Exceptionally Rare Used 11A Line Preamplifier for Sale Audo Mart

[steve]

Thought I would post this ad I saw on Audio Mart yesterday. The  SAS Audio Labs 11A is as
rare as hen's teeth. It is that good and reliable.

https://www.usaudiomart.com/details/650276464-rare-sas-audio-labs-reference-11a-line-preamplifier/

cheers

steve

[Nick B]

Rare indeed. Don't recall if I've ever seen one for sale. Still quite a stylish unit too.

[steve]

Rare indeed. Don't recall if I've ever seen one for sale. Still quite a stylish unit too.

Yes, and most probably won't know that it is the first and only perceptually perfect line preamplifier.

By perceptually perfect, the ear cannot tell when the 11A is in the system and when it is out
of the system. That is exactly what one should use, as a reference, to start their reference system as
one will choose a more accurate dac, amp, speakers for more natural sound., dynamics, spatial detail,
3D, closer to the live event.

cheers

steve

[steve]

The owner has the status of owning the worlds most status and accurate/natural sounding line preamplifier,
via decades of specialized/sophisticated listening tests. The 11A will bring out inner detail some 40+ db
deeper than any other line preamplifier in the world.  The result is the closest experience to being there live.

Some reviews for those who were not familiar with the status, some 15+ years ago.

Graham: "I took the B11a into a shop in Auckland. I know the owner fairly well, and we agree that Shindo make some wonderful pieces of kit. (I wasn't looking for a change!) Almost immediately we started listening, he said "That's really fast!" We also agreed that the B11a was much clearer, making the Shindo Aurieges sound slow, muddy, and coloured."

Bernie: "I have also tested the 11A in terms of comparing the sound from my excellent cd source directly to amps versus inserting the 11A pre between. I could detect no difference whatsoever.... So, my two cents: the SAS preamps are stellar � with my 11A I hear no compression or any other alteration of the originating signal."

Terence: "I have been using the 11A since I received it but I didn't want to be premature in my assassment, although my initial assessments were favourable. Now, I must say that the 11A is certainly the best preamp I have ever owned, and the best I have ever heard-ss or tube. Thank you for a wonderful product, Steve."

Charles Phd, did musical reviews for PBS, Florida: "I just saw this post and you know I have to chime in here. After three years of preamp auditions I just pulled the trigger on the SAS 11A preamp. It was an unknown product to me but Marty Dewulf over at BFS (and who knows whats going on there these days, by that I mean it seems that Marty has slipped into retirement - forgive me Marty if I am wrong) Anyway he always said wonderful things about the preamp! So having no mind of my own I bought the preamp from Steve at SAS audio. The reason I bought the preamp is that I did not want to do the crazy audiophile thing of always upgrading. Buying the SAS preamp was the best thing I could have done. It's wonderful! Clear, fast musical and very truthful to the source. And more importantly it works well with both tube and solid state amps (i.e. Pass 30.5 & Audio-space 300b mono-blocks).

Hey good listening

Charlie

PS I have no connection to Steve at SAS audio"

George: "Steve,, this pre is "top shelf",, I currently have it thru odyssey mono se's to a pair of Carver Amazings,,, it's gonna be difficult for me to box it up and ship it on to Weez,,, organic, man,, organic,,, as soon as I receive the address, I'll ship it on,, I've got it "dialed in",,, it's so good,,it's scary---thanks for the opportunity to let me/us audition such a fine piece of gear---- george

Charlie: "Steve,The overwhelming Majority of comments regarding the 11A during the tour have been very favorable. Everyone at Woodsyi's with the exception of Doug S who seemed to have prior issues with you because of you refusing to offer the 10A with a remote volume thought that the 11A was by far the best sounding pre of the bunch. DaveG sat there with Scotty and myself and fully agreed that the 11A was clearly the superior preamplifier out of the group."

Rich (Audio Circle): "I've been listening to a lot of preamps this week and even with the problems, it is evident to me that the 11A is in a different league. I'm glad I heard it first, because it set a high mark for the others to follow. The only other pre that sounds naturally musical so far is the Minimax with vintage 12AU7s. They are just too tubey though. But at least the sound is natural and tone is not all screwed up. Manley Shrimp sounds like sandpaper and Van Alstine is like cheap hifi, with hyped treble and bass and weird honky mids. I guess that's what you can expect for 1500 bucks. Makes 10b look very tempting."
Thanks Steve.
Rich"

Ray: "your prees are somewhat legendary in their reviews."

Jack: "My 10A is going to the grave with me, it's my favorite piece of audio gear. The 11A is better but they rarely come up for sale." (Jack auditioned my 11A at his venue.)

Bob: "Hey guys. . .if anyone's interested, I'm selling my Tram 2 preamp since my SAS B11A is so awesome...." (Tram 2 uses DHT 45, 2A3s)

Rich Weiner phd, Reviewer, Bound for Sound: "The SAS 10A is the most musically truthful preamp I'm aware of, and I will expand that statement by listing some of the line stages I've had in my otherwise very stable system: Herron VTSP-1, VAC CPA III, VAC Standard LE, Audio Research 3A, ARC 8, ARC 10, Mark Levinson ML-1, Levinson ML-7, Levinson ML-10A, Original Aronov PS-100 and Musical Concepts modification, Nagra PL-P, Beveridge RM-1, Rappaport, Placette Passive - there are more, but you get the point. Until I got the 10A, I struggled to make the other components live up to their potential."

(Rich purchased the 11A Line Preamplifier as his reference, March, 2006, Martin DeWulf, Publisher, Bound for Sound, no advertisements allowed,
also purchased the 11A as his reference. After Martin's passing, his wife uses the 11A as her reference.)"

In every field there are certain items that are so worthy, they are priceless. The SAS Audio Labs 11A is such in the audio world.

steve

[Nick B]

The owner has the status of owning the worlds most perfect/natural sounding line preamplifier, via
decades of specialized listening tests. The 11A will bring out inner detail some 40+ db deeper than
any other line preamplifier in the world.  The result is the closest experience to being there live.

Some reviews for those who were not around some 15 + years ago.

Graham: "I took the B11a into a shop in Auckland. I know the owner fairly well, and we agree that Shindo make some wonderful pieces of kit. (I wasn't looking for a change!) Almost immediately we started listening, he said "That's really fast!" We also agreed that the B11a was much clearer, making the Shindo Aurieges sound slow, muddy, and coloured."

Bernie: "I have also tested the 11A in terms of comparing the sound from my excellent cd source directly to amps versus inserting the 11A pre between. I could detect no difference whatsoever.... So, my two cents: the SAS preamps are stellar � with my 11A I hear no compression or any other alteration of the originating signal."

Terence: "I have been using the 11A since I received it but I didn't want to be premature in my assassment, although my initial assessments were favourable. Now, I must say that the 11A is certainly the best preamp I have ever owned, and the best I have ever heard-ss or tube. Thank you for a wonderful product, Steve."

Charles Phd, did musical reviews for PBS, Florida: "I just saw this post and you know I have to chime in here. After three years of preamp auditions I just pulled the trigger on the SAS 11A preamp. It was an unknown product to me but Marty Dewulf over at BFS (and who knows whats going on there these days, by that I mean it seems that Marty has slipped into retirement - forgive me Marty if I am wrong) Anyway he always said wonderful things about the preamp! So having no mind of my own I bought the preamp from Steve at SAS audio. The reason I bought the preamp is that I did not want to do the crazy audiophile thing of always upgrading. Buying the SAS preamp was the best thing I could have done. It's wonderful! Clear, fast musical and very truthful to the source. And more importantly it works well with both tube and solid state amps (i.e. Pass 30.5 & Audio-space 300b mono-blocks).

Hey good listening

Charlie

PS I have no connection to Steve at SAS audio"

George: "Steve,, this pre is "top shelf",, I currently have it thru odyssey mono se's to a pair of Carver Amazings,,, it's gonna be difficult for me to box it up and ship it on to Weez,,, organic, man,, organic,,, as soon as I receive the address, I'll ship it on,, I've got it "dialed in",,, it's so good,,it's scary---thanks for the opportunity to let me/us audition such a fine piece of gear---- george

Charlie: "Steve,The overwhelming Majority of comments regarding the 11A during the tour have been very favorable. Everyone at Woodsyi's with the exception of Doug S who seemed to have prior issues with you because of you refusing to offer the 10A with a remote volume thought that the 11A was by far the best sounding pre of the bunch. DaveG sat there with Scotty and myself and fully agreed that the 11A was clearly the superior preamplifier out of the group."

Rich (Audio Circle): "I've been listening to a lot of preamps this week and even with the problems, it is evident to me that the 11A is in a different league. I'm glad I heard it first, because it set a high mark for the others to follow. The only other pre that sounds naturally musical so far is the Minimax with vintage 12AU7s. They are just too tubey though. But at least the sound is natural and tone is not all screwed up. Manley Shrimp sounds like sandpaper and Van Alstine is like cheap hifi, with hyped treble and bass and weird honky mids. I guess that's what you can expect for 1500 bucks. Makes 10b look very tempting."
Thanks Steve.
Rich"

Ray: "your prees are somewhat legendary in their reviews."

Jack: "My 10A is going to the grave with me, it's my favorite piece of audio gear. The 11A is better but they rarely come up for sale." (Jack auditioned my 11A at his venue.)

Bob: "Hey guys. . .if anyone's interested, I'm selling my Tram 2 preamp since my SAS B11A is so awesome...." (Tram 2 uses DHT 45, 2A3s)

Rich Weiner phd, Reviewer, Bound for Sound: "The SAS 10A is the most musically truthful preamp I'm aware of, and I will expand that statement by listing some of the line stages I've had in my otherwise very stable system: Herron VTSP-1, VAC CPA III, VAC Standard LE, Audio Research 3A, ARC 8, ARC 10, Mark Levinson ML-1, Levinson ML-7, Levinson ML-10A, Original Aronov PS-100 and Musical Concepts modification, Nagra PL-P, Beveridge RM-1, Rappaport, Placette Passive - there are more, but you get the point. Until I got the 10A, I struggled to make the other components live up to their potential."

(Rich purchased the 11A Line Preamplifier as his reference, March, 2006, Martin DeWulf, Publisher, Bound for Sound, no advertisements allowed,
also purchased the 11A as his reference. After Martin's passing, his wife uses the 11A as her reference.)"

In every field there are certain items that are so worthy, they are priceless. The SAS Audio Labs 11A is such in the audio world.

steve

Congratulations, Steve. Great products stand the test of time 👍
Nick

[steve]

The owner has the status of owning the worlds most perfect/natural sounding line preamplifier, via
decades of specialized listening tests. The 11A will bring out inner detail some 40+ db deeper than
any other line preamplifier in the world.  The result is the closest experience to being there live.

Some reviews for those who were not around some 15 + years ago.

Graham: "I took the B11a into a shop in Auckland. I know the owner fairly well, and we agree that Shindo make some wonderful pieces of kit. (I wasn't looking for a change!) Almost immediately we started listening, he said "That's really fast!" We also agreed that the B11a was much clearer, making the Shindo Aurieges sound slow, muddy, and coloured."

Bernie: "I have also tested the 11A in terms of comparing the sound from my excellent cd source directly to amps versus inserting the 11A pre between. I could detect no difference whatsoever.... So, my two cents: the SAS preamps are stellar � with my 11A I hear no compression or any other alteration of the originating signal."

Terence: "I have been using the 11A since I received it but I didn't want to be premature in my assassment, although my initial assessments were favourable. Now, I must say that the 11A is certainly the best preamp I have ever owned, and the best I have ever heard-ss or tube. Thank you for a wonderful product, Steve."

Charles Phd, did musical reviews for PBS, Florida: "I just saw this post and you know I have to chime in here. After three years of preamp auditions I just pulled the trigger on the SAS 11A preamp. It was an unknown product to me but Marty Dewulf over at BFS (and who knows whats going on there these days, by that I mean it seems that Marty has slipped into retirement - forgive me Marty if I am wrong) Anyway he always said wonderful things about the preamp! So having no mind of my own I bought the preamp from Steve at SAS audio. The reason I bought the preamp is that I did not want to do the crazy audiophile thing of always upgrading. Buying the SAS preamp was the best thing I could have done. It's wonderful! Clear, fast musical and very truthful to the source. And more importantly it works well with both tube and solid state amps (i.e. Pass 30.5 & Audio-space 300b mono-blocks).

Hey good listening

Charlie

PS I have no connection to Steve at SAS audio"

George: "Steve,, this pre is "top shelf",, I currently have it thru odyssey mono se's to a pair of Carver Amazings,,, it's gonna be difficult for me to box it up and ship it on to Weez,,, organic, man,, organic,,, as soon as I receive the address, I'll ship it on,, I've got it "dialed in",,, it's so good,,it's scary---thanks for the opportunity to let me/us audition such a fine piece of gear---- george

Charlie: "Steve,The overwhelming Majority of comments regarding the 11A during the tour have been very favorable. Everyone at Woodsyi's with the exception of Doug S who seemed to have prior issues with you because of you refusing to offer the 10A with a remote volume thought that the 11A was by far the best sounding pre of the bunch. DaveG sat there with Scotty and myself and fully agreed that the 11A was clearly the superior preamplifier out of the group."

Rich (Audio Circle): "I've been listening to a lot of preamps this week and even with the problems, it is evident to me that the 11A is in a different league. I'm glad I heard it first, because it set a high mark for the others to follow. The only other pre that sounds naturally musical so far is the Minimax with vintage 12AU7s. They are just too tubey though. But at least the sound is natural and tone is not all screwed up. Manley Shrimp sounds like sandpaper and Van Alstine is like cheap hifi, with hyped treble and bass and weird honky mids. I guess that's what you can expect for 1500 bucks. Makes 10b look very tempting."
Thanks Steve.
Rich"

Ray: "your prees are somewhat legendary in their reviews."

Jack: "My 10A is going to the grave with me, it's my favorite piece of audio gear. The 11A is better but they rarely come up for sale." (Jack auditioned my 11A at his venue.)

Bob: "Hey guys. . .if anyone's interested, I'm selling my Tram 2 preamp since my SAS B11A is so awesome...." (Tram 2 uses DHT 45, 2A3s)

Rich Weiner phd, Reviewer, Bound for Sound: "The SAS 10A is the most musically truthful preamp I'm aware of, and I will expand that statement by listing some of the line stages I've had in my otherwise very stable system: Herron VTSP-1, VAC CPA III, VAC Standard LE, Audio Research 3A, ARC 8, ARC 10, Mark Levinson ML-1, Levinson ML-7, Levinson ML-10A, Original Aronov PS-100 and Musical Concepts modification, Nagra PL-P, Beveridge RM-1, Rappaport, Placette Passive - there are more, but you get the point. Until I got the 10A, I struggled to make the other components live up to their potential."

(Rich purchased the 11A Line Preamplifier as his reference, March, 2006, Martin DeWulf, Publisher, Bound for Sound, no advertisements allowed,
also purchased the 11A as his reference. After Martin's passing, his wife uses the 11A as her reference.)"

In every field there are certain items that are so worthy, they are priceless. The SAS Audio Labs 11A is such in the audio world.

steve

Congratulations, Steve. Great products stand the test of time 👍
Nick

I had one individual contact me about 5 years ago, that he had no idea, never heard of the company/preampifiers,then performed
a review check and purchased the used 10A. DukeW posted.
Lack of recognition seems to be one problem.

http://www.audioreview.com/product/amplification/preamplifiers/sas-audio-labs/10a.html

A second problem is the example of Duke's post below John Doe's, which shows what happens when
I would not sell my 10A for $300 to a review magazine. At least 2 other online review magazines joined in,
dogging me in audio forums, for over a decade, until I retired. Of course john doe misleads as to my
qualifications and the false attacks on my integrity.

Instead of helping you, the public, they help their "friends" who pay them, just as they tried to with me.

Please be careful.

steve

[Nick B]

The owner has the status of owning the worlds most perfect/natural sounding line preamplifier, via
decades of specialized listening tests. The 11A will bring out inner detail some 40+ db deeper than
any other line preamplifier in the world.  The result is the closest experience to being there live.

Some reviews for those who were not around some 15 + years ago.

Graham: "I took the B11a into a shop in Auckland. I know the owner fairly well, and we agree that Shindo make some wonderful pieces of kit. (I wasn't looking for a change!) Almost immediately we started listening, he said "That's really fast!" We also agreed that the B11a was much clearer, making the Shindo Aurieges sound slow, muddy, and coloured."

Bernie: "I have also tested the 11A in terms of comparing the sound from my excellent cd source directly to amps versus inserting the 11A pre between. I could detect no difference whatsoever.... So, my two cents: the SAS preamps are stellar � with my 11A I hear no compression or any other alteration of the originating signal."

Terence: "I have been using the 11A since I received it but I didn't want to be premature in my assassment, although my initial assessments were favourable. Now, I must say that the 11A is certainly the best preamp I have ever owned, and the best I have ever heard-ss or tube. Thank you for a wonderful product, Steve."

Charles Phd, did musical reviews for PBS, Florida: "I just saw this post and you know I have to chime in here. After three years of preamp auditions I just pulled the trigger on the SAS 11A preamp. It was an unknown product to me but Marty Dewulf over at BFS (and who knows whats going on there these days, by that I mean it seems that Marty has slipped into retirement - forgive me Marty if I am wrong) Anyway he always said wonderful things about the preamp! So having no mind of my own I bought the preamp from Steve at SAS audio. The reason I bought the preamp is that I did not want to do the crazy audiophile thing of always upgrading. Buying the SAS preamp was the best thing I could have done. It's wonderful! Clear, fast musical and very truthful to the source. And more importantly it works well with both tube and solid state amps (i.e. Pass 30.5 & Audio-space 300b mono-blocks).

Hey good listening

Charlie

PS I have no connection to Steve at SAS audio"

George: "Steve,, this pre is "top shelf",, I currently have it thru odyssey mono se's to a pair of Carver Amazings,,, it's gonna be difficult for me to box it up and ship it on to Weez,,, organic, man,, organic,,, as soon as I receive the address, I'll ship it on,, I've got it "dialed in",,, it's so good,,it's scary---thanks for the opportunity to let me/us audition such a fine piece of gear---- george

Charlie: "Steve,The overwhelming Majority of comments regarding the 11A during the tour have been very favorable. Everyone at Woodsyi's with the exception of Doug S who seemed to have prior issues with you because of you refusing to offer the 10A with a remote volume thought that the 11A was by far the best sounding pre of the bunch. DaveG sat there with Scotty and myself and fully agreed that the 11A was clearly the superior preamplifier out of the group."

Rich (Audio Circle): "I've been listening to a lot of preamps this week and even with the problems, it is evident to me that the 11A is in a different league. I'm glad I heard it first, because it set a high mark for the others to follow. The only other pre that sounds naturally musical so far is the Minimax with vintage 12AU7s. They are just too tubey though. But at least the sound is natural and tone is not all screwed up. Manley Shrimp sounds like sandpaper and Van Alstine is like cheap hifi, with hyped treble and bass and weird honky mids. I guess that's what you can expect for 1500 bucks. Makes 10b look very tempting."
Thanks Steve.
Rich"

Ray: "your prees are somewhat legendary in their reviews."

Jack: "My 10A is going to the grave with me, it's my favorite piece of audio gear. The 11A is better but they rarely come up for sale." (Jack auditioned my 11A at his venue.)

Bob: "Hey guys. . .if anyone's interested, I'm selling my Tram 2 preamp since my SAS B11A is so awesome...." (Tram 2 uses DHT 45, 2A3s)

Rich Weiner phd, Reviewer, Bound for Sound: "The SAS 10A is the most musically truthful preamp I'm aware of, and I will expand that statement by listing some of the line stages I've had in my otherwise very stable system: Herron VTSP-1, VAC CPA III, VAC Standard LE, Audio Research 3A, ARC 8, ARC 10, Mark Levinson ML-1, Levinson ML-7, Levinson ML-10A, Original Aronov PS-100 and Musical Concepts modification, Nagra PL-P, Beveridge RM-1, Rappaport, Placette Passive - there are more, but you get the point. Until I got the 10A, I struggled to make the other components live up to their potential."

(Rich purchased the 11A Line Preamplifier as his reference, March, 2006, Martin DeWulf, Publisher, Bound for Sound, no advertisements allowed,
also purchased the 11A as his reference. After Martin's passing, his wife uses the 11A as her reference.)"

In every field there are certain items that are so worthy, they are priceless. The SAS Audio Labs 11A is such in the audio world.

steve

Congratulations, Steve. Great products stand the test of time 👍
Nick

I had one individual contact me about 5 years ago, that he had no idea, never heard of the company/preampifiers,then performed
a review check and purchased the used 10A. DukeW posted.
Lack of recognition seems to be one problem.

http://www.audioreview.com/product/amplification/preamplifiers/sas-audio-labs/10a.html

A second problem is the example of Duke's post below John Doe's, which shows what happens when
I would not sell my 10A for $300 to a review magazine. At least 2 other online review magazines joined in,
dogging me in audio forums, for over a decade, until I retired. Of course john doe misleads as to my
qualifications and the false attacks on my integrity.

Instead of helping you, they help their "friends" who pay them, just as they tried to with me.

Please be careful.

steve

There are a few reviewers who I trust. I've certainly heard of the review shenanigans and getting items for free or steep discounts. I really don't know what's true and what isn't. Often times, comments about equipment from experienced guys that I trust are much more helpful than some of the reviews. Guys like you, Charles, Jack, Dave and a few others here and guys on AC like Anand, Tyson, Danny Ritchie and some others

[steve]

The owner has the status of owning the worlds most perfect/natural sounding line preamplifier, via
decades of specialized listening tests. The 11A will bring out inner detail some 40+ db deeper than
any other line preamplifier in the world.  The result is the closest experience to being there live.

Some reviews for those who were not around some 15 + years ago.

Graham: "I took the B11a into a shop in Auckland. I know the owner fairly well, and we agree that Shindo make some wonderful pieces of kit. (I wasn't looking for a change!) Almost immediately we started listening, he said "That's really fast!" We also agreed that the B11a was much clearer, making the Shindo Aurieges sound slow, muddy, and coloured."

Bernie: "I have also tested the 11A in terms of comparing the sound from my excellent cd source directly to amps versus inserting the 11A pre between. I could detect no difference whatsoever.... So, my two cents: the SAS preamps are stellar � with my 11A I hear no compression or any other alteration of the originating signal."

Terence: "I have been using the 11A since I received it but I didn't want to be premature in my assassment, although my initial assessments were favourable. Now, I must say that the 11A is certainly the best preamp I have ever owned, and the best I have ever heard-ss or tube. Thank you for a wonderful product, Steve."

Charles Phd, did musical reviews for PBS, Florida: "I just saw this post and you know I have to chime in here. After three years of preamp auditions I just pulled the trigger on the SAS 11A preamp. It was an unknown product to me but Marty Dewulf over at BFS (and who knows whats going on there these days, by that I mean it seems that Marty has slipped into retirement - forgive me Marty if I am wrong) Anyway he always said wonderful things about the preamp! So having no mind of my own I bought the preamp from Steve at SAS audio. The reason I bought the preamp is that I did not want to do the crazy audiophile thing of always upgrading. Buying the SAS preamp was the best thing I could have done. It's wonderful! Clear, fast musical and very truthful to the source. And more importantly it works well with both tube and solid state amps (i.e. Pass 30.5 & Audio-space 300b mono-blocks).

Hey good listening

Charlie

PS I have no connection to Steve at SAS audio"

George: "Steve,, this pre is "top shelf",, I currently have it thru odyssey mono se's to a pair of Carver Amazings,,, it's gonna be difficult for me to box it up and ship it on to Weez,,, organic, man,, organic,,, as soon as I receive the address, I'll ship it on,, I've got it "dialed in",,, it's so good,,it's scary---thanks for the opportunity to let me/us audition such a fine piece of gear---- george

Charlie: "Steve,The overwhelming Majority of comments regarding the 11A during the tour have been very favorable. Everyone at Woodsyi's with the exception of Doug S who seemed to have prior issues with you because of you refusing to offer the 10A with a remote volume thought that the 11A was by far the best sounding pre of the bunch. DaveG sat there with Scotty and myself and fully agreed that the 11A was clearly the superior preamplifier out of the group."

Rich (Audio Circle): "I've been listening to a lot of preamps this week and even with the problems, it is evident to me that the 11A is in a different league. I'm glad I heard it first, because it set a high mark for the others to follow. The only other pre that sounds naturally musical so far is the Minimax with vintage 12AU7s. They are just too tubey though. But at least the sound is natural and tone is not all screwed up. Manley Shrimp sounds like sandpaper and Van Alstine is like cheap hifi, with hyped treble and bass and weird honky mids. I guess that's what you can expect for 1500 bucks. Makes 10b look very tempting."
Thanks Steve.
Rich"

Ray: "your prees are somewhat legendary in their reviews."

Jack: "My 10A is going to the grave with me, it's my favorite piece of audio gear. The 11A is better but they rarely come up for sale." (Jack auditioned my 11A at his venue.)

Bob: "Hey guys. . .if anyone's interested, I'm selling my Tram 2 preamp since my SAS B11A is so awesome...." (Tram 2 uses DHT 45, 2A3s)

Rich Weiner phd, Reviewer, Bound for Sound: "The SAS 10A is the most musically truthful preamp I'm aware of, and I will expand that statement by listing some of the line stages I've had in my otherwise very stable system: Herron VTSP-1, VAC CPA III, VAC Standard LE, Audio Research 3A, ARC 8, ARC 10, Mark Levinson ML-1, Levinson ML-7, Levinson ML-10A, Original Aronov PS-100 and Musical Concepts modification, Nagra PL-P, Beveridge RM-1, Rappaport, Placette Passive - there are more, but you get the point. Until I got the 10A, I struggled to make the other components live up to their potential."

(Rich purchased the 11A Line Preamplifier as his reference, March, 2006, Martin DeWulf, Publisher, Bound for Sound, no advertisements allowed,
also purchased the 11A as his reference. After Martin's passing, his wife uses the 11A as her reference.)"

In every field there are certain items that are so worthy, they are priceless. The SAS Audio Labs 11A is such in the audio world.

steve

Congratulations, Steve. Great products stand the test of time 👍
Nick

I had one individual contact me about 5 years ago, that he had no idea, never heard of the company/preampifiers,then performed
a review check and purchased the used 10A. DukeW posted.
Lack of recognition seems to be one problem.

http://www.audioreview.com/product/amplification/preamplifiers/sas-audio-labs/10a.html

A second problem is the example of Duke's post below John Doe's, which shows what happens when
I would not sell my 10A for $300 to a review magazine. At least 2 other online review magazines joined in,
dogging me in audio forums, for over a decade, until I retired. Of course john doe misleads as to my
qualifications and the false attacks on my integrity.

Instead of helping you, they help their "friends" who pay them, just as they tried to with me.

Please be careful.

steve

There are a few reviewers who I trust. I've certainly heard of the review shenanigans and getting items for free or steep discounts. I really don't know what's true and what isn't. Often times, comments about equipment from experienced guys that I trust are much more helpful than some of the reviews. Guys like you, Charles, Jack, Dave and a few others here and guys on AC like Anand, Tyson, Danny Ritchie and some others

Yes, this forum is descent with integrity which is why I stay. I trusted a friend who recommended the
Schiit Mimir dac, based on many individual reviews. I must admit that I had already
upgraded the Modi 2, the Mimir was inexpensive, plus return policy helped in my decision
to purchase it. Glad I listened to him in this instance.
 
However, my friend often recommended stuff over decades, via reviews, comments, that was either
snake oil, or was of no value except to make make money.
One such recommendation was to watch an individual/company R&D video of a particular
design which I had already researched/tested some 10 years earlier, and incorporated in
my test speakers. The suggestion is to check around and see if the recommendation is
cutting edge or not, or even flaky.

cheers
steve

[steve]

Thought I would mentiona couple of extras. When connecting a preamplifier
output to the amplifier input, the amp"s input impedance (Z) will influence
the bass output (of capacitive output preamplifier), affecting the actual
frequency response, naturalness of the instruments and voices.

Examples of amplifier input Z are 20k ohms, 47k/50k, 100k, and higher ohmage
input Z.

The 11A is the only preamplifier in the world that has a parallel variable control
that one can adjust for flat response to amplifiers of different input Zs. The
control allows for amp input Z from 20k ohms (20,000 ohms) on up.

For instance, if one purchases an amplifier with 20k ohms input Z, while the old amplifier
has an input Z of 200k ohms,, or in between Z ohms, one can simply adjust the
control for flat response, or personal preference.

The preamplifier also has circuitry that minimizes RF and other forms of
interference so no need for external suppression techniques/components as
any suppressor connecting the preamplifier to amplifier may degrade the musical quality.

cheers

steve

[Nick B]

Thought I would mentiona couple of extras. When connecting a preamplifier
output to the amplifier input, the amp"s input impedance (Z) will influence
the bass output (of capacitive output preamplifier), affecting the actual
frequency response, naturalness of the instruments and voices.

Examples of amplifier input Z are 20k ohms, 47k/50k, 100k, and higher ohmage
input Z.

The 11A is the only preamplifier in the world that has a parallel variable control
that one can adjust for flat response to amplifiers of different input Zs. The
control allows for amp input Z from 20k ohms (20,000 ohms) on up.

For instance, if one purchases an amplifier with 20k ohms input Z, while the old amplifier
has an input Z of 200k ohms,, or in between Z ohms, one can simply adjust the
control for flat response, or personal preference.

The preamplifier also has circuitry that minimizes RF and other forms of
interference so no need for external suppression techniques/components as
any suppressor connecting the preamplifier to amplifier may degrade the musical quality.

cheers

steve

Seems like brilliant engineering, Steve. Were you able to patent that or would it have been too expensive to do that?
Nick

[steve]

Thought I would mentiona couple of extras. When connecting a preamplifier
output to the amplifier input, the amp"s input impedance (Z) will influence
the bass output (of capacitive output preamplifier), affecting the actual
frequency response, naturalness of the instruments and voices.

Examples of amplifier input Z are 20k ohms, 47k/50k, 100k, and higher ohmage
input Z.

The 11A is the only preamplifier in the world that has a parallel variable control
that one can adjust for flat response to amplifiers of different input Zs. The
control allows for amp input Z from 20k ohms (20,000 ohms) on up.

For instance, if one purchases an amplifier with 20k ohms input Z, while the old amplifier
has an input Z of 200k ohms,, or in between Z ohms, one can simply adjust the
control for flat response, or personal preference.

The preamplifier also has circuitry that minimizes RF and other forms of
interference so no need for external suppression techniques/components as
any suppressor connecting the preamplifier to amplifier may degrade the musical quality.

cheers

steve

Seems like brilliant engineering, Steve. Were you able to patent that or would it have been too expensive to do that?
Nick

Hi Nick,

Thanks. I always try to consider variables and provide adjustments to solve possible problems.

Still gathering data. Perfect sonic accuracy of the 11A, output sounds exactly the same
as the input signal sounds, via specialized listening tests. Still listening
testing my own 11A over the decades, for low frequency deterioration due to
 parts changing values, none found.

Industrial design allows for 100,000 plus hours without repair (except tubes). For newbies,
industrial designing basically means part tolerances are tight, heavy duty parts used for longevity,
and if a part (tube, transistor, integrated chip) completely fails, other parts can handle the catastrophe
without destruction. It also usually includes under extreme environmental conditions.

Your question concerning patents, analog audio is nearly impossible to patent. One's schematic
becomes available to the public as one needs to explain how the design works, what makes it
different from other designs. Legal action can take years and years to litigate, costs a bundle
and recover if one wins.

I hope this answers your questions Nick. Would be glad to answer anymore questions if more
come to mind, from anyone.

Cheers

steve

[Nick B]

Thought I would mentiona couple of extras. When connecting a preamplifier
output to the amplifier input, the amp"s input impedance (Z) will influence
the bass output (of capacitive output preamplifier), affecting the actual
frequency response, naturalness of the instruments and voices.

Examples of amplifier input Z are 20k ohms, 47k/50k, 100k, and higher ohmage
input Z.

The 11A is the only preamplifier in the world that has a parallel variable control
that one can adjust for flat response to amplifiers of different input Zs. The
control allows for amp input Z from 20k ohms (20,000 ohms) on up.

For instance, if one purchases an amplifier with 20k ohms input Z, while the old amplifier
has an input Z of 200k ohms,, or in between Z ohms, one can simply adjust the
control for flat response, or personal preference.

The preamplifier also has circuitry that minimizes RF and other forms of
interference so no need for external suppression techniques/components as
any suppressor connecting the preamplifier to amplifier may degrade the musical quality.

cheers

steve

Seems like brilliant engineering, Steve. Were you able to patent that or would it have been too expensive to do that?
Nick

Hi Nick,

I always try to consider variables and provide adjustments to solve possible problems.

1. Perfect sonic accuracy of the 11A, output sounds exactly the same
as the input signal sounds, via specialized listening tests. Still listening
testing my own 11A over the decades, for any sonic changes due to parts
deterioration, none found. Another use is control could help for any low
frequency change is found.
 
2. Able to match the 11A's output to any new amplifier with 20k input Z on up.

3. Industrial design allows for 100,000 plus hours without repair (except tubes).

Your question concerning patents, analog audio is nearly impossible to patent. One's schematic
becomes available to the public as one needs to explain how the design works, what makes it
different from other designs. Legal action can take years and years to litigate, costs a bundle
and recover if one wins.

I hope this answers your questions Nick. Please feel free to answer others.

steve

Yes, you've answered all the questions I had, Steve. I have no experience with patents, but your explanation certainly makes sense and hiring an attorney could end up being prohibitively expensive.