TESTED: Conrad-Johnson ET2 Preamp & LP66S Stereo Power Amplifier

Entry-Level Magic

Initial listening tests were conducted with both amp and preamp in the system. Later, they were auditioned separately to assess their individual performance attributes. It didn’t take me long to determine that the sonic character of the duo was being dominated by the power amp. Therefore, let me start with the ET2 preamp and give it its moment in the sun before returning to the power amp. Used as a linestage, the ET2 won me over pretty dang quickly, garnering excellent marks in several key areas. I’m not going to mince words when it comes to the bass range; pitch definition was remarkable, and bass lines in general were resolved with a precision rivaling that of any linestage I’ve auditioned to date, regardless of cost. The treble range, while fully under control, sounded a tad laid-back and short of air. There was never a hint of brightness or upper-register bite. Transients unfolded with plenty of speed and were allowed to decay delicately into a recording’s noise floor. The overall presentation was clean, smooth, and highly detailed, with an emphasis on harmonic accuracy. The ET2 was capable of revealing low-level nuances without sounding analytical. But it refused to add fat to the midrange, and harmonic textures were free of euphonic upper-midrange coloration. As a result, timbres were allowed to bloom without any sonic makeup. The truth and nothing but the musical truth is what the ET2 is all about. For me it was a joy of discovery, as the ET2 was able to zoom in on a particular voice or instrument and nail its timbre with authenticity. On the other hand, if you’re looking for a linestage to spice up or glorify your system, then the ET2 is probably not for you. It is not a romantic, lush, or assertive preamp. It’s not overtly tubey, but then it was not meant to be.

Please don’t misunderstand me. The ET-2 is an engaging linestage with plenty of kinetic energy and rhythmic drive. It has all the tools, the technique if you will, but it can also dish out the music’s passion and drama. It’s just that it does not sound like a vintage tube preamp. Going back as far as the 80s, I have yet to audition a C-J preamp that did not excel in imaging, and the ET2 was no exception. It erected a soundstage with a convincing depth perspective and fleshed out image outlines with almost palpable presence. The gift of imaging seems to be a family trait of the C-J preamp line.

My sample of the ET2 was outfitted with the optional low-gain phonostage—a good match for my Grado Reference moving-iron cartridge. My conclusion was that the phonostage, with only a couple of minor exceptions, complemented the ET2’s strong sonic suites. Its solid imaging, very good detail retrieval, bass definition, and low noise floor made for a pleasurable vinyl playback experience. The only negatives noted were a touch of textural grain, which may be a function of the Russian 12AX7s, and a slight dynamic reticence in scaling loud passages. Nothing serious, in hindsight, and the optional phonostage strikes me as a cost effective way to expand the functionality of the ET2.

In contrast with the ET2, which could best be described as intent on accuracy, the LP66S came across sonically as a swashbuckling romantic. Tonal emphasis was squarely on the lower midrange. It painted a much more convincing vintage tube impression. Harmonic textures were slightly liquid and warm, complimentary to violin tone, not excessively lush, but just enough to let you know that you’re listening to a tube amplifier. The treble range was laid-back, and in general, the overall presentation lost a bit of transient speed and tension. Despite dishing out 60Wpc from a pair of 6550s, there was no gratuitous upper-octave brightness and very little evidence of odd-order harmonic distortion products. The combination of these factors resulted in a mellow, relaxed presentation. Although the amp came across as somewhat broad-brush in character, there was still an abundance of low-level detail. The lack of multiple impedance taps made it impossible to experiment with optimizing bass damping. Bass definition was just OK with the Esoteric MG-20 loudspeaker, but improved to decent while driving the Basszilla Platinum Edition DIY speaker. These findings suggest the need for a careful audition in the context of your own system. When it comes to imaging, the LP66S evinced plenty of tube magic. Image outlines were solidly anchored within the soundstage. When partnering the ET2, it easily kept pace in this respect, giving full scope to a deep and spacious soundstage.

Entry-level? I don’t think so! Sonic compromise? Not so much. Despite its entry-level label, the ET-2 is a low-distortion, high-resolution device that delivers timbral accuracy on top of phenomenal bass control. It can certainly hold its own in elitist company. The optional phonostage can also be confidently recommended. If you’re in the mood for mellow tube sound with an exceptionally low listener-fatigue factor and plenty of imaging magic, be sure to give the LP66S an audition. It would make the perfect partner for a bright-sounding loudspeaker.