Concert Fidelity is one of those less well-known, highly-respected secret gems from Japan. A few years ago, I had acquired their last remaining pair of 300B push-pull monos. Then, while struggling to get the best out of my Koda K10 preamp, I added the Concert Fidelity
flagship preamp. With a retail price of $24K USD, I expected it to keep up well with the Koda K10 but perhaps match better with my 300Bs monos (same brand and what not). On this preamp I loved the tone, the drive. Everything seemed to be in the ‘goldilocks’ zone of ‘not too much, not too little’. However, (surprisingly) despite my original intentions, it sounded best with my Accuphase A-36, a power amp with a lit and illuminated sound.
Then, a year ago now, I heard that they had upgraded this preamp (which has been their flagship for the last ten years), swapping out the op-amp input stage for a JFET class A discrete input stage. As a card-carrying audiophile, I decided to upgrade. Discrete is always better, right?
Not so. The sound became more refined, but also seemingly slower, less nimble. Even paired with my Accuphase, while I could hear the new version was technically better, it wasn’t to my taste anymore. I lean towards the ‘fast, neutral, ruthless’ type of sound, and this wasn’t it. So I’d largely set aside this preamp for most of 2022. The Benchmark LA4, for example, was comfortably cheaper yet definitely edged ahead of the Concert Fidelity in my books…. Until today.
The Koda K10 was doing so well with the QSA Lanedri’s Gamma Infinity that I thought that it may be time to revisit my opinions. Upon plugging in the Concert Fidelity preamp to my 300B monos, I was hit with a torrent of sound. Just like with the Koda, the speed was honest- it wasn’t angry, but it certainly wasn’t slow or polite in the way I remembered it. But it was a torrent nonetheless. It was nimble, full of microdetail that manifested itself in a velvety smoothness, and yet had that beautiful refined tone that made me fall in love with this preamp in the first place. The overwhelming feeling I had was that this was just music. It also seemed to impart a bit less of its own flavour than the Koda- the notes on the Koda were more raindrop-like (the music on the Koda was more clearly formed, and slightly plump in comparison). Instead this preamp peered deeper into the music, turning the micro-detail inside-out to lay it all out statically in front of and around me.
But this is not a review of the Concert Fidelity preamp. Rather, I’m starting to form even more of a view of the Gamma Infinity. It has no lack of speed or dynamism. A friend of mine remarked that the QSA Lanedri sounds like tubes, and I agree. The Gamma Infinity performs in a way that the best of tubes can offer. What do I mean by the “best” of tubes? If you’re thinking ‘warm, coloured, syrupy, fireplace on a cold winter day’ when I say tubes, then that’s not the stereotype I’m invoking. Rather, this power cord has the ability to react instantly to any sound, and sound extremely pure in a way only the simplest circuits can replicate.
Another good analogy is that adding the Gamma Infinity is like adding a top notch active preamp into the chain. For a while I powered my power amps directly from my Chord Dave; but once I added a preamp it was obvious just how much I was giving up in speed, dynamism, tonal weight and purity by going direct.
I’m increasingly thinking that the QSA Lanedri’s calling card is an honest, “nothing lacking” sound. Superlative audiophile terms don’t apply to it; rather, it has none of the typical audiophile weaknesses. This is the kind of sound that will faithfully bring the best out of your circuit. Just like it did with the Koda K10, the QSA Gamma Infinity has certainly brought out the best in my Concert Fidelity preamp.