The inputs and volume control all switch by relays, the latter emit subdued clicks when prompted by the supplied remote wand. 4:1 RCA:XLR sources are supported and a separate direct input bypasses the attenuator. Large binding posts for spade terminals are designed and manufactured by S.A.Lab from silver-clad copper. The front panel features the traditional tri-function power/input/volume knob whose central eye confirms the volume level and input name whilst switching. Direct mode is activated with a touch-sensitive button. During power up, the display momentarily reads Pr-L and Pr-R to indicate that the circuit ramps up and DC protection is in place. An unusual feature carried over from previous S.A.Lab models is an hourly usage counter on the back panel.
The steel enclosure and Corian front panel are painted in one of twelve colors from Ferrari's automotive lacquer palette. Application happens in Moscow's Ferrari service center. The blue color of the test samples was Ferrari's Blue Tour De France. Its intensity greatly varied with lighting and viewing angle to change from light blue to indigo to almost completely black. Regardless, it's the Black not Blue Knight though actual black too is on offer. Being an experienced listener, I have the following personal rule. To estimate the sound of an audio system or single component, the first few minutes of the audition are the most important. Naturally some subtle nuances may reveal themselves hours or even days later but as I learnt long ago, the core qualities become clear immediately. Consciously or subconsciously, many experts follow this rule. For instance, while demonstrating a system at an audio show it's important to realize that one only has minutes to 'hook' a customer and therefore must use only the most effective tracks.
During my conversation with I.P. Veprintsev, chief sound engineer for the Melodya record company where he produced a lot of the most treasured works of classical music from the USSR and Russia, predominantly from the symphonic repertoire on LP, I received authoritative affirmation of this rule. Freely communicating with his wards in the studio at other times, Veprintsev demands absolute silence during the first minutes of sound balancing which he regards as crucial. He told me that our hearing is at its most acute and accurate immediately after a period of rest and just minutes later the probability of hearing errors multiply. Let me remind you that this came from someone whose hearing was regarded as golden by such musicians as Gennady Rozhdestvensky and Rodion Shchedrin.
The minute the audio system featuring S.A.Lab‘s Black Knight began playing, I heard sonic harmony of rare quality. I was instantly charmed by an uncommon level of neutrality yet my attention wasn't attracted by purely acoustical or hifi qualities. Few components are capable of creating such beautiful natural images. I immediately distinguished the exclusiveness of the audio signature which, given my familiarity with this catalogue's tube specimens, had to be the Germanium transistors. There was something absolutely special to this sound. Amongst sundry criteria used for sonic evaluations, I can use two to describe the Black Knight's style in the most precise way. The first one is accuracy or strict adherence which, unlike bench measurements, is a subjective response to music; and the second is the sonic aesthetic per se. The balance between these two is important in many ways including live concert practice.
