I ended up with the Rega Brio 3 thankfully! I am very impressed with the Brio 3 after only having it two weeks. In comparison with the Cambridge Audio, listening to the Brio 3 is like I turned the "ON" switch on to music in my front room. fleet repair

None . .

Wide open soundstage. Great front to back layering of instruments. Awesome sound.

Alittle cold sounding.

I had this preamp awhile back and made the mistake of trading it for an Aragon. I wish Counterpoint was still in business, I'd buy a used one in a heartbeat. It was the best addition to my setup to date (that includes the addition of a Krell KSA 150 amp). If you're not concerned about the fact that Counterpoint is not around, I would fully recommend the SA-2000/3000 preamp to anyone.

Similar Products Used:

Adcom GFP-565, Aragon 24k

Timbral accuracy, focus, breadth and depth of soundstage.

No longer in production.

System in which reviewed: Audio Alchemy DDSII CD transport; Anodyne ATAS DAC; Sota Sapphire w/ Prelude arm, Grado Prestige Gold cartridge; Rotel Phono Preamp; Counterpoint SA-100 or Adcom GFA-565 amps (the SA-100 now at designer Michael Elliott’s for an NP100 upgrade); Cardas Hexlink interconnects; Tara Time & Space speaker cable (two pair in bi-wired configuration); Symdex Epsilon speakers.

The SA-2000 is a line-stage preamp that contemporary (early ‘90’s) Counterpoint literature describes as essentially an SA-3000 without the phono stage. I’ve lived with a stock 2000—purchased used--for four months.

Prior to installing the 2000, I’d listened to CD’s via the direct volume-control output from the 6922-analog-stage Anodyne DAC. I’d assumed that the direct D/A-to-power amp route would have given me the best possible CD performance, an assumption derived from my prior experience in running the DAC’s fixed output through the Adcom GFP-565 preamp. Uh-uh. With the 2000 in the system, the soundstage both broadened and deepened, and what was constricted, between-the-speakers imaging suddenly expanded into (my reluctance to engage in hyperbole precludes me from saying “and beyond”) the walls on either side of the Symdexes.

Detail, transparency, and resolution of instruments, performers, and recording venue ambience—where the recording provides it—blossomed. So, too, dynamics, so that there’s more “there” there. The detail and transparency are not accompanied by tizziness at the top, which the Symdexes’ TDL tweeters would reveal in a hurry. With the startling increase in focus, I’m able to hear more inner voicing and nuance. The net effect is that I’m more involved in the music…whether it’s delivered on vinyl or CD.

(I’m curious to hear how this will all sound when the SA-100 returns as the NP100. The 2000/stock SA-100 combination is airier and more natural than the 2000/GFA-565s’ presentation, but, even so, the latter combination does a decent job. I’ll update my review after the NP100 arrives and I’ve lived with the combination for a while.)

I like the 2000 enough to have bought a second used one to put into my video system (with a Rotel 60-watt amp and Paradigm Mini Monitors…I’m not enamored by surround, so a two-channel setup is all I need). It replaces the Adcom GFP-565 (which I’d moved to the video system), and the difference—naturalness, depth, breadth, and increased dynamics—was again, and immediately, evident.

Eventually, both 2000’s will go to Michael Elliott for upgrade. In the meantime, I have no hesitation in awarding the stock SA-2000 4-plus stars for performance, 5-plus for value (they’re available used at anywhere between $450 and $750).

Similar Products Used:

Adcom GFP-565, VTL “Ultimate” Preamp