Analog Sources: VPI TNT IV, Rega Planar 3 turntables; Immedia, Syrinx PU-3 tonearms; Koetsu Urushi, Clearaudio Virtuoso Wood cartridges.
Digital Sources: Lector CDP-7T, Creek Destiny CD players.
Preamplification: Vendetta Research SCP-2D phono stage, Audio Valve Eclipse line stage.
Power Amplifier: Audio Research Reference 110.
Integrated Amplifier: Creek Destiny.
Loudspeakers: Amphion Helium2, Monitor Audio RS6 Silver, Nola Mini.
Cables: Interconnect (all MIT): Magnum M3, MI-350 CVTwin Terminator, MI-330SG Terminator. Speaker: Acarian…
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Sidebar 2: Associated Equipment
Sidebar 3: Measurements
With its small enclosure and woofer, the Chario Premium 1000 won't have a high voltage sensitivity; specified at 86dB, its measured B-weighted sensitivity was 84.7dB(B)/2.83V/m, which is lower than average. The Chario's impedance magnitude remained above 8 ohms in the bass and treble, though it did drop to 5.4 ohms at 220Hz (fig.1). The electrical phase angle reaches extreme values in the upper bass, but fortunately, as is always the case, the highest angle coincides with a very high magnitude, which will mitigate any drive difficulty at this frequency. The fact…
Ever since Stereophile took up the cudgels for subjectivity, and had the temerity to insist that even the best products have certain colorations, we have stressed compatibility in choosing components. By compatibility we do not mean merely matching impedances and signal levels, but mating components whose sonic peculiarities tended to offset one another.
We have published periodic, though sporadic, "Recommended Components" lists in the magazine, and dutifully catalogued their sonic earmarks to help buyers match up one component's colorations against another's. But neither the…
But times have changed. Equipment designers are far more knowledgeable and sophisticated than they used to be, and new measurements such as TIM and FFT (footnote 1) have added an unprecedented degree of subjective relevance to objective testing. The days when an audiophile could produce a better product merely by listening to it, than an engineer could produce by measuring it are long gone.
This is not to say that amplifier A cannot be improved by replacing its Mylar capacitors with Wonder Caps, or that speaker B cannot be improved by substituting heavier woofer chokes in the crossover…
It says something for the state of technology that, after a quarter of a century, there still is no authoritative explanation for why so many high-end audiophiles prefer tubes. Tubes not only refuse to die, they seem to be Coming back. The number of US and British firms making high-end tube equipment is growing steadily, and an increasing number of comparatively low-priced units are becoming available. There is a large market in renovated or used tube equipment—I must confess to owning a converted McIntosh MR-71 tuner—and there are even some indications that tube manufacturers are improving…
It is tempting to focus on short-term differences, and to ignore the fact that you're looking for equipment that gets the best out of a broad collection of records, tapes, CDs, and FM broadcasts, and on which you can listen for hours without reminders that your equipment is introducing unpleasant or constantly detectable colorations. By comparison, transistor equipment always has a distinctly less musical sonic fingerprint than does tubed equipment—either in the form of dryness or harshness in the upper octaves or a distinct loss of detail.
The end result was that both the Conrad-…
J. Gordon Holt reviewed the Conrad-Johnson Premier Three in May 1985 (Vol.8 No.2):
Conrad-Johnson's top-of-the-line preamp the Premier Three ($2895), is equipped with tubes that C-J claims have been chosen for the best possible sonic qualities. The manufacturer specifically advises against trying other brands (a popular pastime among tube enthusiasts) lest they degrade the sound.
The control lineup on the Premier Three is identical to that on most high-end preamplifiers except for the tape monitor provisions, which are more flexible than most. There are two tape loops and a front…
Overall Conclusion
Which would I buy, the Klyne or the C-J? That could be a tough decision to make, but I think I've made up my mind!
As long-time Stereophile readers may have noticed, I harbor strong ambivalences with regard to the "tubes versus transistors" debate/ Twenty years after transistors were introduced, I have still not really decided which I prefer: ihe clarity, detail, and control of good solid-state equipment, or the euphonic distortions of good tubed components. Tubes have always had a remarkable ability to render front-to-back perspectives and a you-are-there…
J. Gordon Holt returned to the Premier Three in August 1985 (Vol.8 No.4):
The more I listen to this tubed preamplifier, the more I'm convinced that it's a worldbeater, I liked C-J's PV-5 a great deal (particularly with solid-state power amps), but the Premier Three is simply in another class. At this point, it becomes almost mandatory that I audition Audio Research's legendary SP-10 preamp. Until I do, I am prepared to opine that the Premier Three is the best-sounding preamplifier money can buy if you know what live music sounds like.
I still believe the Klyne preamps to be more…
Sidebar: Specifications
Premier Three: Tubed stereo preamplifier with inputs for phono, tuner, aux, 2 tape loops. Full switching amongst right, left, stereo reverse, and mono. Mute switch. Tube complment: two 12AX7, five 5751, two 5965. RIAA equalization: 20Hz–20kHz, ±0.25dB. Line-stage range: 2Hz–>100kHz. Phono-stage gain: 40dB. THD: <0.05%. IMD: <0.05%. Phono-stage overload level: 500mV at 1kHz. S/N Ratio: 72dB ref. 10mV input (phono stage); 84dB ref. 2.5V output (line stage).
Serial Number: 1501046.
Dimensions: 19" W by 5.5" H by 12.5" D. Weight: 21 lbs.
Price: $…