MARK LEVINSON No.326S
Preamplifiers
The virgin purity of a dialogue between a cello and a piano, subtly underlined by the echo of an acoustic guitar, was fascinating through the No. 326S. It was from "to die for" category, when you just hold your breath not to interfere with the performance that happens right in the middle of your listening room.
Function and form
The design is a typical Levinson: brushed black aluminum, two big knobs and an array of greyish push buttons under a red matrix display. You do not need more to withstand the tooth of time. The No. 326S has been in the make since 2009 without a change and still belongs to the finest preamps ever designed.
Two discrete volume attenuator modules are constructed with Arlon 25N circuit boards with local power-supply regulation and bypass capacitors. They allow adjustments in 1.0dB increments up to 23.0dB, and
0.1dB increments above 23.0dB.
Connections: 3x XLR, 4x RCA (single-ended input signals are converted to balanced signals upon entering the chassis, and processed as balanced signals thereafter). Phono board is optional.
Bass management
The No. 326S’s single-chassis features separation of the audio circuit, control and power supply sections. The sections are separated by their physical layout, as well as by a steel shield box that protects against EMI. Filtered AC power is routed outside audio circuit sections. The No. 326S offers a series of effective noise-suppression and isolation technologies to filter the AC power. In addition, each channel’s audio circuits are located in a separate area of the chassis. For even greater isolation, the No. 326S deactivates unused inputs to prevent interference from associated components.
Clarity & delicacy
Overalll transparency is the biggest strength of the No.326S. I have never had a feeling that it distorts or compresses. The showpieces like Could You Believe from Naim sampler (Antonio Forcione & Sabine Sciubba) are crystalline clear through the No. 326S. The guitar has amazingly precise outline and superb dimensionality that combines high resolution with great palpability. The dynamic transients of strings are like mini detonations on the exceptionally quiet and black background. I assume that the Mark levinson No. 326S is one of the quietest amps I have ever heard.
Tonal accuracy
The absence of any electric noise supports both micro and macrodynamic contrasts. This experience of the sound's clarity on the pitch black canvas is something that I realized only after few days when the No. 326S was removed from the system. I missed it so badly!
Angels (Leo Green on the very same Naim sampler) is a slightly teenageish version of Robbie Williams's song, however it is a gem soundwise. Through the No.326S it shines like a diamond. The saxophone materialized in my room, the cymbals had the substance that differentiates the sizzle from a real life events and the drums acquired nice round thud that resonated in my belly.
Spatial resolution
A very nice touch is that the volume is faded down and then up when changing inputs, which gives you a few microseconds to switch back if the next source is too loud. You can prevent happening this by defining the input sensitivity (the No. 326S allows to do that for each input).
P.S. I bought the reviewed unit.
Recommended resellers
Excelia HiFi, Chrudim, tel. +420 724 00 77 44
Absolute Audio, Praha, tel. +420 777 739 377
Manufacturer's website: http://www.marklevinson.com
Associated components
- Sources: C.E.C. TL 51XR
- Amplifiers: Mark Levinson No.432
- Interconnects and speaker cables: Kubala-Sosna Emotion
- Loudspeakers: Revel Ultima Studio2
- Power conditioning: IsoTek Titan with IsoTek cables
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