The New Audio Research Reference 6


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Audio Research unveils its latest Reference Preamp.

Audio Research Reference 6 Linestage -

Expect to see a slew of the Ref5 models hit the used market over the next year. I plan to move up to a Ref 5SE as they hit the used market.
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128x128mitch4t

Showing 4 responses by bdp24

Mofi, I too think of the toggle switch style as THE classic ARC look. I've kept my LS-1 not just for that, but because of it's mode switch (Stereo/Reverse/Mono/Left/Right), something I wish ARC (and everyone else) would bring back.
Twenty years ago at CES, Ralph Karsten asked me what pre-amp I was using with his Atma-Sphere M-60's and old Quad speakers. When I told him an ARC LS-2B MkII, he said "My MP-3 is a lot more transparent". Now, you can say he would of course say that, and you may or may not agree with his assessment. If the MP-3 WAS more transparent than the LS-2B MKII, when was ARC able to surpass the MP-3 with a new pre-amp, and at what price? You would of course be correct in saying that this argument relies on the MP-3 in fact being more transparent than the LS-2B MKII, but for the sake of argument let's do so for the moment.

So, that was twenty years ago. Let's look at the difference between what owning an ARC pre-amp (twenty years ago an LS-2B MKII) and owning an Atma-Sphere pre-amp (MP-3) has involved. The MP-3 is now in Mk.3.3 designation, ARC being not the only company offering improvements to it's products over time. Ralph, however, has incorporated his improvements into the MP-3 as retrofits, not requiring the owner to sell his old pre-amp to get the new. How much has an ARC pre-amp owner had to spend, in comparison to the owner of an MP-3, to keep the sound quality of his pre-amp at a level comparable to the sound of the also improved MP-3? The LS-2B MKII owner may have gone the LS-15, then LS-16, then LS-25, then LS-26 route (ignoring for now the Reference level pre-amps), each time having to sell the old for the new, losing money each time. How much has the ARC owner spent to get from the LS-2B MKII to the LS-26? And after all that money spent, how does the LS-26 sound compared to the LS-2B MKII? ARC would have you believe that each and every new model has made the old sound now mediocre in comparison. After all the model changes, perfection should be just as close as the next new model! How does that LS-26 compare to the MP-3 Mk.3.3? And how much has the owner of the original MP-3 spent for all it's upgrades, to bring it to the current Mk.3.3 status? The answer is certainly far less than the ARC owner has spent to get from the LS-2B MKII to the LS-26. If the same reasoning is used including the Reference 1 & 2 pre-amps (which would require one to feel the MP-3 Mk.3.3 is their equal), this conclusion is even more true.

ARC owners tend to compare new, improved ARC products only to other ARC products, being ARC loyalists. Robert Levi has listened to the ARC Reference 3 side-by-side with the EAR 868, preferring the EAR. Again, you may or may not agree with his assessment. The 868 has not been changed in at least ten years, and is available used for around $3,000-$3,500. An ARC Reference 3 owner may have bought and sold any combination of LS-15, 16, 17, 25, 26, Ref 1, and/or Ref 2 to finally arrive with his current pre-amp, spending far more than $3,500 (or about twice that if an 868 is bought new) to do so. Is the price it costs to move up the ARC pre-amp line justified by the SQ one ends up with after that amount is spent? Or would a pre-amp shopper be better off going straight for a, say, EAR 868? Hey, I'm just askin'!
Yeah Oregonpapa, I could live with (and have) any ARC, Atma-Sphere, or EAR product (let's not forget Music Reference, either)---they all make great music. Cost of ownership is a separate question.

Speaking of designers who have made great recordings, have you heard any of Robert Fulton's ARK label LP's? Oh man, unbelievably good recordings of amateur Minnesota choirs, with astoundingly liquid transparency, startling immediacy, and the best inner detail and delicacy I've ever heard in reproduced music, each voice in the choir clearly audible. Maybe the best choral recordings ever made.
Robert Fulton was pretty close with both Bill Johnson and Jim Winey, being located close to them in Minnesota. He made fantastic speakers in the '70's (famous for his Model 80, and Model J, Gordon Holt's favorite for awhile), and is credited with introducing the first high end speaker cable, Fulton Browns. He also designed and manufactured excellent tube electronics, a real hi-fi Renaissance man.