Marty DeWulf passed away about a month after submitting this review. His work was always an inspiration to me and it was a privilege to share his thoughts on this hobby he loved so much. RIP Marty - you are missed.
There was a time when two high-end audio companies dominated the conversation and the market regarding tube electronics. In the 1970s, Audio Research and conrad-johnson were the first, last and every word when it came to valves. There were other small tube manufacturers around, but they were basically garage-based start-ups, poorly financed with minimal budgets and little business savvy. It was a world populated by solid state and companies carrying the flag for “modern” transistor designs. It seems ironic that back in the 1970s when transistors were so predominant, they sounded their worst… the format was much less than mature.
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Thumbing through a current audiophile publication today, whether it be online or in the pages of a magazine, tube products abound. They come with names from companies I’ve never heard of before, and from faraway places. Go away for a few years and the scenery changes drastically… I feel so old. Fortunately, I’m still friends with @taww, who sends me stuff to listen to and write about. When I first talked to him years ago he wasn’t a fan of tube gear. If I recall, he thought valves to be totally inaccurate and euphonic sounding. [Okay, maybe that’s a little harsh, but yes I strongly preferred solid state accuracy.] I too, was a solid state guy. The dynamic range, frequency extension and clarity of modern solid state electronics have had me on their side for many years. But then, I heard the Monarchy M24 tube DAC and saw it as a true head turner with its tube section. [So did I! I bought my Monarchy NM24 review unit and it was my reference DAC for years, tubes and all.]
The Monarchy wasn’t the first great tube product in my experience. I’d reviewed a tube preamp from Musical Designs that was a budget wonder, and over the years I’d heard a number of Audio Research products that seemed to bridge the gap between reality and sonic illusion in palpable ways. [Don’t forget Audible Illusions and Joule Electra, I remember you liked those too.] Some very fine tube products had served to weaken my wall of valve resistance and solid state preference, so much so, that I would eventually purchase an all tube preamp from SAS, as did fellow BFS writer Rich Weiner. Still, when it came down to absolutes; dynamic edges, front to back transparency, frequency extension and tonal trueness, my overall preferences always lead me down the road of the better solid state units, the Pass Labs XP10 for example.
When @miy-taww suggested that I audition the tube preamplifier from Valvet certain expectations immediately arose; it’s a tube preamp after all. In certain ways, valves are valves and they behave predictably, especially basic designs such as the Valvet. He gave me a rundown of the circuit employed and the choice of tubes. A picture of the unit’s performance was forming in my head even before my ears had heard it. The Soulshine preamplifier from Valvet (USD $5,890) was unique to me in several ways. Handmade in Germany, its parts selection was insanely high with premium resistors and exotic caps in abundance, all hand-wired with solid-core silver. It looked to be a new interpretation of an old theme.
[Note: An upgraded version, the Soulshine IIz ($8,890), is now available. The original Soulshine reviewed here is still available on order for $5,890 through its US distributor, Alfred Kainz of highend-electronics.]
Design & Operation
A few words about the physical construction of the Soulshine. Like so many quality preamps before it, the Soulshine has a separate chassis for its power supply and control sections. Constructed of thicker than the usual aluminum billet, the appearance is low slung, clean and high tech. I like the way it looks. The front face, following the theme of clean futurism, has a chrome knob for the stepped-attenuator volume control and another for input selection (four line-level inputs, one of which is balanced XLR). To the right of the volume control is a window with numeric volume level displayed with blue LEDs; with one number for both channels, there is no way of setting left to right balance. The tradeoff is one less control in the signal path.
The rear panel of the preamp allows for single ended as well as balanced operation, though @miy-taww informed me that the internal circuit is not truly balanced even when using the balanced connectors. [ On closer examination, it appeared that the inverting half of the balanced signal is referenced to signal ground internally. @miy-taww ] On an operational note, I consistently had to allow the preamp about 30 minutes warm-up time at the beginning of each listening session to obtain its best.
The Soulshine has a remote control for volume changes while its listener is firmly planted in a comfy listening chair. Unlike my last experience with a tube preamp employing remote volume control, the Valvet was quiet, responsive and easy to use. This is the way a remote should be configured – simple and easy to use. The lone problem I had with operating the Valvet came from trying to find the on/off switch…. which took me an embarrassingly long time to find (hint, it’s underneath the power supply).
Sonics
Having a pre-established vision of what the Valvet would sound like before it even arrived, I can now report that my expectations were only partially right. First off, let me mention the output impedance of the Valvet is 400 Ohms. Because of that, the input impedance of the power amp you are using is not going to impact the sonics of the preamp substantially. What I didn’t expect were the results obtained by using amps with high, medium and low input impedances; the preamp performed consistently regardless of the amplifier used. Frequency extremes stayed relatively consistent with each amp used. That was a big surprise. What did change was stage size as I went from one amp to another. With the Pass Labs XA30.5′s lowish input impedance (30 kOhms balanced, 15 kOhms unbalanced), the soundstage was somewhat smaller and a bit laid back. Going up in impedance resulted in a nominally larger stage and slightly deeper bass response, but little else.
Let me talk about the Valvet with the low input impedance Pass Labs amp. I didn’t expect these two products to work well at all, but the combo proved almost hypnotic sounding as my initial auditions with the two lasted far longer than anticipated. The performance with the Pass wasn’t so much like having the instruments and singers in the room, a phenomenon I’ve come to expect with my Pass amp and preamp combo. With the Pass and the Valvet it was slightly more distant, while still being super vivid, substantial and picturesque. It was almost like listening to an aural View-Master. Remember the toy from the 60s? It has two eye holes and a lever to press that advanced a round disc with photos that presented to each eye a slightly different version of a scene, usually outdoors, that resulted in the user seeing an almost unrealistically vivid, 3D, and real appearing vista. The sense of 3D depth was stunning using the Valvet and Pass with dense color tones and detailing that resulted in a reach out and touch it quality, a rare synergy between a solid state amp with a valve preamp. It was like being there, except on a smaller scale, a scale in which reality seemed to fit on a smaller stage. The Valvet preamp with the Pass amp was very much like the View-Master. It had a superbly grainless presentation with depth and dimension galore. I thought about how photos of Yosemite in my View-Master seemed like being there one frame at a time – just smaller. Listening to Red Norvo’s, Forward Look struck me as a less-than-forward look at the performance that was in every other way as alive and dimensionally solid as my old Yosemite View-Master images.
View-Master ad, c. 1955 (source: Santa Barbara Museum of Art)
Dynamics were proportional to image size with good edge and bite, though not to the extent I expect from the best solid state preamps. Interestingly, while large bass and kettle drums when struck with the Valvet didn’t have the visceral punch of my Pass preamp, the Valvet conveyed as much big drum volume as any preamp I’ve ever heard. Going to power amps with input impedances higher than that of the Pass, such as my rebuilt Dayton Wright 500 (75 kOhms), increased the size of the soundstage, brought it forward, while causing the same to be ever so slightly less dense.
Purity. Whereas solid state preamps seem to more easily engender the quality of transparency, sometimes to the extreme, the best tube preamps in my experience have a quality I prefer to call purity. It’s a feeling thing, a sensation that one preamp feels more like “transparency” and the other feels more like “purity.” Yes, that’s a cop out. Then again, I’m not sure I’m capable of defining the two in such a manner so as to come up with a better definition of the two terms. Presently, I use transparency and purity with the understanding that with time, the two might eventually define themselves with some clarity. I fear that the difference in the two terms is more of a gut feeling rather than something clearly tangible emanating from the Webster’s dictionary. Let’s work on this.
Listening to Judy Collins “Send in the Clowns” [Tidal, Qobuz], the Valvet swims in a feeling of humanity - a female life was in the room singing in a form and fashion that highlighted inflection and elemental emotion over power or presence. Not that power and presence were not there, they were, but those qualities were subservient to the sensation of un-hyped reality; a reality formed and fashioned around the sensation of the tangible. It’s a reality that the previous tube preamp covered by me missed in total. The midrange rightness of the Valvet makes all of the exciting details of the music come to the fore, while never seeming to observe the performance through a microscope. Extreme transparency, on the other hand, not only draws attention to itself, but forces the listener, on many occasions, to focus his/her attention on aspects of the performance that are sometimes less than musical. The performance takes on less importance than the sonic fireworks used to stimulate the senses of the listener. Take your pick; the Valvet, though transparent in the best sense of the word, is more pure in its intentions and performance than almost any other preamp I’ve auditioned.
Comparing the Valvet to my Pass Labs XP10 preamp ($5,250 before being replaced by the XP12) resulted in exactly the results one might expect. These two preamps are of unquestionable quality, each passing the signal sent to it as close to perfect as one could want. But they differ, and the careful listener has no difficulty telling the one from the other. I might describe them as saying that where they converge on a singular sound, neither sounds too much like the other; they maintain their individual characters while each seeks a somewhat different though idealized vision of reality. Yes, I’ll give the frequency extremes to the Pass, even the highest highs. Gross dynamics have a small advantage with the Pass also, though it is a minimal advantage. Where they differ, and where the Valvet will have an advantage to some ears is in the area of midrange coherence and that mystery word “purity.” And while the Pass also strikes me as having a high degree of purity in its reproduction, the Valvet goes there in spades, swooping up the listener in a tsunami of musical coherence. The lens of the Valvet is one of musicality, but also of great organic texture, heart and warmth. Now, these later qualities are also found with the Pass - it too delivers a wonderfully picturesque portrayal of the performance - but the Pass tends toward back-of-the-stage “air” and transparency, and the Valvet toward purity. A logical case can be made for either preamp, and I loved listening to both, but I feel the Pass appeals more to my mind as the Valvet harkens more to my heart. Combine the purity of the Valvet with its View-Master spatial qualities, and this preamp conjures up my first memories of auditioning the original SP-10 from Audio Research, so advanced it sounded and how it stood out from other tube preamps I had heard back then.
Conclusion
If you tend toward tube preamps and yet are unwilling to live with some of their greater failings, the Valvet is a marvelous place to go. The price is not unsubstantial, but when compared to some of the more insanely priced products out there that don’t sound as good, this is a fine place to end up. Thanks to Valvet distributor Alfred Kainz of highend-electronics and @miy-taww for allowing me the opportunity to audition this marvelous device.