SAS Audio Labs*

Martin DeWulf, publisher of Bound for Sound, Issue #163: SAS Audio 10A Triode Preamplifier is one of only 3 listed in "Exceptional Merit" catagory.
"I expecially feel that way about the SAS (Audio Labs) 10A, a tube unit of moderate expense that simply stomps a mud hole in just about every active unit made - regardless of price." (Martin later purchased the 11A as his reference.)

Rich Weiner, Reviewer for Bound for Sound, 2004:
"The SAS 10A is the most musically truthful preamp I'm aware of,... Until I got the 10A, I struggled to make the other components live up to their potential." (Rich later purchased the 11A as his reference.)

Bernie (spab), Audio Circle:
"I have also tested the 11A in terms of comparing the sound from my excellent cd source directly to amps versus inserting the 11A pre between. I could detect no difference whatsoever.... So, my two cents: the SAS preamps are stellar – with my 11A I hear no compression or any other alteration of the originating signal."

Ray: "your prees are somewhat legendary in there reviews."

Welcome to SAS Audio. The most beautiful, natural music occurs when the sonic signatures, the artificial flavors are eliminated. Harshness, thinness, compression, lack of soundstage just does not allow for natural music. And rarely does any component have just one sonic flaw, but multiple flaws. And no two components are perfectly complimentary to cancel all the flaws. Thus it is nearly impossible to have optimum synergy between two components, let alone three and more. Maybe that is why not one customer, to our knowledge, has sold his 11A preamplifier. They believe that musical quality is the pinnacle.

So what are the differences between SAS Audio Lab's preamplifiers and others?

1. On the surface some designs may appear superior, but fail for one reason or another. For instance, one design may focus on lowering harmonic distortion from .02% to .001%, but add half a dozen sonic distorting parts. (This is why simply using mathematical equations will not result in a great component. It is also why more complex is not necessarily better. )



2. Find the most accurate passive parts (sonic wise), for lack of distortions/colorations. Not all capacitors are created equal by any means. Many if not most start with the tube and attempt to mate flawed parts to the tube. We find the most accurate parts and mate the best tube for the job. Quite a difference since there are many more passive parts than tubes in a design.



3. Another point is to design the appropriate power supply for the tube(s) used. The power supply is as important as the circuit since it has two functions.
1. To eliminate AC ripple, extraneous noise, interference.
2. To provide a voltage reference regardless of frequency.


4. I use stringent proprietary listening testing, which took years to develop. Others simply "voice" their preamplifier in their "reference" system, thus system dependent. I design for transparency in absolute terms. As such, one can trust SAS Audio Labs preamplifiers for being honest, natural, real sounding, and to which one can assemble the rest of their audio system around. (The preamplifier and interconnect cables (ICs) that can be tested in absolute terms.)

What about multiple stage preamplifiers, or integrated amplifiers? See Interstage Sonic Feedback Thru the Power Supply for more information on the subject.

These reasons are why SAS Audio Labs preamplifiers are the standard, and known for the most natural sounding, reference preamplifiers in the world regardless of price.