Inputs: Six Line Level (One XLR - Five RCA)
Outputs: Five Line Level (One XLR - Four RCA)
MFR: 5 Hz - 200 kHz Minus 3 dB
Noise: - 100 dB
Gain: 10 Volts Peak
Input Impedance: 47 kOhms
Output Impedance: 50 Ohms
Size: 1 3/4" H x 17" W x 8 1/2" D
Weight: 10 Pounds
The InnerSound preamp has been in my system for two months, and I have been
reminded of why I got into this hobby in the first place. This simple preamp
eliminated the focus on gadgetry that has dominated my life for the last ten
or so years. I downloaded the user manual (White Paper) before I actually
received the piece. It was shorter than the warnings about electrical
hazards, and disclaimers, for many of the devices currently in my system. I
was able to make it function without actually having the booklet close by to
refer to. It did its job right out of the box, allowing me to focus simply
on the source material and the pleasant experience of “Listening”.
I did not have to run around my room with a sound meter to determine if I
was getting the “Set Up” right. There were no levels or crossovers to
adjust, and there weren’t any modes to configure. The preamp allows me to
adjust the output level and the individual input gain. (I used the sound
level meter to determine if my listening levels were similar for comparison
with my other equipment.) I connected four cables to the inputs and two
cables to the outputs, and once power was applied I was done. It was less
than three minutes. It took me nearly three hours to get all of the
interconnects properly configured for the last piece of equipment I moved
into my system.
InnerSound chose to bundle the Home Theater Master remote control as the
remote for their new preamp. I think that this was an excellent choice. I
use the same remote in my current system. It is functional and reasonably
intuitive; my whole family can operate it. The remote is well laid out, and
is preprogrammed with a lot of device codes. I was able to program it to run
both my Marantz CD/LD player and my Toshiba DVD player in minutes.
This is a very powerful remote that will operate up to eight components and
includes the ability to have four Macros for sequential operations. Be aware
that it can be reformatted or reset to default by the proper combination of
button pushes. I discovered this one day as my two year old actually did it
right before my eyes. (I thought that he was simply carrying it across the
room to me, but he was randomly pushing buttons the whole time and “BINGO”.)
InnerSound has also included some specific decals for labeling the remote
once you have put it into service so the buttons are more easily identified.
This is a nice touch, and I feel that it indicates the importance that this
company places on the relationship they have with their customers.
The appearance of the InnerSound preamp is very clean. The lines are simple,
and the switching is accessible without protruding from the faceplate. It is
an elegant piece of equipment without being flashy. The display uses blue
LEDs, which seem to be the color of choice for many of the latest
components. The preamp is not very heavy, but it feels sturdy, while fit and
finish are excellent. The preamp is available in both silver and black which
will allow you to blend it with most other component lines.
The piece is very thin, and while space is usually at a premium in most
systems, I would have liked a bit more room to make connections on the rear
panel. I have big fingers, and some of my interconnects have large diameter
ends. (Bad combination for small spaces, but it was no more crowded than
most high density processors or home theater receivers.) The RCAs were very
tight, and it was apparent that raw component tolerance (fit) was important
to the manufacturer.
My listening room is 12’6” wide and 23’ long with a ceiling height of 10’
for the first 12 feet and 9’5” for the remaining 11 feet. My front speakers
are 7’ 10” apart and 24” from the front wall, and they are 34” off the
floor. I was not using a subwoofer with any of the selections. I used the
RCA unbalanced connections for all listening.
I started off listening to the stereo tracks of some very familiar concert
DVDs, including the "Music for Montserrat" benefit concert and "Stop Making
Sense", by The Talking Heads. These are pieces that I am really familiar
with in both stereo and multi-channel. I was listening with the output set
in a range of 50 to 75 dB, C weighted. I was listening to the audio portion
of the DVD with the video section of my system shut down to eliminate visual
cues from affecting the development of the audio image.
The sound stage was very involving, and the lack of a center channel was not
apparent. Without the visual cues of the video, the center soundstage was
full and articulate. Stereo imaging was excellent and the sound was clear. I
usually judge impact based on the ability of even familiar passages to raise
goose bumps. The InnerSound preamp did that without missing a beat. Tone and
timbre were precise and rich, as they were intended to be when recorded. The
InnerSound preamp added to my system by adding nothing at all, except gain.
I moved on to some favorite female voice with Carol Sloan ("The Real Thing")
and Diana Krall ("Love Scenes"). Both women have very dynamic voices with
very good lower tones. It was almost luxurious to feel in attendance as
Diana ordered us to “Peel Me a Grape”! Carol Sloan’s tracks were also a
pleasure with her version of “Makin’ Whoopee”, one of my favorite renditions
of this song.
For me, female voice with lower range is one of the tougher things to
reproduce well. While I understand that it is not the job of the preamp to
do this in a system, my system sounded very good with the InnerSound Preamp
I moved on to some southern fried blues and guitar with R.L. Burnside’s
"C’mon In". All of the fun and flaws of this recording were right in
face as the nearly out of tune guitar of the senior, and the very good
drumming of his grandson, poured out of the front of the room as if I had
rolled up their garage door in Mississippi.
The subtle beginnings of Revel’s "Bolero" were easy to hear, even at very
low volume levels (50 dB -55 dB), and the movement of Clapton’s fingers was
audible to the point of distraction throughout the unplugged version of
"Tears in Heaven".
The InnerSound preamp uses a volume control knob that drives an
optical-comparator circuit. I will not try to explain this in any way shape
or form other than to say it is smooth and very precise. The details are in
the white paper, and technically they make sense. I have to say that having
lived with digital volume controls for the last seven years, it was nice to
be able to raise or lower the volume just that last little bit.
I am not going to tell you that there were overwhelming improvements to what
I refer to as my daily driver of a system. The setup of the room and the
equipment that we have there are an excellent sounding combination. I think
the simplification of the signal path between the source and the transducer
is always a good thing. If the room and speaker combination are properly
matched, the source components and the switching become even more critical.
On the Bench (JEJ)
The measured frequency response using the XLR connections is flatter than
with the unbalanced RCA input (graphs shown below), but both are within
spec, at least as high as we could measure.
Using XLR and a 1 kHz input sine wave signal, and adjusting to have the same
output levels, the measured THD was higher with XLR than it was with RCA,
but the noise floor was about the same.
With 11 kHz and 12 kHz input signals, there appeared to be more IMD with XLR
than with RCA. Notice the 1 kHz peak (12 kHz minus 11 kHz = 1 kHz) in the
XLR graph vs. the smaller one in the RCA graph.
With this preamplifier, I would suggest using the RCA input rather than XLR.
The InnerSound preamp certainly provides a clean signal path, and its
performance is excellent for both output level control and switching. There
was not any audible crosstalk or induced noise with no input supplied at
full output. This is a well made high performance stereo preamp. It made me
wish that I had transports with the D to A conversion that it deserved. If
you’re looking for a device at this price point, which is high, but not
absurd given the performance, it would be worth the time to listen to this
piece in your system. The only shortcomings that were apparent were the
result of my aged analogue sources and the quality of the D to A conversion
at that point.
I used the following equipment while evaluating the InnerSound Remote
Marantz LV 520
B&K AVR 202
Triad In- Room Gold Loud Speakers
Vampire Wire Continuous Cast Copper Interconnects
Canare’ 4 S 11 Speaker Cable
Innovative Technology Transient Suppression
Radio Shack SPL Meter
- Brett Johnson -
I have a couple of comments you might find useful. First, the unit is light
because the chassis is made to the highest possible quality standards. This
means that the chassis is 100% machined and anodized aluminum. As a result,
it is light. This is an advantage when it comes to placing it on another
component that might be unable to handle a heavy preamp.
The low frequency response of the unit is limited by the input coupling
capacitor. Like most SS equipment today, the preamp is a differential unit
that is flat to DC. So the bass roll-off is defined by the coupling cap. We
have recently changed this to a larger value so the bass roll-off doesn't
begin until below 20 Hz. Of course, the unit you tested didn't have enough
bass roll-off to be audible in the audio range, but it is good to know that
all future units will have flat bass response to 20 Hz.
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