An A-Shopper Review


Quicksilver GLA Stereo Tube Amplifier:
The Little, Big Amp

Quicksilver Audio, as mentioned in a previous article, nurtures a lean product line. Witness the history of its ground breaking 8417 mono amps that were introduced in the early 1980's. This model's induced demise and replacement only came about because the tube manufacturer ceased to produce the 8417 tube. It is the kind of company that does not change models or versions very often. To me that behavior bespeaks of a commitment--be it because of resource limitation, company philosophy or both--to manufacture products that will remain true to their musical value proposition for a very long time.

Have you purchased an audio component without first auditioning it?

      I have! I'm guilty. It's heresy I know but there are instances where blind faith and trust become one's purchase criteria. And I bet a lot of our fellow audiophiles have done this as well. In those instances, I rely on the strength of the company's product record, opinions from the audio press and friends whose ears I trust, and product data provided in audio directories, specifically specs and pricing. Specs??? You bet. I want to know how much the unit originally retailed for, its dimensions, weight, aesthetics, etc.

      I bought my first Quicksilver GLA on blind faith from an individual who had coincidentally a year earlier purchased my Conrad Johnson MV50 amp. He gave the GLA to me at a reasonable price--45% off the $1195 retail price. As back up, I purchased an extra set of EL34 tubes from him as well. For your information, I have not had to use this extra set of tubes.

Technical details

      Like its siblings, the GLA is manufactured the old fashioned way--with no intervening printed circuit board. The amp is hard wired, point to point, and hand built. Hard wiring makes for better integrity, it is claimed.

      The GLA is deceptively mundane. Don't be fooled by its modest appearance. Just a couple of inches bigger than the Dynaco ST70, its dimensions are unimposing, 14 1/8"L x 9 3/4"W x 5"H. The amp however is surprisingly heavy and weighs 48 lbs. The output transformers are massive, and are said to be rated for 60 watt output. From their size, they look like the very same ones that are being used for their KT88 mono amps. I wouldn't be surprised if they indeed are the same ones. The output transformers do not get hot despite hours of use. The power transformer gets warm to the touch and stays that way after two hours or so of use.

      Aesthetically, the GLA looks dowdy with its black carbide chassis. Black is the dominant color. The only other color comes from the two light blue 3000UF 500 volts Powerlytic capacitors. The EL34 tubes are horizontally lined up lengthwise. In the middle are the two small tubes. Behind those are the two large capacitors described earlier.

      Power output is 40 watts into a 4, or 8 Ohm load. Input sensitivity is 1.0 volt. The amp has a tube complement of: 4-EL34, 1-6DJ8 or 6922, and 1-12AX7. The GLA is sold with matched EL34 output tubes but 6550s and KT88s can also be used. All four output tubes must be of the same type. Output tubes must be replaced as a matched pair. The amplifier is self-biasing, hence there is no need to make this periodic electrical adjustment. The serial number of the GLA under review is 0034. Kindly note that for the review, we confined the GLA to the supplied EL34 output tubes.

Reference

      I've had the GLA for almost a year and so I've tried it with a lot of my components. The following equipment were used to review the GLA: Audible Illusions Modulus 3 tube preamp, Audio Research SP-3 tube preamp primarily for listening to LPs, Audio Research SP6 tube preamp, Classe' DR-9 amp, Quicksilver KT88 mono amps, JVC XL-Z1050 Compact Disk player, the original Pink Triangle turntable with Sumiko MMT arm and Promethean Green cartridge, Inouye power conditioner, Spendor SP1, Linn Index, Rogers LS3/5a and Sound Dynamics 300Ti speakers, XLO Type 5 and Kimber 8TC speaker cables, and interconnects by Promethean and MIT.

      I had the entire system on for about two to three hours before any serious listening. I had the CD playing several of my favorite classical disks as it was warming up.

Relax and listen

      Having owned the GLA for some time, I have listened through it to music using various media--LP, CD, tape and tuner. Let me tell you at the outset that the GLA does not disappoint. It is a very listenable amp that follows the tradition of Quicksilver--high marks for sweetness, tonality, presence, and soundstaging. I enjoyed many of my favorite Sheffield Lab records with this amp. Amanda McBroom was enthralling in her West of Oz album (Sheffield Lab 15). Vocals had the palpable quality and roundness that captivates one's attention. Lincoln Mayorga and Distinguished Friends Volume III (Sheffield Lab 1) was rendered smoothly without a trace of aggressive overhang. Guitar strings were steely and full bodied. I believe it is this fullness and body that make tube amps, in general, sound more listenable.

      Christine McVie is one of my favorite female song writers and singers. She captures the essence of human emotions and breathes life to these through her songs. Listen to her Christine McVie LP (Warner Bros 25059-1). She eloquently portrays emotion in its many forms--anticipation, pain, melancholy, excitement, loneliness and want. I empathized with all those while listening via the GLA.

Balancing act

      The GLA as expected is not a ground breaking product. I had a chance to compare the KT88 monos to the GLA. To my ears the GLA offers more information. It is more revealing in the high frequencies. The highs of the KT88's are softer and more subdued. The bottom end of the GLA is also more taut and punchy. But it falls short of the midrange magic and stellar soundstaging of the KT88 monos.

      The Classe' DR-9 edges both Quicksilvers in control, balance, and detailing. For these reasons, the DR-9 is able to deliver superior transparency, dynamism, and speed. In contrast, the GLA and the KT88 monos seem anemic. However, the Classe is very slightly less full or a tad leaner, a vestige of its semiconductor lineage. As I have stated previously, it is able to capture a large portion of the bloom or fullness, if you will--say 85% of it, certainly much better that other amps I have heard. Still, it ultimately falls short of the emotional content conveyed by both Quicksilver models, especially the KT88 monos.

      The GLA, because of its relatively modest power rating must be matched with suitably efficient speakers. The amp is not finicky by any means. The Spendor SP1, Sound Dynamics 300Ti, Linn Index, and the Rogers LS3/5a mate very well with the GLA.

Conclusion

      Is the GLA a worthwhile amp to buy? From a convenience aspect, it is. From a reliability factor, I believe so too. From a music standpoint, I would agree as well. It's an amp that many will be able to live with for a very long time. It's a plug and listen component that is easy to mate with both upstream and downstream components. I can wholeheartedly recommend this amp within its limited power range.

      The GLA deserves three clefs (out of a maximum of five). I have seen the amp sell for $600 to $750 in the used market.

by Rome Castellanes

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