They say don’t look a gift horse in the chops, so when UK distributor KARMA-AV recently rocked up with Perlisten’s flagship S7t Limited Edition loudspeakers for review and said “do you want some amps to go with them?” I didn’t need asking twice.
Why? Because these aren’t your average amplifiers, they’re Primare’s flagship stereo powerhouses, fed by an all singing preamp. And nor are they entirely new to me, as I spent considerable time with their predecessors some years back when scribing for Hi-Fi News & Record Review. And that experience has stayed with me – as has hearing a no-holds-barred Primare system more recently at Ascot when we sat down with Terry Medalen to chat about Primare’s zen approach to audio.
Why I’ve resisted formally testing these until now though comes down to serendipity, aka waiting for the right speakers in my system to really do them justice and see how far they can be pushed. And the Perlistens are perfect for this, being so articulate and nicely balanced, you hear everything an amplifier is doing (or indeed not doing).
Understated Scandinavian minimalism is where Primare butters its bröd, with the 35 series being offered in brushed black or ‘titanium’ silver finishes. Note the A35.2’s discreet standby button (the square section at the centre of its embossed logo)
And that’s why we signed up for the whole Primare amplifier shebang, comprised of PRE35 preamp with DAC and Prisma streaming modules slotted in, alongside not one but two A35.2 power amps. All in this lot sets you back a shade under £10k at £9,800, but you don’t have to start here, thanks to Primare’s modular approach.
The basic PRE35 (sans DAC and streamer) is £2,899, and a single A35.2 stereo power amp £2,900, meaning £5,799 gets you into premier Primare territory. Adding a DAC takes the PRE35 to £3,650 and Prisma streamer a further three-hundred and fifty quid – providing an obvious upgrade path.
Primare’s PRE35 embodies the brand’s modular approach, with an analogue-only option, plus optional DAC and streamer modules, that can be fitted within its sleek chassis
Therefore £4,000 buys you a lot of preamp. We’re talking balanced inputs and outputs, optical and coaxial digital inputs feeding its DM36 DAC module and ESS ES9068A chip with data up to 32-bit/384kHz PCM and DSD 256, plus optional upsampling, MQA processing, WiSA hi-res wireless connectivity and Roon readiness. And with the Prisma SM35 streamer module you’re also given access to Airplay, Chromecast built-in, Spotify Connect plus Tidal and Qobuz integration within Primare’s Prisma app. There’s SBC Bluetooth too, should you want it.
Primare PRE35 Prisma’s rear panel real estate is fully laden, with two pairs of balanced (XLR) in/outs alongside single-ended RCAs and digital connections spread over optical, coaxial and USB
There’s no phono stage, but this is hardly surprising, as at this level you’re likely to be running a standalone model such as Primare’s own. I’ve been using the flagship R35 for some time and can safely say you would not get the sound quality or features it offers if it were shoehorned into an all encompassing preamp.
Power to the people
As power amps go, the A35.2 is just as well spec’d. Because as well as single-ended (RCA) and balanced (XLR) stereo inputs, you’re also given the option to run it in bridged mode, which turns it to a speaker cable melting 800W (into 8 ohms) powerhouse of a monoblock.
A35.2’s rear panel toggle switches for ‘sense’ on/off, RCA or XLR, two channel or bridged mode and a +6dB gain option (when bridged), alongside analogue inputs and two sets of quality multiway loudspeaker connecting sockets
But it’s not just the amount of power it offers that’s worth sitting up and taking notice of, it’s also the way it produces it. Because inside the A35.2 is the latest generation of Primare’s signature Class D amp topology via its ‘ultra fast power device’ approach, or UPFD 2 to give it its correct title. This module is fed from a dedicated power supply with a custom wound transformer, helping the A35.2 achieve 2 x 200W into 8 ohms (2 x 400W into 4 ohms), highlighting that even in stereo mode, it’s no shrinking violet. And yet despite these numbers, it’s also highly efficient, drawing up to just 28W from the wall when in full flight – which is quite something.
A35.2’s chunky design is typical of Primare’s range, with protruded front panel and a trio of quality feet
For a flagship fully integrated system, set-up is surprisingly easy. Firstly because of the power amps being Class D, meaning that while they’re solid and superbly constructed, they’re not hernia inducingly heavy at 11.7kg a pop.
The PRE35 is only a little lighter at 11.3kg, so all nicely manageable. Once sited on a level surface, getting the PRE35 online is also straight forward. Over wifi, you’ll need the Google Home app to get it onto your local network, before the Prisma app ‘sees’ it. Hardwired via ethernet is easier as Primare’s Prisma app finds the unit automatically. One thing to remember though if you’re running multiple Primare devices within your home network is setting ‘device selection’ to ‘manual’ within the app, so you can pick which Primare unit to control when you launch, otherwise it can default to the most recently used (as mine did, pointing to my standalone NP5 Prisma MK2 streamer module).
The PRE35’s remote is there as needed, but beyond the basics the Prisma app is the way to go, as it’s one of the best in the business
And if you’ve not used this app before you’re in for a digital treat, as it’s a step-up from most rival brands’ offerings with easily navigable menu settings, allowing you to sync your streaming accounts and tweak how you view the music being played (from lists to tiles) alongside naming inputs, setting auto volume levels, adjusting the front panel’s brightness and more, all without complication.
Front panel controls are also well laid out on the PRE35, with twin slick rotary dials for volume and selection plus four buttons flanking its backlit screen for standby, menu, select and back. Would I change anything? Well the OCD reviewer in me would have mirrored the stacked button layout on the right for the two spaced horizontally on the left, but that’s just because I like all things even. That said the screen has lots of sensible options, for example you can just have the title of the streaming service being beamed (ie ‘Qobuz’) or ask it to pull in the metadata to show album, track name and bit depth if you prefer.
Primare’s Prisma app on my iPad has plenty to see with settings to the left and music to the right. A quick dab of the track tile (left corner) provides track info, including file type, bit-depth and sample rate
Performance
Let’s get one thing straight right from the off, anyone with preconceptions about Class D can leave those at the door. Because just like not every Class A or AB amp has the same sound quality, neither does Class D. Sure there are cheap off the shelf Class D modules that can sound thin and lifeless, but then there’s Primare Class D, which is a different ballgame altogether.
Let these amps loose on The Rolling Stones’ remastered Miss You (Qobuz 24-bit/88kHz) for example and that rhythm section sounds as sleazy and relaxed as I’ve heard it, while Jagger’s lyrical swagger hits with as much punch, pitch and persuasion as the best of them. In short there’s life and realism here in abundance.
Hifi exotica at its finest, Primare electronics driving Perlisten’s rarified S7t LE speakers at Audiograde HQ
Having it large
And now let’s talk soundstage scale, both in terms of depth and width – because it is vast to the point of cavernous. Dial in Sade’s No Ordinary Love at a meagre 16-bit/44kHz (FLAC) and with eyes closed my 30sqm listening space transcends to an arena sized venue that’s full to capacity.
This performance is good, better than it should be with £7k of amps driving £30k of loudspeaker, thanks to the synergy of the system and lack of any obvious shortcomings, but what happens when adding another A35.2 power amp into the mixer? In short the top end remains largely unchanged, ie a nice blend of sweetness and clarity without edging towards saccharine or overly revealing. Where the improvements dwell are within three fundamental areas of bass, grip and channel separation.
A35.2’s aerial view shows its vented casework for airflow, not that it gets overly warm in use
Let’s take these in turn, because neither element was lacking with the one amp in charge, but adding another power amp and things take an upward turn. Take David Gray’s timeless classic Sail Away (24-bit/44kHz) for example, a track not often recognised for its bass performance, and yet suddenly there’s low frequency extension that’s been buried in this song, waiting to be uncovered.
But with all this extra air being moved by the Perlisten’s multiple bass drivers, without an iron clad grip on them will result in a quagmire of low level mush. Because with speakers this capable, you need amps that can meet their demands. And the Primares ain’t found lacking. If a single A35.2 was Bruce Banner, then with another one in tow Bruce just tore his shirt open and went full on Hulk, while still being in control. Because I’ve heard power amps with arc welding power figures sound less capable than the Primares, as with all that power comes equal amounts of finesse.
PRE35 from above with its simple lines and embossed logo. It’s not shouting for attention, and lets the music do the talking
And this latter praise I attribute to the partnering preamp, which is perhaps overshadowed by its beefy twin brothers. Primare has a sonic signature that’s one of the least fatiguing in the business. It’s why I’ve stuck with my NP30 network player as may main DAC long after it was discontinued, because while I’ve heard more detailed, impactful and powerful newer rivals, none have sounded as non-fatiguing longterm. And this shines through all the more so with the PRE35. It’s a preamp you could listen to endlessly without wanting to switch it off, and feeding twin A35.2 amps, this is a tantalising trio that was worth the wait.
In summary
As flagship pre/power combinations go these take some beating at their price (and considerably more). Primare’s always had a knack for making hifi seem refreshing simple, because its approach is well thought out, and the PRE35 and A35.2 amps epitomise this.
Ladened with sensible features and optional upgrades, ease of use and above all, a sonic quality that is hi-end yet so easy to live with, thanks to effortless dynamics and sheer musicality, this is a system that’s worth a serious demo.
