Audio by Van Alstine FET Valve CF Preamplifier

Modern Tube Sound at its Best

Equipment report
Tubed preamplifiers
Van Alstine FET Valve CF
Audio by Van Alstine FET Valve CF Preamplifier

There is good news for all of us glass-audio aficionados: Audio by Van Alstine (AVA) now offers an all-tube version of its linestage preamp. I don’t know about you, but I find the model name a bit confusing, so for the record let me make clear that this is not a FET Valve hybrid. The new linestage does indeed feature an all-tube signal path, relegating MOSFETs to the role of power supply voltage regulators. The basic circuit is rather straightforward: two cascaded gain stages (12AT7 dual triode) followed by a 12AU7 dual triode connected in parallel and configured as a cathode-follower buffer. Frank Van Alstine tells me that this circuit was initially evaluated as far back as 2004 and was put on the back burner because it failed to provide the performance boost he was looking for back then.

In the intervening years, AVA developed a unique method of powering tube stages, which provides a separate high-voltage power supply for each individual plate. The improvement in musicality and transparency was apparently so dramatic that Frank decided recently to revisit the all-tube linestage project with, I might add, spectacular results. The new tube linestage design includes six regulated power supplies, two for each 12AT7 tube section and one for each of the 12AU7 tubes. Adjustable high-voltage regulators are used as a reference for the power supplies, replacing much noisier zener diodes. In addition, capacitor and resistor values have been tweaked and 1k-ohm grid-stopper resistors added for each tube. All capacitors in the signal path are now polypropylene types. A new PCB motherboard houses all active gain stages and power supplies, with room for an optional phonostage. And as an added bonus, the cost to build is less than before, which is reflected in a lower retail price ($2099). Other features are unchanged. There are six line-level inputs, a tape input, a tape/CD-recorder output, dual line-level outputs, a low-gain switch, and a high/low filter to tame aggressive source material. A headphone amplifier is standard, though I did not test it. Remote volume control is a $299 option. Other options include a phonostage ($249 mm, $299 mc) and buffered tape outputs ($149).

Possibly this design’s major takeaway is that there’s still plenty of magic to be found in plain vanilla circuit topology. Series-regulated push-pull (SRPP) and Mu-follower stages have been quite popular in recent years, and each topology has its adherents. Differences in tube operating points and tube types make it difficult to reach a definitive conclusion about which is better, though I would concede that when mated with a plain vanilla power supply the more exotic totem pole circuits have the advantage. However, the sophisticated power supply deployed by AVA makes all the difference. This was the approach used by Audio Research in its highly successful SP3a preamplifier. In fact, Audio Research revolutionized the high-end scene in the 1970s, riding the paradigm of power-supply regulation to market supremacy.

I should mention that a bit of negative global feedback (NFB) is taken from the buffer stage and returned to the cathode of the first gain stage. For those of you who are NFB phobic or wary of cathode-follower stages, I would simply ask you to give the FET Valve a serious audition. You’ll be surprised by its dynamic prowess. To be sure, it’s a bit unusual to deploy NFB in what is truly a single-ended Class A voltage amplifier. One consequence is a reduced distortion spectrum and hence less euphonic residuals. It’s not difficult to imagine that someone in search of aural thrills might actually be attracted to a tube preamp precisely because of a particular euphonic sonic signature. Pervasive tube warmth that blankets the midrange irrespective of the program material falls in this category, and has proven to be a siren call for many tube-o-philes. The FET Valve is far from being a euphonic linestage. It does not imbue the presentation with any tubey coloration. And its frequency response is sufficiently wideband to avoid softening transients and overly liquefying harmonic textures. So if you’re in the market for a linestage that loudly communicates its tube lineage then look somewhere else. In addition, the tonal balance is quite neutral and lacks the overly lush lower midrange that some vintage tube preamps bring to the table.

If you were to ask me what I dislike the most about new-production 9-pin miniature preamp tubes, it would have to be their grainy harmonic textures. That has been a chronic complaint of mine for years, as the differences in textural smoothness between vintage and new-production types can be rather dramatic. Kudos to the audio guru who phrased it as follows: “I’ll take a decent amplifier with the finest tubes any day over the finest amplifier with mediocre tubes.” And that’s audio verity you can take to the bank. It should therefore not come as a surprise that it didn’t take me too long to replace the stock JJ Electronic tubes. Now let me make it perfectly clear that I don’t fault AVA, or any other manufacturer for that matter, for shipping product with new-production tubes—it would be insane to try to do otherwise.

When you are dependent on a steady supply of tubes, there is no rational alternative other than purchasing lots of new stock tubes. But for the end user there are other options, and in my experience it’s pretty easy to locate a few primo vintage preamp tubes at boutique prices. I settled on two of my favorite brands: Philips Miniwatt 12AU7 and Mullard M8162/CV4024 for the 12AT7. More accurately, I tried these lovely tubes first and so had no good reason to go any further.