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Noise: One of the design objectives of the Scorpio was immunity from RF and interference. The specifications also promised very low inherent noise. In this evaluation the unit proved very quiet. There were no traces of hiss, grain, microphonics or hum. The circuit proved clean and the attention to detail in vibration control and case design allowed the unit to retain character at all volume levels without penalty. The noise floor was extremely low.

Dynamics and Resolution: Dynamics were a major strength. Lack of compression was obvious. The unit exhibited both very high dynamic contrasts and fine dynamic texture. This was retained not only in the midrange but with uniformity across the frequency spectrum. The Scorpio reacted quickly to fast transient information with an excellent combination of dynamic fervor and micro detail. Bass was especially noteworthy with excellent control and impact. Resolution and maintenance of dynamic proportions was retained at low listening level allowing the system to play back at natural acoustic level. This constitutes a very low dynamic floor.

The Scorpio excelled at articulation, allowing details of hall information and instrumental shading to be naturally reproduced without etching. There was excellent separation of original sound from reverberant field indicating good preservation of timing information.


Bass: The bass reproduction was exceptional. Bass quantity and quality were excellent. Upper and mid bass would be considered mildly lean by some tube standards but were in fact quite accurate. Warmth was a matter of source material rather than a characteristic created by the preamplifier. Extreme low bass was handled with detailed texture and fast response, exhibiting no overhang. Articulation, a strong point with the Acousticbuoy, remained consistent into this region.


Normally when one makes a positive observation of the bass capabilities of any tube product, the normal added proviso would be "for a tube-based unit". That does not apply here. Control, power, dynamics and detail were all excellent. This is a tube design that requires no apologies.


Midrange: Scorpio’s designer has gone to great lengths to pursue a neutral as opposed to euphonic character. The midrange was extremely detailed and lacked overt coloration. That lack of coloration could be quite disarming and offered an almost “electrostatic” transparency. There was a cleanliness to the midrange presentation that allowed for a wealth of complex information to pass through unadulterated. Vocal presentation was convincing due to the combination of dynamic accuracy and low coloration. Female vocals were especially natural, with exceptional fidelity to balance and dynamic nuance.


Highs: The Scorpio exhibited very good extension and rich detail with no discernable blunting or rounding of transient information. Remarkable was that it achieved this while maintaining a neutral balance, becoming neither dry nor sweet. Instead the character could best be described as smooth, transparent and grain free. Violins soared with tremendous power and sweetness where the recording allowed. Cymbals had delicate shimmer.


Soundstaging and Imaging: The soundstage was produced at a neutral distance, neither forward or recessed. Depth was good, width excellent. The preamplifier somewhat favored transparency over dimensionality but was still very good at creating three-dimensional images in space. Specificity was extremely good and instrument positions were well differentiated. Massed vocals were well handled with tremendous focus and detail. Hall acoustic was quite evident especially in the upper midrange where the Scorpio retrieved a wealth of ambient information. Where a recording exhibited a huge and detailed soundstage, the preamplifier had no difficulty in defining it.