Threshold Preampli Fet 2 Series 2 Manual

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Threshold Audio FET Ten. The FET Ten preamplifier system consists of four separate components, the FET Ten/H high level control stage, Fet Ten/P phono stage and their respective power supplies. With the Threshold FET Ten you will experience the musical accuracy, focus, and detail of a truly exceptional high fidelity instrument. The Threshold also has switchable resistive and capacitive loading for the cartridge, as well as adjustable preamp gain. Available by slide switches are resistive loads of 22, 47, 100, and 1000 ohms (all for MC cartridges), and 47k ohms for MMs. Available capacitive loads are 50, 100, 150, 250, and 1000pF (1nF).

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The Threshold FET nine/e ($2595) is the junior sibling of the FET ten/e, a solid-state preamp that has earned a rave review in March 1991 from noted tubeophile Dick Olsher (Vol.14 No.3), itself a development of the FET ten that J. Gordon Holt (Vol.10 No.6).

Would my ears, accustomed as they are to the pitter-patter of electrons traveling through a vacuum, have a similarly positive response to the FET nine/e?The first thing I noticed about the FET nine/e is the outboard power supply: connected to the preamp with a flexible umbilical cord, this is quite a substantial piece of equipment itself, making the power supply of the original FET nine seem as if it should only have been used with a calculator. (The power supply is identical to that used with the FET ten/e, except the FET ten/e has two such power supplies, one for the phono and one for the line section.) Unlike many such devices, the power supply's transformer emits no audible mechanical hum. An outboard power supply eliminates the possibility of magnetic, thermal, and vibrational interfering effects of the transformer on the preamp's circuitry; the only real disadvantage of this design seems to be cost.The FET nine/e's phono section has switchable high or low gain, the high-gain setting suitable for low-output moving-coils, and with switch-selectable settings for impedance and capacitance. The tape outputs have 100 ohm resistors in series, providing a small degree of buffering. Volume control is set with a stepped 32-position attenuator; the steps are 3dB at the upper and lower ends of the range, 1.5dB in the center.In their literature, Threshold makes a point of emphasizing the commitment to a minimalist design approach, with as few components in the signal path as possible but with extensive attention paid to bias and power-supply regulation. As the model designation suggests, the Threshold nine/e uses J-FETs and MOSFETs (no, not nine of them), the J-FETs in a parallel-pair configuration to reduce noise. Construction quality is first-rate, with extensive use of metal-film resistors and military-grade glass-epoxy circuit boards.Sound QualityThe Threshold FET nine/e arrived without a manual, and I had no way of determining what the phono stage gain, impedance, and capacitance switches had been set at, so my initial listening was only to the line stage.

The sound I heard was clean, clear, crisp (I'm starting to run out of 'c'-words), with fine dynamics, good bass extension, and—I'm sorry to say—just a bit on the hard, 'transistory' side. In my opinion, the Achilles' heel of digital recording/playback is how it handles complex orchestral and choral sounds; the FET nine/e revealed—and, I think, exaggerated—these problems to an extent that made some recordings difficult to listen to.For example, played through the FET nine/e, the orchestral tutti on the Mehta Swan Lake (London 410 551-2) had a hardness that was distinctly more annoying than via the or the. With the amplifier rather than the Luxman MQ 68C in the system, this hardness was exacerbated, the residual hardness of the amp adding to that of the preamp.Listening to a CD transfer of some early Fritz Wunderlich material (Sonic CD 74505), I was struck by how poor the recording quality was, with considerable spittiness evident on sibilants. With the PV11 or the SP9 Mk.II, although I could still hear recording deficiencies if I concentrated on them, I was more aware of the beauty of the voice and the music itself. With recordings that had less of that hard quality to begin with, the FET nine/e did not draw unfavorable attention to itself, but comparison with the PV11 and the SP9 Mk.II showed the latter two to be a touch more natural-sounding.Similarly, the sense of depth was more convincing through the other two preamps, especially the PV11.

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The situation did not change appreciably when using the phono stage, except that, with the switches set for high gain and a 100 ohm load (I did get the manual eventually), the noise level was just tolerable, significantly higher than with the SP9 Mk.II used in the same manner (footnote 1). Putting these criticisms in context, it must be noted that the magnitude of all these differences was small (or, in audiophile language, 'huge'), and that the, while themselves anything but bright or hard-sounding, are extremely revealing of any such tendencies upstream.Yes, but which one is most accurate?My favorite definition of accuracy comes from 's The Audio Glossary: 'the ultimate objective of an ideal sound system, which everyone claims they want but nobody likes when he has it.'