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Vincent SA-31 Hybrid Stereo Preamplifier (2003-18)

Vincent SA-31 Hybrid Stereo Preamplifier (2003-18)

Vincent

$500.00 USD
$500.00 USD
Sale Sold out

Based on two 6N16 vacuum tubes, the SA-31 is a linestage preamplifier that provides four analog inputs, two analog outputs, a recording output, and two old-school features—namely, a loudness compensation circuit and switch-selectable tone controls. Purists might counsel against using EQ for any reason, but I think there are contexts where the loudness function can improve perceived tonal balance for low-volume listening. Similarly, Vincent’s tone controls are subtle enough that they could be used, judiciously of course, to correct minor tonal imbalances in less-than-ideal recordings. Sadly, one modern feature the SA-31 does not provide is a remote control—an omission I came to regret as I made my umpteenth trip across the listening room to tweak volume levels. One very well-thought-out detail is the SA-31’s power-on muting circuit, which engages when the unit is fired up, as denoted by the power light flashing on and off, and releases once tubes are warmed up and the preamp is ready to play music.


The SA-31 produces a rich, seductive sound, whose signature characteristic is a midrange that is dynamically alive and leans just slightly to the warm side of neutral. Together, these qualities help the preamp do a fine job of capturing subtle contours or inflections in both human and instrumental voices. For example, in the opening of “Casi” from Marta Gómez’s Entre Cada Palabra [Chesky] the SA-31 shows great delicacy as it captures the very soft, gently modulated sound of Gómez’s voice accompanied by a bass guitar that deliberately plays only high harmonics sans bass fundamentals. The preamp shows how the singer’s voice remains pure, steady, and clear, even though Gómez is singing at little more than a whisper level, and also draws out the ringing sound of the bass harmonics, which fill the recording space with an almost gamelan-like sound.

 

One of the SA-31’s greatest strengths is its ability to reproduce continuously shaded tonalities at the edges of notes—shadings that give notes their shape and substance. Perhaps as a result, this preamp presents images that have a consistently pleasing, sculptural solidity—never the flat, “color-by-numbers” quality that some solid-state preamps exhibit.

The only quality I found odd in the SA-31 was a textural discontinuity that sometimes came into play on intensely modulated upper-midrange passages. On the loudest of vocal swells—Eva Cassidy belting out “Stormy Monday” on Live From Blues Alley [Blix Street], for instance—the SA-31 momentarily exhibited a slightly hard, strained quality. This phenomenon doesn’t occur often, but it is noticeable when it does because it is out of character with the preamp’s ordinarily smooth, imperturbable sound.

The SA-31’s bass was hearty and solidly weighted, although I found the preamp did a good but not great job of capturing low-frequency transient and textural details. When I listened to the concert bass drum on “Regular Pleasures” from Patricia Barber’s Verse [Blue Note], for example, the attack of the drum sounded slightly subdued, though its ensuing “boom” and shuddering decay sounded fundamentally correct. Similarly, on Stanley Clarke’s slapped electric bass on the title track of School Days [Nemperor, LP], the sharp, percussive “pops” at the leading edges of notes were rounded-off to a degree, though the bodies of the notes had nearly ideal power and depth. The good news is that the SA-31 consistently puts a firm bass foundation under the music—never sounding anemic down low, as some affordable preamps do. But at the same time, I felt the preamp could be improved if it provided a greater degree of lowfrequency tautness and definition.

Up high the SA-31 sounded sweet, smooth, and silvery, though it was not the last word in reproduction of high-frequency details or of the “air” surrounding instruments. In practice, this turned out to be a mixed blessing. On recordings such as John Abercrombie and Eddie Gomez’s Structures [Chesky, SACD], which features the richly detailed sound of Gene Jackson’s delicately brushed cymbals and drums, the SA-31 sounded generally refined, but it also smoothed over low-level treble details to some degree. However, on recordings such as the Boulez/Chicago reading of Mahler’s Symphony No. 9 [Deutsche Grammophon], whose string passages are apt to sound overly hard or wiry in the first place, the SA-31 turned potentially strident sound into approachably clean, sweet music.

 

It is a credit to the SA-31 that its sound invites comparisons to today’s best $1000 preamps (e.g., the Rogue Audio Metis or Rotel RCD-1082). In those comparisons, the Vincent is nearly able to hold its own, thanks to its smooth, evocative midrange, free-breathing dynamics, and bass weight and warmth. However, it comes up a bit short in the areas of top-to-bottom detail and definition and high-frequency air. But let me put these comments in perspective. I can count on the fingers of one hand the units I think might offer the Vincent serious competition in its price range (the more versatile but also more expensive NAD C 162 preamp is one of the strongest competitors that comes to mind). The SA-31 is a highly accomplished sub-$500 preamp that offers terrific bang for the buck. Just be aware that there is a tangible gap between the best that good $500 preamps can offer and the better performance that the top $1000 models have on tap.

Out of stock

There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.

Why Vintage Audio Still Matters

In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.

Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.

The Philosophy of Refurbishment

Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.

Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.

The Turntable Store refurbishing process.. step by step

Step 1: The Initial Encounter

When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.

Instead:

  • We inspect for corrosion, burnt resistors, and leaking capacitors.
  • We use a Variac (variable transformer) to bring up voltage slowly, reforming capacitors rather than shocking them back to life.
  • We check fuses—not just for continuity but for correct ratings.

Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.


Step 2: Deep Cleaning & Control Detox

Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.

The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.

Step 3: Electrical Resurrection

This is where science meets art:

  • Capacitors: Electrolytic caps often need some attention. We replace out-of-spec caps with high-quality modern equivalents (Nichicon, Panasonic), avoiding over-capacitance unless the power supply can handle it.
  • Resistors: Carbon comp resistors drift over decades. Measure and replace out-of-spec parts.
  • Transistors: Certain vintage transistors (e.g., 2SC458) are notorious for noise. We do swap defective ones for modern low-noise equivalents.
  • Relays & Lamps: Speaker relays oxidize; replace or clean contacts. Dial lamps? Upgrade to warm LEDs for a factory glow without the heat.


Step 4: Cosmetic Glory

Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.

Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.

Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.


Step 5: Calibration & Sonic Check

After the repair and cleaning, it’s time to dial in the performance:

  • We do adjust bias and DC offset on amplifiers for stable operation.
  • On turntables, we re-lube bearings, replace belts, and check speed accuracy.
  • On Cassette Decks and Reel to Reels, we replace belts ( if needed ), we clean and demagnetize the heads before the alignment process ( a must ! ) 

When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.


Our promise for Audiophile-Level Results

  • We Avoid Cheap Parts: That $5 eBay capacitor kit? Hard pass. We use reputable brands.
  • We Don’t Over-Polish: Patina is part of the charm. We aim for “well-loved,” not “plastic surgery.”
  • We Upgrade Discreetly: If we must modernize (like adding gold-plated RCA jacks), we keep it tasteful and reversible.


Why It’s Worth It

The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.

And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.

We have a 14-day return policy, which means you have 14 days after receiving your item to request a return. 

To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address: 

The Turntable Store
45 Market Square
Manheim PA 17545

If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

You can always contact us for any return question at theturntablestore@gmail.com.


Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.

Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item. 

Unfortunately, we cannot accept returns on sale items or gift cards.

Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.

European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.
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