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Preamplifier functions that you miss

James

James

Lord of the Erg\o/s
In the last couple of decades, preamplifiers have been replaced by line-stages that offer minimal functionality. That is generally fine if you have just line-level sources and don't care much for anything more than source switching and volume adjustment. It wasn't until I got back into cassettes that I realise most line stages won't allow off-tape monitoring when recording another source. My Pioneer C-21 does, but allows only one tape recorder to be connected. I have three 3-head cassette decks. I know I can get a matching U-24 unit to connect three or four record/playback machines but they seem to go for silly money for a passive, unpowered switching unit.

So, what other classic preamplifiers are there that have:

* adjustable load/capacitance phono stage
* tape monitor loop x 2 or more
* balance control or L/R adjustable gain
* mono/stereo switch
* great sound
* appreciating collectability

I can think of the Yamaha C-1 (ridiculous money for a mint unit that is rarer than hen's teeth) and the C-2; and maybe also some of the earlier Audio Research SP variants. I had been looking out for a Dynavector L-200 or 300 to go with my HX-1.2mk2, but I think I can disqualify it for the lack of a tape monitoring loop or two.

What else would you recommend?
 
I'm biased but I'd add a Yamaha C4 to your list , does all what you mentioned plus more . Looks and sounds great ( with a recap ) and most importantly readily available and affordable .
 
As a minimum I want a MM/MC phono stage (ideally with adjustable MM loading, but if not very low capacitance) a proper tape loop (i.e. can do off-tape monitoring) and a balance control. For the latter I’m perfectly happy with dual mono volumes and don’t understand why dual-gang pots seem so out of fashion (dual mono makes for one less thing in the signal path). I also greatly value different output level settings as the input sensitivity of say a Quad 303 vs. say Quad IIs is just so huge one size really does not fit all. Another factor is long-term serviceability, I do not want anything with bespoke chips, computer control etc. Ideally I want something I can easily recap myself.

I’ve been kind of preamp shopping for a few years and it is staggering how few are genuinely useful to me as they miss out some key functionality I need. As such I’ve come to the conclusion my Verdier Control B valve pre is likely a long-term keeper. It lacks some flexibility on the otherwise excellent phono stage (it appears rather high capacitance, and in my specific example the onboard MC transformers hum for some reason I can’t pin down), but hits all the other criteria having a proper tape-loop, dual volumes and five internally selectable output levels and no odd or fancy components that will make future service impossible. It sounds good too, a bit stereotypically valve, but why else would one buy a valve pre?!

PS For my single source digital-only system upstairs (Leak Stereo 20, JR149s) I just use a very high quality dual-mono single input Audio Synthesis ProPassion attenuator. It is all one could possibly want in that system.
 
A Quad style tilt control and sensible tone controls with limited range and that leave 300 Hz to 3 kHz alone.
 
You know what folks...? if someone made something that fulfilled all the above criterion (and yes, I could, no problem) it would bomb cos it's not what the market wants.

1/ Very few people still use tape recorders.

2/ Most would (wrongly) believe that a stand alone phono stage is always better.

3/ Many would baulk at all the switchable options and think it makes it sound worse (it doesn't IF the switches are good quality and in good condition).

4/ Many would think the tone controls just have to mangle the music (nope)

I have never had any use for balance or stereo/mono switches but they are easily added.

VU meters are as much use as a chocolate fireguard on anything but tape recorders. They are otherwise purely a styling thang that would very considerably add to the cost.

Most audiophiles would reject it as not purist enough and as it would be expensive with all those facilities most niche market tape recorder etc enthusiasts would be like "I'm not paying that much!"

:)
 
A remote control version of the 44 with better handling of excessive voltage sources would be very desirable.
 
davidsrsb said:
A remote control version of the 44 with better handling of excessive voltage sources would be very desirable.
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Not to me I'm afraid... really don't like the CMOS switching and the rest of the circuitry leaves much to be desired....

Something very similar but with miniature relays doing the switching and less crude circuitry could be very nice though.
 
No need for shouting.
Analog make switches for up to +/-22V, more than most opamps can take.
With +/-15V supplies you could handle the highest output CD player and even apply 10dB tone control boost.
Better to have an optional input attenuator for these extreme examples as you still want to work with old tuners and want the volume control to have a sensible range.
Designed properly, there is no reason why a solid state switching preamplifier cannot exceed 110dB dynamic range
 
I think there could be some love for a variable loudness dial that some Yamaha amps offered. They are handy to compensate for the Fletcher-Munson curve we all suffer at lower listening levels.

I'm not too sure about VU meters on preamps, even if the mighty Yamaha C-1 has them (as does the Nakamichi 610). They make more sense on power amps and recorders.
 
rhgbristol said:
Quad 44 offered most, if not all of those functions and is appreciating in value
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Of course, when I sold mine for a pittance twenty years ago everyone was then saying it was ‘the worst amp Quad has ever made.’ Perhaps people’s perceptions have been altered by what has come since.
 
Marchbanks said:
Of course, when I sold mine for a pittance twenty years ago everyone was then saying it was ‘the worst amp Quad has ever made.’ Perhaps people’s perceptions have been altered by what has come since.
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Was it said by the guy who only gave you a pittance for it.
In one respect the saying is correct because it is a preamp and not an amp and a very good one at that.
 
I'd greatly appreciate a quality amp that allowed for tailoring of the bass frequencies without touching mid and high range (this to cure the bass boom that I get in my room). Would be much more user-friendly than huge acoustic panels.
Balance control is a must (but luckily most amp have it) since I have a significant left ear/right ear hearing difference.
 
I guess preamplifiers are out of vogue now, but they are actually the heart of most hifi systems. In order of importance, here are my must-haves in order of priority:

- stepped attenuator, ideally with resistor ladder rather than wiper variometer.
- three or more line-level inputs
- in-built RIAA stage with switchable MM/MC settings
- MM stage with adjustable capacitance and resistance loading
- two or more tape loops, with separate tape out and monitoring switch
- remote control
- balance control
- mono switch
- variable loudness
- tone controls

I'm sure such a preamplifier exists ...
 
disco said:
Was it said by the guy who only gave you a pittance for it.
In one respect the saying is correct because it is a preamp and not an amp and a very good one at that.
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No, it was frequently stated at the time. Like so often in hifi (and many other fields) it only takes a couple of influential or forthright opinions to sway a large number of other folk - and suddenly a flawed view becomes a commonly accepted fact. Then years later there is a ‘re-evaluation.’ Not that I’m complaining - the same phenomenon enabled me to pick up my Radfords for little money in the 80s.
 
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My Exposure 19 in my main system has two buffered tape outputs which I couldn’t do without. I use them to output sound to my two other systems in my living room and 3 season porch. The source is either my turntable or airport express.
 
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