In the real world, though, while most preamplifiers get right the impedance/attenuation/gain/…
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All we ask is a usefully low output impedance, to drive potentially long cables connected to a (hopefully) high-input-impedance power amplifier sensitive enough to be driven to full output by a few volts, so that the preamplifier primarily acts as an attenuator—though of course we also want the preamplifier to be able to produce gain, particularly those of us who listen to vinyl; many combinations of cartridge and phono stage don't produce enough voltage to drive an amplifier to full output.
Sidebar 1: Specifications
Description: Solid-state line preamplifier. Inputs: 3 unbalanced (RCA), 3 balanced (XLR). Outputs: 2 unbalanced (RCA), 2 balanced (XLR), 2 buffered Tape Out (1 single-ended RCA, 1 balanced XLR). Frequency response: 10Hz–100kHz, –1dB. THD: 0.0015%. IHF signal/noise: 120dB. Crosstalk: not specified. Maximum output: 16V RMS balanced, 8V RMS single-ended. Input and output impedances: single-ended, not specified; balanced, not specified.
Dimensions: 17.5" (450mm) W by 5.9" (150mm) H by 17.2" (440mm) D. Weight: 63.8 lbs (29kg). Power supply: 8.6" (220mm) W by 7.2…
Sidebar 2: Associated Equipment
Analog Sources: Continuum Audio Labs Caliburn, Cobra, & Castellon turntable, tonearm, & stand; Kuzma 4Point tonearms; Lyra Atlas, Ortofon MC Anna, Miyajima Labs Zero (mono) cartridges.
Digital Sources: Simaudio Moon Evolution 650D DAC/CD transport, BPT-modified Alesis Masterlink hard-disk recorder, Meridian Digital Media System, Pure Music software.
Preamplifiers: darTZeel NHB-18ns, Ypsilon PST-100, Ypsilon VPS-100 phono.
Power Amplifiers: darTZeel NHB 458 monoblocks.
Loudspeakers: Wilson Audio Specialties Alexandria XLF.
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Sidebar 3: Measurements
I used Stereophile's loan sample of the top-of-the-line Audio Precision SYS2722 system (see www.ap.com and the January 2008 "As We See It) to measure the TAD C600. The maximum gain for balanced input and balanced output, with the volume control set to "90," was, at 12.25dB, slightly higher than the specified 12dB. For single-ended input/output, the maximum gain was 11.7 rather than 12dB. The volume control operated in accurate 1dB steps in normal mode; set to Fine, its steps were 0.5dB. The unity-gain setting was "78." Both balanced and unbalanced inputs preserved…
Mike Browning and his new Skullcandy Navigators were totally meant for each other. With his sick, short mohawk and the Navigator's acid-blue tinted and sunglasses-shaped earcups, it just doesn’t get any cooler than these two.
Mike works as an advertising consultant in Lebanon, Indiana where he spends a lot of time “studying socioeconomic variables over large geographic areas blah blah blah blah.” This leave Browning lots of time to listen to music! He’ll be plugging his new Navigators into the HeadRoom Total BitHead. Browning is an admitted headphone junkie.
Thanks for…
As I've lately had the pleasure of reviewing some impressive tubed components, I asked myself why I hadn't ever reviewed anything from VTL Amplifiers. My history with VTL goes back to the 1986 Consumer Electronics Show in Chicago (wouldn't it be great if CES returned to that city?), where Vacuum Tube Logic cofounder Luke Manley and his father, the late David Manley, made a big splash with David's preamps and amplifiers. To publicize the fact that amps were designed and made in Britain, the Manleys wore the cheesiest Union Jack T-shirts I'd ever seen—the kind they sell in those cheap tourist…
The low end of the TL-5.5 II's frequency range was one of its strengths: all acoustic, electric, and electronic bass instruments sounded deep, punchy, clean, uncolored, and dynamic. Although for the past 20 years Bill Laswell has been best known as a music producer, I'm more a fan of Laswell the bassist. He can pull a wider range of timbral textures from a Fender bass than any other human being, but his live performances are infrequent. I had to travel to London to hear his New York–based band, Material, perform in the early 1980s at, of all places, an S&M club (the gift shop was…
Sidebar 1: Specifications
Description: Tubed line preamplifier with optional phono stage. Tube complement: two 12AU7/ECC82, four 12AT7/ECC81. Inputs: 2 pairs, balanced (XLR) or RCA (single-ended); 6 pairs, single-ended (RCA). Outputs: 1 pair balanced, 1 pair single-ended (RCA), 1 pair single-ended buffered Record (RCA). Frequency response: 1Hz–200kHz, +0/–1dB. Normal voltage gain: 11dB single-ended, 17dB balanced. Low voltage gain: 6dB single-ended, 11dB balanced. Output impedance: 150 ohms (maximum 400 ohms at 10Hz). Input impedance: 35k ohms. Maximum output voltage: 30V, 10Hz–200kHz,…
Sidebar 2: Associated Equipment
Analog Sources: Rega Research Planar 3, VPI TNT IV turntables; Immedia, Syrinx PU-3 tonearms; Clearaudio Virtuoso Wood, Koetsu Urushi cartridges.
Digital Sources: Creek Destiny, Lector CDP-7T CD players.
Preamplification: Vendetta Research SCP-2D phono stage; Audio Research Reference 5 SE, Audio Valve Eclipse, Nagra Jazz line stages.
Power Amplifiers: Audio Research Reference 75 & Reference 110.
Loudspeakers: Epos M16i, Monitor Audio Silver RX6, Nola Viper Reference III.
Cables: Interconnect (all MIT): Magnum M3, MI-330SG Terminator…
Sidebar 3: Measurements
I measured the TL-5.5 Series II Signature's electrical performance with Stereophile's loan sample of the top-of-the-line Audio Precision SYS2722 system (see www.ap.com and the January 2008 "As We See It," ). No phono stage was fitted. I made sure that the VTL's inputs were correctly set for balanced (blue LED illuminated) or unbalanced (green LED illuminated) operation. As used by Bob Reina, the two toggle switches inside the TL-5.5 II, one for each channel, were set to Low Gain. The maximum gain for balanced input, balanced output with the volume control set to…