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Audio Research LS26 Review by James Leahy Introduction
The LS26 is my personal favourite in the Audio Research pre-amplifier line up for 2006 and my reference pre-amplifier that I use in my own system everyday. I believe this model above all others to give the best value for money against performance return for your dollar. Let me outline the reasons why I chose this unit to finish off my system's front end. This is Audio Research's mid line level pre-amplifier and a direct replacement to the LS25 Mk.II that was first introduced to the public in 2001. To many it is a complete new look from the past models, sporting a new fluorescent display that alerts the user to all input settings, attenuation settings, volume level, Bal/SE input, balance position, mono/stereo, invert, gain, tube hours and the like. There are two 6H30 tubes used in the gain stage like in it's predecessor the LS25 Mk.II, but that is where the similarities end. The two pre-amplifiers use such totally different circuits that the LS25 Mk.II cannot even be factory up-graded to the LS26. The build quality has been improved even further if that was at all possible. The attention to detail is truly worthy of reference grade component status and would flatter the appearance of any system. The LS26 is the standard size of the old LS25 Mk.II. The benefits of the fluorescent display have been very popular with many of my customers already and it has no less than eight brightness settings plus an off position that illuminates for a period of ten seconds when any button is depressed either on the remote controller or on the units front face. The preferred user presets are furthermore remembered by the LS26 even when the power is disconnected. Now that's one smart unit. More new enhancements are self evident in the up-graded volume control that features 104 step graduations. The power supply is one of the beefiest I have ever encountered in a pre-amplifier of this type and is not just massive but fully regulated with a claimed frequency response of up to a whooping 160kHz. Capacitors in the power supply are a barrage of Nichicon spec units of the highest quality. Those out there familiar with valve amplifiers and pre-amplifiers know the critical nature of the transformer in the performance equation when it comes to the final sound signature of the product in question. More so than any other component in the circuit does this make or break the overall coherence of synergy between air and space. The major difference for me between the LS26 and the REF3 is the latter has all tube regulation in the power supply when the LS26 does not.
The LS26 also carries a full array of Balanced & SE inputs for every input that would be of great value to those who have components with Balanced outputs. You would want to use this method of connection as the LS26 is of a fully Balanced design. The LS26 even has the control to select Balanced or SE for each input thus optimizing the circuit for that particular input and rendering the unused input defunct as to avoid any possible cross contamination between input circuits. So I am told by Audio Research. The sight of the LS26's back panel looks like a fully functional commercial grade controller with every conceivable requirement provided for. There is two pre-amplifier outputs for those interested in bi-amplifying their loudspeakers. Also included is a Processor input for those who wish to use the LS26 in a Home Theatre system and use an external processor to control the system. There is the obligatory 'Monitor In' and 'Record Outputs' for a tape deck connection given also. You have the standard IEC detachable power cord socket given also which can prove to be handy for those who prefer to tune their system's sound via different power leads. Audio Research have given a +12VDC output trigger also on the back panel to be used for remote control 'power on' operation of their power amplifiers via remote control when the LS26 is switched on. There are 3 attenuation levels for each input, namely 'Low', 'Med' and 'Hi' that can be assigned via the remote to help match the levels between varying source components. This is a more useful feature than it sounds and one that I am glad they kept from the previous model. The remote control unit of the LS26 is elegant yet fully functional with all functions able to be controlled from your listening chair. I am thrilled to say that for the first time to my knowledge Audio Research have included discrete input selector buttons so the user no longer has to toggle through from one side to the other just to select a desired component of choice. Kudos, Audio Research!
Sonic Evaluations Connecting this pre-amplifier to my system was a matter of great anticipation for it has been over 5 long years since the LS25 Mk.II was first released. What would it sound like, what improvements could we expect? Judging from my system's sonic performance over the last few days from this review for those of you who might still be unaware the pre-amplifiers importance in the musical preproduction chain is of supreme importance. In this review from trying 4 different Audio Research pre-amplifiers in my system the differences in overall coloration, presentation, image size, soundstage width and sonic drive, have never been more obvious. Let me outline briefly my findings. Compared to the Audio Research LS15 the LS26's sound had much more focus and control leading to an improved image that is not forward nor is it laid back per se. The LS15 to me sounded very 'old time' and unexciting to listen to although it did the job without any obvious flaws other than the one mentioned. I had just replaced the output tubes in this unit with four factory specification Electro Harmonics 6922's before this testing, which did improve the sound from how it was but my not enough to change my mind and alter my opinion of the unit. The LS15's sound image was always a little fluffy and hazy for my taste with a lack of drive.
On the other hand in stark contrast, the LS26's soundstage is constantly moving the depth of the room with vocals and instrumental cues on the same track being able to be detected over the length of the room from one's seating position. This is indeed very rare and I have not encounter this attribute too many times before. More is the pity. It brings much more colour and enjoyment to the music than a typically two dimensional presentation that is namely only black & white in comparison. Dynamics were head and shoulders above what the LS15 could produce with marvellous drive and slam being felt through one's chest without any traces of harsh or unflattering grit in the mid range or treble. This attribute is very hard to come across. It is in these two key areas that I feel it betters the old LS25 Mk.II by a healthy margin.
As a special side note I would like to make readers aware of a 'trick' I like to use (that I have tested with the LS26, LS25 and SP15) that changes the shape of the sound stage. Audio Research advise that the Gain function is to be used in combination with the volume control to equalize different source levels. I however have found that the LS26 and other's output is considerable fuller and richer if one uses the lowest possible gain setting and increases the volume control to compensate. The character changes from a flatter presentation to a more developed multi layered Technicolor vision of splendour. Try it yourself and tell me what you think. Compared to the old Audio Research SP15, the LS26 showed more liquidity and realism in the lower octaves where the SP15 could be a touch dry and gritty depending on how revealing the rest of your system is. The differences were small but there were there none the less. The greater range of differences could be heard in the speed of presentation that the LS26 had over anything else I put it up against. It was like when the sound ceased there was zero overhang and the instant the sound started you could feel the rhythm beat through you like there was nothing between you and the music as in a live performance. Where as before I felt there was a slight gap always present and you were left to anticipate the next beat before you would hear it. Interestingly I have always felt that every system has a correct volume where everything sounds 'right'. In mostly every system when the level was increased the soundstage would break-up or become nastily gritty. Conversely when the volume was decreased beyond what I will call the 'perfect position' the soundstage would implode inwards upon itself and the dynamics would be lost. Before the LS26 my system like so many others I have heard that suffered from this problem. But now no longer had a narrow sweet spot anymore and when the volume was increased the sound was just louder and when turned down the volume was simply lower but with the same overall character to it. There was no loss of detail!
Playing my current favourite vinyl demo album at the moment while reviewing all of the pre-amplifiers mentioned in this review was Elton John's - 'Honky Chateau' album (MCA Records, 1972). The soundstage with the LS26 was totally engrossing in it's surrounding properties and being able to draw you into the middle of the performance rather then leaving you sitting on a bucket outside the gates made me believe that this was indeed something quite special. The tonality was spot on and timbre of the strings sounded pure rather than slightly veiled as with the others. This coupled with the immense drive this pre-amplifier had and correct timing with the speed of delivery gave a first class performance that would satisfy even the most stringent of listeners.
As a small side note for those interested, the Audio Research SP16 was not in the same class sonically as either of the afore mentioned units and at it's substantially lower price point it is unfair to compare it. So I won't. Suffice to say the overall and combined differences heard between all of their Audio Research pre-amplifiers was not small. All tests were completed using the balanced outputs and after a warm-up period of 60 minutes was given.
Audio Research claim that the new LS26 indeed is such a sonic break through that it inevitably outperforms their previous world reference standard, being the Audio Research REF2 Mk.II. I have no doubt that this is true although I have not directly compared the two in a side by side test. I have however heard both. The LS26 is nearly half the price of the old flagship model that it surpasses through trickle down technology directly handed down from the newly developed Audio Research REF3 circuitry. Put in simply terms the LS26 represents the bargain of the year in High-End audio circles when today you can buy one new for nearly half the cost of last years top of the range Reference 2 Mk.II.
The LS26 has far better sonic qualities too and with the money saved you could get yourself out of trouble with the other half after buying such a exclusive unit. If not, I know which one I'd keep. Now that is a deal worth having.
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