Suggestions for a holographic preamp?
I'm looking to replacing my Herron Audio tube line stage with something else, not because of a problem with the sound, but for a few other reasons.
I do both digital and analog, and have a Herron Audio tube phono preamp. My power amp is an MSB S-200, which is awesome, and my speakers are Marten Parker Duos, which are wonderful for a deep, holographic soundstage that I like so much.
I listen mostly to rock and reggae, and I'm looking to keep the price under $10K US, and I'm fine with a used one as well.
I get the feeling that I will need a tube preamp to get that holographic sound, but perhaps there are some SS ones that do as good a job?
The fellow I work with at The Music Room suggested a ModWright LS-100 or a used PS Audio BHK preamp; I've researched and they both look like they'd fit the bill, but I'd like to hear your suggestions, too!
@atmasphere - Wow, thanks for all that great information! And yes, I was leaning towards a balance preamp as well, so it can take advantage of the balanced XLR output of my DAC. Is there some spec I should look for to see if it supports that standard? |
A Post follows that was made in 2019. " In his Positive Feedback review of the EAR-Yoshino 868L line stage pre, the reviewer made the statement that, though the 868 provides XLR jacks for balanced operation, the pre-amp circuitry itself is single-ended. Designer Tim deParavicini in his manufacturer reply corrected the reviewer, stating that no, the 868 is a true balanced design. It is a commonly-held understanding by audiophiles and semi-pro hi-fi reviewers that a true balanced amp by definition has doubled parts. As atmasphere just said, that is a misconception and misunderstanding of what balanced is. A pre-amp can have single-ended circuits yet be true balanced in operation. The real concern in any piece of gear is how the balanced inputs/outputs are implemented. In the EAR 868, Paravicini accomplished that goal via transformers. In his Music Reference RM-200, Roger Modjeski does so with a resistor network. Companies with lower standards typically create balanced inputs/outputs with the dreaded opamp, and with the expected sonic compromise. A higher retail price does not necessarily buy one balanced ins and outs NOT created with opamps. If possible, inspect the schematic of any piece of balanced gear you are considering buying, to see how it’s balanced connections are created, and if they conform to AES48. " The Following is the Industry Info that can be investigated. https://www.aes.org/publications/standards/search.cfm?docID=44 |
@pindac - I checked out that link, and they've got those documents, but you've got to buy them. If it was electronics stuff, I wouldn't know what I was looking at anyway. I don't mind 'coloration' - I usually quite like it; I'm more interested in how the music makes me feel than how accurately it reproduces what the producer laid down. @laaudionut - I might just do that; he might have some kind of solution to accomplish a remote muting functionality; I'm sure he's been asked about it before. |
sweet speakers and amplifier! i suggest my current preamp- the two chassis Cary Audio SLP-05 if you want a truly spatial sound stage. no matter which amp I have used with it over the years it never fails to deliver a huge top to bottom side to side sound stage with detailed cues of the location of musical elements in space. there are many NOS 6SN7 tubes you can swap as well as NOS GZ34 tube power rectifier. All class A triode design with ultra low noise from the 2nd chassis power supply with premium R-core transformer. The sound is also incredibly energetic and dynamic. |
