Aesthetic preamp

I want balanced inputs/ outs.

I noticed in your other recent thread that you are using a Bryston 4BST amplifier. That amp has a much lower input impedance on its balanced inputs (about 20K, i.e. 10K per leg) than on its unbalanced inputs (about 50K).

According to Stereophile’s measurements of the Aesthetix Calypso:

The balanced output impedance was 112 ohms at 1kHz and above, this increasing to 3900 ohms at 20Hz due to the finite physical size of the output coupling capacitors.

That would not be an optimal match for the balanced inputs of your amp. On the other hand, using the unbalanced outputs of either your present preamp or the Calypso is fine from an impedance compatibility standpoint.

Good luck. Regards,
-- Al

It's a good looking preamp.

If you are looking for a preamp that has XLR inputs and outputs, you might want to know that many products in high end audio, even though they have balanced XLR connections, don’t actually support the balanced standard.
This is true of both the ARC and Aesthetix. As Al pointed out, one of the problems with this is that neither is a good combo with your Bryston on account of the low frequency output impedance. But that’s not all- another problem with not supporting the balanced standard (also known as AES File 48) is that the interconnect cables you use in your system will have to be auditioned for the best sound; IOW you will hear differences between cables, and that isn’t supposed to happen!

The balanced standard is supposed to eliminate interconnect cable differences. To this end, it has a benefit whether the cable is 6 inches or 60 feet.

You can always ask the manufacturer about whether their equipment supports the standard, but one clue that it doesn’t is the use of output coupling capacitors. I don’t know of a topology that allows for their use. The reason is that part of the standard is that ground (in other words, the shielding of the cable, pin 1) is ignored. Instead, the signal travels as a twisted pair within the cable, so the shield is only used for shielding and **not** signal current return. When there are signal currents within the shield, then the construction of the cable gets a lot more critical, i.e. the cable itself becomes audible, which defeats one of the intentions of the balanced system.

There are high end audio preamps out there, even tube preamps, that support the standard and have XLR inputs and outputs, and further are fully balanced from input to output.

FWIW, the Calypso is a way better preamp to my ears than the SP6!

I have an Aesthetix Calypso paired with an Atlas power amp. Great combination. No idea how it will match with your current power amp.

It may be a better match than the AR 6b.

I've owned a Calypso and currently own the Calypso Signature.  Both units have provided many years of trouble free musical bliss.  

I agree with the Aesthetix praise. I upgraded my Io to partial Eclipse version. Bliss indeed.

I have the Callisto partial eclipse and like it better than the Janus or Calypso.  I am considering moving to the IO for phono, but I don't have the room for a four chassis solution for pre.  I already have the mono atlases so I am lean on space.  I would suggest a Janus sig for bang to bucks.  Enjoy the music!

@elf1: I have the Calypso Signature and find it to be everything I need as far as the connectors go, (almost) as well as the sound.  It, as others do, it has a muting circuit, which puts it into standby mode as soon as it’s powered up.  The only thing it doesn’t have that I wish it did is xlr outputs for the tape monitor.  I’m using all balanced cables, except for the tape monitor, which I use for my subs. It’s very clean, dynamic with plenty of gain steps.  The balance control is very handy, as there are both LP’s and cds that I will occainsionally need to adjust slightly.  For a company called Aesthethix, the remote is a little cheesy looking.  As with any tube amp, the end sound, will be greatly influenced by the tubes you use.  It also has an illumination control, for dimming, or turning off the led read outs.  The top opens up for tube rolling, by simply lifting it up.  No tools required.  I’m pushing a couple of Krell monoblocks and the combination gives me all the slam I couled ever want.  Great midrange and highs too.  I’m very happy with mine.

 I’m using all balanced cables, except for the tape monitor, which I use for my subs.

If I'm reading this right, are you saying that the tape output is controlled by the volume control? If not, then you would have to adjust the subs every time you changed the volume??

@atmasphere :  That is correct. I find older LP’s or cds that were not produced well, need different amounts of sub volume. I have my two JL Fathom113’s connected to a separate preamp, so I can adjust the gain, if need be. I read a blog today, that recommended coming out of the main output, to get better sound. I haven’t tried that yet, but that may be too much going into the Sony I mentioned. It’s great having control of the subs gain using the Sony. 

@atmasphere  I may have not been specific about the subs. I keep the frequency roll off the same, I just adjust the gain.  I don’t have to adjust the volume that often, but can’t imagine not having complete control of the volume.  

@handymann So you have a *different*  preamp for the bass?
I think you would be better off running the sub off the main output, if the Aesthetix will support it.

The bass issue is understandable- I seek out original pressings on the older LPs, just because bass gets lost as more and more pressings are made. The liveliness of the recording suffers as well. That's why the original press often goes for more $$$. I think in cases like this tone controls might be helpful- for example when Mercury bought the recorders from Everest, they found an error in the EQ curve that causes the bass turnover to be off on a 6db slope starting around 100Hz. That's why Everest recordings can sound so great except for the bass. I think a similar thing happened with Westminster.

Interesting reading - experiences of Aesthetix gear that resemble mine.

mountz - yes Callisto has been on my list also, but there is a limit to how many tube-filled boxes I can have in my system - have to draw the line somewhere. So I use an Einstein The Tube mk2 one-box preamp which does a good job in many ways, even though I suspect that the Callisto and some others - like Atma-sphere MP1 - would do an even better job. I have a pure tube system, and the Einstein is tube too, except for the solid state power supplies - and this has a bit of negative impact. Not much, but some.

handymann - recording LPs remains a bother, even with the Io and Einstein, to get the best output, I have to change cables. The Einstein (unlike the Io) has a tape loop (tape in/out) but it is single-ended (RCA plugs) only. The balanced output (XLR), ordinarily used to the amps, sounds better. The Einstein engineers confirmed this to me. Thereby, I either have to split the XLR out signal (dubious, have not done it), or change cables each time I want to record. Very "purist" but not convenient. I remember years ago when I had a Revox A77 ready; just do it... 

Subwoofers? When I paired Aesthetix source components with OTL amplification and bought a speaker system tuned to this, I sold my Velodyne DD18 (the last in a long line of sub integration attempts), and have not looked back. The Audiokinesis speaker system I use consists of four speakers, and none of them go down as far as the DD18 did, but called and collected, used as a unit, correctly placed in the room, I get most of what I had, and without the problems of the sub.

@O_holter: I have yet to connect my calypso, using the main outputs for my subs. Just never think of it, until I’m listening, then too caught up in the moment and the drink. Coming out of my tape monitor, I use an adaptor from rca to xlr, then go into my Sony,( another adaptor) so I can have remote control over the bass. The Sony has a parametric eq, which helps me find the right level of bass. Im heavy between 60-200 hz, depending on the lp or cd. Some need an extra boost, where others need hardly any at all. Most of the time, when I turn my mains off and hear only the subs, they’re very subtle. I still like the control of adding bass, if I want it. I’m pushing two JL Fathom 113’s. Over kill for my room, but like the larger drivers.