Audio Research LS17 User Manual

There is an old saw that runs: “You never know what you’ve got 

till it’s gone.” The use of this expression is usually in the fi eld of 

romance, but it has its application in the audio arena as well. 

There are many times when we replace a long-cherished part 

of our system with what is supposed to be an upgrade, only to 

rue the day we did it, discovering that we didn’t really appreciate 

what we had.

On the fl ip side of this same coin is discovering that what we 

had long considered excellent sound was, in reality, ape waste 

in comparison to the sense of sonic bliss we achieve with a new 

component. We may fi nd that aspects that are now gone—things 

like noise, frequency-response aberrations, and the masking of 

micro or macro detail—had a greater effect on the sonic outcome 

than we thought, and that new preamp, CD player, cartridge, 

speaker or whatever works audio miracles.

So it was when I began to listen to the Audio Research LS17 

line-stage preamp. I had been living in blissful happiness with 

the ARC SP16 for many years. I thoroughly enjoyed the manner in 

which it reproduced music in my system. I thought I knew what 

I had—and was happily groovin’ on the music it reproduced. But 

after inserting the LS17 into my system—right out of the box and 

stone cold—I was aghast at how much more musical information 

was coming through the speakers. I know, I know—I should have 

given the LS17 proper burn-in before giving it a serious listen. 

But even we so-called “audio professionals” have been known 

to be tempted by the new, the updated, the upgrade. The LS17 

demonstrated to me quite quickly that what I thought I’d been 

hearing was not all that my LPs, CDs and SACDs were capable 

of delivering. All of a sudden, my audio system took a giant step 

forward on that mythical journey of reproducing the sound of live 

music at home. Talk about teaching an old dog a new trick!

The  $3995  USD  LS17  looks  like  the  classic  Audio  Research 

preamps of yore with its silver faceplate, black rack handles and 

twin knobs. It is the latest in a long line of “LS”—”line-stage”—

preamps from the Minnesota-based bastion of tube audio, joining 

Sound

“There was a tactile realness and a distinct sense of the 

recording venue, along with deep, tight bass. Its highs 

seemed to extend into the stratosphere, allowing for 

great portrayal of space—which showed ample layering 

and depth—together with abundant detail. The LS17 does 

subtract one thing I’d become used to with the SP16: 

There’s less of that classic tube sound. The midrange is

still richly reproduced—after all, the LS17 still uses tubes—

but now it’s far more neutral.”

Features

“The LS17 is a [remote-controlled] hybrid [line-stage-only] 

preamp. It uses JFets in its input and gain stages and a 

pair of 6H30P tubes in its output stage…. The 6H30P (or 

“super tube” as its been unoffi cially dubbed) is supposed 

to be not only sonically superior but long lasting as well—

which sounds like a win-win situation to me. The LS17 

has a solid-state power supply with separate electronically 

regulated low-and high-voltage supplies.”

Use

“I also used the LS17 both single-ended and balanced,

and the results were clearly in favor of the latter…. 

In considering the LS17 as a potential upgrade, do not 

discount having the option of going balanced, especially if 

your source is balanced. Balanced connection can improve 

the sound of your audio system in ways that a mere 

equipment upgrade can’t.”

Value

“While using the word ‘bargain’ to describe a $4000 

preamp may be a tad presumptuous, within its price 

range, the LS17 is exactly that. You’ll fi nd yourself having

to pay more money for less than what the LS17 offers.”

“... a benchmark in its price class.”

by John Crossett

johnc@soundstage.com

www.soundstage.com