Audio Research LS17 User Manual
www.soundstage.com
Audio Research also put some thought into what’s beneath the
LS17—its squishy black footers, which ideally exclude the need
for aftermarket footers. ARC suggests that setting the LS17 on a
good, solid surface will get the best out of it. I discovered that I
could hear most of what the LS17 offered when it was used just
as ARC suggested—au natural. But when I slipped Symposium
Roller Block Series 2+ footers and a Svelte Shelf below, the
LS17 improved noticeably—enough that I wanted to keep it all
together. With Mobile Fidelity’s very fi rst SACD, Duke Ellington’s
Blues In Orbit [UDCD 757], there was more weight to Ellington’s
piano and more of that tinkly sound Ellington mastered when the
Symposium products were under the LS17. The rhythm section
had more defi nition and heft, and the orchestra more weight and
power. The entire presentation took on a richer, more detailed
and clearer picture than without the Symposium goodies. If you
can’t afford the LS17 and all the added accoutrements, fear
not—your money will not be misspent on only the LS17. It’s just
that you’ll squeeze out every last iota of performance should you
judiciously add some aftermarket accessories.
I also used the LS17 both single-ended and balanced, and the
results were clearly in favor of the latter. I can’t lay all of the
praise on the LS17, though. My Stello CDA320 CD player is fully
balanced, which gives it a distinct advantage when connected
via its XLR outputs. Indeed, with levels matched as closely as
possible, single-ended connection sounded slightly softer—
perhaps the better word would be “muffl ed”—in comparison to
balanced use. 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.
Comparisons
In sonic terms, the LS17 is head and shoulders above my beloved
Audio Research SP16 ($2495 in line-stage version). It did
everything the SP16 did and bettered it by a considerable margin.
Now that statement may raise a few eyebrows; for the $1500
price difference, one should expect the LS17 to be better. But
expect
expect
there’s better and then there’s better. The LS17 is better.
At both frequency extremes the LS17 has it all over the SP16.
Through the midrange the SP16, with its tubier sound, was
delightful to listen to, but the LS17 offered a touch of lush, creamy
tube sound while managing to remain far more neutral, honest
and even-handed. It also extracted more macro and micro detail.
Width and depth were both far more realistically reproduced via
the LS17 as well. Finally, the SP16 is single ended only, and having
the option of both balanced input and output is a far bigger
deal than many of us used to only single-ended connection
can fathom.
I also had the Conrad-Johnson PV15 ($3000) during part of
the review period. This provided me with yet another option
for comparison to the LS17. Yes, the PV15 is also a less costly
piece, and it is also single ended only. But its strengths are such
that it was more competitive with the LS17 in some ways than
the SP16. The PV15 is also a tube design that does not revert to
sounding tubey. It does a better job at the frequency extremes
than the SP16 while still coming up short of the extension and
weight of the LS17. There’s simply more detail, defi nition and
extension, and a tactile sense of realness with the LS17. The
PV15 gets you part of the way there, but the LS17 takes you the
rest of the way home.
The Audio Research SP16 and the Conrad-Johnson PV15 are
both fi ne preamps, especially at their prices. The SP16 was a
Reviewers’ Choice and the Exceptional Value award winner for
2002. But comparing these two fi ne preamps to the LS17 is truly
a case of more and better: more dollars spent and better sound
quality as the result. The LS17 was the superior music reproducer
and more than simply an evolutionary step forward from the
SP16. Given my experience, it’s an entirely new species of ARC
music-making machine.
Conclusion
Audio Research calls the LS17 its “Baby Ref” line-stage preamp,
and I believe there’s some truth here. While I’ve not heard the
Reference 3 in my system, with the LS17 ARC has packaged quite
a bit of sonic punch into what is a mid-priced preamp. Plus,
just try to fi nd another tube line stage that offers truly balanced
inputs and outputs along with the LS17’s sonic strengths for
the same price. That’s not going to be an easy task. 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.
So while the LS17 is inherently better than its less costly stable-
mate and more than likely not its big brother’s sonic equal, it
is still a benchmark in its price class. Its attributes are addictive
and its limitations pass almost unnoticed. Once you’ve heard its
siren’s song, you’ll fi nd yourself drawn unerringly to its beguiling
presentation. And best of all, “You never know what you’ve got
till it’s gone” won’t apply to the LS17—it’s certainly not leaving
my equipment rack.
my
my
...John Crossett
johnc@soundstage.com
3
Company Info
LS17 Preamplifi er
Price: $3995 USD.
Warranty: Three years parts and labor.
Audio Research Corporation
3900 Annapolis Lane North
Plymouth, Minnesota 55447
Phone: (763) 577-9700
Fax: (763) 577-0323
Website: www.audioresearch.com