Hi Terry. It is really hard to analyze the differences since it has been so long since I have had the RVC and the BENT AVC. I guess what I love about the Lightspeed is that the soundstage is huge in width and depth, localization is specific and does not drift, and the timbre of trumpet and sax seems extraordinairily accurate, and the body and weight, and snap of acoustic bass is so real. I am not sure what image density means, is it the same a palapable? The sense that the sound is coming from a 3 dimensional instrument? In that sense the Lightspeed has image dimensionality. I wish I had the RVC here for comparisons, but I can tell you that when I got your Placette Active, in that case I immediately preferred it to the passive (that is one heck of a good preamp). I think what the LS brings that perhaps a TVC and AVC cannot do, is provide this sense of a transparent window - much like OTLs versus Transformer tube amps - (less haze, noise, gunk - real harisplitting here)into the musical space. Even without gain and all that, a TVC and AVC surely adds alot more wire between source and amp. I am going to be comparing the LS against my Joule and Atma-sphere preamps for the next month or so - truth is I do like them all. What blows me away is that for $450 delivered, it competes with anything I've heard, and if you are on a budget and $5,000-$10,000 preamps are not on the agenda, you could, and should, live happily with a system based on the LS with the right amp and speakers, ofcourse.
Slagle AVC Modules & Lightspeed Attenuator
Recently I’ve been fortunate to be in possession of two excellent passive preamps that won’t break the bank, in fact far from it. The following comments are based on some observations I made when listening to and comparing the Slagle Autoformer Modules to the Lightspeed Attenuator. While both are passive preamps, they use different designs. Both were built with separate volume controls per channel. For the Slagle Autoformer Modules this is standard and for the Lightspeed it was a custom feature. The cost for each is approximately $450.
My intent is not to make this so much a review, but to provide some comparative notes for others to use. I have professed my preference for passive preamps many times in these forums and feel in the right system, obviously one that is passive friendly, they are the best choice if one is looking for a simple design that offers a high dose of purity, dynamics, transparency, and neutrality.
The Slagle Autoformer Modules are a joint design between John Chapman of Bent Audio and Dave Slagle of Intact Audio. The design uses autoformers to attenuate the signal, but with a custom board that eliminates the need for excessive wiring. In addition, each module (two are required for stereo operation) uses a unique dual volume switch. The first switch offers 11 steps with 3.75db increments. The second switch provides 3 positions with -1.25db, 0 db, and +1.25db settings. Overall using a combination of the switches attenuation is from +1.25dB to -41.25 dB in 32 steps. For more information on the design go here:
http://intactaudio.com/module.html
The Lightspeed Attenuator is designed by George Stantscheff and is basically a resistive passive design with a twist. The uniqueness of the Lightspeed's design is that there are no contact points in the form of a "wiper", as is the case with other passive designs (resistive and transformer) that use a potentiometer or discrete stepped attenuator. The key components in the Lightspeed Attenuator are Silonex NSL-32SR2 Optocouplers. The optocoupler device is a sealed unit that consists of a high performance LED that shines on a light dependent resistor (LDR) thereby achieving proper attenuation. Since the optocouplers require a power supply the Lightspeed does require the use of a power plug. For more information on the design and how it works go here:
http://www.diyaudio.com/forums/showthread.php?threadid=80194
http://diyaudioprojects.com/Solid/DIY-Lightspeed-Passive-Attenuator/
Optocouplers are not new to preamp designs. If I recall correctly Melos was using them long ago in one of their active preamps and Dartzeel uses them too. Nelson Pass has also published a schematic that uses optocouplers in an active preamp design.
Ever since John Chapman reintroduced the TAP-X passive preamplifier using Dave Slagle's autoformers I've been hoping to try it out. Unfortunately I never got the opportunity, but John did build a couple of Slagle Autofomer Module prototypes (single input, dual output, single ended RCA) to play around with, stuffing them into a Bent Flex chassis, and I was able to get my hands on one of these via John and Dave.
I had already had the Lightspeed Attenuator (single input, single output, single ended RCA) for some time now and compared it to my JRGD Capri active preamp as well as an Audio Consulting Silver Rock TVC. The former comparison was done in my system while the latter was done in a friends system. I have already commented elsewhere in the forums as to how the Lightspeed Attenuator fared against the Audio Consulting Silver Rock, but to reiterate it certainly held its own and in my opinion was slightly more transparent and neutral than the Silver Rock. It just seemed to get out of the way of the music a bit more so than the Silver Rock. Otherwise, price aside, all things were pretty well equal. In comparison to the Capri, the Lightspeed showed that the Capri had a tendency to err on the side of warmth. The Capri provided slightly more punch in the lower frequencies, but all told it wasn't missed much when I swapped the Lightspeed into the system. Both units had excellent top end extension, but I would give a slight edge to the Lightspeed here.
I received the Bent/Slagle Autoformer Modules a few weeks ago. I have been rotating the three preamps in my system since I received it. Over the last week the Capri was removed entirely and the focus was on comparing the Bent/Slagle to the Lightspeed Attenuator. I was hoping that the comparison would be similar to the one I did previously with the Audio Consulting TVC in that it would be pretty evident as to the differences between the components. However, this would not be the case. The Bent/Slagle and Lightspeed Attenuator are very difficult for me to differentiate. They are very close on nearly every level: transparency, neutrality, frequency extension, and noise. Overall, I would have to give the Lightspeed a slight edge over the Bent/Slagle, but there is something seductive about the Bent/Slagle that also makes it an enjoyable piece of equipment and I feel fortunate to have the both.
So there you have it, a couple of passive preamps that are fairly inexpensive and whose performance in my opinion is high end. They’ll be alternating in and out of my system for the near future. Now if I can get a balanced version of each that might make for some more interesting comparisons.
My intent is not to make this so much a review, but to provide some comparative notes for others to use. I have professed my preference for passive preamps many times in these forums and feel in the right system, obviously one that is passive friendly, they are the best choice if one is looking for a simple design that offers a high dose of purity, dynamics, transparency, and neutrality.
The Slagle Autoformer Modules are a joint design between John Chapman of Bent Audio and Dave Slagle of Intact Audio. The design uses autoformers to attenuate the signal, but with a custom board that eliminates the need for excessive wiring. In addition, each module (two are required for stereo operation) uses a unique dual volume switch. The first switch offers 11 steps with 3.75db increments. The second switch provides 3 positions with -1.25db, 0 db, and +1.25db settings. Overall using a combination of the switches attenuation is from +1.25dB to -41.25 dB in 32 steps. For more information on the design go here:
http://intactaudio.com/module.html
The Lightspeed Attenuator is designed by George Stantscheff and is basically a resistive passive design with a twist. The uniqueness of the Lightspeed's design is that there are no contact points in the form of a "wiper", as is the case with other passive designs (resistive and transformer) that use a potentiometer or discrete stepped attenuator. The key components in the Lightspeed Attenuator are Silonex NSL-32SR2 Optocouplers. The optocoupler device is a sealed unit that consists of a high performance LED that shines on a light dependent resistor (LDR) thereby achieving proper attenuation. Since the optocouplers require a power supply the Lightspeed does require the use of a power plug. For more information on the design and how it works go here:
http://www.diyaudio.com/forums/showthread.php?threadid=80194
http://diyaudioprojects.com/Solid/DIY-Lightspeed-Passive-Attenuator/
Optocouplers are not new to preamp designs. If I recall correctly Melos was using them long ago in one of their active preamps and Dartzeel uses them too. Nelson Pass has also published a schematic that uses optocouplers in an active preamp design.
Ever since John Chapman reintroduced the TAP-X passive preamplifier using Dave Slagle's autoformers I've been hoping to try it out. Unfortunately I never got the opportunity, but John did build a couple of Slagle Autofomer Module prototypes (single input, dual output, single ended RCA) to play around with, stuffing them into a Bent Flex chassis, and I was able to get my hands on one of these via John and Dave.
I had already had the Lightspeed Attenuator (single input, single output, single ended RCA) for some time now and compared it to my JRGD Capri active preamp as well as an Audio Consulting Silver Rock TVC. The former comparison was done in my system while the latter was done in a friends system. I have already commented elsewhere in the forums as to how the Lightspeed Attenuator fared against the Audio Consulting Silver Rock, but to reiterate it certainly held its own and in my opinion was slightly more transparent and neutral than the Silver Rock. It just seemed to get out of the way of the music a bit more so than the Silver Rock. Otherwise, price aside, all things were pretty well equal. In comparison to the Capri, the Lightspeed showed that the Capri had a tendency to err on the side of warmth. The Capri provided slightly more punch in the lower frequencies, but all told it wasn't missed much when I swapped the Lightspeed into the system. Both units had excellent top end extension, but I would give a slight edge to the Lightspeed here.
I received the Bent/Slagle Autoformer Modules a few weeks ago. I have been rotating the three preamps in my system since I received it. Over the last week the Capri was removed entirely and the focus was on comparing the Bent/Slagle to the Lightspeed Attenuator. I was hoping that the comparison would be similar to the one I did previously with the Audio Consulting TVC in that it would be pretty evident as to the differences between the components. However, this would not be the case. The Bent/Slagle and Lightspeed Attenuator are very difficult for me to differentiate. They are very close on nearly every level: transparency, neutrality, frequency extension, and noise. Overall, I would have to give the Lightspeed a slight edge over the Bent/Slagle, but there is something seductive about the Bent/Slagle that also makes it an enjoyable piece of equipment and I feel fortunate to have the both.
So there you have it, a couple of passive preamps that are fairly inexpensive and whose performance in my opinion is high end. They’ll be alternating in and out of my system for the near future. Now if I can get a balanced version of each that might make for some more interesting comparisons.
77 responses Add your response
I have found this thread very interesting based on my own experience with passive preamps in the past. As Pubul57 knows, since he purchased from me the Placette buffered, I went from this great resitor based passive to John Chapman's TVC based Tap unit. Loved how the TVC sounded in my system and went on to write a review here on the GON to share what I thought were its sonic virtues. As Paul mentioned already on this thread, factors such as cabling, gain, and impedance can have a dramatic effect on the performance of a passive linestage in any system. So, my following comments of course our in the context of my system. However, at least five other audiophile friends have come to the same conclusions in their systems which are very different then mine. The clarity/transparency, the microdetails, natural timbres, if feed by the right source, rank with the best in the world regardless of cost. But I always, regardless of which passive I had in my system, noticed two very important shortcomings that become apparent over time and in comparsion with great active linestages. 1) The depth of my sound stage was shortened to a great degree and overall their was less image density without as much air around individual players. 2) Paul, had mentioned some were either on this thread or another on passives that people claimed that passives lack macrodynamics and he questioned what did they really mean by this statement. When I first got interested in passives I two found this negative comment often stated and yet felt that there was extension on the bottom end with good kick and power. What I'm now aware of is a deficiency I would not label as macrodynamics, but what I would call the PRAT factor. Very subjectively stated it's as if the "aliveness" of my system dramatically decreases and it makes it harder to get into the music regarding pace and rhythm. It's pretty dramatic in my system compared with an active linestage, the overall musical perspective sounds like my system as gone to "sleep". So, here's my questions regarding the Lightspeed piece, is their any reason to believe that George's passive would not have the same short comings I have found in other passives? If it would address these concerns, what would be the explanation how/why it would do this? A final question for Paul, it's very apparent your a great fan of the Lightspeed, would you share details regarding why you think it is much better then the Placette or TVC's that you have experienced before. Thanks in advance. |
Ah, that's what the weekends for:) You may have to come out with a audio jewlery version (you can call it Signature Edition, Special Edition, or Deluxe I Really Mean It MKII). of this for $3,000 so people can believe how good it is. No difference inside, just more bling and weight (20lbs should be convincing) to justify the cost:). Like my Merlin speakers, this is one piece of gear I will not be selling, unless you come up with a better way, but in 35 years, I imagined you have sorted this out pretty well already. |
George, I am considering getting the Atma-sphere amps as well. The one sticking point is that they work best in balanced mode, although they do provide a single ended input as well. So while I understand the reasons very clearly and have read some of the experiences of others who have tried to DIY a balanced design, I still wish a balanced version were available. BTW - do you remember the name of the OTL amp you heard the Lightspeed with? |
Also Paul, wait till you hear the Lightspeed Attenuator with your M60 OTL's. I heard OTL monoblocks 8 x 509 tubes in each with a Lightspeed up their skirts last weekend, I must say it was the most crystalline sound I have ever heard, it reminded me of when I heard Magnat Ionic tweeters on top of double stacked 57 quads for the first time before getting gassed to death. AMAZING!!! Cheers George |
Thanks for the wrap guys, just a note, my prototype that has been powered on 24/7 now for more than 5 years has in fact got dual inputs with a very good gold plated 2amp rated switch the best I could find. Still when I listen test every production Lightspeed Attenuator for a few hours they always sound just that little bit better, this is why I will not do a dual or multiple input, and would rather the customer get a source switching box, this way when you really want to hear your system at it's best to show off to friends, you just go direct and bypass the input switch box, this way you can have your cake and eat it too. Cheers George |
I understand George's reluctance to do more than a single input. You could always try to get a transparent switcher, or just swap cables which is what I do. Yes it is inconvenient, but worth it. I would much rather see George come up with a balanced design. Also, I did not discover the Lightspeed. It came up on a thread here and I just followed the link to DIY.com and perused through the many many pages on the thread. When I got to the part where Nelson Pass chimed in I knew this was something worth pursuing. |
George, it just might be possible the Lightspeed Attenuator is the best preamplifier I have had in my system (and I have had many passives and even more actives). I need to do some more comparisons, but I'm not sure that trumpet, bass, drums, and piano have ever sounded more real. Anthony thanks for finding this thing. The LS with the Music Reference RM10 is one hell of an incredible combo, and for $2,500 for both at list, it is stupidgood. Combine this with some Merlin VSMs or some other great speaker that does not need much power and has smooth impedance and I think you can put this up against most anything out there, no matter how much more you can or are willing to spend. George, the next thing is going to be demand for a multiple input option. |
George, there is always theory and practice, and theory seems to be worth very little compared to how something actually sounds in the real world. Your Lightspeed Attenuator, is extremely good by almost all the "audiophile" criteria, but it just plane sounds wonderful. There much debate about the resitor based and transformer based approach to passive preamps, with most of the Audiogon consensus favoring transformers or autoformers. Roger Modjeski (Music Reference / RAM Labs) one of the best designers on the planet swears by passives (he simply believes no active can be as good as a good passive - obviously, sometimes your system needs an active to deal with cabling, gain and impedance issues and a passive will simply not work)but is also a proponent of the resistor approach - he explained to me why, but is was over my head. Obviously, you have chosen the path of least resistance, what is your view of the theoretical advantages and disadvantages of resistors/transformers? Regardless, your product is exceptional compared with all the passives of every ilk I have tried, and some of the finest active tube linestages made. I'll say this, every audiophile with a single source should try your preamp (under $500 delivered!!) and compare it to whatever they own. Some may not want to believe it, but you really can have world class sound from a preamp considerably cheaper than the interconnect to the amp. |
Anthony, got the LS LDR, I can see why you love it. It, with a Music Reference RM10 is what I would recommend to anyone starting out looking to spend $2000 or so for a preamp/amp combo, in fact it is what I would recommend to someone wanting a great system with no desire to upgrade in the future. You reviewed the product, and I have nothing to add other than to say I agree. |
I am actually rewiring a Bent/Slagle AVC right now. It came with single input/two outputs. Switching it around. The new circuit board John and Dave designed makes this real easy. Check out the new models Dave is rolling out: http://intactaudio.com/atten.html |
Here is some information from the manual: A couple of do’s and don’ts, the Lightspeed can be left on continuously. When not being used leave the volume control at half volume (12 o’clock), this let’s the LED/LDR packages inside operate at half level, this means instead of them lasting 25 years they will last 50 years. The Lightspeed uses a double regulated power supply, the wall wart that is supplied is linear 12dc regulated, 300mA centre pin positive, please only use the same and not switch mode wall warts. At 300mA this is enough to drive 6 x Lightspeeds. There is a secondary 5vdc regulated supply within the Lightspeed itself. Allow the unit at least half an hour to stabilize at half volume before any serious listening when first powered up. Hope this helps. |
Well better late than never. I appreciate the comments and information. To update everyone I'm using both in my system simultaneously now. The Lightspeed handles the phono and Slagle the digital. At some point I may send the Slagle out to be rewired as two input/one output. That will make things a bit easier for me. I think my Slagle modules have the Elma switch. I might investigate the Shallco. With the Lightspeed the design eliminates the volume switch from the equation so a cheap switch can be used with no detriment to the sound. |
Huh, I missed this review too. I've been using the Slagle autoformers for some time now, and find them wonderful - transparent and unfailingly musical. One nice feature of an autoformer is that you can overcome the inherent problems of transformer and resistive based passives in regard to frequency anomalies introduced through impedance and capacitance mismatches. One thing I recommend (though this may be moot with the introduction of Dave's circuit board-wired modules which eliminate over 100 point to point solder connections) is that you should utilize the best switch you can afford when wiring the autoformers - I use a 24-position Shallco switch with John Chapman's remote stepper motor interface. It makes an appealing retro "ca-chunk" sound that catches everyone's ear. Now, I'm also thinking of trying one of Dave Slagle's custom matched phono SUTs. Anyone with any experience? -Richard |
I'm surprised that no-one has commented upon your review, as I feel these are the two best passive volume controls in existence. Thank you for taking the time for posting this info. It reflects the same conclusion I have come to in regard to transformer volume controls vs optocouplers. In the end, I decided upon optocouplers for volume control at the 'grid stopper' position of the input tube. Removing that last resistor in the signal path has allowed the optocoupler volume control to surpass the TVC without reservation. |