This is a great preamp by any measure and should work well with most any amp. The 645's ribbons and cones sounds totally integrated when using this preamp (neat trick). The minor harmonic problems are gone, it no longer sounds like it favors the highs over the lows it is all coherent now. The DMC30S doesn't sound "fast", just utterly effortless all through the range. The music seems to come from a background of open air, neither black nor white, just open. The background is utterly silent (the original version had a sort of slight HF "dither" sound to it on complex passages) but not in the way that the Bryston is silent the Bryston presents the music from a "black" background, but the Spectral now presents it from a.best way I can put it is a "clear" background. If you like your bass to "bloom" into the room this is probably not your cup of tea. This is more of a taut bass, but one that carries the tension of music well. But uppon putting in my bass standards I found the DMC30S to be deep and even explosive in the lower reaches. The pacing of music was light and agile, to the point that I was afraid that the bass was compromised. I almost felt that I could freeze the note and turn it around to look at it from all angles. And yes, the highs, the place I thought that there could be no improvement, were vastly improved. At no point does this pre ever sound like it is straining. Music with crashing cymbals and sawing fiddles is easily laid out on the soundstage with no apparent effort. The ability of this preamp to unravel complex mid-range and high-frequency information while complex bass is also happening, is nothing short of amazing. Violins were sweet yet had rich overtones with again that extention into the accustic space. Drum sets on my Louie Bellson disc could dynamically explode into the room. The strings sounded like real strings with rich overtones and the accustic decay into the accustic space was spot on. The upright bass on the Red Rose disk had the right height,depth, and weight.
Tonality is now there (bass tonality was where the DMC30 was originally quite a bit weaker than the Bryston BP25). I still have the shivers from just thinking about it.Īccustic bass instruments on the same album were now more coherent in placement and harmonic make-up. Patricia Barbers voice on "Ode to Billy-Joe" was real, with inflection and shaping to the vowels and consonants that I never before heard on either tubed or SS gear. At the 1hour and 10minute mark it all just suddenly "snapped" in. It was really starting to show me something, vocals were getting more intimate and the bass was filling in. At the half-hour mark it was opening up and relaxing. Even though the factory told me not to even listen until it had an hour warm up on it, I could not help jumping the gun. In the first half-hour of listening I was mildly disappointed sure it was quiet and fast sounding but there was no magic. What a strange hobby we think we are at the peak, that there is no where else to go, then the bloomin' factory shows you that there is more yet to achieve. Well,as far as I was concerned there was not much that they could have done except to improve the bass some. I was told that the improvement would be amazing. Manufacturer URL: Spectral Manufacturer URL: Spectral
Spectral dmc 6 preamp update#
Model: DMC30 "S" update Category: Preamplifier (SS) Suggested Retail Price: $1200 for update Description: Solid State Line-level preamp with balanced modules.
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