Since its appearance on the audio market in 1995, Lehmann Audio’s Black Cube phono preamp has become a must-have for all music lovers with a passion for analogue sound. Astonishing in its sonic performance, the Black Cube was widely acclaimed and received rave reviews that contributed to its reputation and success. After an improved version called Black Cube SE in 2006 and then Lehmann Black Cube SE 2, this year Lehmann Audio is offering an even better version, tested to our great delight: the Black Cube SE 2 Sven Väth. This increasingly sophisticated edition, accompanied by exclusive goodies, is set to become a new benchmark in its range.
When you open the little cardboard box, the renewed design of the Black Cube SE 2 is immediately striking. Featuring a sober but elegant brushed metal front panel, it is available in silver, black or chrome finish, with the Sven Väth model standing out for its matt black colour and striking orange logo and LED. The preamplifier’s main casing and that of its remote power supply are made from a special non-magnetic aluminium alloy, which has received an anti-resonance treatment to keep microphonic effects to a minimum.
Based on the SE audio circuit of the Black Cube, the Lehmann Black Cube SE 2 has been upgraded with more powerful connectors using RCA terminals with gold-plated contacts. A bass roll-off filter offers 16 setting curves for optimised and precise adjustments (between 7 Hz and 90 Hz), and the external PWX power supply is linked with a shielded power cable and Neutrik XLR connectors with four gold-plated pins, all to take the sonic performance of the Black Cube series to a new level.
Oversized for its function, the power supply is housed in a large case that houses a 30 VA toroidal transformer, with the special feature of having an earthed winding, which effectively isolates the primary winding from the secondary winding. Four MKT chemical capacitors with polypropylene foil, complemented by a regulation circuit and high-precision metal-film resistors, ensure perfect filtering and guarantee a stable voltage.
The exclusive Sven Väth version, meanwhile, is fitted with even better Mundorf capacitors, ensuring even better, clearer and more realistic transient reproduction.
As with all the models in the Black Cube series, the electronic circuit has a structure of input stages identical to those used in the microphone preamplifiers of professional consoles, with the aim of guaranteeing the quality of signal reproduction. The equalisation and RIAA curve correction section is entirely passive and ultra-precise between two linear gain levels, for excellent channel balance and impeccable transient response. To ensure compatibility with all cartridges on the market, whether MM or MC, the gain and impedance selections are completely separate, with the gain configurable at 36, 46, 56 and 66 dB, while the input impedance can be validated at 47 kilo-ohms, 1 kilo-ohm, or 100 ohms.
There’s also an extra slot for immediate action if you want to add resistors to adapt and optimise your set-up with the Black Cube SE 2. German DJ Sven Väth’s version comes in a signed photo and 45rpm vinyl.
The set up
As soon as it comes out of its rather conventional box, which reminds us that the Sven Väth Black Cube SE 2 remains a non-superfluous hi-fi product, the little Lehmann easily finds its place in our systems, despite its imposing power supply.
One thing is surprising, however: it doesn’t have an on/off switch! For our tests, the preamp was connected to two configurations: firstly, coupled to a Cyrus HD One, Atohm GT1 bookshelf speakers and Esprit Beta RCA interconnect cables, with a Clearaudio concept MM turntable as the source; secondly, we tested its moving coil capabilities with an MC Hana EL cell on a Kuzma turntable, connected to the Accuphase E600 amp and Jern 15H speakers, all wired with Esprit Aura.
For listening, our first choice was John Coltrane’s Blue Train (Tone Poet/UNI), the 50th anniversary edition of Marvin Gaye’s What’s Going On (UNI/US version) and the splendid reissue by Analogue Productions of The Doors’ L.A. Woman. Sven Väth’s Black Cube SE 2 was then used for several weeks on the first system described, where it demonstrated its great abilities as an everyday companion.
The sound of the Lehmann Black Cube SE 2
From the very first bars of Blue Train, the Sven Väth Black Cube SE 2 produces a deep, formidably defined soundstage that is perfectly perceptible. It demonstrates its extraordinary ability to clarify and separate the different instruments, with remarkable transparency and a reproduction of the more complex sound passages that is quite astonishing for this price range.
The timbres are shimmering and fluid, and the music is more than surprisingly articulate, revealing the various musical nuances with ease and finesse.
On What’s Going On, the Cube is also up to the task. When Marvin Gaye’s multiple vocal tracks respond to each other, and the melodious carpet of instruments intermingles, the preamp displays impressive control and articulation of the bass and midrange, with a rather incredible opening up of the soundstage. The presence of the musicians is felt with precision, the dynamics are ideally distributed, and the different musical colours are articulated in striking ways.
And when the storm of the Doors’ “Riders On The Storm” erupts, the Black Cube finishes its demonstration in the most beautiful way, imposing an intense, supple and deep reproduction, full of dynamics and subtlety. The placement of the multiple instruments is revealed with accuracy and precision, the rhythmic pattern takes flight and Jim Morrison’s voice explodes in all its roughness and vulnerability, giving us an absolutely unforgettable experience.
Our conclusion
After several weeks in its company, the Lehmann Black Cube SE 2, Sven Väth’s version, delivers on all its promises and more. Capable of powerful, relaxed reproduction, it also knows how to be graceful and highly defined, particularly in its control of bass and midrange, which is quite impressive and rather unusual at this price.
It is capable of demonstrating rigour and power in the passages that require it, while also showing finesse and nuance in the more subtle and delicate movements. The addition of an external power supply is an undeniable quality bonus, but all the criteria combine to make this an exceptional product when compared with even more expensive rivals. This little black box will delight the most demanding of music lovers. A real favourite.
Author: Nicolas Chestier
Technical sheet: LEHMANN Black Cube SE 2
- Origin: Germany
- Price : €1,199
- Dimensions :
- Preamplifier: 114 x 124 x 44 mm
- Power supply: 233 x 93 x 45 mm
- Weight :
- 600 g (preamplifier)
- 1 kg (power supply)
- Compatibility: MM, MC
- Gain selection: 36, 46, 56, 66 dB
- Impedance: 47 kilo-ohms (MM), 1 kilo-ohms, 100 ohms (MC)
- CAPACITANCE 100 pF
- Bass filter : 16 settings between 7 Hz and approx. 90 Hz
- RIAA equalisation : Passive
- Channel separation : 80 dB at 10 kHz
- Signal-to-noise ratio : 71 dB MM; 63 dB MC
