Just to review: an integrated amplifier combines two functions, pre-amplification, and amplification. A pre-amp accepts incoming signals of varying strength–from the CD player, FM tuner, and phono system–and makes the necessary adjustments on the way to the amplifier. Your volume adjustments are made on the pre-amp, too. In theory, a pre-amp should do little more than equalize the signals, and allow you to switch between the devices. In practice, your choice of pre-amplifier will greatly affect the way your system sounds, so it’s worth experimenting with several models before you make a decision.
A good pre-amplifier will cost over $500. You can spend a bit less, but you won’t get much for your money. You can spend many thousands of dollars on a pre-amplifier, and we will cover more expensive models later in this series of articles. For now, let’s have a look at what $1,000 will buy–and for that exploration, I often turn to a long-time favorite manufacturer in this price range, Rotel.
Specifically, let’s explore the Rotel RC-1570 ($999). And let’s have a look at the front and back panels of this pre-amp because we’ll be referring to the various features in a moment. (FYI, there’s a black and a silver model.)
As with any pre-amplifier, you’ll find a power button, a volume control, an input selector, and, on mid-priced models, a headphone jack. This particular pre-amp offers a whole lot more–a trend that is gaining favor. On the left, there’s a USB connector so you can attach a mobile device (an iPhone, etc.). There are a lot of other inputs, discussed below, and there is a visual display that provides a remarkable range of technical information. These features are uncommon, but all are welcome.
In fact, the back panel is the place to go for a clear understanding of capabilities. Let’s take a closer look.
On the left, there are two rows, one for the left and the other for the right channel. First up is the phono input–this pre-amp includes an equalizer for “Moving Magnet” or MM phono cartridges (some pre-amps do, others do not). You can also plug in a CD player, a tuner, and two other devices. All with RCA-type plugs. Then, there’s the output–both via RCA plugs and also via XLR connectors as “Balanced Output” (a different way to connect components that often reduces background noise and adds considerable clarity). There is one Balanced Input pair of jacks, too. There are some additional digital inputs useful for connection to a TV set top box, or a Blu-Ray CD player–in addition to the basic two-channel experience that is the principal purpose of a stereo preamplifier. And there’s more–but now we’re getting way beyond the typical operation of a pre-amplifier. (Perhaps that’s why Rotel refers to this model as a “Control Amplifier”–it does a lot!
It’s easy to get caught up in features, but before we move on, I’ll mention two ideas that aren’t typical of pre-amps, but make this device a pleasure to use. First, the volume control comes with a kind of memory–when you listen to a CD player, for example, it will remember the most recent volume setting, even if you turn the power off. It’s smart enough to recall the most recent setting for each of your devices, so the next time you play a record, it will remember the most recent volume setting for that device, too. Pretty cool! Second, you can attach a USB receiver so that anyone (with a password) can wirelessly connect and play music through your stereo system. Nice!
I am not an engineer, but friends who know audio engineering design are often impressed with the “build quality” of Rotel products. Often (but certainly not always), good design translates into a good listening experience. We can speak of particular transformer designs or the specific qualities of the Wolfson D-to-A converter, but that’s beyond me and most other people. And now is a good time to set expectations: this is not a high-end stereo pre-amplifier, but it is a very good mid-priced pre-amplifier. The difference is explained in a review of this device, and its paired amplifier, by The Absolute Sound, a leading audio journal:
The sonic question for components in this price range is not whether they can produce a fool-you facsimile of the real thing. Unfortunately, barring a technological revolution, they can’t. The more pertinent question, then, is whether they get enough sonic elements right—and whether those strengths are not overly compromised by the inevitable trade-offs—to convey music engagingly. “Engaging” is a word we high-enders use as shorthand for the cumulative effect of a multitude of sonic factors, but I believe that chief among these are the elements that most directly impact musical expressivity. Speci cally, I look for good timing, tonality, and dynamics.
As someone with a similar system in one room of my home, and a bona-fide high end system in another, I can attest to the difference. That said, listening to the RC-1570 is a pleasure, especially when paired with the RB-1552 Mk II Stereo Power Amplifier, and the sister CD player, the RCD-1570 CD Player. Each of these components costs $999–add a good turntable with an equally good cartridge for another $500 (the Rega RP1 with a Rega Bias 2 phono cartridge is on sale for $445 from Audio Advisor). And you’ll need loudspeakers. Total system price: about $5,000, but if you needed to come down a bit, I would probably cheat on the CD player (a $500 unit from Cambridge Audio or NAD would probably be fine.)
Gee, does that sound like a lot of money? We’ve only just begun. For most people, a $999 dedicated preamplifier is a major step forward, the beginning of a serious two-channel stereo system. And yet, $1,000 is considered a modest investment in high quality sound. As this series of articles continues, we’ll get into more costly gear. In fact, the next article, which is about power amplifiers (or, if you prefer, amplifiers) will begin to explain the virtues of a larger investment.
I should mention that Rotel makes an even more versatile pre-amplifier, the RC-1590. The step-up adds a lot of features and technology. See it here.
Be sure to explore more than one pre-amplifier. You’ll find different features and a different sound. One of the most popular is the Parasound Halo P7 7.1, which costs $1,699 and comes with a very wide assortment of RCA and XLR inputs and outputs. The phono input accommodates both a Moving Magnet and a Moving Coil cartridge. There are home theater capabilities, too.
If you’re seeking something simple–fewer features, more of a focus on sound–you’ll likely jump up into a somewhat higher price range, and you’ll be encouraged to explore the various advantages of tube vs. solid state pre-amps. Again, a topic for another day.
The youthful exuberance is gone, the social awareness is increasing, the production is slicker by 1969’s “Stand” — “you’ve been sitting much too long—there’s a permanent crease in your right and wrong!” – “there’s a midget standing tall, and a giant beside him about to fall!” It feels a bit dated, a golden oldie, a solid memory but the controlled chaos and the crazy audio production is a thing of the past. From the same album (called Stand), there’s “Sing a Simple Song” and “Everyday People”— probably the group’s high water mark— and both of those songs bind the no-holds-barred past with the glossier, socially consciousness future. The same album’s “Don’t Call Me Nigger, Whitey” (same lyric, “Don’t call me whitey, nigger”) is a sincere push toward revolution.
The turnaround story begins, as it ought to begin, with a pitch from a creative professional to a producer. The two remarkable people in this particular scene are Public Theater producer Joseph Papp and choreographer-director Michael Bennett. Reidel: “Bennett arrived at Papp’s office at the Public Theater carrying a bulky Sony reel-to-reel recorder and several reels of tape. He had nearly twenty-four hours of interviews with Broadway dancers. He thought there might be a show somewhere in those hours and hours of tape. He played some of them for Papp. After to listening to the recordings for forty-five minutes, Papp said, ‘OK, let’s do it.”
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