Solid State Preamp Reviews

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Robert Deutsch  |  Jan 30, 2012  |  First Published: Dec 01, 1991  |  0 comments
The Threshold FET nine/e ($2595) is the junior sibling of the FET ten/e, a solid-state preamp that has earned a rave review in March 1991 from noted tubeophile Dick Olsher (Vol.14 No.3), itself a development of the FET ten that J. Gordon Holt reviewed in September 1987 (Vol.10 No.6). Would my ears, accustomed as they are to the pitter-patter of electrons traveling through a vacuum, have a similarly positive response to the FET nine/e?
Corey Greenberg  |  Nov 06, 1995  |  First Published: Nov 06, 1991  |  0 comments
"An' then ya bring alla ground wahrs to uh, uh single po-wint..."
Lewis Lipnick  |  Aug 20, 1995  |  First Published: Aug 20, 1991  |  0 comments
About three weeks ago, while perusing the gear in a local audio retail establishment, I overheard a salesman, who could well have been selling used cars, giving a classic spiel to an obviously confused customer. "You see, sir, all preamplifiers basically sound alike, especially with line-level inputs. The only differences are in the number of features." He went on to tell his prey that spending big bucks for high-end products such as Krell or Mark Levinson (neither of which he sold) would be a big mistake. I choked back my automatic response of a certain bovine term, but thought it better to continue my fly-on-the-wall masquerade.
Martin Colloms  |  Aug 10, 2017  |  First Published: Jul 01, 1991  |  3 comments
The KSL ($1800, $2100 with phono section) is a one-box line controller/preamplifier, just 2.25" high, with a nominal voltage gain of 10dB, or 3x. Despite its moderate price, the KSL is distinguished by having balanced outputs (via industry-standard XLR connectors), as well as two balanced inputs. Conventional single-ended, unbalanced outputs are also available via a pair of gold-plated phono sockets. Two unbalanced inputs are provided, plus a third via the tape monitor switch.
Thomas J. Norton  |  May 14, 2016  |  First Published: Mar 01, 1991  |  0 comments
As I write these words in January 1991, we're right in the midst of an annual media feeding frenzy: the "Best of the Year" follies. This usually takes the form of lists compiled in groups of ten for reasons that must hearken back to some obscure Druidic practice. You know the routine: "Ten Best Books of the Year," "Ten Best Films of the Year," "Ten Top Personalities of the Year," "Ten Best Sports Plays of the Year." Every corner of the media seems eager to get into the act. Special-interest magazines are hardly immune. Car enthusiasts can get their fill of "Cars of the Year." Computer literates find their favorite rags full of the "Ten Best Computers/Computer Accessories/Computer Programs." And music magazines regale us with the "Ten Best Recordings of the Year." Everyone with access to a transmitter or printing press has got, it seems, a little list.
Robert Harley  |  Jun 09, 2016  |  First Published: Feb 01, 1991  |  1 comments
Back in 1970, one Julian Vereker decided to record some musician friends in his house in Salisbury, England. Using standard, off-the-shelf electronics and tape machines, he was startled at how dissimilar the recording was to the sound of live instruments. As a result, he started designing his own recording electronics, including a recording console, of which he sold several to local broadcast facilities.
Martin Colloms  |  Mar 31, 2011  |  First Published: Dec 01, 1990  |  1 comments
Cycles can be seen in the fortunes of companies. Likewise cycles can be seen in the performance of companies' products. A particular range will appear to have got it just right, whatever "it" is. The designer may have hit a winning streak and thus steal a lead over the competition. C-J set a new state-of-the-art preamp standard in the late 1980s with their Premier Seven, and some of that expertise and experience are beginning to pay off in the shape of new high-performance preamplifiers at realistic prices. Two important products have emerged from all this in C-J's moderately priced FET range, namely the PF-1 preamp and the matching MF-200 power amp. By audiophile standards, these are moderately priced at $1295 and $1995, respectively.
John Atkinson  |  Jul 04, 2004  |  First Published: Dec 01, 1990  |  0 comments
"Desperation is the Mother of Invention." Isn't that how the proverb goes? Certainly it applied ten years ago in the case of the Philips engineers working on the development of the Compact Disc system. Given a specification that had included a 14-bit data word length, they had duly developed a 14-bit DAC chip, the TDA1540, only then to be informed that the CD standard decided upon after Sony joined forces with the Dutch company would involve 16-bit data words. (Thank goodness!)
Gary A. Galo  |  Nov 21, 2011  |  First Published: Feb 01, 1990  |  2 comments
In recent years, Adcom has carved an enviable niche for themselves in the entry-level category of high-end audio. Their excellent GTP-400 tuner/preamplifier, which I reviewed in September 1989 (Vol.12 No.9), has further enhanced their reputation for musically satisfying sound at affordable prices. The GFP-565 is Adcom's newest preamplifier and their most expensive to date. The GFP-565 was designed to offer more than simply excellent performance for the price asked. This new arrival is Adcom's attempt at manufacturing a preamplifier which can compare favorably to the most expensive state-of-the-art products offered by other high-end manufacturers. As such, its $798 price tag is still reasonable, especially when the 565 is compared with other preamps in the under-$1000 price range.
John Atkinson  |  May 17, 2008  |  First Published: Jul 17, 1989  |  0 comments
This review should have appeared more than a few months ago. When I reviewed Linn's Troika cartridge back in the Fall of 1987, in Vol.10 No.6, Audiophile Systems also supplied me with a sample of the Linn LK1 preamplifier and the LK2 power amplifier, which I had intended to review in the due course of things. As it transpired, however, I was less than impressed with the LK2, finding, as did Alvin Gold back in Vol.9 No.2, that while it had a somewhat laid-back balance, it also suffered a pervasive "gray" coloration, which dried out recorded ambience and obscured fine detail.
John Atkinson  |  Jun 05, 2008  |  First Published: Jun 05, 1989  |  0 comments
When David Hafler sold his Hafler and Acoustat companies to in-car audio manufacturer Rockford-Fosgate a year or so back, things went quiet for a while as the new owners made arrangements to transfer production of both brands to their Arizona facility and took stock of where their new acquisitions stood in the marketplace. Then, at the 1989 CES in Las Vegas, the company made a reasonably sized splash with the first in a new range of Hafler products intended to lift the brand out of the hobbyist-oriented identity it had, perhaps inadvertently, adopted in the last few years.
John Atkinson  |  Nov 15, 2018  |  First Published: Dec 01, 1988  |  0 comments
A few issues back, in my review of the Mark Levinson No.26 and No.20 (May 1988, Vol.11 No.5), I mused on the fact that the preamplifier, being the heart of a system, had a more significant effect on sound quality in the long term than, say, the loudspeakers. It was worth spending more on a preamplifier, therefore, than on loudspeakers. Needless to say, this viewpoint was regarded by many readers as dangerously heretical. I decided, therefore, to investigate the sonic possibilities of budget-priced preamps in this issue, even the most expensive being less than one-tenth the price of the Mark Levinson.
John Atkinson  |  Aug 09, 2018  |  First Published: Dec 01, 1988  |  4 comments
Introduced at the 1988 Summer CES, this preamplifier from San Francisco-based Parasound costs $395 and is manufactured in Taiwan. It does away with mechanical switching for source select and tape functions, replacing it with CMOS integrated-circuit switches similar to those used in the British Linn LK1 and Quad 34 and 44 models. Construction is to a good standard and the circuit is carried on two main pcbs and three small ones. Following a signal from the phono inputs, the MM-only RIAA amplifier is based on discrete FETs, its output joining the line-level signals at the switching ICs, these controlled by DC voltages controlled by front-panel pushbuttons.
John Atkinson  |  Nov 08, 2018  |  First Published: Dec 01, 1988  |  1 comments
By far the most complicated of the three preamps i review in this issue in terms of facilities offered, NAD's "Monitor Series" 1300 ($398) provides two buffered tape loops, an external processor loop (which can also be used as a third tape-recorder loop), a headphone output, a "null" switch, switchable bass equalization to extend the low-frequency range of small loudspeakers, and treble and bass controls, each with a choice of three turnover frequencies: 3kHz, 6kHz, 12kHz, and 50Hz, 125Hz, 250Hz, respectively.
Thomas J. Norton  |  Jul 26, 2010  |  First Published: Nov 26, 1988  |  0 comments
In a way, you could say that Meridian started the now epidemic practice of modifying stock CD players (usually of the Philips-Magnavox species). The original Meridian player, the MCD, was a reworking of the first-generation Philips and was praised by J. Gordon Holt in these pages in his 1985 review (Vol.8 No.2). The Meridian Pro (Vol.8 No.6) won similar plaudits, and is still to be seen lurking in JA's system. And the original 207 was well-received by MC in Vol.10 No.3.

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