PRODUCT DESCRIPTION
Buy this item and earn 6,599 points valued at $329.95.
The LaChapell Audio Model 992 is a two channel fully balanced all-tube preamplifier and instrument input amplifier. Meticulously hand assembled, every aspect of the 992 speaks of our dedication to quality of sound and solid, robust construction.
Utilizing a total of eight vacuum tubes promises that the 992 will absolutely awaken your ears with its warm melodic character and rich low-end response. The 992 TLS features a transformer-less balanced differential microphone input utilizing two USA made 6072A’s per channel. Our technique of using large matched capacitors with the 6072’s to balance the input instead of a transformer is unique and indeed a vital design requirement for capturing the essence of the coveted 6072. With the 992 TLS, the full burden of generating gain falls on the input tubes themselves, isolating the 6072s as the primary source of character. In addition to the TLS and, wanting to answer the call for more gain, we dug deeper and developed a second variant; the 992 EG (extended gain). By replacing the input caps with the Jensen JT-115k transformer and exchanging the 6072’s for the timeless 12AX7/ECC83 this variant is able to provide a generous >74dB of raw internal gain. With over 40dB of gain deployed to the input pot alone your ability to explore the sonic richness of each stage becomes even more dramatic than that of the 992 TLS. The direct instrument input (Hi-Z) on both variants utilizes a high performance Cinemag direct transformer which feeds the balanced differential amplifier input.
From there the signal reaches the cross-coupled push-pull output stage where we’ve place two 12AU7 tubes in parallel along with the Jensen JT-11 transformer to balance the outputs. The balanced class-A circuitry used throughout this amplifier provides twice the headroom of single ended designs as well as low noise performance. With the use of four tubes per channel, the 992 easily delivers performance well beyond the limits of audibility.
In operation, the user has individual control over the input and output gain stages of each channel. This provides uncommon flexibility to delve into the 992’s broad sonic pallet making it one of the most versatile preamplifiers in any environment. Push the inputs hard and capture that elusive air that can only come from fully balanced tube gain. Or, pull the inputs back and favor the output stage for a cleaner, more linear signal - the choice is yours. Output signal strength is easily monitored through an isolated Sifam back-lit VU meter. There are also five illuminated toggle switches per channel for Meter On/Off, 48v (Phantom), -20db input pad, phase reverse and Mute.
All of this is housed in a chassis that is built like a tank. Designed with reliability and “on the road” stamina as a requirement, we start with high grade aluminum stock milled to a sturdy 1/4” front panel with chip resistant powder coating for the finish. All internal components are well secured using PEM type fasteners and tie-downs. And, of course, ultra-premium components are used throughout: 3/4w Vishay resistors, ASC caps, sealed premium relays ... Our goal is to communicate a sense of robust sturdiness when interfacing with the 992. Each unit is assembled by hand with much care and attention to detail with the hope of preparing it to be the next center piece for any professional recording or broadcast environment. We encourage you to try one and experience for yourself what we think is a new standard of pure tube amplification.
Featured Highlights:
Amplifier Isolated VU Meters
Eight Total Vacuum Tubes
Fully Variable Input~Output Control
Robust Construction
Balanced Circuitry Throughout
Hi-Z Instrument Input
Premium Tubes Components
Jensen JT-11 Output Transformer
Individual Channel Mute Function
Tape Op Review
"Once you've tasted boutique audio, you're definitely spoiled. A good piece of hand-made gear is like a fine meal at a gourmet restaurant - not food from a formula-based chain restaurant. So, like great chefs, the boutique designers toil away on their respective benches making us really great pieces of flexible pro-audio equipment, and each one is as unique as they are. One of these audio culinary experts is Scott LaChapell of LaChapell Audio. Scott is currently focused on a line of high-gain, tube-based mic preamps, and the 992EG is his latest creation. And man, what a creation, as this is a fantastic preamp!
So, let's start with the specs (which are impressive) and go from there. The 992EG (EG as in extra gain) utilizes Jensen JT-115k transformers on the input side and Jensen JT-11-BM transformers on the output side. Our review unit, the premium tube version, has two ECC83 new-old-stock Telefunken tubes (per channel) in between these transformers, and is thus capable of 74 dB of internal.
The 992EG is on one hand very clean - in layout, looks and performance - but also gives back something when pushed. This is because the topology provides that warm harmonic distortion that we have come to love from older gear. In a 2RU-height chassis, the 992EG is simply laid out with two large VU meters; large aluminum knobs for input and output level; LED-indicated switches for the meter,
phantom power, -20 dB pad, poLarity-reverse and channel on/mute; Hi-Z inputs; and a power switch in the middle. Settings are very easy to check regardless of where the unit ends up in the rack. All in all, this is a very nice design and a pleasure to look at.
When we got the 992EG, we had just begun tracking new songs for a new Calexico record, which we followed with basic tracks for a new Neko Case record. Oddly enough, or venerable Telefunken V 76 had decided to quit working the week before, and we really love that preamp for kick drum and bass. Well, since the 992EG was shipped with those Telefunken tubes, it seemed the obvious choice to try it out on the kick. Those of you who have read some of my previous reviews have heard me go on about how John Convertino plays a bass drum and not a kick drum. He uses vintage Ludwig or Gretsch drums and prefers a 20" drum with no damping inside and no hole in the head. The idea is to get "boom" and not "twack" or worse, the modern day sound of a wooden spoon on a 2x4. His style is very dynamic and jazz-oriented and can range from a soft "ba-bump" to a big "ka-boom" with quite a bit of sustain. When we used our trusty AT4047 on his drum with the 992EG, it was like someone had given us new speakers. The clarity and detail on the low end was so rich and warm it made you smile. Even though we were tracking to the computer (yes it's true!!!), with the 992EG, I could have sworn we were listening back to the 2" 16-track at 15 IPS! Fantastic!
Ok, since we've got two channels - how about that snare drum? Well once again, the 992EG delivered beyond our expectations. All the nuances and subtleties of the brushes on the snare head came through, and the way it handled the transients allowed us to set it and not worry when there were those Convertino sudden rimshots that really make the snare bark. In fact, we began to notice that when pushed, the 992EG added some of that warm grit that the V 76 adds. The 992EG gave us that tube compression/distortion that is what rock-n-roll should have in it to begin with.
Needless to say, after that, we used it on the standup bass, piano, cello, vibes, organ, Omnichord, marimba, thunder drum, cuatro, nylon guitar, trumpet, pedal steel, and all manners of instruments that get thrown into and onto a Calexico record. We had equally great success on the basic tracks for Neko's session as well, but so far only got to use it for the drums and bass. Unfortunately, I won't be able to try it on her huge voice until after this review comes out, so you will have to find me at PotLuckCon to find out how it did there.
But where the 992EG really showed its true strength was during mixing. Every track that was recorded through the 992EG sounded like it had come from the 2". In fact, way too much of the record was done on that "Left Empty" version of Pro Tools, and I was dreading how un-WaveLab the record might be. Fortunately, the way the 992EG added its analog magic made the PT LE tracks sound really great, and the only way to really tell that the recordings were digital was the missing tape hiss!"
Craig Schumacher, TapeOp #65, June 2008
