I have had many good sounding amps in my day but this one has soul! Really is an excellent amp for the money and then some. The guys at PS Audio should be proud of this one and special kudos to BHK. This will be my last amp! I have had many; such as Audio Research (all tube), Classe, Linar (Canadian Class A operation using Mosfets), and the list goes on, over my 50 years of being an audiophile!
This amp is special for is uncanny ability to deliver tone. The harmonics that make up all the frequencies that produce the tonal range, that allows for differentiations of hearing the subtle differences of the same kind of instrument, made by a different manufacturer or person. Different violin or piano manufacturer, for an example. This is amazing performance and truly what I mean that this amp has soul!
Mostly, what I am trying to say is, I love this amp.
Well said… I used Constellation amplifiers before buying the BHK amps… The BHK amplifiers are effortlessly natural and just so musically engaging… Wait until you hear the BHK preamp with the BHK power amp !!
Yes, I was thinking about that. It never ends. I’ll just stay with my Audio Research MK25 II for now. Don’t want to give the wife anymore ammo, if you know what I mean.
Those Constellation amplifiers are also, very special.
I started with the 300 mono’s, and was well-pleased with that undeniable sense of “soul” that you have so well identified. I, too, have had some great amps in my systems over a lot of years, and I can honestly say that these amps could be my last - - they just match my speakers so well.
So, my dealer convinced me to try the preamp, too, saying that he actually felt it was the strongest of the BHK offerings. I tried it and I sold my VAC Ren Sig II, because the Signature preamp offered better clarity and a greater sense of palpable texture and tonal “rightness” to the music - - soul! I guess I’m saying: gird your loins for the onslaught from your significant other, and give that preamp a try! You will not regret it (sonically, at least).
The PS Audio BHK Sig preamp sounds like a must own. My only reservation is it’s lack of a tape loop, which I’m sure, there is a work around. I’ll have to keep it in mind as a serious consideration, but not today. I love this hobby and it is all very addicting, without a doubt, when your passion is for the music and it’s reproduction.
I mostly listen to analog although I do have a SACD player, that is quite musical. I also use a 10 in. reel to reel tape deck that has all upgraded signal caps. This is a wonderful hobby for sure and their are so many very good pieces of equipment along with great works of music to enjoy! Thanks for all the replies.
A Tape recorder needs to have both an input and output from the preamp, which is referred to as a tape loop. I have a reel to reel which is a Tape recorder, consequently I require a tape loop on my preamp. Hope that answer’s the question.
You are describing a simple set up where you simply want to record the preamp’s output and to separately be able to play what is recorded on tape. All you need is a Y-cable on the preamp’s output to use as the recorder’s input. When playing back the tape, simply pick any preamp input.
If you mean a tape monitor, the BHK preamp does not have one and there is no work around other than a separate box. A tape monitor switches the signal going to the speakers between the source (phono, CD, etc. - which is also the signal being recorded) and the signal coming from the monitor head of the tape recorder. The monitor function allows one to monitor the recorded signal and compare it to the to the source in real time (actually a fraction of a second late).
Yes, Record/Tape out jacks would bypass the preamp volume control and pass the selected Input signal (Phono, CD etc.) directly to the Record/Tape out jacks at full volume for recording on a tape deck. The tape deck controls the signal level for recording.
There is no work around for this on the BHK Preamp.
A y-cable is a kludge, although in a sense it resembles how a typical recording chain usually works. One typically controls level at the source (via a level control on a mic preamp, mixer output, etc.) with the tape deck calibrated and left alone.
With a monitor loop and a fixed output one is instead forced to set levels at the tape deck.
Fixed outputs were added to home audio so that the enthusiast could tape while changing volume and making tone control changes which would not affect the tape. In a studio, you set stereo mixdown levels and leave everything alone until the recording is done (absent a good reason). We are not good at doing this at home.
So you guys think it's well worth the time and $ to upgrade from the 700s to the BHK 250? I been thinking of upgrading speakers and , well you know how it goes, while I'm at it.......
The BHK Signature 250 Amplifier is very special. I have had it for almost 3 weeks and have over 400 hrs. logged on it. It sounds wonderful; I have not heard the 700s but moving up to the 250 would be a big upgrade. I say that from noting the different technologies employed. The 250 was designed to sing and boogie and have a whole lot of soul! I could wax lyrical but this amp is so good it speaks for itself. Maybe one of the other folks here are familiar with both amps and will chime in.
I have owned many amps over my 50 years of stereo buying: Mark Levinson, Classe, Audio Research, Bryston, and others. This amp beats them all!
Hope that helps.
PS. Get a really good pair of speakers first; so you can hear what this amp can do. This is assuming everything else is up to snuff. Only as good as your weakest link.
I know I really like Amperex 6922 White Label’s from the 60’s in my 300 mono’s. They sound dynamically more articulate, nicely extended, and tonally well balanced, while still having the joys of tube harmonics. One good option, among many I’m sure!
