Discovery
    In terms of discovery, I cannot take full credit for having come across this product. Actually, the folks at Esoteric Speaker Products (ESP) in Bend, Oregon were the first to alert me to this new product
and the emerging high-end audio component manufacturer named Balanced Audio Technology (or BAT for short). According to the ESP group, BAT’s newly developed all-tube, fully balanced linestage (dubbed the VK5) was something quite special and truly worthy of my perusal. I immediately made my initial contact to BAT headquarters (located in Wilmington, DE) to learn more about their new VK5. At the time of this initial call, I was happy with the linestage that resided in my reference system. Additionally, I had on hand several other top contenders that I was quite pleased with, so my call to BAT would prove to be most interesting and enlightening.
Right from the start, my discussions with a key representative from BAT were most intriguing. In fact, he was quick to acknowledge the sonic accomplishments of the various units that I had on hand. However, he also felt that the VK5 would more than hold its own against these formidable competitors. Needless to say, this inspired me to suggest that perhaps I was just the person who should convene a head-to-head showdown of these units. As my talks with the folks at BAT progressed, I learned that an earlier prototype linestage had been developed. According to Steve Bednarski, business partner of BAT’s head electronics guru Victor Khomenko, this earlier unit was not particularly user-friendly and had not quite ready for the consumer market. The later VK5 became the realization of Victor and Steve’s collaborative efforts.
Fortunately for serious audiophiles, BAT was entering the new VK5 into the high-end audio market at a very competitive price-point. At its suggested retail price of $4,000, it would fall directly in line with other notable high-end, all-tube linestages or preamps. For example, the new BAT unit would be going up against the likes of the superb Audio Research LS 5 and LS 22, the long-time industry favorite and highly renowned CAT Signature, and the outstanding Sonic Frontiers SFL-2, just to name a few with roughly similar pricing. At the time of my final negotiations with BAT to secure a review unit, I had a number of these previously mentioned units on hand. This would provide me with an excellent opportunity to hear for myself just what the audible differences were. Based on my previous experiences with these units, I had become quite familiar with each of them and was generally aware of their strengths and weaknesses. I was reminded of one of the all-time favorite childhood tales. However, in this case, I was dealing with audio equipment, not a hot cereal (i.e. porridge). True to the story-line, however, one unit was just a bit too soft through the highs, another was just a wee bit too robust in the upper bass and lower mids, another was just a bit too forward through most of the mids, and finally one was just right!
From a physical perspective, the one common feature among each of these units was the full complement of tubes in their circuitry. However, these units differed significantly in their topology as evidenced by their interconnect cable interface configurations. For instance, both the ARC and BAT units were designed for fully balanced operation. The Sonic Frontiers was capable of accepting both balanced and single-ended inputs and outputs. And, finally, the CAT was designed strictly for single-ended operation. With these differences noted, my initial thoughts were that perhaps one design approach would render distinct advantages over the other. However, based on my comparative listening evaluations, I was unable to conclude that one approach was clearly superior to another. For me, the issue is not whether a unit is balanced or single-ended, tube or solid-state, hybrid or whatever. What really matters is how the music is conveyed to the listener.
Please note that in the BAT literature, they point out that the VK5 is fully capable of running single-ended ("unbalanced") components by merely using special XLR-to-RCA adapters. These are available from the factory at a nominal cost. This approach provides additional flexibility for VK5 users. Also, according to BAT, there is no degradation of sound with this arrangement. (I did use these adapters when using single-ended amplifiers from Sonic Frontiers and R.E. Designs with no discernible problems). At this point, I have now had numerous opportunities to compare the various units on hand to the VK5. Based on my extensive long-term listening, I can unhesitatingly state that the overall performance of the VK5 has served notice to each of these units. It should be noted that not long after the arrival of the BAT VK5, each of the comparison units mentioned underwent varying degrees of change. For example, the ARC unit has now gone through two levels of improvement (i.e. Mk2 and Mk3 designations), and both the CAT Signature and Sonic Frontiers SFL-2 have taken on Mk2 designations. Without necessarily wanting to spoil the rest of this review, I will tell you that the folks from BAT have literally knocked the cover off the ball with their first time up to the plate (or should I say, their first time at bat . . . no pun intended!?).

Musical Satisfaction
    Listening to music reproduced through the BAT VK5 is a most satisfying experience. In this regard, the VK5 has raised the bar in terms of excellence for reproducing music in my high-end audio system. Its overall performance is something for the listener to behold as well as for other units to reckon with. For me, the VK5 has literally brought my system closer to achieving the illusion of the real thing. No, I am not suggesting that my reference system can now get me all the way there musically. But most definitely, my listening experiences and overall enjoyment have been significantly enhanced since the VK5 has graced my home with its presence.
The first thing that I observed when picking up the shipping carton containing the unit was its considerable heft. As I removed the VK5 from the shipping container, I was impressed with its solid feel and appearance. From a user’s perspective, the front panel design is relatively straight-forward with a soft, elegant look—nothing fancy but certainly not on the stark or utilitarian side. Inspection of the interior circuit layout revealed a sophisticated and tidy arrangement that immediately brought about a sense of confidence and high expectation. On the back panel, I found things to be laid out in a very organized manner and consistent with the logical ergonomic approach used for the front.
A general description of the VK5 would be to state that it is a true all-tube, fully balanced differential design with no solid-state devices in the signal path. Additionally, the unit is a dual mono design with zero feedback. One of the nice user features is the "Sleep" mode available via a front panel switch. This allows the listener to disengage the VK5 from a full operational state, yet keep its internal components thematically active and ready for quicker turn-on than if the unit were in a completely turned-off condition. For those of you really interested in a full rundown of the technical specifications, design approach and overall philosophy behind the development of the VK5, I suggest a quick call to BAT Central. The chief designer, Victor Khomenko, has put together a white paper that is easy to read and will provide you with a far better understanding of his overall design strategy and product development approach. The number to call is 1/800/255-4228. Either Steve Bednarski or Victor can enlighten you as they did for me previously.
Shortly after its arrival, I installed the VK5 into my system and allowed it to burn-in with FM white noise running through its circuitry for several days. During this relatively inactive period, I took the time to assemble a batch of my favorite LPs, along with a few particularly good CDs. I made sure that when the VK5 was ready, I too would be ready with the appropriate software. When the time finally arrived, I was more than ready to rock and roll with the VK5. As an analog junkie, most of my early listening sessions were done using vinyl as my primary input source. This was due to my long-term familiarity with analog as a playback medium, and my intimate familiarity with the various LPs selected for use during this review. As time went by, I also used digital playback in my listening evaluations. Fortunately, I had the highly musical and well-respected Sonic Frontiers SFD-2 digital-to-analog converter in-house for critical listening and evaluation. This, along with the very musical Audio Research CD-1 player, I was able to really enjoy CDs in my system. (Thanks to recording companies such as Chesky, Clarity Recordings and Mobile Fidelity, I was able to use both LPs and CDs of the same recording for comparative tests).
OK, so just what did I hear when I finally got the VK5 up and running in my reference system. First and foremost, I noticed that the noise floor was surprisingly low (especially for an all-tube unit). Turning the volume pot way up on the VK5 and placing my ear directly in front of my speaker(s) revealed very little hiss. Hum was not even a factor—it did not exist. Obviously, something right was happening. By comparison to the units that I had in-house, the VK5 was noticeably quieter. As I ventured further and delved deeper into other dimensions of the VK5’s overall sound, I was literally struck by its wide range of sonic attributes. In the past, I have used a number of preamps with differing design approaches (including tube, solid-state and hybrid). What I was getting immediately with the VK5 was a combination of strengths that made me feel as though I had neither a tube nor solid-state unit in my system. Instead what I was experiencing seemed to be the best of these two designs.

Range Of Virtues
    Bottom-line, the overall performance of my reference system was enhanced by the insertion of the VK5. Not only was it quieter, it was also noticeably more open, transparent, articulate, and detailed—yet generally smoother throughout the entire frequency range. The neutrality of the VK5 further provided a sense of naturalness and realism to reproduced music. Along with this, music’s harmonic structure and overall timbre was now coming through my system more accurately (and beautifully) than ever before.
Several of my friends, who are regulars at some of my listening sessions, also commented that to their ears, the VK5 seemed to really open things up and breathe new life into my system. Additional comments made by these listeners had to do with the VK5’s overall clear sound, its speed, quickness, and agile character, its taunt bass with outstanding control and clarity, and the superb extension in the upper frequencies with an open airy quality. When it came to vocals, the VK5 quickly slammed the door on the in-house competition with its dramatic realism. The VK5 simply seemed to remove itself from the overall sound, so much so that voices simply flowed from my speakers. Truly, the affect was captivating and almost startling at times.
During one particular late night listening session with the VK5 in my system, one friend literally shouted, "Yes! I’m there—it’s live!" At the time of this emotional outburst, we were listening to Mary Stalling’s Fine and Mellow LP on the Clarity Recordings label. While listening to Stallings and her ensemble through the VK5 line stage, we observed that her voice sounded right on and very authentic. In particular, Stalling’s voice was delivered through the VK5 with a rich quality and superb tonal intonation. Her peculiar nasally tone became even more evident than before. Beyond listening to Stallings, her accompanying instrumentalists were also treated royally by the VK5, which added extra enjoyment to the total musical experience.
During this listening session, we observed how harmonically and tonally correct the VK5 presented music. Additionally, the soundstage produced by this unit was quite convincing and spatially correct. For example, on the Stalling’s LP, a saxophone was emanating considerably off to the left (slightly outside the speaker). The effect was natural and remained throughout most of the performance. Image specificity was pinpoint and rock-solid.

The BAT VK5 compellingly captures the heart and soul of reproduced music.

However, at one point during the first selection on this Stallings LP, the saxophonist performs a brief solo. At about the time this occurs, the performer steps forward ever so slightly and nearer to one of the microphones. Prior to this, the sound of the sax is ever so warm and full, slightly laid-back and very seductive. Immediately after stepping forward, the sound of the sax, became clearer, more direct and distinct. The sound was very life-like and quite impressive. The VK5 revealed these spatial clues in an easily detectable manner.
Moving on to other instruments on this recording, the acoustic bass was reproduced in a naturally big, warm, round, and full manner. This was done without any bloat. The VK5 clearly followed this instrument’s overall timbre. It was a thrill to hear such clarity on this instrument, as this bassist moved up and down the fingerboard as well as the plucking and bowing of the strings. With the VK5, it was fairly easy to detect the size of the cavity of this instrument. Just as importantly, the VK5 allowed individual notes to emerge with clarity and distinction. Each note was delivered with a sense of bloom and articulation. Double chording and bass runs from this recording became thrilling. With some of the other linestages I’ve tried in my system, although these passages have been reproduced very well, in comparison to the VK5, their sound was somewhat blurred and not nearly as authentically rendered.
The piano work on this LP was also delivered in a most convincing manner. This instrument’s full array of musical sounds provided me with additional insights as to how well the VK5 handled the critical midrange and overall transient attack. The tonality, the fullness, the weight, and the dynamics of the piano through the VK5 made it all seem so quite real. Additionally, there was little, if any, observable glare to the piano. As the keys were struck, the sound came alive with clean, clear crispness. The initial transient attack and trailing edge of the piano notes were very natural and authentic. The sound easily projected into the room in a naturally dynamic manner. At all times, the VK5 presented musical passages with great power when called upon to do so, yet it maintained its control and finesse throughout the total musical presentation of the piano. Reproduction of the higher frequencies further demonstrated the VK5’s overall superior performance. Along with its open airiness, there was substantial clarity, detail, and delicacy. As one listener put it, cymbals reminded him of "pebbles splashing in a pond." The sound of the cymbals simply shimmered and floated in space, often seeming to cover the back wall behind the speakers. For the most part, through the VK5 the sound of this recording simply lifted me (and the other listeners) into the musical heaven!
Another recording that I am particularly fond of which lets the listener get a good measure of what natural acoustic jazz reproduction should sound like is Alvin "Red" Tyler’s Heritage LP on Rounder Records featuring Johnny Adams. On the feature cut titled "I’ll Only Miss Her When I Think Of Her," the VK5 treated Adam’s voice (and the wonderful accompanying quintet) with sonic purity and delicacy. In fact, the sound was so sumptuous that my friends and I simply could not stop at just one listening. Repeated listening revealed even more about the VK5’s capabilities. On this particular recording, first we observed outstandingly clear and articulate vocal presentation. Next it was the superb rendition of the acoustic bass, with its tender throbbing and sensuous purring. Lastly, it was the gentle brush work and sweet, delicate cymbals which were delivered all quite seductively. All told, once again musical ecstasy was the treat for all those at my home for this most serious of listening sessions. The VK5’s observable sonic attributes were readily evident as I moved from LP to LP and from CD to CD. In fact, as different types of musical recordings were used, the VK5 continued to tease and please. At times, the VK5 can be sweet, docile and even-tempered. At other times, provided it is given the appropriate musical input, it can provide a realistic portrayal of hard hitting, bombastic fusion, pop or rock. Overall, the VK5 can easily boogie and get down to business with the best of them.
For example, the highly acclaimed early 1970’s Weather Report Sweetnighter LP recording (Columbia) provides a ton of high-energy fusion that is full of angles, twists, turns, hard-pounding instrumentation, searing notes that ping and zing plus many other sonic acrobatics and treats. These elements, along with a host of recording tricks (i.e. reverb, overlaying, etc.), make this recording good for testing the capabilities of a linestage. Using the VK5 with this particular recording, I got noticeably tighter and more articulate bass, with superb weight and control, yet it was as strong as I have ever heard. The overall sense of rhythm and pace were enhanced by the VK5’s superb rending of the complex bass lines. The broad midrange was more transparent, open and spacious. Through the VK5, it was a treat to be able to more readily pick out hidden treasures that had appeared only marginally with the other units. Additionally, the high frequencies were more extended with corresponding increased amounts of air. At various times throughout this recording, the performance swells with the soundstage taking on enormous proportions. With all the busy instrumentation going on, it is easy for musical sounds to blur and lose their distinction. Throughout these passages, the VK5 provided a degree of control and openness that allowed individual instruments to be rendered with clear distinction. The VK5 enabled me hear all of the many intricate sounds and listen deeply into the resulting soundstage, and this proved to be one of its greatest assets.
Also, on the title cut of this LP, there is a series sounds ranging from hand-clapping and bongos that are immersed in the total soundfield. The VK5 clearly pulled these out and presented their realism. With several of the other top-rated linestages, these sounds were not as clear and thus harder to distinguish. With the VK5, it became readily apparent just which particular instrument was being played as well as its relative location on the soundstage.

Classical Music
    At this point, I decided to move on to classical music. One musical treat that I used to further test the VK5 was the superb Clarity Recordings LP of Igor Stravinsky’s Petrushka performed by the Redwood Symphony. This is a masterful composition and arrangement that at times has the music presented at very low levels, quickly followed by a strong, dynamic musical swell. The VK5 seemed quite a home with this type of music as well. Throughout the performance, the VK5 provided superb dimensionality of the orchestra’s full soundfield. Additionally, the VK5’s superb rendering of resolution and fine inner detail allowed me to easily pick out what was happening on the stage. This along with the inter-transient silence and sharp attack on the transients themselves gave the music a very convincing portrayal of real instruments before me.
The overall tonal balance was quite accurate with no sections of the orchestral instruments on the perceived soundstage standing out. Only when a given set of instruments were called upon, through a particular passage, did the VK5 present their sound in a proper perspective relative to the emphasis of that passage. When it was time for things to get loud, the VK5 was there. When it was time to settle down into a more gentle approach, the VK5 line stage handled all of this with ease. With every type of music that I put in my system, it was better served by the VK5. Although I am not aware of the existence of any linestage today that is perfect, based on my experiences to date, the VK5 has taken a significant step along the continuum in that direction. Hopefully, with continuing design and parts improvements, the VK5 will too get even better.
Did I find anything that I didn’t like about the VK5? Nope! However, there was one area where I was able to make an improvement. Basically, I substituted the detachable stock a.c. power cord with a line cord from NBS Audio. Immediately, the improvements were obvious. With the new power cord attached, the VK5 sounded quieter, cleaner, and clearer, and it gave somewhat better low-level resolution and inner detail. Musical notes throughout the spectrum seemed to emerge from a quieter background. Overall, the results were subtle, but in all ways, they were favorable. After switching back and forth several times between the two, I retired the stock a.c. cord—permanently!

Conclusion
    As I said, I had a number of other superb linestages in-house when the VK5 arrived. Despite my total enthusiasm for the new BAT unit, this does not mean that I am no longer impressed by these other units. In fact, they remain favorites of many high-end audiophiles. And, I must remind you that I did not have the opportunity to compare the VK5 to the very latest version of these other units.
So where does this leave me in my overall assessment of the BAT VK5 linestage? If you haven’t figured it out by now, let me reiterate. I am totally impressed with the VK5. For me, it captures the heart and soul of reproduced music in a compelling way.. Without question, it is the very finest unit of this type that I have had the opportunity to experience in my reference system. Since arriving at my home, the VK5 has been a constant source of enhanced musical pleasure. It does so many things right that I simply can not, and will not, take it out of my reference system. As the saying goes, "it’s a keeper!"
Also, from a design, engineering, and sonic perspective, this is one killer product. BAT has my praise for developing and delivering such a fine product. Anyone serious about accuracy of musical reproduction should check this baby out . . .immediately. The rewards are great, the price right!