Audiophilepure

https://www.monoandstereo.com/2022/05/lumin-p1-streaming-dac-preamplifier.html

To objectively reconcile with “Bridge of Sighs”, to evoke lyrical reflection and not sound like a detached experience and a sum of isolated sonic attributes a higher level of digital handling is needed. 

This recording shows the true nature of P1 when it comes to cementing a multitude of sonic attributes, which could easily sound contradictory if the resolution is not there. 

https://www.audiophilia.com/reviews/2022/3/1/pf7d9nzv57kqcwifuwb5504y7ck100

Pros: 3 different modes at your leisure—all respectable, very quiet, many inputs/outputs, light in weight and small in size, unusually high performance/price ratio.

Cons: No volume scale numerical or otherwise, mode and input choices are by cycling thru instead of particular choices, gets hot in active tube mode, labeling for control (both manual and on the very small remote) is hard to see due to its tiny size and obscure symbols.

Final thoughts: The Freya+ is a surprisingly inexpensive and quality-in-sound preamplifier that I would highly recommend as a serious start for those who have now decided that a preamplifier is for their system. With 3 separate modes, you can’t go wrong. I would also recommend it as a useful experimental tool for reviewers because of its versatility, quality of sound and low price.

https://www.audiophilia.com/reviews/2022/3/1/pf7d9nzv57kqcwifuwb5504y7ck100

Eventually, as my reviewing interests expanded, I realized that I must get a proper preamplifier in order to easily and efficiently compare two or more similar devices by using different lines in and just switching the lines on a remote. I first tried using a passive preamp with more than one input; they were touted as clean and transparent, generally do not require external power, and are much less expensive in general than active ones. But alas, I was not satisfied. I began to notice at audio shows and at other audiophile homes where active preamps were widely used, they offered a sound quality my system lacked; something more satisfying beyond just clean and transparent. I could not put my finger on what exactly was lacking, but I decided to hunt about for a proper preamp (and one with many inputs, not just two). My choice was the PS Audio BHK Signature ($6000)—with a tube front end. It remains my reference preamplifier. And I learned what had been missing: more body, textures, openness, separation of instruments, and warmth in varying degrees; additions that yielded a considerably more musical presentation. I have also heard solid state preamps that hit these marks in varying degrees, so, I am not concluding here that tubes are always necessary/best. But, as some say, a preamplifier is the heart of a fine audio system; I became and still am a believer in that

The Commander Level II at this price point is not short on competition, but the only competition I can think of is more expensive than the Commander Level II. Specifically, the Mola Mola Makua and the now discontinued MC1100 are the only preamps that I can think of that I would compare performance wise to the Commander Level II. Both of these preamps are at least 25% more expensive, but they do offer different value propositions that may make their additional cost justifiable, depending on your personal priorities. For example, both of these preamps are end to end balanced designs, and the Mola Mola offers an incredible control experience.

Ultimately, if you are looking for a tube-based linestage, made with state-of-the-art technology, that is completely customizable during the build process, then as far as I know the Commander is in a club of one. It is truly enjoyable to listen to, and will serve as the Command and Control module of your stereo system for many years to come. Thank you, Jeff and the Wells Audio team, for allowing me to review the Commander Level II.

https://www.hifinews.com/content/dagostino-relentless-preamp-preamplifier

‘From there, I couldn’t resist trying it in a preamplifier circuit. The Momentum Preamplifier was the first one to benefit from this FET input stage, becoming the Momentum HD in the process [HFN Apr ’20]. However, I knew we could achieve more starting with a blank slate and additional real estate to fully exploit the benefits of our FET concept.’

So will we see this FET circuit exploited in other line stage applications? ‘Certainly’, declares Dan, ‘we’ve already inserted an additional FET stage between the DAC output and the Relentless Preamplifier circuitry in our forthcoming Streaming Module’.

Dan’s outboard Phono Preamp (‘I haven’t had time to think of another name yet’, he admits) will be the next component in the Relentless series, powered off the back of the Preamplifier. RIAA equalisation will be all-passive, sandwiched between two ‘Relentless’ FET stages and offering a total +70dB gain. ‘It’ll be MC only’, says Dan. ‘And more to come?’, I ask. Dan pauses.

The more costly Audio Note M3 preamp and models above it use two stepped attenuators, one for each channel, and they have the most solid feel of all. The in-house-made Audio Note stepped attenuators are superb but they require more user attention to ensure setting both channels to the same volume level. And because they are stepped, they can become somewhat noisy if dust gets onto them when making volume adjustments. It does not affect sound quality mind you, but it will require some effort to keep the volume pots clean if you live in a dusty environment.

I had been using the M3 Phono as my reference preamp for a couple of years when I decided to upgrade to the M6. Audio Note largely builds to order with the higher-level items in their product range. With the pandemic, the wait time was to be around 5-6 months for the M6 Phono. My M3 was an older version that used twenty-three resistors while current versions use thirty-six steps. This, if you were wondering, is why I did not review the M3 as it is no longer a current model.

https://www.audiophilia.com/reviews/2021/12/3/allnic-audio-l-10000-otlocl-preamplifier

The flute whistle tones (a very delicate effect and very quiet; it takes great skill from the player to get the tones steady and pitch centred) on The Constant Gardner soundtrack is a test I use frequently. The delicacy and overtones (the note is all overtones and harmonics) are equally difficult to unravel. No problems for the L-10000. By far, the clearest I’ve heard them. 

It goes without saying, the uptick in timbral accuracy as we go more expensive was profoundly beautiful. Allnic examples 2, 3 and 4 are all pretty spectacular at timbral beauty, the DHT, especially, but the accuracy played through the L-10000 was intoxicating. I could tell my intent on several recordings I’ve made over the years, even the to and fro between Bede Hanley’s fabulous oboe (Principal, Auckland Philharmonia) and my solo in Scheherezade. Any quality preamp will give you quality tone, but only the very best preamplifiers like the L-10000 place you in the hands of the performer. Here, their are no secrets, no fixing it in the mix, etc. If it’s on the original tape, you’ll be hearing it.