General:This is the flagship dual-chassis preamp from ML, and construction-wise it’s worth noting that it has about the highest parts and build quality of any preamp I’ve ever seen. It’s absolutely gorgeous and a pleasure to operate.It features a very generous five pairs of RCA inputs, and three pairs of balanced XLR inputs. Plus the control and power section is housed in a completely different chassis for the best possible noise separation from the signal path.This preamp does not have a phono stage, although one can easily be added as a internal expansion card (not included with this listing). Another fitting combination could be the Mark Levinson No. 25s external phono preamp. The No. 25s can be added easily as this preamp features a DS power output for that specific preamp.This preamp recently received a thorough service and is performing at a top level, ready for many more years of use. It will come to you with its original manual, remote control, and the specific umbilical cables required for joining the pieces together.SkyFi Cosmetic Notes:Very light signs of wear with only small scratches throughout, mostly visible on the top surfaces.SkyFi Technical Notes:This preamp was serviced in September 2024. This involved the repair of one of the regulated power supplies in the left channel of the preamp chassis. There are a couple of options for adding phono inputs to the No. 32. A No. 25 external phono stage can be powered from the No.32 power supply. Alternatively, optional balanced or unbalanced phono cards can be installed in the No. 32 chassis itself (not Included with this listing). Please contact us for options and pricing.Brand Background:After working in various recording studios and, as legend has it, creating the sound mixer for the Woodstock Music Festival, Mark Levinson began hand-crafting high-end stereo components. His first product, the LNP-1, was a rack-mounted system with two large VU meters and a high performance op-amp module. And with every subsequent product, the legend grew.After working in various recording studios and, as legend has it, creating the sound mixer for the Woodstock Music Festival, Mark Levinson began hand-crafting high-end stereo components. His first product, the LNP-1, was a rack-mounted system with two large VU meters and a high performance op-amp module. And with every subsequent product, the legend grew.Ownership:Single OwnerConnections:5 RCA inputs, 3 XLR inputs, RCA recording outputs,General Sound:Smooth, uncolored, undistorted natural and cleanCosmetic Condition:8/10 = Very Good. Excellent front faceplate, one minor flaw on chassis side or top. See our detailed rating description here.Working Condition:Working perfectly and tested in our lab and listening room.Included:Unit, remote, manual, accessories, and power cord.Packing:Original Manufacturers PackingReviews:Click HereOriginal MSRP:$15,950.00Specs: Controller connectors: IEC AC mains receptacle, ground terminal, 2 Controller/DC cable connectors, three 3.5mm mini-jacks (for IR input, trigger out, trigger in), 3 Mark Levinson Link communications connectors, 6-pin RJ-11 RS-232 port, two 8-pin RJ-45 control ports (PHASTLink;r-compatible). Inputs: 3 pairs balanced (XLR), 5 pairs single-ended (RCA, optional), 2 pairs phono (XLR or RCA), 2 Controller/DC cable connectors, ground terminal. Outputs: 2 pairs balanced (XLR), 2 pairs single-ended (RCA), 1 pair record-out (XLR), 2 pairs record-out (RCA). Inputs: 3 pairs balanced (XLR), 5 pairs single-ended (RCA, optional), 2 pairs phono (XLR or RCA), 2 Controller/DC cable connectors, ground terminal. Outputs: 2 pairs balanced (XLR), 2 pairs single-ended (RCA), 1 pair record-out (XLR), 2 pairs record-out (RCA). Maximum voltage gain: 0, 6, 12, or 18dB (line stage); 40, 60dB (optional phono stage). Volume control range: 80.0dB. Gain resolution: 0.1dB steps above 23.0 on display (-57dB), 1.0dB steps below 23.0 on display (-57dB). Input overload: 2V on XLR, 1V on RCA (gain set to +18dB); 4V on XLR, 2V on RCA (gain set to +12dB); 8V on XLR, 4V on RCA (gain set to +6dB); 16V on XLR, 8V on RCA (gain set to 0dB) Frequency response: 10Hz-40kHz, ±0.1dB. Input impedance: 100k ohms. Output impedance: less than 10 ohms on XLR, less than 20 ohms on RCA. Maximum output (main outputs): 16V on XLR, 8V on RCA. THD+noise: less than 0.001%. Crosstalk: better than -120dB, any input to any output, input unterminated; better than -140dB, input terminated. Residual noise: 20Hz-20kHz; better than -120dBV, input terminated. Mains voltage: 100V, 120V, 220V, 230V, or 240VAC at 50 or 60Hz (factory-set).Dimensions:Controller: 19.5″ W by 3″ H by 13″ D. Preamplifier: 19.5″ W by 3.2″ H by 11.4″ DWeight:104 lbs.Approximate Age:2000Link to Manual:Click HereRecommended Cables:Kimber Kable - RCA Interconnects - BetterKimber Kable - RCA Interconnects - BestKimber Kable - BALANCED XLR Connectors - BetterKimber Kable - BALANCED XLR Connectors - BestKimber Kable - Power Cords - BetterKimber Kable - Power Cords - BestTesting Process:We start with a visual inspection of all internal components to make sure that there are no signs of heat stress or damage. Capacitors are checked for telltale signs of predictive failure including bulging, shrunken wrappers, or physical leakage. We also inspect the PCBs for discoloration from resistors or transistors that may have been running hot. On vintage units we often spot check select capacitors for value and ESR. When we first power on a preamplifier we connect its RCA output to a Sencore PA81 Power Analyzer which simulates real world loading conditions and gives us an oscilloscope interface.The first order of business is checking that the volume control works smoothly throughout its entire range with acceptable channel balance. This is accomplished by feeding a 1 KHz sine wave into one of the preamp’s line level inputs while monitoring the preamp’s output on an oscilloscope.We then switch to a 1 KHz square wave to test the tone controls, loudness function, and filters where applicable. During this step we are watching for equal alteration of the test signal by both channels. This also helps us identify dirty controls that will need treatment.Once the basic line stage functions are verified, we test each input individually. This is especially important for devices that use relays to select their sources. If the preamp is equipped with a phono stage we test that as well. We use an inverse RIAA filter which allows us to feed a reference test signal into the phono input with the proper RIAA equalization and level. A square wave or sine sweep is used to verify that the device’s phono stage is faithfully reproducing the RIAA curve. If the preamp under test has balanced inputs and/or outputs these are tested as well.We finish up our bench testing with a listening test with our bench amplifier and reference speakers. During this test we check for hum or hiss that may not have shown up in earlier testing. We also check that all of the tone controls and filters perform as expected.If the preamplifier has remote control functions these are also tested. Preamps with tube circuits or complicated power supply topologies are connected at our long term test rig for extended stress testing under real world conditions.
Related
Related
Related