With de-emphasis, there was a mild loss of –0.5dB by 16kHz. This will not be very audible.

Fig.1 Krell KPS-20iL, frequency response without de-emphasis (solid line) and with (dashed) (0.5dB/vertical div.).

Channel…

Description: CD player with remote control, optional HDCD decoding, and digital inputs/outputs; preamplifier version has remote volume control. Analog outputs: balanced on XLR jacks, unbalanced on RCA jacks. Digital inputs: two S/PDIF on RCA jacks, one TosLink optical, one AT&T ST-Type optical, one AES/EBU on XLR jack. Digital outputs: S/PDIF on RCA jack (TosLink and ST-Type optical outputs optional). Analog output impedance: 12 ohms.
Dimensions: 19" H by 5" H by 15" D. Shipping weight: 54 lbs.
Serial numbers of units reviewed: G29501249 i; not noted,…

Another approach is to completely rethink the role of an audio component, significantly changing its design in response to the evolving way products are used. This company's recent products will be radically different from their lineup of just a few…

The cumulative effect of all these features is a preamplifier that adapts to your system and your specific needs. Once the No.38 was set up, its functionality and "smart" operation made it a joy to use.…

Description: Remote-controlled line-stage preamplifier. Gain: –73.1dB to +18dB. Inputs: two stereo balanced (XLR), four single-ended (RCA), one Mark Levinson Link communications connector, one 1/8" mini-jack for external IR repeater. Outputs: one balanced stereo main output (XLR), one single-ended stereo main output (RCA), two stereo record outputs (RCA), one Mark Levinson Link communication connector. Input impedance: 100k ohms. Output impedance: <6 ohms. Input overload: >16V. Maximum output: 16V RMS, balanced. Power consumption: 40W.
Dimensions: 15.75…

I was particularly interested in hearing the No.38 after having spent some time with two other fully balanced preamplifiers: the $4495 Audio Research LS5 ($5990 with the BL2, the latter needed to accept single-ended inputs), and the $3495 Sonic Frontiers SFL-2. (Both of these preamplifiers were superbly musical, and highlighted just how good the best of today's preamplifiers have become.)

I auditioned the No.38 driving a Krell KSA-300S, or Audio Research VT-150 tubed monoblocks. Loudspeakers were Thiel CS3.6es, the Vision Acoustics Soloist (reviewed elsewhere in…

The No.38 exhibited extraordinary technical performance on the bench—its measurements were as good as preamplifiers get. First, I measured an input impedance of between 95k ohms and 115k ohms at the balanced inputs, within measurement error of the specified 100k ohms. The single-ended inputs had an input impedance of 90k ohms. With an active volume control, the preamplifier doesn't have the "bomb-proof" input overload characteristic typical of a passive potentiometer. The No.38's input-overload margin (fig.1) was exactly as specified: 16V at the balanced inputs,…

I had an opportunity to briefly use the Mark Levinson No.38 in my small-room system, but I didn't do any tightly controlled A/B tests against the Threshold T2. I don't think the No.38 is in the same sonic league as the T2—it was never able to move me emotionally. It sounded clean and quiet but dead, and lacked life, sparkle, and musical joie de vivre. The No.38 also seemed dynamically compressed, with little differentiation between ff and fff passages.

With the T2, musical contrasts were quite well-…

Before the Mark Levinson No.38S took pride of place in my system, I used the sample of the No.38 reviewed by Robert Harley for several months. The basic '38 is functionally the same as the 'S version, but soundwise, there was no contest. The balance of the less-expensive preamp is smooth, but in comparison with the 'S, it lacked detail and clarity. It's not that it sounded dark in, say, the way the Melos SHA-1 does, but the No.38 failed to get enough of a handle on the excitement embedded in the recordings. On…