VTL Reference 2 Box Line Stage Preamp -Silver

 Part No.  TL7.5III/S
 Description  VTL Reference 2 Box Line Stage Preamp -Silver
 Brand  VTL
 RRP  See Pricelist
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 Product Notes Recent engineering breakthroughs have resulted in a major upgrade to one of VTL’s most important products - the TL-7.5 Reference Line Preamplifier.
Four years after introducing the TL-7.5 to universal acclaim, VTL has revised it for an even higher level of performance.
The new design, known as the TL-7.5 Series II, adapts current gain technology developed for the new TP-6.5 Signature Phono Stage.
The upgrade results in a lower overall gain (20dB-balanced, 14dB single ended), as well as a dramatically lower noise floor.
Luke Manley, President of VTL, credits the improvements to intensive ongoing R&D at the company.
While working on the forthcoming TP-6.5 phono stage, we developed a high current circuit to resolve with very low background noise the small distances that a phono cartridge travels, and we have applied this thinking to the TL-7.5 Series II.
The new circuit delivers even wider frequency response as well as superior musicality and transparency, while maintaining the neutrality that the TL-7.5 Reference Line Stage is famous for.
Also included in the upgrade are new parts selected to enhance the resolution with even more speed and presence in the critical top end and midrange.
For increased compatibility with modern home theater systems, the Series II adds a fully bi-directional RS-232 control.

The original thinking behind the design of the TL7.5 came from VTL’s goal of creating a preamplifier with the very finest resolving power. To this end, VTL engineers decided on a dual-chassis design.
One unit contains the multiple regulated power supplies and audio switching controls, while the other carries only the amplified audio signal, uncontaminated by AC line or control microprocessor noise.
This clean box/dirty box approach, the balanced mode of operation, and the ultra high resolution volume control all ensure an audio signal of utmost purity, unaffected by external influences.
Also fundamental to the design is its hybrid tube/solid state circuitry. A pair of 12AU7 tubes provides harmonic opulence in the gain stage while a MOSFET output stage offers high current capability with ultra-low impedance for optimal matching with any amps and interconnects.
The result is a component with striking clarity and detail that presents instrumental timbres and textures in an amazingly lifelike way.
You’ll find the most elusive qualities of your recordings--spatial size and organization, instrumental separation, and low-level sound decay--newly revealed, exposing previously obscured detail for a more realistic and satisfying musical experience.
The Series II pushes the boundaries of what is possible even further, offering a compelling improvement in bass definition, harmonic accuracy, and the ability to identify tonal differences in instruments. The new TL7.5 Series II is unquestionably another significant step along the path to ultimate musical truth.

Innovative clean box/dirty box design to keep musical signals isolated and pure
Hybrid tube/solid state design the musicality of tubes with the power to drive any load with any length interconnect
Fully differential circuits for all-the-way-through balanced operation for superior noise rejection
12 fully regulated power supplies to preserve tonal and spatial accuracy
A simple, short and direct signal path using the highest quality audio parts delivers greater emotional connection with your music
Programmable switching and triggering functions offer ultimate flexibility for home theater audio management
Also available in black finish

Stereophile said of a full system that included the TL 7.5III:
"I asked to hear the remastered CD of Joan Sutherland's famed 1960 recording of "Bel raggio" from Rossini's opera Semiramide. This is but one astounding track on one of the greatest operatic recitals ever recorded, Sutherland's two-LP set, The Art of the Prima Donna.

Having heard Sutherland live on several occasions, including her 1961 debut at the Metropolitan Opera, I had a good idea what to expect. What I heard, however, surpassed all expectations.

Once Joanie rose into the stratosphere, I heard the biggest, brightest, most glowing sounds I have ever heard from one of her recordings. The experience was almost as wondrous as anything I heard from Sutherland live. (True, the thrill was greater when I was 16 years old and seated in the top balcony at the Met—it's often the same with the first time you make love, even if you do so in a balcony or the back seat of your car—but the experience was nonetheless phenomenal).

This was the best digital reproduction of the soprano voice I have ever experienced. It was impossible to listen to that track without understanding why Sutherland was dubbed La Stupenda. All I could do was shake my head in awe.

As a follow-up, I played two tracks from Vittorio Grigolo's new CD, The Italian Tenor. Not only did the system handle the bright ring of Grigolo's voice superbly, but it also showed how superior London/Decca's 50-year old analog recording is to Sony's very recent digital wannabe.

A system that can reveal differences that clearly is worth a hell of a lot in my book