Analog music sources,
Technics SP10 MK3 fitted with two new Kuzma 4 Point 14". Studer A810
Archival half and quarter track IEC EQ tape machine.
music source is Aurender W20 into PS Audio, Bricasti M1 and Allnic D-5000 DAC.
Allnic H-5000 DHT Phono, and NEW Allnic L-7000 preamp feed Allnic M-5000 or M3000 Mono Blocks.
All cable is Purist Audio 25th Anniversary
Luminist XLR. All ten AC cords are new Purist 30th Anniversary AC.
My space is 18 X 31 and
acoustically treated with RPG panels, tube traps and fiberglass acoustic treatment
over triple reinforced walls and ceiling. The floor is lamination beams
over steel plates to pier and beams. Two sheets of 5/8 epoxy
lamination sheets make up the floor with two inches of
concrete topped with India multi color slate.
rail system and fine textured acoustic cloth covers the work, making everything appear as a normal room with
painted sheet rock or decorative cloth covering.
The room acoustics were conceived by RBDG
and the entire space was torn out to bare dirt under the foundation and
bare studs in the walls about eleven years ago.
Mutech Hayabusa, and fairly reasonable price. I prefer it to Kiseki Purple Heart which is a great cartridge. Difference is primary in the high frequencies, Mutech Hayabusa is more open than the Kiseki but still warm.
Mike Fremer is supposed to do a review soon, I will have access to them for people that want to deal with me.
A friend has become distributor for a very nice MC cartridge, I listened to it and bought one for my system. No, it's not an Air Tight Opus but it does share some character of it and yet blends contrast and tonal balance more toward the Lyra ETNA.
I believe the price will be $4500.00, so a bit more money than the Kiseki Purple Heart but only about third of the Opus and Lyra ETNA.
In short I think there will be audiophiles that find it a perfect match for their system. I'll post more when I get more hours on it and full correct data from manufacturer
I did not know about him. A purchase at Amazon brought up his name and album and from there I listened, read about him and bought both of his LPs.
Turns out he's from Ft. Worth, TX. I grew up there, only a short drive from Dallas where I live now.
Leon reminds me a bit of Al Green and Sam Cooke, both artists I admire. Leon is a bit more Hip Hop but also a younger man.
I miss the posts at Audiogon where people discuss new music. A few years ago I was very strong on the forums over Black Dub, the group with Daniel Lanois, Brian Blade and Trixie Whitley. I still listen to them and grateful to have in my library.
Last night I played a new demo tape, a near first generation Blue Note Jazz sampler and I think this is probably the best sound I've ever had from any system I’ve ever owned. Not only this superior piece of software but the new preamp as well.
Ever so often after pushing and working to get everything right you get on the other side of all the obstacles and your system breaks though and delivers like never before.
This new Allnic L-10000 is still in break in mode but I'm happy with it even if it never got a molecule better.
I just purchased a new LP, an artist I only just recently discovered. His name is Leon Bridges, the album "Good Thing" arrived a few days ago. I played it during our Tuesday night music session.
This is a great music album from Columbia, not an "audiophile" release. The point is the new L-10000 preamp filled me with joy when listening to this LP. A sure sign that not only is it a technical win, but equally great at making music where you are filled with joy.
First a warning to anyone who goes for this ultimate preamp from Allnic, break in changes are big time, even compared to the L-7000 with its big transformers.
By warning, I mean don’t expect the L-10000 to break in and come around like any other Allnic preamp. In fact its peak is reached in a different manner than any preamp I’ve ever heard.
For instance the Allnic L-7000 is slightly soft and closed in when new. With hours it quickly gets more open, extended and tighter in bass. Extreme high frequencies are beautiful and delicate but not all there until some hours with music through it.
The L-10000 is reverse of this. Brash, tipped up highs and slight boom in bass, I was worried about it and did not know what would come of this early somewhat disappointing sound.
With time those problems went away and it began to sound more like the best of the L-7000, meaning it gets everything right and in addition is more filled out in its sound stage and VERY powerful. It allows LPs to deliver contrast and dynamics bordering on my Studer. All the things the L-7000 does this does better, plus content is delivered that you didn’t know was there.
As for tube swapping, the stock 12AU7 was a military tube and my impression was the music and detail were all there but lacked the emotion and color I wanted. The NOS Mullard fixed that immediately and they are easy to find and not crazy money.
The 300B was an even bigger shock, the Russian (EH) tubes compared to Takatsuki 300B are rough and slightly dirty. The Russian tubes delivered uneven dynamics and did not treat all frequencies equally.
So the short story, the Takatsuki 300B is incredible addition to this circuit but it’s also big bucks. Don't listen to them if you can’t justify the investment, you will not want to give them up.
However, in the end with sufficient hours on Russian tubes and Takatsuki (both with Mullard input tube) will make you forget just about every other preamp out there. With the special tubes I’ve described I’ve had to readjust my expectations during every listening session, especially when playing back master tape. There, the content is so deep and dense that I realize I had never uncovered all that was there until now.
Safe to say the big Allnic preamp uncorks the bottle and delivers like nothing else. I’m not sure it’s done yet as each session is more refined and musical but maintains all the positives I’ve already mentioned.
I'm ready for it, just need Technics to catch up on orders.
I saw your other post, I know Steve Dobbins, he and I both were big fans of Technics SP10 MK3 but I don't know how he could possibly make a judgement about the SP10R versus the MK3 unless he had both and did extensive listening.
Also, there are differences in opinion as to how a turntable should sound. I know several designs that have very low torque, requiring quite a lot of time before the platter is stable and perfectly on speed. The MK3 has massive torque and I think that's one of the things I like most about it.
The new SP10R has a 5~6 pound lighter platter than the MK3 and my MK3 is run with a 5 pound stainless steel mat. So nearly 11 pounds difference in mass between my MK3 and the new Technics.
In spite of that additional mass my MK3 reaches full speed in less than half a revolution and laser testing proves it's dead accurate on speed. That plus the ability to provide unwavering speed accuracy regardless of intensity of the material recorded on the LP is exactly what is required of a turntable.
Another thing I find interesting is the folks at Technics have not published torque specifications on the new model. I also heard a rumor that digital circuitry is used in the SP10R motor controller circuit.
If the digital rumor is true I hope they did extensive work to keep the digital from showing up on our AC line. I've recently had five very high quality DACs in my system and everyone one of them harmed my analog sound, just being powered on while listening to LP.
Of course there are filters and AC cords that remove this digital noise but it's not cheap. In fact the best solution I’ve heard cost $10K, so added to the price of the SP10R makes is considerably more expensive if this digital turns out to be a factor (and I admit I DO NOT know if this is or is not an issue).
I just don't know about these variables, I sincerely hope the new Technics is better, much better and would love to find out for myself by careful, long term unbiased listening.
I'm also hoping it's better. After hearing your MK3, I got a MK2 (from Pablo), but would love to eventually get the R.
I heard that Steve Dobbins believed the R to be better than the MK3, and the motor more worthy than the MK3. Oswald Mills Audio has moved away from the MK3 and towards the R, albeit with a not so good looking plinth system.
I really wish there were (more) reviews and comparisons available. I'll be happy when you get one and we can read what you find.
I spoke to Technics at Rocky Mountain and they indicated orders were strong and not yet caught up for dealers.
I don't know when I can get one but must first obtain and then test before I decide if the new one is better.
Personally I hope the new one is superior since it's so beautiful. Not to mention cheaper than finding a perfect original Technics SP10 MK3 and then paying for all the updates and mods to make it like mine.
If the new one is better I will sell mine. If my restored MK3 is better performer I'll not only keep it, I'll buy another MK3 just to be sure I'm covered.
I've owned a lot of amps including Counterpoint OTL, Atma-Sphere MA2, Wolcotts, Viva, Tube Research, Allnic and Audio Research.
Actually quite a few others including some solid state, class D and vintage designs modernized to compete with current designs. I'll skip these and stay with amps at hand.
All of these are great amps with performance variations based on their personality and design plus load they must drive. With Sound Lab speakers, which have near impossible load in deepest bass, the Counterpoint and Atma-Sphere OTL designs did wonders since they don't mind the high impedance.
It was not until I bought the VTL 750s that I owned a transformer coupled amp that had enough juice to push the Sound Labs to their limit. I preferred the VTL over all the other brands mentioned when driving Sound Lab. I must inject here, Audio Research and Allnic amps trials came after I sold the Sound Labs. So they don't apply to that experience.
When I sold the Sound Lab and moved to Dali Megaline I started over on amp trials and continued with Atma-Sphere, Wolcotts and VTL 750s. The old Allnic M-3000 (series one) were in the system for a time, driving the bass in this bi amp system. I often regret not trying four Allnic M3000 on the Dali. I think it would have been marvelous with the ribbon tweeters.
When I upgraded to Focal Grande EM I kept one pair of VTL 750 and sold the other. The Focal does not require bi amp like the Dali did and is considerably more efficient.
After Focal got broken in the VTL 750 pushed exceptionally well but the Allnic M3000 MK2 (new version) was more articulate, cleaner and higher resolution with perhaps had a bit less "slam" factor. Note that slam factor can be fun but often comes off sounding more like a "thud" rather than articulate shading and resolution, so taste and preference is a huge factor here.
The Audio Research Ref 250 with KT-150 tubes whipped the VTL on resolution, speed, signal to noise and bandwidth but did suffer a little from high frequency brightness which I am particularly sensitive to.
I ultimately choose the Allnic M-3000 MK2 (KT-150 tubes like Audio Research) for the Focal and I had everything I needed until Allnic ask my opinion about performance. When I mentioned how much I loved the sound of super powerful amps but did not want the brightness or loss of articulation they designed the M-5000 amps.
The M-5000 is without a doubt the finest amps I've ever heard. They are actually more resolved and agile than the M-3000 and equal in every way to the positive aspects of the Audio Research Ref 250 but with zero brightness or hardness.
The M-5000 are easily as powerful as the VTL 750 and Tube Research GT 400 so nothing given up there. I think the nickle core transformers that Allnic hand makes is part of the magic. Also, only the Audio Research and Allnic M-5000 use a "power" tube to drive the output power tube. Both circuits choose the new KT-150 tube final output where other use KT-120, KT-88, 6550 or other older designs.
I think choosing a "power" tube to drive a power tube opens up a world of dynamics and contrast not available with other options. I will say that all these are great amps and depending on speaker and associated equipment the owner of same could easily boast they have the "best."
We all know "best" is a difficult thing to categorize and certainly the ultimate amp choice is determined by all the other pieces in the system. Everything effect final sound. Source, cable and room acoustics plus the speaker. Decisions are made to reach a final balance that pleases.
I have not noted that you have shared your experience with allnic m5000. Would you be so kind and share your listening impressions with us? I would also be immensely interested in the comparision with vtl monoblocks you have owned (i have siegfrieds)
Allnic built as set of Mu Metal cylinders that tightly fit the four input tubes on my new Allnic L-10000. I have still have not had time to do critical comparisons since I've changed four other things in the past couple of months and set a personal policy for myself to keep track of things so I can learn.
I will say the L-7000 was improved greatly by removing the router that was on shelf directly above it and improved again when Mu Metal shields were added to the input tubes.
Added Furutech Cable Boosters to the system. Still need two more for Focal power supply boxes but these things really work. It's not the kind of improvement like adding a high end cable but if you already have everything else pushed this is very worthwhile.
Difficult to describe everything it does but short story is better focus and more solid overall. By solid I mean the sound stage, bass tightness and clarity of extreme high frequencies. I've been experimenting with Porter Ports and new Furutech GTX-DR NCF that are special triple cryo mag treated via Purist Audio. As much as I love Porter Ports these are better and give up nothing except they are nine times more money :-).
Image added to system so you can see details of outlets, Boosters and cables. One cable is not hooked up, the new Allnic MU-7R long run where it's compared to Purist best. Of course price difference here is huge as well.
The new Allnic H-8000 DHT phono continues to break in, open up and set new performance levels none of us have experienced before.
Primary design improvement include wide bandwidth transformers which are providing marked dynamics and resolution over the entire musical spectrum.
This past Tuesday night with our listening group in attendance, we swapped the excellent RCA 5R4GY for a matched pair of Western Electric 422A gray plates.
This was yet another improvement with everyone in attendance agreeing. I and the others are eager to hear the evolution, as both Western Electric tubes and this new Allnic H-8000 circuit reach their peak performance.
The new Allnic L-10000 preamp arrived at a time when many changes were going on in my system. I've been hesitant to confuse testing by adding another component so currently it's just sitting unused.
I did give it a brief listen when it arrived and it is so different from my Allnic L-7000 it was confusing. There is a need for many hours of break in so I will revisit again once my system is settled.
The retail price of the Allnic L-10000 is $30,000.00. That's a lot for a preamp so I want to be sure I know exactly what it's bringing to the system.
Currently with the Allnic L-7000 I have the best sound I've ever had, EVER.
My digital is better than my analog was last year. Something I've been wanting for more than 30 years. I never hated digital, just disappointed with all the praise and claims and no delivery on music. Of course the same quality spread is still there, master tape number one, turntable number two and digital number 3.
Still, digital is now at a point where someone walking in to listen for the first time would assume they were listening to extremely high quality analog. Again, something I thought would not happen in my lifetime.
There are several things that brought about these last few months of improvements, one I've been hesitant to post about because I'll likely get a lot of disbelief and nay sayers over my comments.
My router which was installed in a shelf above my preamp was degrading sound so much I would have never gotten where I am now without removing it from the room completely.
I have also been experimenting with Mu Metal shields on tubes and have achieved a new level of silence, dynamics and detail that I did not think possible.
Of course all of this happened about the same time as installing the new Purist Audio Design umbilical cable between Focal power supply and Focal Grande EM speakers. This cable was an improvement like changing a component.
I also completed all my power cable changes, I am now 100% Purist 30th Anniversary AC cables on everything and now even changing one to a lesser cable is immediately audible.
I'll post once I have a chance to listen to the L-10000, meanwhile I ordered and received a set of Mu Metal shields for it as well and will test with and without.