$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)
Tags: SOULUTION PREAMPLIFIER GOLDEN EAR AWARD
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By Jonathan Valin
I’ve been a creative writer for most of life. Throughout the 80s and 90s, I wrote eleven novels and many stories—some of which were nominated for (and won) prizes, one of which was made into a not-very-good movie by Paramount, and all of which are still available hardbound and via download on Amazon. At the same time I taught creative writing at a couple of universities and worked brief stints in Hollywood. It looked as if teaching and writing more novels, stories, reviews, and scripts was going to be my life. Then HP called me up out of the blue, and everything changed. I’ve told this story several times, but it’s worth repeating because the second half of my life hinged on it. I’d been an audiophile since I was in my mid-teens, and did all the things a young audiophile did back then, buying what I could afford (mainly on the used market), hanging with audiophile friends almost exclusively, and poring over J. Gordon Holt’s Stereophile and Harry Pearson’s Absolute Sound. Come the early 90s, I took a year and a half off from writing my next novel and, music lover that I was, researched and wrote a book (now out of print) about my favorite classical records on the RCA label. Somehow Harry found out about that book (The RCA Bible), got my phone number (which was unlisted, so to this day I don’t know how he unearthed it), and called. Since I’d been reading him since I was a kid, I was shocked. “I feel like I’m talking to God,” I told him. “No,” said he, in that deep rumbling voice of his, “God is talking to you.” I laughed, of course. But in a way it worked out to be true, since from almost that moment forward I’ve devoted my life to writing about audio and music—first for Harry at TAS, then for Fi (the magazine I founded alongside Wayne Garcia), and in the new millennium at TAS again, when HP hired me back after Fi folded. It’s been an odd and, for the most part, serendipitous career, in which things have simply come my way, like Harry’s phone call, without me planning for them. For better and worse I’ve just gone with them on instinct and my talent to spin words, which is as close to being musical as I come.
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