$40,000

Like its fabulous partners, the Class A SM-103 monoblock amplifiers, this (also Class A) solid-state preamplifier from Denmark’s Vitus Audio is a wonder—a superb piece of electronics, capable of making instruments and vocalists sound more beautiful and realistic and expressive, more fully present and nearly visible, more “there” on live recordings and “in-the-studio” on concocted ones than anything else JV has yet had in his system. Here is a preamp that bridges the gaps between absolute-sound, musicality-first, and fidelity-to-source presentations in ways that only preamps from Soulution, JMF, and MBL have done in the past—and slightly exceeds that distinguished trio in the more complete and continuous way it reproduces the harmonic/dynamic envelope, making something like Duke Ellington’s colorful use of the sustain pedal on This Oneís For Blanton as audible as his spare, bright, transient-like keyboard jabs and bassist Ray Brown’s ineffable touch, swinging style, and famously accurate intonation produce tear-drop-shaped quarter notes in the bottom octaves so dark, rich, and three-dimensionally rounded you could pluck them from the air like plums. (353)

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$15,000

Constellation Audio has revamped its entire four-series line, including the entry-level Inspiration Series. It has wisely kept the audio circuitry from the originals while substituting a new switch-mode power supply for the linear supply in its first-generation products. That audio circuitry, incidentally, is identical to that of the company’s reference products, but implemented with excellent, rather than cost-no-object, parts. The result is a preamp that retains all the Constellation hallmarks—tremendous transparency, resolution, and an expansive soundstage—while considerably improving bass performance. This new Inspiration series also bests its predecessor in speed and the ability to convey music’s rhythmic flow. One thing that Constellation has always excelled at is the feeling of transparent air in the top octave, as though a lid were taken off the soundstage. That quality has been preserved in these new electronics, which contributed to RH’s impression that the Inspiration 2 kept all the best aspects of the originals while improving the bass and dynamics. The casework, build-quality, and machined-aluminum remote control are exemplary, exuding a refined elegance, particularly in the new champagne finish. When mated with Constellation’s newly redesigned Inspiration 2 Stereo power amplifier (also greatly improved, and a Product of the Year Award winner), the new Inspiration pair makes a compelling package—and is the worthy recipient of our Product of the Year Award. (353)

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$79,000

The 757 preamp, Cyril Hammer’s Series 7 replacement for his superb 750 phonostage, is truly unique. Yes, it will handle mc or mm cartridges with Soulution’s customary aplomb, but it will also eq and amplify optical cartridges from DS Audio, and eq and amplify IEC or NAB tapes from any deck that allows outboard preamplification of the signal at the tape heads. In addition, it will also function as a linestage with these analog sources, using the same output circuits as the fabulous727 and eliminating the need for a separate unit. This is a game-changer, folks, that is already influencing other electronic manufacturers. With user-selectable deemphasis curves for vinyl and tape, adjustable gain, an ultra-broadband (20MHz) Class A output stage, a common-mode rejection ratio greater than 125dB, and deviation from deemphasis curves reduced to ±0.1dB, it is a stunning achievement—and my new reference. Here, for what I believe is the first time, is a preamplifier that can not only handle any current low-level analog source but do so with the best sonics I’ve heard from a “phonostage.” It will certainly be my nominee for Phonostage of the Year; indeed, it could and perhaps should be named Overall Product of the Year. (Forthcoming) 

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$77,000/pr. and $36,000

Like the UHA Ultima Apollo, this pair of monoblocks and preamp from French manufacturer JMF, a company with deep roots in pro audio, took me by surprise. I wasn’t expecting sound that rivaled that of my reference Soulution and MBL electronics, but then, prior to these JMFs, my experience with French ultra-high-end amplification and preamplification was limited to various Jadis tube units (and no solid-state ones). However, hearing is believing. Turns out this Gallic duo had the same rich dark timbre and texture, lifelike imaging, and soundstage continuousness that made the Swiss and German amps and preamps my references. Indeed, and rather ironically given that JMF pointedly limits the use of negative feedback and the Swiss company Soulution embraces it (in a highly ingenious and sophisticated form), upon listening to the HQS 7001 and PRS 1.5, my first thought was that they sounded uncannily like my reference Soulution 711 amplifier and 725 pre in tonal balance, transient response, harmonic/dynamic duration, and sheer density of musical information. Bottom line? The HQS 7001s and PRS 1.5 are world-class offerings that do just about everything musical as well as such things can be done by solid-state audio components, even in comparison with some of the world’s finest competition. (349)

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$4995

The EVO 400 represents an evolutionary upgrade from the Dialogue Premium preamp. Probably the most significant (and obvious) new feature is balanced connectivity implemented using mu-metal-shielded quadfilar line transformers. It features massive and sophisticated power supplies, high-voltage regulation, exotic passive parts, and oh yes, tube rectification via a pair of 5AR4s. Its twin virtues of Goldilocks textural liquidity and tonal conviction are welcome news for a solid-state amplifier in search of textural fat and richness of tone. The really good news is that the EVO delivers the tonal beef without sacrificing speed and detail. Transients are negotiated with admirable speed and control. There is not much to complain about at the frequency extremes. The treble range is sweet and detailed without gratuitous brightness or brashness to interfere with the reproduction of violin overtones or upper registers of soprano voice, while the bass range features excellent pitch definition and timing. Its feel for microdynamic nuances and ability to scale the macrodynamic range from soft to loud captures much of the music’s dramatic content. The EVO 400 is not only PrimaLuna’s best line preamp offering ever, but it also holds its own against ultra-high-end competition. Miraculously, it manages to combine the virtues of modern tube sound with the tonal heft and timbral realism afforded by vintage tube preamps. (Forthcoming)

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$8500

A standing rebuke to the folly of minimalism and the snobbishness of those who insist that only separates can scale the peaks of audio artistry, McIntosh’s C53 preamplifier replaces a whole shelf-full of components, rolling a state-of-the-art linestage, phonostage, DAC, equalizer, and headphone amp into a single elegant, albeit large box, with no compromises in performance. With 16 inputs and three outputs, the C53’s connectivity is unrivaled, its DAC supporting every popular digital format (including all DSD and PCM hi-res formats, excepting MQA), plus an ARC HDMI input that correctly decodes and mixes down movie and TV sources for those who demand first-class AV reproduction through their two-channel setups. Its two phonostages, one each for mm and mc, with loading and capacitance options that will match almost every pickup out there, are good enough to obviate the need for separates. In addition to all this, the C53 offers battleship construction and looks that just radiate class, taste, and timeless style. One of PS’s reference preamplifiers. (315)

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$9999

Classé’s newest stereo preamplifier features a sophisticated yet intuitive touchscreen GUI that facilitates navigation of the component’s vast functional capabilities. The Delta PRE has its own excellent DAC (an AKM 4497 chipset that supports native DSD) and a phonostage that allows for the choice of cartridge type and impedance loading in seconds. The analog-domain stepped attenuator has 400 steps: You can definitely be confident of finding the right volume setting. The preamp doesn’t have automated DSP room correction, but instead offers advanced parametric EQ capabilities. Even without such wizardry, however, Classé’s Delta PRE is as transparent and uncolored as the best. (312)

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$599

Over the years I’ve found that the most sonically transparent preamplifier designs have always been passive ones. But sometimes, especially with my own live concert recordings, I need a bit of gain from a preamplifier to get the volume up to a satisfying level. The best solution I’ve found so far is the Schiit Freya S preamplifier. It is a full-function, stereo, solid-state preamp that offers both balanced and unbalanced inputs and outputs and three different circuit options. It can be a passive (meaning buffer only with 0dB gain) or an active gain stage with 0dB gain, or an active stage with up to 12dB gain. The passive mode sounds completely transparent to me after many listening sessions over many months. The unit comes with a five-year warranty and is built in California, which at this price is downright amazing.

Unlike most preamplifiers in its price range, instead of a standard off-the-shelf volume-pot volume control, the Freya S uses a 128-step resistor volume control, which is more accurate at keeping the correct balance between channels. And while the Freya S has no numeric volume display, the preamp emits a click every time the volume level is adjusted so you know that the supplied remote control’s instructions were received.

The Freya S is extremely similar in cosmetics to its sibling, the Freya+, which has a tube-based design for its active stages that replace the Freya S solid-state circuit. If you prefer a more euphonic presentation, it is an option, and as with the Freya S you will still have the passive circuit for ultimate transparency.

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$8000

It’s been roughly six years since I reviewed Ron Sutherland’s N1, which I ended up purchasing. Over that span the N1 has been in and out of my system as other gear gets reviewed, but each time I return to it I’m reminded of why I wanted to own it. Having made phono preamps a specialty focus, Ron Sutherland naturally conceived the N1 for the listener whose main passion is spinning vinyl. The design is also (proudly) something of a throwback. You see the N1 designation is a wink to “in-one” (as in all-in-one) preamps, the way most preamplifiers were conceived in the pre-CD (or streaming) era, in which the phonostage, linestage, and power supply are housed in the same chassis. Stacked, dual-mono phono boards occupy fully half of the unit’s interior space; the other half is also devoted to stacked dual-mono circuitry for volume control, input selection, and power-supply filtering and regulation. Additionally, and despite much of the industry’s preference for balanced designs, the N1’s circuitry is single-ended, as Sutherland prefers the simplicity and shorter signal paths that classic single-ended circuits provide. Moreover, the N1’s barebones design interface remains a rare marvel. A single knob controls all the unit’s functions. When the preamp is muted, you turn it for input selection. Unmuted controls volume. That’s it. The knob resides on a glass panel, beside which is a retro-cool-looking, amber/orange Nixie-tube numeric display showing the input number and volume level. One other thoughtful feature: The N1 has something labeled Input 6; in fact, this triggers a built-in white-noise generator designed to hasten the preamp’s break-in period. Or, if selected with your power amp on, to assist with the break-in time of your entire system. As to the N1’s sound, it is clean, pure, uncluttered, open, neutral—meaning tonally in the middle of warm and cool—always at the service of the music. It has matched flawlessly with power amps from the VTL S-200 to the Zesto Eros 500 Select monoblocks I’m in the process of reviewing. What Sutherland has created with N1 is high fidelity in the finest sense of that term, and it continues to serve me well. (266)

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