The goal of vinyl is that special quality of the sound of music, a passionate and crafted performance, stored in space and time until you want to experience it again. The Black Swan is the translator between the physical world of the record groove and the electronics of your system that brings the thrill of music to your ear.
Sonically delivering dynamic resolution. Elegant detail and transient delivery done through remarkably low noise, precision amplification, exacting passsive equalization. And most significant – front panel real-time cartridge “R” and “C” loading for by-ear timbre tuning of your cartridge compliance and arm characteristics.
Sonically offering acoustic image resolution and temporal precision on a noise-free background. Exceptional soundscape through exacting definition and rich instrument and voice resolution.
Optional XLR Input Adapter
(Only available to purchasing or existing Swan owners)
The Keys to Performance
You identify the sound of a musical instrument by its Timbre, which is the combination of all energies that make up the note. Many notes rhythmically together, including the human voice, is an ensemble. It is the ‘song’ we listen to and enjoy. How true to life the song sounds is the result of the accuracy of the timbres reproduced by your music system.
The Black Swan directly addresses these issues to produce detail and to offer reproduction of the individual components of the song in the following ways:
Noise
A collection of the energies of many frequencies. When noise energy is superimposed onto low level audio energy, the timbre of each musical source is altered. There is a law in physics called heterodyning that says mixing two frequencies together produces the original two plus two more, the sum and difference of them. This process varies with the linearity (distortion) of the mixing process. It has greater effect on very low level signals such as those of a phono cartridge. One way to stop this altering of the timbre of the music is to not generate electronic noise in the first gain stages of the amplification process.
The Black Swan employs ultra-low noise silicon devices to get the lowest possible noise and then goes a step further. When you parallel silicon devices you get an internal noise canceling effect. The Swan does just that; it parallels 4 of its exotic front-end gain devices to cut the noise in half. The Black Swan has an internal noise level that approaches the theoretical noise floor limit. This further diminishes the sonic effects of noise altered timbre on the music you listen to.
The source of timbre altering is the linearity or distortion of the process. Non-linearity creates timbre errors by mixing all the musical energies with each other to produce hundreds of small subtle new energies. These do significant damage to the original timbre of the music literally making a ‘mess of everything’; especially in complex musical passages, but obvious even with two simple notes such as a solo voice and an instrument.
Distortion
Distortion
The source of timbre altering is the linearity or distortion of the process. Non-linearity creates timbre errors by mixing all the musical energies with each other to produce hundreds of small subtle new energies. These do significant damage to the original timbre of the music literally making a ‘mess of everything’; especially in complex musical passages, but obvious even with two simple notes such as a solo voice and an instrument.
Passive Equalization
One significant way to limit non-linearity is to employ passive phono equalization. Vinyl discs are recorded with frequency changing equalization as set by the RIAA to make up for the physical issues of the vinyl disc. It is expected that a reverse equalization will be employed in playback to correct for this. This is usually done inside the input stage’s feedback loop resulting in the amplifier’s gain changing with frequency. This is entirely counterproductive to the playback process but is easy and inexpensive to do. The Black Swan uses a far better approach employing precise totally passive equalization followed by additional low-noise ultra-low distortion wide bandwidth gain. This is a more expensive solution but totally resolves the gain change with frequency issue needed for RIAA equalization of the record. The Black Swan has extreme precision linearity along with high bandwidth and low noise, electronic attributes required to insure minimal effect on the timbre of all music being reproduced.
Perhaps the most flawed step in getting music off of a vinyl disc is the conversion of the mechanical energy of the rotating disc groove into electrical energy carrying the audio signal. Each cartridge/tone arm/electronic input load is unique. The natural timbre of the cartridge is altered by the precision of the turntable’s speed, its mechanical noise, and physical eccentricities of the record disc and platter. The tone arm has multiple resonance’s and dynamic tracking compliance issues, and the individual record’s pressing characteristics further are a variable in this relationship. The cartridge sits in the middle of it all and is electrically damped by the loading on it by the preamplifier. This damping effects the character of all the mechanical forces the cartridge is experiencing. Thus the timbre of the cartridge is heavily determined by loading of the cartridge.
Because you can change the damping in real-time, it can set the loading based on what you are actually hearing as you listen to your music. One can literally ‘tune’ the character of the turntable/arm/record, and the cartridge for the most rewarding audio experiences while it is happening.
Cartridge Loading
Balanced MC Input
Virtually all turntable arms are wired in Balanced Mode (see Design-Balanced Phono). Operating your Moving Coil Cartridge in balanced mode creates an environment of decreased mechanical noise, radio and EM interference, and induced household 60 Hz hum. It achieves this through the phenomenon of Differential Common Mode Rejection, which is extreme noise rejection based on out-of-phase signal cancellation. Simple good physics.
The balanced signal isolation between the two channels further improves channel separation, reducing what we call signal entanglement, a distortion of the TEM (Transverse Electromagnetic Wave) that carries the audio information in wires.
The unique low-noise MC (Moving Coil) differential input of the Black Swan lets you tune the loading of the cartridge with complete isolated balanced mode. A front-panel selector allows you to choose either single-ended or balanced operation for tuning refinement.
Cartridge Loading
Perhaps the most flawed step in getting music off of a vinyl disc is the conversion of the mechanical energy of the rotating disc groove into electrical energy carrying the audio signal. Each cartridge/tone arm/electronic input load is unique. The natural timbre of the cartridge is altered by the precision of the turntable’s speed, its mechanical noise, and physical eccentricities of the record disc and platter. The tone arm has multiple resonance’s and dynamic tracking compliance issues, and the individual record’s pressing characteristics further are a variable in this relationship. The cartridge sits in the middle of it all and is electrically damped by the loading on it by the preamplifier. This damping effects the character of all the mechanical forces the cartridge is experiencing. Thus the timbre of the cartridge is heavily determined by loading of the cartridge.
Because you can change the damping in real-time, it can set the loading based on what you are actually hearing as you listen to your music. One can literally ‘tune’ the character of the turntable/arm/record, and the cartridge for the most rewarding audio experiences while it is happening.
Some Customer and Listener remarks about the Black Swan
There are plenty of adjustments for loading, gain and more. But there’s a deeply human side to the Austin Audio Works design, and that’s why such a feature-filled phono preamplifier is so easy to use.The Black Swan has gain adjustments, but that feature also allows it to be used as a preamplifier as well. All of those knobs on the front faceplate can be used on the fly, which is very helpful when you’re trying to set up this phono pre by ear. Plus, you won’t have to mess with dip switches on the back or, even worse, inside the unit. You merely turn knobs and flip toggle switches on the front panel.
Soundstaging and imaging were superb and spread out efficiently on a large canvas. The AAW approaches neutrality without being a stifling bore about it.
The sound on the Black Swan immediately blew me away. It was natural sounding while not fatiguing at all—my whole album collection had become new to me all over again! I kept putting on different albums and was just amazed at the sound coming out. Hours went by while I did this, and my wife also thought the sound was much clearer than it previously was. I was immediately sold, and ready to swap out my existing phono pre-amp gladly.
After having the Black Swan for a few months nothing has changed. I’m still very excited to plug it in and fire it up to listen to some beautiful music. Since I have purchased it I have swapped out carts on my turntable, and it really didn’t take much time to get the Black Swan dialed in. The sound stage is vast to where I feel I am at a live show. At this point I need to question the rest of my gear and audition more from Austin Audioworks!
—Billy S.
,I have been fortunate to get a ground floor opportunity to review the Austin Audio Works head amplifier. This thing came to me out of nowhere, and we all know, or should know, that super low voltage amplifiers are a tough nut to crack. After I listened to it, I was bowled over by the DYNAMICS, holographic image, even- sounding frequency reach and transparency that this unit throws out. The only reason you might not tap your toes with this unit, is if you don’t have toes! I have several different head amplifiers, and the Black Swan is my main squeeze right now.
Barry has added on the fly loading and this is super nice to dial in the right loading, and not any more or less than YOUR ear enjoys. I can’t recommend this unit enough for audiophiles on a realistic budget…or those that think you have to spend $$$ more to get near this units performance.
—Galen G.
Reporting in on the Black Swan preamp. I got my busted monoblock fixed and running smoothly. Wow! they never sounded this good. Now I get what the fuss is about for the “hallucinations” from audio. I took it over to my friend’s with the audiophile setup last night. He was impressed, we listened to several jazz albums, he definitely heard more detail than his other setup. The black swan replaced his PH-16 tube preamp. He was also running tubes on a Dynakit power amp rebuilt with a bunch of modern bias circuitry and those overpriced russian oil filled capacitors, so it was still plenty warm enough for his taste. My monoblocks sound exactly warm enough with this, I guess they like getting a nice accurate signal now.
Now I really want to hear your new power amp. Many thanks, I’m very happy with it.
—Nathan C.
The Black Swan has many tube qualities with a wonderful 3D presentation, great sense of air and wonderful microdynamics without trying to sound “tubey”. The ability to fine tune your loading both resistive and capacitive were greatly appreciated; even though I had the ability to variably adjust resistive loading on my phono already, the capacitive load adjustments really allowed me to dial in the response for my system.
—Fred E.
A quiet background, very configurable loading (I maxed out the gain on this unit for my cart but it was sufficient), rich timbre, slightly tipped-down tone, complete lack of grain in the highs, forgiving of some of my lower-quality pressings without inversely feeling like it was sucking details out of my nicer plates, solid follow-through on decays and sustains without blunted attacks, good LF extension, generally a jack of all trades.
—Bart M.
I definitely liked the Black Swan better, there was no contest. Specifics that stood out:
Better tone, perhaps a bit richer or denser. Tone is more subtle than the Black Amp but still very enjoyable.
Clarity
More engaging yet less fatiguing. I see Barry’s magic at work with the Black Swan (lack of fatigue was especially good with the Black Amp)
More detailed
Sometimes corrected my distortion issues, I could enjoy more of my collection
Just some quick thoughts on the Black Swan…
Very clean and quiet and sounding; understated richness to the sound
Did not emphasis ticks and pops
Zero complaints about sound
Only was able to test MM, as I haven’t purchased an MC yet but the MM capacitance settings are excellent. IMO this is what’s needed to properly dial in your MM, as it accommodates new and older/classic carts. I loved having several choices under 100 pF.
Continuous adjustable gain is great; able to dial in a good match for your system
Based on all comments above, I would love to own one. These settings combined with SQ is everything I’m looking for for my end game phono stage.
The Black Swan features the sparkle, pierce & air of an extended top range. Recordings generally had a more spacious, open and airy presentation in my system, even with my Orangutan speakers which frequently can’t get there with vinyl. Strings and choral tracks ventured into etherealness at times. To me that’s a good thing and a sound I prefer in my room.
Dynamics and timbre are both very good. The soundstage is very wide and deep (though not the absolute widest I’ve ever heard) with precise imaging and instrument separation. Note that the soundstage is affected drastically by the load settings, which is exactly where the front-facing controls come into play.
The amount of bass present in playback is highly adjustable via cartridge loading options. This was especially notable for my MC cart, I could easily dial in low and mid bass or reduce it with the impedance settings. As the user manual points out, loading options don’t act as directly as tone controls but their availability does give you the ability to tweak each cartridge toward the sound you prefer.
The noise floor of the Back Swan is astonishingly low. The manual and web site attribute this to compound-parallel low-noise gain cells in the input stage and a buffered, isolated power stage. I don’t know about that but it’s comparable to the several massively more expensive solid state amps I’ve heard that use dual-chassis, battery-buffers or the like.
The Black Swan easily bested any other pre-amp I’ve heard at this price range or lower. The silent noise floor & extended top end and airiness it brings into my system is what put it over the top for me.
I really like the Black Swan, it’s cartridge loading feature, balance and single ended outputs, balance, and single ended MC inputs. 2 MM inputs, adjustable gain. It was a blast.
Thanks to Barry Thornton of Austin AudioWorks for this ingenious product.
Black Swan Specifications
- Dual Moving Magnet inputs, Single Moving Coil input
- Flexible Front panel cartridge tuning
- Balanced and Single Ended inputs and outputs
- Balanced 4 pin AAW \ Headphone Output
- Highly Adjustable Gain
- Vanishingly low noise floor
- No coloration
- Precise spatial detail
We’re offering a 15 day, risk-free home audition of the Black Swan so you can experience the sound in your system. If you return it you’re responsible only for the cost of shipping the unit back.
Purchase and receive your Black Swan. Then if you want to return it during the next 15 days, contact us at sa***@au**************.com or at 1 (512) 912-6820 to obtain an RMA (Return Merchandise Authorization) number and the shipping address. Then send us the tracking number before your audition ends.
Your full cost (including any tax) will be returned once the unit is received in the same cosmetic and operational condition as when you originally received it, along with all original accessories. So save your original box and packaging!
