Preamplifiers are the heart of the system.
Nowadays, it
is not uncommon for an audiophile can use DAC to connect directly to the power
amplifier. There are some cd players who can do this as well. But there is
something about having a preamplifier in the system that makes the sound
sublime!
I have used a few preamplifiers in my audiophile life. I
started with the Audio Research SP8 about 20 years ago. Not only was it my
first preamplifier but my first tubed preamplifier as well. From here, I
understood what the hype of tube is all about.
After a couple of years with the SP8, I changed to a solid-state
preamplifier with the Pass Lab Aleph P. Funnily enough, the Pass preamplifier
sounded more valve like than the Audio Research before it. After living with
the Pass for a few years, I went back to tubes again with the Audio Research
LS5 Mk2.
The ARC LS5 Mk2 is unique in that it has only XLR inputs
and outputs, no RCA connection at all, whether input or output. Not a problem
for me even then, as I was already into balanced connection. Another fact about
this preamplifier is that it uses 10 tubes, all 6922s! I am not a guy who’s
into tube rolling. All the 6922s I used are from Electro Harmonix and I have
only changed it once in the 6 years I own the LS5Mk2. The LS5 Mk2 sounded meatier
than the Pass with better definition of the soundstage.
Later I changed this to the Audio Research LS25 Mk2,
which stayed with me for more than 5 years. The ARC LS25 Mk2 was less tube
sounding than the LS5 before it. I expected this because the former used only 2
pieces of 6H30 tubes versus the former of 10 pieces of 6922 tubes in the latter.
I would say that the ARC LS5 Mk2 sounded more old school! The LS25 Mk2 has a
darker background and was cleaner sounding.
Now I own another Audio Research preamplifier with the
Reference 5SE. This is the best preamplifier I have used thus far. The Ref 5SE
uses 5 pieces of 6H30 and 1 piece of 6550 tubes. One thing that I could easily
discern when I replaced this preamplifier with the LS25Mk2 was that the imaging
is much, much more rock solid, not only on the center but the periphery as
well. The tone is much denser and sound much cleaner. Another major improvement
was on the depth of the soundstage which has now become deeper. Layering of the
soundstage has also improved significantly. Everything sounds much more solid. Background
is just plain black, which help to allow the music to breathe through. I
believed this is due to higher amount of power supply in the Ref 5SE. Well, the
Ref 5SE is packed to the rafters with capacitors. It also has 2 transformers, a
R core for audio circuits and a toroid for the digital display.
I love vocals and the album from Lau Tak Lai (HQCD cd ISBN
978-7-7984-0884-3) showcases the strength of Ref 5SE. Imaging is first rate. You can feel the palpability not only when the
music is playing but also during the silent moments. Another album I cherish is
Julie London’s Time For Love - The Best Of
Julie London (Rhino Records– R2
70737). The imaging is more there “there”. In track 16, at 1.16 into the song, I
can easily hear Julie trying to clear her throat. You can easily hear the “imperfections”
in the song.
Having said that the Ref 5SE does not only excel
in vocals but also pop and classical music. I listen to Stereo Sound Reference
Record Nobu’s Popular Selection (SSRR5 (TDGD90016)). It’s
actually a selection of pop music chosen by Mr Nobuyuki Fu. Rosanna (Toto) and
Let’s Groove (Earth, Wind and Fire) sounded heavenly. For classical music, my
reference is the Tutti Ochestral Sampler from Reference Recording (RR-906).
My go to track is No.15 (Mussorgsky-Ravel: Pictures at an Exhibition: IX. The
Hut on Fowl’s Legs “Baba-Yagá”) by Eiji Oue conducting the Minnesota Orchestra.
The eeriness that this track brings is easily felt. It should be cause Baba
Yaga is a cannibal!
The Ref 5SE lets you hear good recordings at its best but somehow
made poor recordings more bearable.
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| Audio Research Reference 5SE |
