YNWOAN
100% Analogue
A little background
Many moons ago the well known British amplifier manufacturer Naim made a series of half-width pre-amps and in particular were models named the Nac32, 32.5 and 72. Time and Naim moved on but the popularity of their half width (shoebox) pre-amps remained. Part of this eternal popularity is down to the performance provided but a significant part is down to the modular nature of the design. If you slip off the outer sleeve (easy to do once the four feet are unscrewed) you will find a mother board filled with smaller boards all standing on edge and pushed into connectors. Removing these small boards couldn't be easier and in recent years a number of small specialist manufacturers have started to make replacements for these boards with a view to upgrading the overall performance; this really is electrical modification for those who know nothing about electronics or soldering - all you need to do is pull out one board and replace it with another (the position of the connector pins is unique to each type of board so you can't put them in wrongly). If you want to reverse the modification it's the work of seconds, not even minutes. Anyway, the most recent creator of these improved boards is Kit Ryan, designer and owner (and everything else) of Ryan Sound Labs. He takes the basic Naim circuit, adds greater regulation (a Naim hallmark), better quality components - many of these are surface mount types, and improved functionality and layout. Initially sceptical I was an early adopter of Kit's replacement boards (full details can be found on his website http://ryansoundlab.com/index.php?main_page=index&cPath=1) - to cut a long story short Kit's boards totally convinced me and I've been using them ever since. Now, Whilst Kit still makes replacement boards for Naim's 'shoebox' pre-amps, he has developed an entire pre-amp and this rambling introduction is to introduce my review of that very amp!
So, what is it exactly?
The pre-amp retails direct from Ryan Sound Labs for US $2,350.00 (circa £1,900.00 depending on the exchange rate). What you get is visually not unlike a Naim 'shoebox' design in that the pre-amp consists of two half-width cases - one is the main pre-amp and has the volume control, input selector etc., the other box is the power supply and can be placed remotely (a one metre long umbilical cable is supplied). Both aluminium cases are similarly styled in a very smart satin black anodised finish with pale grey lettering and logo. Four inputs are available and, true to Kit's modular roots, these can be configured by changing the internal function boards to customise the pre-amp as the owner wishes. In this 'modern' age most pre-amps are line level only and if you want to play a record you are expected to buy a separate phono-stage. The RSL pre-amp is unusual in that Kit makes both moving magnet and moving coil boards (easily configurable for different cartridge loading) that simply plug in to place. As such, you can choose to have four line level inputs or have one, or two, of these configured as phono inputs; no need for a separate phonostage or the extra box count that entails. One other nice touch is that the volume control is remote controlled, as is a mute function and a mono function - lights on the front of the pre-amp indicate which function is selected and the whole thing operates very nicely. The turned aluminium controls have a nice solid feel to them and the remote still works from ones pocket - in fact you don't even have to be in the same room and the pre-amp could sit out of sight in a cupboard most of the time. Round the back are a bank of good quality gold plated RCA sockets (I believe silver are an option if requested) and locking DIN connectors. The selection of input and output options has been very cleverly chosen to offer the maximum compatibility with Naim equipment and more mainstream devices - those not using DIN connectors in other words.
Times Change
Though the Ryan Sound Labs pre-amp shares a lot in terms of functionality, modular circuit design and basic layout with Naim’s ultra flexible 72 pre-amp, the similarities stop there. Whereas Naim’s 72 couldn’t be more of its time, tantalum capacitors, frequency limited outputs and simple by the book voltage regulation the RSL pre is awash with modern design touches and a parts selection that is bang up to date. Kit has spent a significant amount of time tuning the psu layout, component selection and indeed the choice of regulation devices. I’ve had several revisions of the main psu board during the time I’ve had the unit on test and he’s made significant inroads with each revision ending up with a pre-amp that is both supremely quiet and capable of playing loud and complex without any signs of stress. Though usually applicable to power amps the RSL pre-amp genuinely has the quality of an iron fist in a velvet glove.
Power
Any amp is only as good as its power supply, after all they are all just modulating the mains power with the music signal to give you a perfectly scaled version of the original input. Kit’s choice of attenuator topology, power supply and remote control all come together with first rate circuit layout to create a very quiet pre-amp. Naim’s older pre-amps are known for having audible transistor roar with the volume turned up and Kit’s pre-amp offers all the character and versatility that these amps are so loved for but without the old fashioned component choice and inherent noise. The power supply isdesigned to work with its matching pre-amp but can also be used to power other Naim amps and, by the same token, any other power supply intended to work with Naim amps (like Naim’s own Hi-Cap) can be used with the RSL pre-amp. At the back are a bunch of locking DIN connector that offer very good connection flexibility and the on/off switch. On the front is just a small blue LED to tell you it’s working and other than a smart satin black faceplate and subtle RSL logo that’s it.
The Sound
Of course there’s much more to a pre-amp than just nice casework and a good signal to noise ratio and this is where the RSL pre-amp really delivers. In normal guise the 72 has great rhythm, real toe tapping ability, but it tends to haze over bass detail and that can affect sound staging negatively and lack a little subtlety. The RSL pre-amp has a muscular grip on the music; it flatters poor recordings and highlights the strengths of the best recordings. Bass detail is very good and control over the lower octaves is as good as whatever source proceeds it and power amp that follows it. It’s a clear window on to acoustic bass and cello that builds on the body of the instrument and the texture of the strings. It also truly makes the most of kick drum and floor toms giving you a real sense of in room presence. Bass guitar takes on a beautifully resolved quality where you can focus on both the quality of playing and the sound of the recording chain from microphone all the way through to studio trickery and mastering. Listen to the eponymously titled debut album by the XX and the bass strikes you with its precision and depth – but there is a lot more to it than just speed and power, there is texture and a subtlety of tone often missed. Turn to the soundscapes of Dead Can Dance ‘Into the Labyrinth’ and the bass rivets you with its intoxicating blend of stygian depth and ethereal atmosphere.
The mid range is similarly expressive and particularly well balanced against the bass. There’s no favour or fervour here, just open-handed honesty and the most accurate portrayal of texture and timbre. If I had to provide criticism of the RSL pre-amp that would only be that it gives away a little in terms of portrayal of acoustic space to the best pre-amps that I’ve heard, but at this price that’s hardly a criticism. Listening to ‘Alright’ the second track of Keaton Henson’s latest album ‘Kindly Now’ and the sense of intimacy is almost embarrassing such is the intensity of this anguished song. Once again the RSL pre-amp impresses with its grip over the temporal and the delicate timing of this track really strikes home. Voices and instruments are strongly focussed and project well, complex strands are seperated out and competing notes are treated as seperate entities rather than melding into a sonic mush.
Conclusion
Overall the RSL pre-amp punches well above its price point, it has flexibility and upgradeability in spades and enough inputs and outputs to satisfy all but those with a desire to use it with a multi-channel set-up. If you already have a Naim ‘shoebox’ pre-amp and are looking for a smaller jump then Kit’s plug-in cards offer a huge slice of the sound quality and insight into your music collection that the RSL pre-amp delivers while taking a smaller slice out of your wallet. If you’re looking for a turn-key pre-amp that will fit in to any single ended stereo hi-fi then the RSL pre-amp is highly recommended.
Disclaimer
Well there's nothing much to disclaim really as I have nothing whatsover to do with Rylan Sound Labs or its head honcho Kit Ryan. I was sent this unit to try as I was an early adopter of Kit's 'Music Power' plug in boards - next week the pre-amp will be leaving me and is going to the next person on the loan list. If you wish to be added to that list contact Kit by email and I'm sure it can be arranged. Just for absolute clarity, I have not received any payment or favour for writing this review and Kit has not been made aware of the content prior to publication.
If you are interested it's worth checking out my 'First Impressions' thread too as it has loads of pictures and some background - follow this link http://www.audioflat.co.uk/phpBB3/viewtopic.php?f=7&t=597
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