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Lightspeed Attenuator - Best Preamp Ever?

The question is a bit rhetorical. No preamp is the best ever, and much depends on system context. I am starting this thread beacuase there is a lot of info on this preamp in a Music First Audio Passive...thread, an Slagle AVC Modules...thread and wanted to be sure that information on this amazing product did not get lost in those threads.

I suspect that many folks may give this preamp a try at $450, direct from Australia, so I thought it would be good for current owners and future owners to have a place to describe their experience with this preamp.

It is a passive preamp that uses light LEDs, rather than mechanical contacts, to alter resistance and thereby attenuation of the source signal. It has been extremely hot in the DIY community, since the maker of this preamp provided gernerously provided information on how to make one. The trick is that while there are few parts, getting it done right, the matching of the parts is time consuming and tricky, and to boot, most of use would solder our fingers together if we tried. At $450, don't bother. It is cased in a small chassis that is fully shielded alloy, it gets it's RF sink earth via the interconnects. Vibration doesn't come into it as there is nothing to get vibrated as it's passive, even the active led's are immune as they are gas element, no filaments. The feet I attach are soft silicon/sorbethane compound anyway just in case.

This is not audio jewelry with bling, but solidly made and there is little room (if any) for audionervosa or tweaking.

So is this the best preamp ever? It might be if you have a single source (though you could use a switch box), your source is 2v or higher, your IC from pre-amp to amp is less than 2m to keep capaitance low, your amp is 5kohm input or higher (most any tube amp), and your amp is relatively sensitive (1v input sensitivity or lower v would be just right). In other words, within a passive friendly system (you do have to give this some thought), this is the finest passive preamp I have ever heard, and I have has many ranging form resistor-based to TVCs and AVCs.

In my system, with my equipment, I think it is the best I have heard passive or active, but I lean towards prefering preamp neutrality and transparency, without loosing musicality, dynamics, or the handling of low bass and highs.

If you own one, what are your impressions versus anything you have heard?

Is it the best ever? I suspect for some it may be, and to say that for a $450 product makes it stupidgood.
pubul57
georgehifi's avatar
georgehifi
10,312 posts
 
Darkmoebius
As we all know, it is almost impossible to know which component is "true" and others are additive, or subtractive(except for truly bad components), unless one was present for the actual recording session. As to knowing what is the "true" amount of soundstage width or depth on a myriad of recordings, I think that would be an impossible task.
In reality, any preamplification is probably "truest" if it helps bring the listener a deep emotional connection to their music within the context of that listener's musical preferences and system/room acoustics. Nothing else should matter, in the end. Darkmoebius



Thought I'd chime in on this one being the manufacturer of the "Lightspeed Attenuator".
Hi Darkmoebius, welcome to the discussion, you used the magic word "truest" twice in the above reply. Having not yet heard one for yourself, can I make a suggestion to get the "truest" idea of what pre/amp passive or active is "truthful" to the original recording.
Plug your CD player or dac directly into your poweramp "this will be a perfect impedance match" As you have no volume control, first off play something that is low in level to gauge how loud it will be, doing this you are playing the "truest" form of cd/dac playback you can possibly get. Then slip the Lightspeed or any other pre active or passive back in adjust for the same level, and you will see and hear which one is "truest" to the source.
Cheers George
pubul57 OP
3,712 posts
 
Sounds like the Bolero Test by Arthur Salvatore, which also concludes that if ANY active linestage sounds better than a passive there is an impedance mismatch and the system NEEDS a an active stage. In his view, there is no better connection between a source and amp than the direct connection, and then a passive preamp. Hard to think that all those beautiful tubes in an active tube preamp does not bring beauty and flesh, etc - but it does not seem that any of that is actually in the recording (as the direct connection makes perfectly clear).
darkmoebius
900 posts
 
09-06-10: Georgelofi
Plug your CD player or dac directly into your poweramp "this will be a perfect impedance match" As you have no volume control, first off play something that is low in level to gauge how loud it will be, doing this you are playing the "truest" form of cd/dac playback you can possibly get. Then slip the Lightspeed or any other pre active or passive back in adjust for the same level, and you will see and hear which one is "truest" to the source.
Great point, George!

I actually did this years back with a borrowed Museatex Bidat when comparing my TVC to some active pre's I was considering. The Bidat(300ohms/3.5V RMS max) went directly to an Art Audio PX-25(180k/700mV/6wpc) SET amp driving Cain & Cain IM-Bens(~95dB/8ohm). Obviously, I preferred the passive route.

But, it did pose a problem playing vinyl w/ low output cartridges. I needed the extra gain of an active preamp or a phono pre with a lot more gain.
pubul57 OP
3,712 posts
 
So it seems that true to the source (or at least to the output from the CD/DAC with no impedance mismatch)has to be the standard and that any alteration caused by even the most expensive and sophisticated active preamps is an alteration having nothing to do with what is actually on the recording, not part of the music as recorded, and yet there is an enormous contingent of folks who swear that the passive approach is missing something (staging, PRAT, warmth, etc)that the actives, especially tube actives, provide. But logic seems to dictate that whatever is being heard through the actives simply is no part of the recording, it is coming from somewhere else, a distortion of the signal seems to be the only thing to call it. Any yet, many seem to prefer it, but true to the source it cannot be, or so it seems. Now maybe it is a matter of not being able to take the truth, and pleasant alterations are what people prefer. Ken Stevens of CAT once said he wanted his preamp to have the sound of water, no coloration, clear, transparent. The Lightspeed seems to meet that goal, as long as gain and impedances are what they need to be, if they are not, than an active is needed or the "direct connection" won't work. I do know it is hard to accept that a "simple" attenuator can possibly be better than a 50lb, $10,000 preamp full of stuff, and there is nothing in the LSA nearly as endearing as a NOS Amperex tube.
georgehifi's avatar
georgehifi
10,312 posts
 
09-09-10: Darkmoebius But, it did pose a problem playing vinyl w/ low output cartridges. I needed the extra gain of an active preamp or a phono pre with a lot more gain.
Darkmoebius

Strange? I have lots of Lightspeed Attenuator customers that use vinyl with low output moving coil cartriges, all they have is a good phono-stage like the Tom Evans and then Lightspeed Attenuator directly into their poweramps, and they are at 12o'clock on the Lightspeed for good loud level, with plenty headroom left in reserve, they say it the best they have ever heard their vinyl sound.
Cheers George
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