Display Audiolab 9000Q Preamplifier
Contents
We start with the built-in dac that we remember from the 9000N. We really liked that one, especially in combination with the built-in ‘Lumin’ streamer. We use the same filter again (Minimum Phase/Slow Roll-Off) and quickly recognize things like detailing, little coloration and an open sound. Combined with the preamp, we get a wide stage, perfectly positioned between the speakers. This dac disguises nothing but also does not make lesser recordings unlistenable.
You do hear clear differences between a good and a lesser recording and that’s the way it should be. You can play around with the filters to fine-tune the sound of your system. We definitely recommend that with this dac. Choose well once and then stick to your choice otherwise you will go nuts. With any filter it remains a transparent and neutral dac anyway.
When we test the analog inputs with our own dac, it gets even better. It should, since our dac costs more than the 9000Q. This exercise shows that the 9000Q’s analog inputs are remarkably good. The Morpheus shines and comes into its own. Both balanced and single-ended. Our own source, the Sonnet Hermes, also performs optimally through the Audiolab 9000Q. To do better you’re going to have to spend a lot more.
Listening to the Audiolab 9000Q preamplifier
We stream “Wind Conversations” by Helado Negro. This track makes it clear to us that the Cantons are not yet perfectly set up. After some shifting and turning in, we can move on.
Roberto Carlos Lange creates electronic compositions under his alter ego but with a five-piece band. The injection of real instruments, such as clarinet and viola, creates an interesting tension. The Audiolab 9000Q allows each element to come through clearly, and once again we experience the neutrality of the dac. The Audiolab 9000Q will leave little or no trace in your set but offer great insight into the recording. In any case, the Audiolab 9000Q is a transparent device, that much is clear.