No mods for this preamplifier
by Ernie Fisher
This is my second look at a ModWright preamplifier and,
it seems, the more refined model in the company’s
line of products, which include the previously reviewed
SWL9.0SE, and a phono stage, said to be one of the better
units around. Dan Wright, the company’s principal
and head designer, has been around for a few years and
became quite famed for his modifications to certain digital
components. I received the LS36.5 shortly after my heart
surgery — about two years ago — and I’ve
had the unit in my house for a few weeks. Still recuperating,
I just listened to music, hoping that its healing power
would speed up my convalescence. It did, and finally I
decided to actually write this evaluation now — the
end of August 09.
Those of you who never heard of the company should know
that Dan Wright, Modwright Instrument’s head, is
a mechanical engineer who turned his attention to audio
modifications for assorted digitalia first, and design
and manufacture later. His fist effort was the earlier-mentioned
SWL9.OSE preamplifier, which became an instant success.
I considered it a premium preamp for the proverbial song
and dance.
Appearance
The new model offers much the same functions and appearance
as the original. The faceplate is not unattractive and
sports a centered selector knob, a volume knob on the right
and three toggle switches for mute, monitor and home theatre
by-pass. The on/off switch is on the far left. Though Spartan
in its form, the unit’s company logo is a beautiful
design, which I believe is the only hint that there is
something special about it. There is, as we shall see.
The unit measures 17 1/2"W x 12 1/2"D x 4 3/4"H
and weighs 34 pounds, about five or six pounds more than
the SWL9.0SE
The Sound
As I always liked the original SWL9.0SE, I wanted to compare
its performance with the unit under review using the same
back-up components. About three years ago, I stumbled onto
a very musical system combination when I had used the original
SWL9.0SE with Bryston’s flagship 28B-SST monoblocks
(see our archive section for the review). Therefore, I
began my listening tests with another Bryston amp, the
14B SST. This quickly established that my earlier conclusions
regarding musicality held up with the 14B/Modwright combination.
My first few hours with the new preamp didn’t exhibit
a marked improvement over the SWL 9.0SE when I tried it
with the Bryston. When I connected the “old one ” I
listened carefully for elements like imaging, tonal balance,
resolution etc. This proved once more to be a great, very
musical system combination, almost in the same league as
the system with my in-house Wyetech Labs Ruby. Upon connecting
the review model, I found that the fundamental sonic elements
of the SLW9.0SE were also exhibited in the LS 36.5, although
somewhat more conspicuous and more refined. Nevertheless,
the all-round musical essence was almost identical (that
is a good thing). To confirm my initial conclusion, I used
another amplifier, one of the infamous Chinese power amp
renditions. I’m not going to name it, but I will
tell you that its not-so-great sonic character was faithfully
reproduced by the ModWright preamp. Next up I used the
Esoteric Audio Research power amplifier Model 890. With
this amplifier, I experienced what good tube gear is all
about: musicality galore, loads of bass (surprisingly resolute),
highs that can light up a music-lover’s life and
an impeccably clear, refined midrange. All that with great
tonal equilibrium and smooth as can be. After a few days
of listening to this system combination, I went back to
the Bryston 14B SST. The unit had been operating for a
couple of weeks and I could now hear a few additional improvements
over the 9.0SE. Top frequencies had a little extra sparkle,
not hard or annoying, but quite revealing and very pleasant
indeed. Midrange and upper bass energy was in line with
the 9.0SE — too good to be true for a medium priced
preamp. Where the LS36.5 bettered the 9.0SE is the deep
bass area. Low bass was resolute all the way to an organ’s
pedal notes, while frequencies just above (upper bass and
lower midrange areas) revealed the very textures of instruments
performing in these frequency ranges.
Unfortunately, I couldn’t use more than three pairs
of loudspeakers for my auditioning sessions: the new Pioneer
speakers, my own Ethera Vitae speakers and a pair of bookshelf
Monitor Audio speakers. Source components included the
tube EAR CD player and the Audio Aero Capitol Classic.
Wiring by Nordost, Bis and JPS Labs and all compatible
with the ModWright.
Synopsis
Here is a preamplifier that will provide the same sonic
benefits I found in much higher priced units. Its compatible
with a great many power amplifiers and it doesn’t
get in the way of the music signal it’s controlling.
Its sonic signature is not necessarily like so many other
tube preamps — charming, but not puritanical. The
ModWright is closer to the kind of neutrality found in
only the best out there in audio land, such as the Wyetech
Labs, the Hovland, the EAR and very few others. I won’t
call it a puritan’s choice, for it has a sonic signature
uniquely its own. However, the 36.5’s “voice” is
that of a trained artist. It’s enticing, seducing
and ever so musical, which makes it an excellent addition
to any serious audio system. If you wish to step up, this
preamplifier’s performance by a few notches, consider
getting this model with an external power supply. Though
I have not auditioned it, I take for granted that a lower
noise floor and separating the power supply section of
this preamp will further refine its performance. I believe
that the LS36.5 will hold up or outperform most preamplifiers
in its price category and, challenge units at twice its
price.
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| MODELS |
MANUFACTURER |
| ModWright LS36.5 Balanced Tube Linestage |
ModWright Instruments |
| RATING |
CONTACT |
♪♪♪♪
|
Modwright Instuments/Tricell Ltd.
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| PRICE |
$4,995.00 (CDN)
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| Dimensions |
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TECHNOLOGY
The Model LS36.5 employs a few design changes, improved
parts and different tubes than the SWL9.0SE. It features
one set of XLR balanced inputs, four sets of RCA inputs,
two sets of RCA main outputs, one set of RCA tape outputs
and one set of XLR (balanced) outputs.
This time around the unit employs two 6H30 “Russian
Super Tubes” with a tube rectified power supply.
Gain is ~12dB; input Impedance is 50Kohm; output Impedance
is 110ohm; frequency response is from 20Hz to 100Khz +/-1dB;
noise level is a surprising -125dB.
The power supply is choke loaded and B+ regulators provide
discrete constant current.
The gain stage is pure Class A, and features the cathode
bias 'Mu'* gain/buffer stage with zero feedback. The power
is sequenced whereby the mute delay turns on with soft
start to improve tube life.
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