Another thing that is worth considering here, especially bearing in mind the price of the Saga 2 is the unusually high-voltage supply rails – we have 75V on both sides here, which is actually higher than many power amplifiers. And then we also have the whole concept of the “differential” topology, which is also something worth explaining:
There are several ways to get good linearity (measurements) out of a gain stage. The most common is feedback. An op-amp might have 130dB of gain. That’s far too much. You use feedback to bring this down to a usable 0-20dB of gain, and you get spectacular measurements. More feedback = better measurements. Another way to get better measurements is to only use a small part of the potential voltage swing of a stage. With giant rails like Skoll, a 4V RMS balanced signal (+/-2.8V per phase) is a tiny, tiny fraction of the potential swing. This means it runs more linearly, without feedback.
Also, Saga 2 is a differential design, meaning it will inherently create a balanced output from a single-ended input. Balanced doesn’t have to be differential—a balanced amp can have separate amp stages for both positive and negative phases. Saga 2, however, is differential.
Finally, it also has balanced outputs, but no XLR inputs:
Basically it’s a price constraint. Balanced in means a bigger chassis (or a lot less inputs) and a balanced relay ladder (count the number of relays in Kara, that’s balanced). However, since the stage is inherently differential, we get a “free” balanced output. So It makes sense to provide balanced outputs. Especially when you can use the balanced outputs to run Gjallarhorn, Aegir, and Vidar as monoblocks.
Concluding this more technical (or if you like, theoretical) part would be: here we have just another example of Schiit’s capability of producing a disruptive device that has all the traits of much more expensive units and can be viewed as something really unique, even if we leave the modest price aside. With all that considered, now let’s move to the most interesting for us part – the sound.
Schiit Saga 2 – the sound
Let me start here by saying that when evaluating the sound of the preamplifier we need to consider one very important question here. The context. And we also need to take into account another quite interesting thing. It is basically the fact that in audio there’s that notion that the less is more. By that I generally mean that the less components in the signal chain will generally give you the better sound overall. Yet, with preamplifiers in general, there’s often a different story. It is the case that this one particular component, which by definition sits between the source and the power amplifier(s) will very often be a valuable addition.
That’s because of many technical factors that are actually beyond the scope of this review. One of those will be the fact that preamplifier can be seen as a buffer that provides the source with the ability to better drive those power amplifiers, especially – but not limited to – in a situation where we are dealing with longer signal cables. There are actually, as I mentioned just before many more details to it. Yet the other important thing to consider is that this is still another link in the chain, which, also by definition is as good as its weakest link. And then we need to mention, since this is just another important thing to consider, that this one Schiit’s contraption is priced at 279 USD at the moment. So, it actually costs less than many interconnects that people use in their systems.
Then there’s something that should obviously be addressed too: what Saga 2 provides, is a relay-based volume control. And the fact that, as already mentioned, it is a zero-feedback discrete design. Those two factors alone should – at least in theory – directly translate to the sonic prowess that way surpasses its asking price. And let me answer that question just now: it really does. Looking solely from the sonic perspective it doesn’t try to be that wire with gain, but it is also astoundingly transparent from the musical point of view at the same time.
Let me explain the latter here. The first thing that you notice with Saga 2 is the timbre. It is rich and somehow reminds me of some of those much more expensive, very often discrete and full-width Class A preamplifiers. It adds some spiciness to the sound, yet it makes that very listenable. You can hear that there’s something added, that it has just a bit of a character of its own, yet it makes that sound very listenable. It is so much different than those op-amp based designs also because of the its other very palpable virtue. It’s the ability to throw ethereal soundstage that also surprises with its depth.