exactly why we ( some of us ) and in industry make own reference recordings and or sponsor same…..
coloration starts with microphone selection and placement…..
yes…there are a few companies chasing accurate…..
What qualities stand out in really good solid state preamps?
Recently I posted on the Herron HL-1, asking people what they thought, how it compared, etc. It's been sold and that's ok. The search continues.
But it raises a question I'd like to ask folks:
What attributes do you look for in a good solid state preamp?
Some qualities — quietness, durability, seem pretty obvious.
But what other criteria do you use to differentiate between solid state preamps?
How can they differ and what matters to you?
Please let me know!
P.S. As I've looked around, I've begun to learn more about some of the legendary preamps — made by companies such as Threshold, Ayre, Bryston, Pass, Apt-Holman, and others. It's good to have these names as references, but it would be even more useful if I knew what these brands conveyed, sonically. I've played with the idea of getting a newer Schiit preamp and then I wonder -- what if there's a "classic" preamp out there, used? What would it deliver that was worth searching for?
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OP…”That sets a benchmark for those sorts of concerts; but does it do for mixed, PA-driven live music, EDM, etc. what it does for acoustic music concerts?”
Actually, if you think about it, by having a true reference for your system vs the real acoustic world… then you have calibrated your system for all music…and it is going to be correctly interpreting music of any genre. Then if it was mastered incorrectly… well, it was mastered with a bias. To get amplified / studio music correct, you would have to reproduce the same electronics / speaker system they were mastered on… and it would only be good for that studio.
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@hilde45 I hope you're able to audition the XP-12. You and I seem to have somewhat similar listening preferences. You mentioned violins as a benchmark and how your tube preamp leaves you wanting more detail and leaves you thinking you're missing some of the top end. I find the same is true when listening to an acoustic guitar with some, not all, tube preamps. And acoustic music, with no amplification and in a great venue, is a great yardstick to use in testing gear. I use a solo acoustic guitar recording, a solo piano recording, both jazz and classical, as well as big bands and symphonic works when I try out gear. A number of people who posted comments have dissed the concept of neutral. A simple view of neutral is that a device (preamp, amp, dac, speaker, cables, whatever) does nothing to change the recording. It's not complicated. It's why people with high quality gear note that if a recording is poor in quality, or vinyl is poorly pressed, they hear all the defects in the recording. It all gets passed through by their gear. The gear provides a very high level of detail and accuracy to the recording. The frequency response is flat, with no emphasis on any frequency. Audible distortion and noise are virtually non-existent. The device plays back a signal that is true to the recording. To me it's much easier to accomplish this with electronics than it is with speakers or your listening room. What matters is what sounds best to you, me or any individual. Our listening rooms introduce anomalies, distortion, reflections, etc. Our hearing does the same. So we can start with great gear and still end up with issues. But the concept of neutral is not complicated. And not everyone likes what I've called neutral. There is a large following on this forum of folks who love the "warmer" sound of some tube gear. I respect that and understand why, as I own a tube phono stage and a tube amp, the latter in a secondary system. But that "warmer" sound is typically not neutral, with an emphasis on the midrange. Everyone should just respect that we each have preferences as to what sounds best. And as others have noted, it is important to consider the compatibility of one piece with another. It's one reason why I think the Pass Labs XP-12 would be a great match for your Pass Labs amp. Pass designs its gear to work together, with preamp output characteristics compatible with their amps' input. Hope you find the solution you're seeking.
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Following your lead, here is a simple view and question, and not too complicated. The XP12, XP22, XP33, each sounds different. And for some audiophiles, the next version is better than the last, and so they upgrade and sell the prior version. -or- If anyone else cares to respond, feel free to chime in - Are the earlier versions less neutral than current versions, and what makes the latest versions of Pass Labs preamplifiers more neutral, or better, or different enough to want to make the next-level-up upgrade?
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