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TRON Electric
TRON Syren preamp
Prices: start at £6000
Option 1 (WBT Next Gen sockets Silver or gold) - £TBA
Option 2 (Pure Silver wiring on i/p and o/p) - £TBA
Option 3 (Pure Silver wiring complete amplifier) - £TBA
Option 4 (Silver capacitors) - £TBA
TBA= to be announced
The Tron Syren Valve Preamplifier
TRON Syren preamp
Prices: start at £6000
Option 1 (WBT Next Gen sockets Silver or gold) - £TBA
Option 2 (Pure Silver wiring on i/p and o/p) - £TBA
Option 3 (Pure Silver wiring complete amplifier) - £TBA
Option 4 (Silver capacitors) - £TBA
TBA= to be announced
The Tron Syren Valve Preamplifier
Britain's new contender for the world-class valve preamp stakes, the Syren is as seductive as they come. One box, four inputs and a remarkable phonostage is the basic recipe, but inside you will find a virtual Gotha of parts, from the Nextgen WBT binding posts to the mil. spec circuit board made from a proprietary material. Graham Tricker is one of the country's greatest experts on valves and a very talented engineer whose priority is to put the music first. The Syren is a delicate, highly sensitive device which requires care, serious isolation and careful matching to reach its best. But once achieved, the rewards are all there. We gain exceptional purity, the kind that makes you think of spring water
bursting from a mountain rock. This emerges as an attentiveness to the musical moment that has an almost Zen-like elegance: attentive without in anyway drawing attention to the fact that it is doing so. On Art Pepper's Today, we are presented not with that clinical inner detail that leaves the whole to make sense for itself, but a plasticity of color, an immediate recognition of the genius of the player and what he can get out of his instrument. It's a focus not so much on his skill as his inspiration. Yet the inner detail is there, like being able to see the leaves on trees, to see blades of grass rather than a green mat, but never in a way that becomes etched, harsh or stark. Or without losing the plot. On Lara St.
John's violin (Bach's Partita Nos. 2 & 3 BWV 1004 & 1005 on Well Tempered), we hear the ribbing of each string, its tonal essence, almost the individual vibrations as the sound is bounced off the wooden chamber and naturally amplified by it. Yes, the fingering is evident, but it is not foregrounded at the expense of the musical purpose. Scale or presence is the difference between a mediocre and grey reproduction and the recreation of a musical event containing all the passion, artistry and talent of the actual performance. This means not that the artist is transported into your
listening room but that you are transported somewhere nearer the recorded event; not so much that you hear better but that you feel the presence of why the particular artist you're hearing is extraordinary. It's the opposite to background music, the opposite of muzak. This scale or presence is one of the first things that can be overproduced out of a recording (if it was ever there). But the Tron has it to give away. The phono stage is truly astonishing. It may lack some of the bass heft of the finest transistor stages but it is capable of making an unusually beautiful and seductive sound, the kind that is so sophisticated that it can make others sound, frankly, a bit banal. Superb is the word I was hunting for.
