083 XXXXXXXX
Manufacturer’s specs
| Preamplifier Inputs | 1 pair balanced XLR connections 6 pair single-ended RCA connections |
| Preamplifier Outputs | 1 pair balanced XLR connections 2 pair RCA connections |
| Controller Connectors | (1) 3.5mm “mini plug” jack for IR input (3) 3.5mm “mini plug” jack for trigger out RS 232 full remote configuration interface |
| Volume Control Range | 63.0 dB |
| Gain Resolution | 1.0 dB |
| Input Impedance | 100 k Ohms on RCA 200 k Ohms on XLR |
| Rated Output | RCA – 1 Volt (8 volts maximum) XLR – 2 Volts (16 volts maximum) |
| THD+N | <0.001% |
| Frequency Response | +0.1 dB from 5 Hz to 100 kHz |
| Signal-to-Noise Ratio | 120 dB “A” weighted |
| Voltage Gain | 26.8 dB |
| Power Input | 110/117 or 220/234 Volts AC @ 50-60 Hz |
| Power Consumption | 50 watts |
| Break-In Time | 100 hours of playing time |
| Finish | Black powder coated matte chassis with silver or black aluminum faceplate |
| Weight | 9.9 kg |
| Dimensions | 114 H x 431 W x 330 D (mm) |
An entry-level preamplifier, the SL-100 offers outstanding performance far above what its price suggests.
While the SL-100 is a solid state design it is voiced to sound “tube like”. The SL-100 produces a lush midrange, sweet highs and solid bass response while always sounding warm and rich to just the perfect degree without losing any of the detail.
Inside you’ll find a dual mono design and circuit layout with two separate power supplies, one for each channel. Virtually unheard of at this price. To round out this highly capable preamplifier, it includes 5 inputs (4 RCA, 1 XLR) plus a Home Theater Bypass input and 3 sets of outputs (2 RCA, 1 XLR). It also includes a full function IR remote control, adjustable front panel display, all housed in a gorgeous hefty 25 lbs. steel chassis with brushed aluminum face plate. For those who want style and simplicity without sacrificing performance, the SL-100 is a natural choice.
Comparison
For this comparison I shifted back to the Hegel Music Systems P20 ($2900), which I’ve loved since its first day here. Compared to the Cary, the Hegel opened up the music just as it had when it first arrived here to compete with the Audio Research LS15 for long-term residence in my system. It ended up replacing the ARC. With Nigel Stanford’s compositions, the bass impact was immediately more notable, but it never overwhelmed. Individual deep-bass sounds appeared more distinctly in the soundstage. I was more aware of low-frequency nuances than through the Cary. Sounds became more distinct and independent of each other, in a manner that I prefer. Each image now had a more layered sound from front to back. Melodic parts of the sound that carried a track’s hook, seemed to step forward, as a performer might to take a solo. And as main melodies concluded, they faded back into the broad, general sound like performers returning to their usual positions onstage. Smaller-scale electronic sounds became more distinct; I could hear them more clearly.
The Cary SL-100 sounded more relaxed and laid-back than the Hegel P20, and its soundstage was narrower and shallower — a difference I heard most clearly with the Dylan recording. The sound was still very cozy, but smaller. That’s not to say that the sound was bunched up at the center, between the speakers, but of how difficult it was to compete with the size of the Hegel’s soundstage. The Hegel’s sound feels like a very sharp photograph taken with an extremely expensive lens. The Cary reproduced music with a softer focus. The image was still beautiful, but in a different way.
Conclusion
This former owner of tubed gear found himself very comfortable with the warmish sound of the Cary SL-100. I agree with the writer(s) of the SL-100’s manual, who described its sound as “smooth.” The SL-100 will easily satisfy those who want a comfortable sound that’s relaxed and laid-back, but who don’t want to deal with tubes. Given its reasonable price and fine build quality, the SL-100 is an attractive choice that should garner a warm reception amongst audiophiles.