SKU: 26697279022

Quad 33 Preamplifier

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Description

Quad 33 PreamplifierAdd to shopping cart is not available for our Quad products. Please call or email us to place your order. Quad 33 Preamplifier The external design is specifically intended to continue the QUAD tradition of practical simplicity. Yet, it would be foolish to ignore the implementation of modern day capabilities, such as an informative backlit display, delicate LED illumination and remote control functionality. And just like the original, the overall

Add to shopping cart is not available for our Quad products.

Please call or email us to place your order.

Quad 33 Preamplifier

The external design is specifically intended to continue the QUAD tradition of practical simplicity. Yet, it would be foolish to ignore the implementation of modern-day capabilities, such as an informative backlit display, delicate LED illumination and remote control functionality. And just like the original, the overall appearance is unmistakably QUAD, albeit now with a premium machined and anodised front panel and all-metal chassis.

Icons of British audio

Upon their launch in 1967, their innovative circuit design elevated transistor-based amplification to new heights. The new 33/303 contain highly evolved versions of the same signature technologies, wrapped in an industrial design that echoes the past and embraces the future.

The sound of the original QUAD 33/303 pre/power amp combination was indeed something special. It is sometimes thought of as ‘warm’, especially in the context of typical solid-state amplifiers of the time, which by comparison sounded rather hard and sometimes harsh. Its richer style of sound made it less fatiguing to listen too, yet there was no shortage of detail and engaging ‘punch’ – some of the attributes of a good valve amplifier combined with the benefits of a compact, efficient, cool-running transistor design, one might say. The fact that 33 and 303 amps made in the 1960s and ’70s are still sought by enthusiasts today pays tribute to their enduring qualities in terms of sound, design and reliability.

The Return

QUAD’s decision to revisit the 33 and 303 was in no small part due to the continuing demand for these amps on the second-hand market some four decades after they were discontinued in the 1980s.

Given QUAD’s retention of talent and unparalleled level of experience, it was inevitable that one day we would take such an iconic design and update it inside and out, creating a new amp pairing that is unmistakably a QUAD 33/303 yet benefitting from the advances in design, engineering and manufacturing in the 57 years since the original was first realised…

To achieve this vision, QUAD assembled a formidable in-house team at its HQ in Huntingdon, Cambridgeshire, led by four esteemed individuals:

Jan Ertner: lead electronics designer for QUAD
Rob Flain and Paul McConville: QUAD’s most experienced service engineers – nobody knows the innermost workings of QUAD amplifiers past and present better than these two gentlemen.
David McNeill: QUAD’s industrial design chief for the last two decades.

History elevated

Together, the new 33 preamp and 303 power amp offer a compact and cool-running analogue pre/power pairing that is both faithful to the iconic originals yet thoroughly updated inside and out. The fact that vintage 33/303 units made in the 1960s and ’70s are still in use today, and their sound still much admired, is testament to the original design.

The new editions maintain and elevate these core attributes in every respect. They capture the originals’ silky sonic delivery that set them apart from transistor-based amps of the time, adding greater clarity, detail, bandwidth and dynamic impact. This pre/power amp brings back the romance of the original but over 50 years of innovation and improvements, making it a joy to behold regardless of source; track after track, symphony after symphony, the 33 and 303 are thoroughly engaging the listener whether the volume is set low or high!

Function

The new QUAD 33 is supported by digital microprocessor control but is otherwise faithful to a classic analogue design.

The 33 feeds the loudspeakers via the power amplifier using dedicated stereo pre-outputs, with an RCA line-level and balanced XLR pre-out option. For additional versatility and functionality, there’s also an AUX output.

Now equipped with fully balanced XLR inputs and outputs, the 33 is set apart from other preamplifiers and even its forefather model.

The brand new phono stage is Moving Magnet and Moving Coil compatible with the ability to simply switch between the two options – no mods or board upgrades necessary. With a gain of 46dB for the MM and 63.5dB for the MC, the input stage uses ultra-low noise audio op-amps. This ultra-low noise performance is combined with high slew rates and very low distortion specifications. The RIAA processing circuit has its own dual Bipolar/JFET Audio Operational Amplifier. The JFET portion of the input stage enables high slew rates to keep distortion low, even when large output swings are required.

Controls

The controls are comprehensive but simple. Again, this echoes the original design concept. Logically grouped to facilitate selection and control of the programme, a backlit LCD screen relays settings, adjustments and values. The same backlighting principle is applied to each of the push buttons, further enhancing the intuitive design with a visual indication of input selection and mode. Illumination settings for buttons and the LCD screen allow for brightness adjustment, contrast adjustment, and a simple on/off setting to suit the user’s preference.

The master volume control is a fully analogue, precision motorised ALPS potentiometer offering long-life and low-noise performance. The volume control is not only tactile and precise; its motorised operation will automatically rotate when adjustments are made via the remote control. A further row of three endless rotary encoders offer intuitive and immediate control over the QUAD-specific fine-tuning settings.

The original QUAD 33, as with many previous and subsequent QUAD preamplifier components, offered filters considered essential for ‘modern good quality speakers’ (as was stated at that time). Such controls are no longer required; therefore, in applying modern-day logic and suitability to today's technology, the new QUAD 33 presents bass adjustment, tilt control and balance control to allow tuning to a fine degree without intruding unnecessarily into the harmonic range essential for realistic reproduction.

The bass control allows adjustment from-3dB to +3dB. Perfect for subtle adjustments in the low-end, as a solution to adding body to thinner source material. Or conversely, reducing bass tones in the event of room-affected 'boominess'. In comparison to the time of launch of the original QUAD 33, loudspeakers and source materials have evolved mainly for the better. This evolution saw the adoption of ‘Tilt’ control in the QUAD 33’ssuccessor, the QUAD 34 (1982).

Developed by QUAD founder, the legendary Peter Walker, the Tilt control is an audiophile-quality solution for adjusting tone. Its design stems from the belief that traditional tone and EQ controls are inadequate and clumsy when adjusting tonal balance.

The Tilt control differs in that it adjusts both ends of the frequency spectrum together, either attenuating the bass and lifting the treble, or lifting the bass and attenuating the treble in 1dB steps.

Essentially, it rotates – or tilts – the audible frequency range on a 700Hz axis, thereby adjusting the overall sound balance with 'warm' or 'cool' hints without altering volume or adding colour to the sound. This feature is unique to QUAD and offers a subtle, precise, and consistent way to adjust your system's performance and compensate for recordings or environments.

The Tilt control, Bass control, and Balance controls are all composed of low-noise op-amps, electronic switches, and MELF low-temperature coefficient metal film resistors, forming a negative feedback adjustment circuit.

Performance

No one knows more about the QUAD 33 than the immensely experienced QUAD service department – still based at QUAD HQ in Huntingdon, Cambridgeshire, England.

Upon initiating this project of passion, it was determined that the new 33 and 303 combination will only see the light of day if the performance stands true and improves on the original.

In over 50 years since the release of the original 33 and 303, innovations and developments have been exponential, but only some have been employed and each with good reason. Each stage of the development and every innovation was subject to thorough testing and complete agreement with the QUAD technical design AND service team.

It is bold but fair to claim that the low-noise, custom-specified toroidal transformer, numerous reservoir/smoothing capacitors, and an impressive number of regulators put the new QUAD 33 technically ahead of the original. The power supply incorporates five regulated supply rails, including multiple ultra-low-noise regulators with extensive measures employed to prevent contamination and cross-coupling. Following traditional QUAD practices, the core signal path is short and direct to preserve signal purity, and volume is adjusted purely in the analogue domain under microprocessor control. No one will champion the virtues of the original QUAD 33 more than QUAD, ourselves. However, side-by-side, technical innovations and improvements in signal processing cannot be denied.

Fit and Finish

The QUAD 33 has a crisp and clean aesthetic that evokes QUAD’s past yet sits in the modern-day with a futuristic accent. The housing is rigid and oozes quality. The end-finish is precise, just like the audio signal path. The anodised and custom-tooled fascia demonstrate the quality and level at which the new QUAD 33 will be recognised. No longer subject to cracks, fading or other issues associated with classic front panels, the QUAD 33 is ready for a lifetime of performance.

Ultimately, the new QUAD 33 considers every angle and aspect to underline the faithful evolution of the ‘33’ concept. With each step in transitioning from concept to reality, the commitment to ‘the closest approach to the original sound’ is evident.

A new classic is born, and the 33 emerges in the modern era. The past is not forgotten, but the future is undeniably here.

Learn more about this product in our detailed video review:

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
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  • Delivery to the USA:
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Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 26697279022

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4.4 ★★★★★
Based on 10 reviews
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Product Reviews
J
Verified Purchase
Justin G
Draper, US
★★★★★ 5
The finest hour of William Friedkin
William Friedkin was undoubtedly one of the 1970s greatest and most influential directors. He only made 3 pictures during the decade, but all are landmark films. The first was The French Connection (1971), the film that won him his best director Oscar & the film won best picture. His next film, The Exorcist (1973) is probably his most famous/infamous & and it’s the only movie that’s still a truly terrifying experience, something to endure as much as to watch almost lol. Sorcerer (1977) was his 3rd and final film of the decade, and in spite of or perhaps even because of how it was a largely forgotten film for so long (after seeing it on cable nearly 30 years ago, it was a movie I simply could not track down until the release of this Blu-Ray) I really think in so many ways it ranks right along aside his first two 70s classics, and perhaps even surpasses those films in terms of pure audacity. The rope bridge scene is as intense as a set piece gets and is worth the price of admission all on its own, but the film as a whole is a clinic in lean, economical filmmaking. And the score by Tangerine Dream kicks serious a**. It might be because of his 70s trifecta Sorcerer is the only one that is still almost sort of like a “new film” too me, as I’ve only watched it maybe 3-4 times and have seen the other 2 dozens of times, but for my money Sorcerer is master filmmaker William Friedkin at the absolute peak of his powers. MD2020 gives “Sorcerer” 5 out of 5 ⭐️s and says it’s a flawless action film and Friedkins best work.
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Reviewed in the United States on January 25, 2024
C
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cookieman108
Lexington, US
★★★★★ 4
A stylish, intimate remake of a French Classic
William Friedkin (The French Connection) brings us exotic locations and gripping story in Sorcerer, a remake of Henri-Georges Clouzot's 1953 thriller Wages of Fear. The first hour of this movie seems to be comprised of random events involving four individuals that have absolutely nothing to do with each other. The only commonality is that they are all men of dubious character. Probably the most recognizable actor in this film is Roy Schieder, who plays a low level New York gangster participate in a robbery that goes bad, and forces him to flee the country due to the fact he managed to step on some pretty well connected toes. The second man, a French businessman, escapes from the threat of prosecution due to some shady business dealings. The third man, a Middle Eastern terrorist flees his captors after being caught participating in a bombing, and the fourth man is a shady assassin type apparently on the run from repercussion from his last hit. The key is all four men end up in a South American rat-infested stink hole of a town called Vera Cruz. After awhile, they find their sanctuary has become more of a prison and all begin a desperate search for a way out, but that involves money, a commodity that's in short supply, with the only work available in the area is provided by an oil company that runs a well and is building a pipeline for the bubbling crude. Dangerous work, and the pay is so low that it would take years to earn enough to leave. Salvation for the men comes in a catastrophic disaster, an explosion damaging the well and causing the oil to burn. The only way to close the well proper for repairs is to blow it up, and the only explosives available are 200 miles away. Turns out the explosives, sticks of nitro, haven't been tended very well, and, in turn, are highly unstable. The company decides to hire four men to drive two trucks to carry the dangerous materials through 200 miles of dangerous jungle, including prehistoric rope and wood bridges, treacherous mountain passes, deadly bandits and swampy roads laden with fallen trees. The suicide mission draws the four men, as the money would allow them to escape the oppressive town. The most intense scenes for me involved the men trying to traverse a rickety, rotting wooden rope suspension bridge over a raging river during a heavy rainstorm. There were times when the truck on the bridge was at such an angle, I thought it would flip right off. And all the actors performed most all their own stunts, adding to the realism of the movie. Do they make it? See the movie and find out. I especially liked the very end. A very nice touch that reminded me of an ending of a certain Alfred Hitchcock movie. Which one? I won't say, as it would give it away. The movie runs just under two hours, and I would highly recommend it to anyone. Friedkin and the actors do a wonderful job in developing tensions between the characters and the environment and the between the characters themselves. The pacing is a bit slow, but it's deliberate, cranking the suspense up, notch by grueling notch. There are sparse special features, including pretty thorough productions notes and a trailer. If you enjoy thrilling adventure, you will most likely like this movie. I would have happily given this movie five stars but it is only available in the full screen format. Something I didn't understand is the title for the movie. I wasn't able to figure out what it had to do with the movie.... Cookieman108
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Reviewed in the United States on December 15, 2003
T
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Todd7
Fort Morgan, US
★★★★★ 5
Forgotten Classic
Sorcerer (1977) is, for the most part, a forgotten classic. First the forgotten: this film got kicked around by moviegoers when first released, probably because the title is misleading (nothing to do with fantasy), and they probably weren't in the mood for this film due to the sudden stratospheric success of another film that debuted at the same time (Star Wars). With Star Wars cementing the advent of the summer blockbuster, suddenly moviegoers wanted stuff more on the surface and eye candy for good measure. As a result, Sorcerer never got its footing, and was a major box office failure. If this film had debuted just a few years earlier, it would've done well, because it would've fit in with the other films of the time. The truth is that Sorcerer is an adaptation (not a remake) of The Wages of Fear from 1953. Now the classic: Sorcerer has since generated the respect it deserves, and is one of the best films of the 1970's. This film has it all: action, suspense, breathtaking and iconic scenes (the bridge scene being one), organic acting and a sort of 'raw' feel in terms of a lot of the settings; dwellings are dilapidated, and the machinery rusty. Even the actors are dirty, sweaty, and have visible wounds throughout the film. I particularly like the restraint on the dialogue, as Friedkin chooses to tell the story more in a visual sense. I also like the uniqueness of the characters being kept at a distance from the audience; this makes them sort of mysterious and seems to work in this film. This film was a very ambitious project, one that has been rewarded with the passage of time (thankfully). The care that went into many scenes and accompanying special effects are obvious, and first rate. Overall, Sorcerer is a must-see. This blu ray has excellent picture and sound quality, so it was worth the wait in that regard. One last thing: it's extremely rare for a blu ray disc to not include any special features; in the case of Sorcerer, it's unfortunately true. Perhaps this fact tells us just how much of a beating this film took over the years. I guess we should feel grateful that it has even made it onto blu ray.
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Reviewed in the United States on March 25, 2017
G
Verified Purchase
glenn
Draper, US
★★★★★ 5
Sorcerer (1977) (BD)
This is a different version, which can happen after the initial film with different editing and ending. I don't remember the political emphasis at all, and the ending of the other version was with Roy Scheider getting through the rough parts with his eyes glowing as he drove the truck alone, a real Sorcerer, after performing the miracle. This version continues after the completion to another ending altogether. I think both are great films, but each with a separate focus. This was all done without CGI which seems impossible. The scenes are still amazing and the camera work and editing top-notch.
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Reviewed in the United States on March 10, 2026
D
Verified Purchase
Dylan
Natrona Heights, US
★★★★★ 3
Good but not Wages of Fear
The much maligned Sorcerer is in fact a good well crafted thriller that if seen without refrence to the Original Wages of Fear would have faired far better at the hands of the critics. That's not to say the film is perfect. The opening scenes that fill the viewer in on the charecters back stories, are pointless and actually work against the tension that is built up later in the film. Knowing exactly why the characters are desperate makes their reasons for taking on the deadly task seem a bit lame and looses the exestential angst that creates such a hopeless atmosphere. Once in South America the oppresive nature of their stay in the village is also diminshed by knowing too much about them. Having said all that there is still an air of desperation and mounting frustration, it's just not as clausterphobic as it could have been. Once the journey begins the tension is turned on, the only problem is that by knowing the original so well there is not quite the frisson of that classic. This is an unfortunate by-product of re-making any well respected film. Friedkin however has a fair go and if this is the film you see first you will wonder why it was so slated on original release. The film moves at a well constructed pace that is aided by a cracking score from Tangerine Dream. The cast perform well and Roy Scheider is reasonably well cast but does not deliver the subtly nuanced performance he is capable of, for this you need to look towards (obviously) Jaws and to a lesser extent the minor role he playes in Naked Lunch. All in all a good film, though not great, and as the review starts by saying, not Wages Of Fear, but it deserves a better reputation than it so unfortunatly has and will be a good addition to anyones collection of interesting 70's films (the best decade for American Filmaking by a long long way).
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 29, 2005

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