Amp/Preamp Asylum: REVIEW: Fleming Audio Labs Fleming Preamp Preamplifier (Tube) by Dman

Model:	Fleming Preamp
Category:	Preamplifier (Tube)
Suggested Retail Price:	Priced as per user required features
Description:	All tube cathode follower phono and line stage preamplifier
Manufacturer URL:	Not Available
Manufacturer URL:	Not Available

Review by Dman ( A ) on February 03, 2004 at 06:51:50
IP Address: 206.186.115.200

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Fleming Audio Labs Fleming Preamp.
Tube complement-
Phono stage- 3- 12AX7
Line stage- 1- 6N1P, 1- 12AX7
Frequency response- (-3 dB points) 10 hz to 50 KHz. Flat to within +/- .25 dB within 20 hz to 20 kHz.
Recommended connected amplifier impedance- Minimum 25 Kohms
Front panel- mute, phono, tuner, cd/aux military grade 4 position selector switch, tape monitor 1 and 2 and stereo mono pushbuttons, volume control, left and right balance trims. Power switch.
Rear Panel- ground tab, phono, tuner, cd/aux, tape 1 and 2 ins and outs, 2 pairs of preamp outputs, non detachable AC line cord.
Who is this guy?
Lloyd Fleming has been designing audio gear, writing about audio gear (check out "Fleming's Vinyl" and his speaker stands over at The Inner Ear Report) and obviously repairing audio gear longer than some of us have been alive (at least me, and Iâ€™m 34!). He has worked for the many companies as what he terms himself to be a â€œcontract playerâ€. His designs and technology research have gone into a LOT of stuff in the electronics industry. He hasnâ€™t stopped at just tube amplification. He has designed speaker stands (as mentioned above), Power regulator chips for some industry biggies, as well as being involved with the design of one of the first digital trunk lines used for telecommunications in Canada. Chances are, you are using something with a part or circuit that Fleming has designed and you donâ€™t even know it (power supply, digital transmit and receive components, etcâ€¦). He knows his stuff!
How I met Lloyd.
I met Lloyd during the winter of 2001, when I received a Precision Fidelity C-8a hybrid preamplifier as a Christmas gift from my wife (bless her!). Shortly after receiving it, the preamp began to develop some minor noise issues. I wonâ€™t bore you with the facts suffice to say that Fleming had my old preamp running within a day! He did the work for a VERY modest fee and smiled when he said â€œyouâ€™ll be backâ€.
To make a long story very short- cut to a few days before Christmas 2003, and I settle in to listen to some vinyl. My good olâ€™ pre starts acting up again. Time to call Lloyd, I figure. We both agree that there is some work to be done and after a few more phone calls and trouble shooting, it turns out to be another power supply issue (again, and seriously costly this time!). Lloyd then asks if Iâ€™d like to have one of his designs installed in replacement of the existing circuitry. I consider this with some angst and sleeplessness for a day or two. His Triode Model 3 line preamplifier sold a few years ago for around $3K and I really donâ€™t have that kind of money (Christmas has me totally tapped!). Lloyd assures me that he can put something into the Precision Fidelityâ€™s chassis, saving serious dollars on the metal and finish work. Lloyd prefers to use his own metal designs and finish work rather than just some joe off the street design, but he figures he could do it. Wait a minute- I even have a power transformer that might be of use (said tranny was acquired from a firm with whom I used to work for).
So my preamp stayed at Lloydâ€™s lab. After a few weeks (and a few phone calls to get the game plan and costs figured out), what came back was more than I thought would be possible for the price I ended up paying. Parts quality is top notch (if you consider names like Dale, Solen, Nobles Black Beauty and RCA high end. Heheheâ€¦). Wiring of the audio circuitry is point to point, while the power supply is mostly PCB based. This unit now screams with value, considering what Iâ€™ve compared it against.
Lloyd has asked me not to tell you the price, as each unit he builds will vary extensively in cost, according to the work and parts required. Basically, he likes to have total control of the project, right down to the metal work and finishing.
Sound Quality.
The first thing I noticed about the Fleming preamp is that it reproduced the bass frequencies unlike any other preamp Iâ€™ve heard- tube or solid state! This response was neither flabby bass or out of context bottom with the rest of the sound. It merely sounded like the way bass is live, plenty of impact while allowing the listener to discern the difference between instruments. This is what a good preamp should do in my opinion- some do, but a lot fail in this regard for whatever reason (Lloyd has his own opinions on this matter, but I wonâ€™t speak for him). The other regard to the bass response thatâ€™s important to me is that not only does the preamp reproduce the sound of the recording without getting in the way, but also make sure that downstream components have a shot as receiving the signal (this is mainly directed at power amps).
The second thing I noticed was that the bass was detailed and articulate- not boomy or muddy. If anything, it was the perfect balance between taut and lean yet forceful and deep! If a drum head had a particular resonance to it or a type of head (plastic or skin), it was openly heard. If there were multiple instruments in the room in the same frequency range, it was easy to discern between the two (or more!). If this sounds like Iâ€™m harping on , maybe I am, but I canâ€™t get over how tuneful AND forceful the bottom end comes through!
The third thing I noticed was that overall ambience retrieval was outstanding. Not only were depth and hall cues reproduced with a holographic and lifelike effortlessness, but also the accuracy was so good that I could plainly hear the size of the live venue with regards to floor, ceiling, and walls (this includes that sometimes mythical cue we call height). The separate tracks on most multi-tracked studio pop, rock and jazz LP/CDs bore their true colors! This included everything from the type of hiss on analog tape to microphone types and how close to the mike and instrument or performer is to those microphones. On Brubeckâ€™s Take Five from Time Out, you can hear Paul Desmond breath and move as he plays- the close miking of his saxophone cut through forwardly and in plain relief to the distance of the drums, bass and piano. And this from the HDCD on a non-HDCD player!
One other thing regarding cues- it was scarily easy to tell added reverb and effect as well as room sizes and the liveness of rooms, especially on most rock LPs. On ZZ Topâ€™s Deguelo LP, you can plainly hear the closeness of Billy Gibbonâ€™s amps to microphone and just how live the room â€œbehindâ€ the amps are! And then there is a slap echo added at times. One can plainly hear the effect as a separate item from the track it was applied to. Iâ€™m not picking on ZZ Top or rock recordings in general. It was just WAY too easy to focus on the songs and hear what went into each individual track.
The last thing Iâ€™ll mention about depth cues is this- I have a few quadraphonic LPs from the early 70â€™s. Every other preamp Iâ€™ve heard them on has simply produced the music and then added a layer of sound in my head that is the surround channel(s) on the record. The Fleming goes deeper than this. It actually integrates the whole sound field into one musical message. There is a very real blend of the front channels to the surround channels, creating a very real and enveloping sound stage.
Now the top end. It is non-fatiguing and smooth, without sounding syrupy or muffled. Metal percussion instruments if well recorded, will sparkle with realism (the Zappa track "Ship arriving to late to save a drowning witch" from the album of the same name, is a great test for percussion). Cymbals have a dynamic that I have ONLY heard live, and were reproduced with a scary realism (as on the direct to disc Sheffield Drum Record). The phasey "wash" of studio effects on "Schism" off Tool's Lateralus came through as an overlay on top of the tracks containing the cymbals and hi hat, sounding exactly like an added entity. Articulation in mid treble down to midrange is also incredibly in focus, presenting a firm image that places things in proper perspective with regard for the lower mids and upper bass range (The attack and string slap on the acoustic bass on Brubeck's take five were locked to the tone and resonance in the image. Honestly, everything stays holographic throughout the whole spectrum. There is never any sign of image separation at any frequency regardless of how extreme those frequencies are.
Overall, The Fleming Preamp (and actually, ALL of his designs Iâ€™ve heard to date) is incredible values for the dollar! Not only does his tube gear sound great, but he boasts a long tube life of it as well. Hint: he claims that by the time I change two set of tubes overall, Iâ€™ll probably need to replace the power supply caps (on average, the caps may give on average over 25 years of use before their ratings drift.).
A great buy! Great sound! A keeper!

Product Weakness: Availabilty at present.
Now the bad news, at least for now! Fleming hasnâ€™t officially reopened his doors yet, having just moved ot a new location, so he hasnâ€™t given me the go-ahead to list a contact number or email address. But rest assured, that he can be contacted for those who are really interested.
Product Strengths: Reproduces the sound of the recording without getting in the way, but also make sure that downstream components have a shot as receiving the signal as unharmed as possible (this is mainly directed at power amps).

Associated Equipment for this Review:
Amplifier:	Crown PL-3, SWR Stereo 800, and Bryston 4B NRB power amplifiers.
Preamplifier (or None if Integrated):	Marantz 1090 Integrated (as preamp only), Linn Kollector and Kairn preamplifiers,
Sources (CDP/Turntable):	Linn Axis Turntable w/ Akito II arm/ Audio Technica OC-9 cartridge.
Speakers:	Dahlquist DQ-10, Paradigm Phantom (bookshelf versions) Tangent RS-6 loudspeakers and Custom built Vifa transmission line speakers.
Cables/Interconnects:	Custom made based on RG-6 (see inmate systems for more info).
Music Used (Genre/Selections):	Various styles as listed in review.
Type of Audition/Review:	Product Owner

Product Weakness:	Availabilty at present. Now the bad news, at least for now! Fleming hasnâ€™t officially reopened his doors yet, having just moved ot a new location, so he hasnâ€™t given me the go-ahead to list a contact number or email address. But rest assured, that he can be contacted for those who are really interested.
Product Strengths:	Reproduces the sound of the recording without getting in the way, but also make sure that downstream components have a shot as receiving the signal as unharmed as possible (this is mainly directed at power amps).