I've had my ML 27.5 (and ML 23) for about twenty years now, but it has been sitting idle in a cabinet for several years since going all in on Conrad Johnson. For many years the ML 27.5 was fed by a Sonic Frontiers SFL-2 double chassis preamp. Connections were made via XLR cables and the sound was wonderful. After acquiring my CJ GAT S1, I briefly used that in place of the SF pre and it was excellent as well until buying CJ LP275M mono blocks. Remember, if you go CJ for a preamp, you will need the Camac connectors to get the RCA cables to feed into the ML amp.
Recommendation for tube preamp
Hi, all. Initially I was going to ask, which would you rather own – Audio Research LS2B or (BAT) VK-3i? But realized I’m sure there are plenty of other tube options. As you can gather, I’m looking at around $2000 range. It will be driving ML 27.5 amp, which is partly why I’m looking specifically at balanced options. But I guess there’s no harm in using unbalanced>balanced cables? I listen mostly to jazz on vinyl, so I enjoy the details but not to clinical levels where it’s dry. I want warmth. Fine with a phono stage included, but not needed.
Appreciate any insight. Thanks.
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@jlbkmb1958 The tubes we use are 12AT7s, which have two triodes inside a single glass envelope. The input signal is applied through an XLR connection. The input 12AT7 tube is arranged as a differential amplifier. A differential amplifier gets its name from the fact that it only amplifies what is different between its two inputs. So we use the two sections of a 12AT7 as the differential amplifier; the input signal (+ and - of the cartridge) is applied to the two grids. The output of the tube sections is a balanced signal like the input but larger. It directly drives the cathodes of another 12AT7. So the two 12AT7s together form both a differential amplifier as well as a cascode amplifier. Most of the gain we get occurs in this circuit. The two plates of the 2nd 12AT7 then drive the passive equalization circuit; that in turn is applied via a pair of matched coupling caps to the grids of a 3rd 12AT7, also arranged as a differential amplifier. Its output is then connected to the output of the phono section thru a pair of matched coupling caps. To make the circuit work we use a plus and minus high Voltage power supply. No semiconductors in the signal path. You don't need semiconductors to be balanced, differential or both. That quality exists independently of tube or solid state. Our phono section was the first balanced differential phono section regardless of solid state or tube to be in regular production. |
It means resistors and capacitors. NO tubes, transistors, or integrated circuits that require a separate power rail to operate.
@jlbkmb1958 I’m not sure where you got the idea that a balanced phono stage requires solid state components - that’s the first time I’ve ever heard such an assertion. As already mentioned, there are examples of balanced tube phono stages with no solid-state components, and some have been around quite a while! What you will see, in some of those, is a Step-up Transformer to provide extra MC gain. That's another kind of passive component (inductor). |
- 55 posts total