
Reference headphone amplifier, includes PSU-1 Linear power supply
The Solo Ultra Linear headphone amplifier is Graham Slee's new reference model and boy does it let the music flow. When the band throws everything into the mix the Solo Ultra Linear headphone amplifier doesn't lose the plot.
At last, this is a headphone amp that does away with the sharp glaring edginess so common in today's other models. It replaces this with all the music - all its scale, power and emotion. However one chooses to define "all the music", the Solo Ultra Linear headphone amplifier does it that way!
So what's the Solo Ultra Linear secret? Well, there are many, but one is that distortion remains consistently low throughout the audio spectrum. Why? Because its bandwidth is exceptionally wide before the application of "negative feedback". Solid state headphone amps use negative feedback as a fix for distortion as well as noise but also to widen bandwidth. However, all this succeeds in doing is adding "glare". The highs also affect sound at bass and mid frequencies because leading edge of a note is fast - if the highs are distorted much of the fine detailing in the bass and mid frequencies is lost. By improving on distortion linearly throughout the entire audio band the sound stage comes alive as you've never had before.
Another one of the Solo Ultra Linear secrets is greater input linearity: usually a solid state amp cannot take much input signal before it is overdriven when it distorts badly and copious amounts of negative feedback have to be applied to correct it. What you end up with is restructured music that doesn't quite hit the spot. Some claim "no negative feedback" but if that were the case all you'd hear is distortion!
Like most headphone amps, the Ultra Linear is basically a pair of transistor assisted op-amps, but these feature one of the best output stages ever designed. As authored by J L Linsley Hood, it remains the most musical of output stages and is class-A. To these we add our proprietary open-loop bandwidth widening technique and the difference is staggering.
Those who can recall the valve sound, or who listen using what I term a real valve amp, will be able to relate to this...
Valves sounded warmer but not over-warm - they rendered the bass much more naturally in a much less restricted way than solid state.
The valve scored in the presence band (what's now called midrange) communicating the feel of the music so you didn't have to try to get into it.
The highs sounded much clearer - not edgy - so you could easily discern between similarly sounding instruments
But mainly they made music something everyone enjoyed - families would gather round the valve set, listen, hear and enjoy, but I never saw that with solid state. The main thing I recall is being drawn into the music and being able to picture the images being painted in my mind. The valve always "told the story" better!
Good valve amps are pricey but solid state can be made much more affordable - wouldn't it be great if we could make it work?
Various arguments have been put forth as to why solid state cannot do the valve trick and the internet carries numerous points of view - some quite forceful, but still no solution. However, we touched on it to varying degrees with our earlier phono preamps but didn't fully understand how. In a way the Era Gold V and early Reflex phono preamps were almost there, with customers and reviewers suggesting they had valve-like qualities.
The Ultra-Linear technology is the result of two years almost solid research, exhaustive development and testing. We researched how to mimic all the valve’s characteristics to improve our products. What we found was that a number of op-amps (integrated circuits) could be made to perform just like valves - discrete transistor circuits being far less predictable. Graham Slee's products with Ultra-Linear technology feature significantly wider bandwidth (they go to higher frequencies) before negative feedback is applied - just like the best valve amps. What a breakthrough - valve sound at less than high-end prices!
We call this innovation Ultra-Linear because that was the tag used to describe the great performance of the best sounding valve amps that first made their appearance in the mid 1940's. These techniques vastly reduce the phase modulation distortion and linearity distortions that are hard for solid-state audio designers to perceive let alone measure. Ultra-Linear technology will feature in our top of the line products like the Solo Ultra-Linear headphone amplifier. More products will benefit from this new technology including the Reflex, Revelation and Gram Amp 3 Fanfare phono preamps plus the Elevator EXP MC step-up amplifier.
Natural like a valve: solid as a rock!
Graham Slee"
Specifications
- Headphone impedance range: 8 to 2,000 Ohms / 16 to 600 Ohms preferred
- Power output: 32 Ohms: 140mW/channel; 600 Ohms: 30mW/channel
- Input sensitivity (for specified power output into 32 Ohms): 511mV rms
- Input impedance: 37k Ohms at max volume; 50k Ohms at min volume
- Distortion: 10Hz-20kHz: better than 0.04%; 10Hz-1kHz: better than 0.02%
- Frequency response (±0,-3dB) 10Hz - 35kHz
- Output noise: (22Hz-22kHz, quasi-peak/un-weighted) -78dB
- Channel balance: better than 1dB
- Crosstalk: Left to Right -56dB; Input to Input -68dB
- Input selector: -38dB max vol with 2V rms input (ref: 1kHz and 10kHz)
- Output Stage: Bipolar class AB
- Supply voltage: 24V DC unipolar
- Size: (approx.) W: 107 x H: 50 x D: 185 (mm) inc. controls
| SKU | 2476 |
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