General Asylum: REVIEW: Plinius CD-LAD Preamplifier (SS) by John C.

Preamble

For some time now I have been waiting for the opportunity to run this unit through its paces, particularly to see how it compares to our Plinius M16L preamp. Well, a unit was finally borrowed and after some hours of careful listening to a variety of music from a number of sources that task has now been completed.

The conclusion: I could detect absolutely no difference in sound between the two units.

Some detail is included in this review but broken up so inmates can focus on the parts of most interest to them. The CD sound is covered in depth in the light of the CD-LAD nomenclature, implying it is designed with Cds in mind. Incidentally the LAD stands for "line amplifying device".

How the Comparison was Conducted

Some time ago I had a RCA switch box constructed with gold terminals and high quality relay switch. This can switch between two stereo A/B inputs to give the one stereo output. It is controlled by a 24 volt power pack with switching between inputs A/B simply performed by turning power from this pack to the switch box on or off. This enables a long switching power cable to be run from the equipment to the seating position for quick A/B selection. This arrangement does not interfere with the audio chain.

Difficulty Encountered

One problem which emerged from time to time, was to have exactly the same level of output from each unit. A couple of times I thought "aha, the M16L is more open" only to discover that relative levels had been inadvertently changed. When levels were restored it was impossible to tell which preamp was functioning. SPLs were double checked with an Ivie IE-10A Audio Spectrum Analyser. If minute level changes can make such a relative difference to the sound I wonder how valid some comparisons are when components can not be A/B'd as quickly as was performed in this case.

Inputs Tested

First a variety of music and speech was tested off satellite. We receive about 40 radio channels off the same satellite that transmits duplication of some free to air TV (for the benefit of folk living in remote locations). The best quality transmissions emanate from our Government broadcaster, The Australian Broadcasting Commission, the ABC, and these radio signals are rebroadcast on FM and AM at various metropolitan and regional locations all around Australia. The broadcasts received are digital so require an encoder box giving analog output. Pay TV satellite services use the same satellite but require hiring a different decoder unit.
The satellite encoder box has two analog outputs so two Kimber Select 1010 interconnects were used, one to each preamp.

Second input tested was from the Burmister CD "Art for the Ear", and contains some of the cleanest audio I have heard from this medium. A Theta Data III player was connected by Transparent AES/EBU Reference cable to a Meridian 861 processor. Gold plated Y connectors were used to connect the two Kimber cables from the Meridian output to the preamps.
Third input tested was analog LP (Dynavector te Kaitora/FR 64X/Townshend) via a Plinius M14 phono amp using Siltech cable to the M16L via the Y connectors and Kimber cable to the CD-LAD. At one stage the Siltech was taken direct to the CD-LAD and the Kimber to the M16 to eliminate bias in cabling. No difference was noted.

Recordings used were two versions of Verdi's "La Traviata" to test the quality of soprano voice in full tilt and then the 1979 English EMI pressing of Muti conducting the Philadelphia Orchestra playing "Pictures From An Exhibition" and "The Firebird Suite".

The Rest of the Stereo Audio Chain

Output from the preamp is fed into a Bryston 10B electronic crossover. Above 300 hz goes to a Plinius SA 250 Mk IV and then to a pair of stacked 10 ft high curved electrostatic speakers made locally by Alan Moss. The lower notes are handled by a Plinius SA 100 Mk III and then to a pair of KEF B139's in large specially designed transmission line enclosures.
It was only when listening to analog that the two Plinius amps were turned to Class A bias and the full potential of this system was realised with the sound opening up and softening the few remaining edges to give spine tingling musical reproduction.

Has the CD-LAD really been Tested?

The purpose of the review was to test this preamp but I'm not so sure this has been achieved. My impression is that both the M16L and CD-LAD are sonically neutral and leave no signature of their own. Thus my comments below are more to do with the software and the system as a whole so please bear this in mind when reading the detail. It is probably more meaningful to those who have the software quoted and I would be interested to hear reaction about this.

Notes on the Sound

Satellite Radio

When first tuned in the ABC was broadcasting a 1972 BBC tape of the Munich Symphony Orchestra playing Mahler's second symphony at a prom concert. This beautiful performance has now been released by the BBC (4022-2) and was so engrossing it was all listened to. Switching between the preamps revealed exactly the same sound - a little tape hiss, some occasional traffic or air conditioning background rumble, detailed resolution of subtle audience noises, captivating chorus work both pianissimo and forte, brilliant brass playing with appropriate bite but no harshness, soaring violin playing with beautiful air and sheen, full resolution of percussion from the quiet tinkle of the triangle to the crash of cymbals, solid soundstage - it was all there identically with either preamp in line.
Other channels were then sampled and exposed a wide variety of software and studio quality but no differences in the preamps. A Mozart piano concerto demonstrated excellent percussive music from that instrument and speech came through very cleanly and intelligibly from all channels with no chestiness or muffling. The popular music fare varied most in quality with some exhibiting exaggerated stereo or repetitive one note thump as an excuse for a bass beat.

The Burmester CD Notes (the same sound using both preamps)

Track 1: Radka Toneff's voice was seductive and clean with excellent "air" to the voice.

Track 2: Pasco de Lucia - percussive hand clapping and guitar string playing very clear.

Track 3: Hans Theessink's voice and guitar playing very clean with a solid bass foundation.

Track 4: Superb massed violin sound.

Track 5: This was the first track found to be uncomfortably forward in sound with the vocal line held solid on top of the deep bass foundation but the singing was so close to the microphone it was overloading and distorting. The music had excellent impact - a little too much for my taste.

Track 6: The saxophone came though as if it was in the room, with air around the instrument and a subtle, effective percussion backdrop.

Track 7: The organ music reproduced as expected. This is where surround sound would have shone but the temptation to use this facility on the Meridian 861 was resisted as inappropriate to this review.

Track 8: Very bright, forward sounding trumpets with the kettle drums and orchestral crescendos contrasted nicely against the subtle & delicate wind playing. No distortion but a very taxing track.

Track 9: The plucked double bass strings were very clear with the saxophone and vocals coming very securely from centre stage.

Track 10: This playing of the Shostakovich Symphony No 9 was more to my liking with a more laid back and sweet sound. Cymbals, piccolo, and trumpets were crystal clear with a good solid orchestral bass line.

Track 11: Again solid bass with a clean guitar sound.

Track 12: A beautiful, wistful violin introduction to some superb singing which, although demanding, came through with excellent articulation.

Track 13 to 15: Impressive sound but not all of the Pink Floyd's music is to my taste. Good reverb but somewhat gimmicky left <-> right soundstage effects on one track but the voices were crystal clear both in the extreme background as well as the foreground vocals. Very clean percussive bass line.

The Analog Sound from LPs

Two different versions of "La Traviata" were sampled to test extreme soprano vocals. Nothing to report except the music reproduced very clearly and was captivating.

The Muti record was listened to in its entirety, and, with amps in Class A mode, was about as convincing and engrossing as home reproduction of orchestral music can be. The initial slight brightness vanished as the Plinius amps heated up.

So Why Buy a Plinius CD-LAD rather than an M16?

When I first heard about this preamp I was puzzled about where it fitted into the hi-end scene, particularly with the latest trend being towards processors which include preamp switching functions.

I guess the answer to this is to offer the dedicated 2 channel audiophile a less expensive alternative to the M16. It has 3 fewer inputs, less flexibility in that it does not allow for easy taping as the M16L does (a feature of the M16L I hardly ever use) but does offer most other worthwhile features such as balanced XLR input for CD, balanced XLR output (it employs 4 line stages to derive true balanced out), chassis isolation switch to eliminate hum from ground loops and a detachable cord for those wishing to substitute. The remote is virtually the same as the M16 but with different functions, e.g. a very useful channel balance. The Plinius remotes are heavy and require allen keys to open to access the batteries, overkill IMHO. I have not included any more detailed description of the CD-LAD here as this is all detailed in the instruction manual on the Plinus website at www.pliniusaudio.com

So, I'm not tempted to trade in our M16L as there is no difference in the sound that I can detect. There may be better preamps around, but I have not heard them. If I was freshly in the market for a preamp I would give the CD-LAD ($2995 USD) very serious consideration unless I required the tape features of the M16L or required the phono stage in the M16.

Bottom line for me is that the test reconfirmed that given good input, Plinius electronics are capable of awesome music reproduction.

REVIEW: Plinius CD-LAD Preamplifier (SS) Review by John C. - Aussie at Audio Asylum