Audiophilepure

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“To compare the sounds of the Signature Mk.IIa SE and Master, I listened to the Roy Hargrove Quintet’s Earfood again and with particular care to “I’m Not So Sure,” the track that had been so gorgeous through the Master. Overall, it sounded similar in terms of tones, soundstage depth and breadth, and air around instruments. The timbres of the trumpet and alto sax were also similar in character and sensuousness. But I could tell that the impacts of drumstrokes and bass plucks were softer, not as crisp or explosive. Hargrove’s trumpet was certainly as clear as through the Master, but not as dimensional in terms of its metallic sheen or blattiness. Finally, although Justin Robinson’s alto sax still sounded fluid and expressive, it wasn’t as piercing in the highs or dynamic peaks. There was a marked difference in extension, resolution, snap, and punch.

Listening again to Florilegium’s recording of Bach’s Brandenburg Concerto No.3 confirmed all of this. Though string tone was fine and the separation of sections impressive, microdetails were not quite as refined. I couldn’t pick out single instruments as easily — something I’d very much enjoyed doing with the Master. Pace, rhythm, and timing were good with the Signature Mk.IIa SE — the attacks of instruments were precisely together in this performance’s myriad tight entrances — but I couldn’t “see” as deeply into and among the aural images of the violins and viola da gamba. Yet with the Signature Mk.IIa SE, the strings were expressive and open, tutti energetic and thrilling, and harmonies bountiful.

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“We all know our father’s jazz records were about the sounds of acoustic bass, saxophone, and piano. In response to all that unamplified acousticness, Ventures’ records—especially those on the Dolton label—were all about the new, powerful, driving sound of electric guitars. (The Ventures, along with Chet Atkins and Link Wray, played a significant role in making electric guitars the most important instruments in 1960s popular music.) Therefore, any playback of their recordings that doesn’t convey the expressive reality of those guitars and their associated tubed amplifiers is a fail. The all-tube EVO 400 preamp and the ProLogue Premium amplifier triumphed: They brought the Ventures’ incomparable guitar sound to ravishing new life. The PrimaLuna tubes let the Ventures’ reverb-soaked essence fill my room; they made me feel like a “ho-dad” (a greaser/hot-rodder) and let me go “ten-over” until I wiped out.

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“Schiit have taken their already well-received Freya preamp and have incorporated modifications that fans of the company have eagerly asked for. With a remote control set to the potentiometer and near distortion-free tuning, the Freya plus represents a newly improved preamplifier that would work well in any audiophile’s set-up. The chassis feels and looks incredibly sleek and with the new fasterlessness design fits well with Schiit’s ‘Made in America’ product range. Nestled at the top of their price-performance curves, Schiit does not disappoint with this new amplifier which adds a delightful tuning yet flexible approach when dealing between existing source components. It will be interesting to see if there is enough demand for this product to survive Schiit’s ‘Thunderdome’ concept. For this reason, I would strongly urge readers to try this product for those seeking a smart preamplifier solution to their audiophile needs.”

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“In my time with it, I quickly learned that Audio Research’s Reference 6 preamplifier is one of those rare products capable of producing a quality of sound greater than might be suggested by the sum of its parts. The Ref 6 also offers outstanding build quality, instinctual ergonomics, and sexy appearance, all for only $2005 more than the cost of its predecessor — a 15% premium. Moreover, it’s the first tubed preamplifier I’ve heard that can match and in some ways exceed the performance of my reference, the solid-state Simaudio Moon Evolution P-8. This tells me three things: 1) some seriously astute engineering is going on under the Ref 6’s hood; 2) even at $15,000, the Ref 6 is a heck of a value; and 3) I’d be an idiot to return the review sample. Audio Research’s Reference 6 has just become my new reference preamplifier. Wholeheartedly recommended.”

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“In my time with it, I quickly learned that Audio Research’s Reference 6 preamplifier is one of those rare products capable of producing a quality of sound greater than might be suggested by the sum of its parts. The Ref 6 also offers outstanding build quality, instinctual ergonomics, and sexy appearance, all for only $2005 more than the cost of its predecessor — a 15% premium. Moreover, it’s the first tubed preamplifier I’ve heard that can match and in some ways exceed the performance of my reference, the solid-state Simaudio Moon Evolution P-8. This tells me three things: 1) some seriously astute engineering is going on under the Ref 6’s hood; 2) even at $15,000, the Ref 6 is a heck of a value; and 3) I’d be an idiot to return the review sample. Audio Research’s Reference 6 has just become my new reference preamplifier. Wholeheartedly recommended.”

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“The L2 enhanced my very fine digital setup, and considering the preamplifier section of the Continuum S2 (basically, a Jeff Rowland Capri II preamplifier) is outstanding and an obvious match for its connected amplifier section, it couldn’t better the gorgeous sounds the 300Bs were portraying. For sure, a completely different topology, but the way Rossi has his tubes singing is very persuasive.

It’s been my experience that some tube preamps let the side down during thunderous piano performances. No fears, here. Martha Argerich’s famous Berlin/Abbado/DG (vinyl reissue) of Prokofiev’s Piano Concerto No. 3 was overwhelming at times. She’s a powerhouse; a force of nature. And all her power was unsullied and heard to astounding effect. Piano fans will love this preamplifier. Yet, at the other end of the dynamic spectrum, the Rossi retrieved even more subtlety from John Bingham’s playing of Schubert Songs arr. Liszt on Meridian vinyl than I’m used to. I use my late friend’s playing as a test for quiet pianism; pedal, bell tones, touch, ppp voicing, etc. This was pretty miraculous as a musical experience. The LP is available on Discogs. ”

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“This isn’t just about hearing more from your recordings, although that is what first attracts you to the Reference 10’s performance. It’s like a reset button on your music. Tracks you know so well aren’t just replayed as if it were the first time you heard them; they are rebuilt note-by-note in front of you, opening up that music in ways you can’t anticipate until you experience them. Yes this is about detail, space, and dynamic range – Bernard Purdie’s drum pedal on ‘Memphis Soul Stew’ [KIng Curtis Live at Filmore West, ATCO] has a squeak that really high-resolution systems can resolve. Many of those are brutally analytical rendering the track hard to hear because of that ever-present squeak, but the Reference 10 forces you beyond that, to a point where it is just a part of the musical whole again. It’s just this time, there are so many more parts to that whole. Let’s put it this way; anyone who was actually at that concert almost 50 years ago might have heard that squeaky drum pedal, and I guarantee not one person walked out of the concert because of that squeak. That’s how the Reference 10 pushes ahead of the competition. That’s not to say the preamplifier is forgiving, but instead is so informative that detail alone isn’t enough; it’s like you get a new set of ears with the Reference 10 and they take everything in! Going back to more real world preamps is an exercise in disappointment.”