Preamp Deal of the Century

Oh yea, guys above who know about the WE 350B, please educate me: tell me about the various vintages, any difference soundwise, costs justified between them or just crazy collectors for the older stuff, like with the 300B (although there it may be justified...). Thanks, Mark.

did anyone compare this syrah with hovalnd hp100? i wonder?
thanks

Hi Louis...going direct, been there and done that and the results can be very good, but it's not always the solution?

Having gone down the direct/passive route and then to the Supratek Cortese and Cabernet preamps, I have to agree with Jazzdude and ASA that a preamp brings something to the performance of my system that recreates the musical event significantly better than without it! Like Jazzdude says, the Cortese does something extra that brings the music to life! The texture and tone of instruments and voices become liquid and seductive with a nice three dimensional bloom (with no loss of detail, either). It is not a euphonic sweetening or an 'additive' thing - the music just sounds more correct, more real through the Cortese, it draws you into the music rather than have you analysing it ( as you tend to do with passive/direct devices).

ASA has indicated that once you get a VERY GOOD preamp like the Syrah or Cortese, it becomes the fulcrum/centrepiece of your system (I've used the word 'pivotal' in previous posts). I can't really listen to reproduced music without my Cortese/Cabernet, if I take the Supratek out of my system the whole soundstage collapses and becomes flat and one dimensional.

Also, in going direct from the cdp volume to the amp you are assuming that the power amp sounds 'perfect'. In my experience this is not usually the case. The synergistic result and nuance a good valve preamp brings is NOT a small thing. Particularly, if you use a solid state amp which usually needs the help of a valve preamp to sound nice and add the right tone, texture and upper harmonics to the treble that only valves can bring. I do acknowledge however there are some exceptions in the s.s camp such as the little Pass Labs Aleph 3 (which I've got) that has valve-like virtues, but even this tonally correct sounding amp is 'synergistically assisted' by the Supratek pre's.

BTW, the Supratek power amps are just as good as the preamps. I use a pair of the 18w/ch Single Ended Triode 'Merlot' monoblocs using the very linear Russian 6C33C-B output valves, and the amp is excellent! being very clean, ethereal and correct sounding. You have to match them with efficient spkrs though to get the best out of the 18w that they produce, but then again the same can be said of the Lamm ML2 and Audionote Ongaku, which are also 'ultimate' low powered SET amps. If you need more power and have the requisite $$$$$, then the 100w/ch Supratek Burgundy sounds fantastic too...

Regards,

Steve M.

PS: In case you are wondering, I have in the past gone direct from the cdp to amp direct via the cdp's digital volume. And, I have used the McCormack - Mod Squad Deluxe passive preamp with silver wire and Penny & Giles attenuator; an Audio Synthesis stepped attenuator and other passive attenuators and NONE are as lively or real sounding as a good valve preamp like the Supratek.

Stevem1960 - You touch on a very important point that the "no" preamp crowd would do well to consider. The "no" preamp scenario presupposes several things. That the audiophile has a very good poweramp that he likes, that the source has enough voltage to drive the poweramp, that the source output impedence and poweramp input impedence match well, the poweramp has enough gain, and that the output stage of the source is up to the job. I truly believe that with the right preamp, the interaction between source and preamp and between preamp and poweramp can create a system whose sum is greater than the parts. For me the cortese is that preamp.

Another of the great things about the cortese is that the subtle variations of tone from the instruments really comes out. I am digging my jazz recordings all over again. Sax's don't just breathe more but you get some of the harmonic decay just like in a live performance. And guitar, wow! Buddy Guy, Lee Ritenour, Wes Montgomery, Jeff Golub, all sound kickin. I find myself sometimes playing just favorite parts of recordings so I can soak up the tone.

Dynamic contrasts were missing from any of the several passive pre-amp or cd direct to amp systems I have heard over the years. Dynamic structure and texture along with the jump factor were never present in any of the previous mentioned systems. I certainly want to eliminate any coloration of the circuit whether it appears to be a pass thru or an active line stage. A well implemented gain stage's voltage swing should accurately track the ebbs and tides of a live performance all the while being transparent.
For me this is the most satisfying presentation of the real performance..Emotion....Tom