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All in Star Component Award
No sooner had the review been posted on Audiophilia of the splendid Allnic Audio H-1202 Phono Stage ($3750) when distributor David Beetles called to ask if I wanted to review Allnic’s $14,999 H-7000, the upgraded model of Allnic’s H-3000, all transformer-coupled, LCR phono stage.
Yes! Please.
After reviewing the H-1202 and ZL-5000 Power Cable, I was utterly convinced of designer Kang Su Park’s prowess and looked forward to a deep dive into his upscale analogue device.
Designer Kang Su Park of Korea’s Allnic Audio is an obvious deep thinker and top tinkerer. We recently published a review of his H-1202 tubed phono stage. It was a marvellous piece of design with superb sound. Park also designs cables. When David Beetles from Allnic distributor Hammertone Audio asked Audiophilia to review the H-1202, he slipped into the conversation that a loom of Allnic Audio cables was also available for review. Cables—discussing or writing about them—do not scare me. Some publications won’t touch them. Mention of the ‘C word’ in forums or on Facebook and you’re likely to get an earful. For the naysayers, enjoy your Belden wire and lamp cord. For the rest of us confirmed cable fans, please allow us our fun. Either tribe, please read on.
In my last review I wrote of my predilection for one piece of gear/one review and for the component to focus on a single audio task. Here, Beetles presented me with two different power cords (Park calls them Power Cables) and their top of the line speaker cables and interconnects. It crossed my mind to do a full loom review, but my musical instincts nudged me toward my singles preference. With all the Korean wire in place, we’re talking north of 10 grand’s worth of cables. Before you faint, that’s peanuts compared to a full set of some crazy, esoteric cables.
Like most progressive digital manufacturers, Brooklyn’s Mytek HiFi ships multi-use, single-box audio solutions. Basically, full function, highly technical, very capable, one-box-cures-all, digital wiz kids. The Manhattan DAC II is Mytek designer/owner Michal Jurewicz’s top wiz kid.
It’s interesting the name of this unit changes from internet source to internet source. The title of our review is the name as it appears on the Mytek HiFi webpage. Others call it Manhattan II D/A preamplifier-headphone amplifier, Manhattan II, Manhattan DAC 2, and other odds and sods. The reasons for this could be as simple as lack of research, an editor’s personal taste, or, possibly, at first glance, a little confusion as to what this box can actually accomplish.
It’s interesting to note that a $3750 phono stage is now considered, among some audiophiles, as entry level for delivering vinyl sound as it’s meant to be heard. Sure, there are relatively inexpensive examples that do a fine job—the excellent Rega Aria is priced at $1500—and some expensive models that don’t, but in my experience, higher priced analogue gear sounds better. You gotta pay to play.
My reference Sutherland Engineering DUO monoblock Phono Preamplifier was so good in review, I purchased the unit(s). The DUO is priced at $4000, slightly more than the subject of this review, the brand new Allnic Audio H-1202 Phono Stage at $3750. My DUO benefited from some serious trickle down goodies from Ron Sutherland’s $10,000 PhonoBlock Phono Stage. This new Allnic Audio ‘entry level’ phono stage benefits from the Korean company’s esteemed analogue lineage, with trickle down tech from its $39,000 H-8000.
I was contacted by the marketing manager of Xavian Loudspeakers (Italian design/manufactured in the Czech Republic) requesting an Audiophilia review of the ‘Perla Esclusiva’, a stand mounted monitor from Xavian’s Natura range of loudspeakers and the recent successor to the original Perla.
We lost contact for some months after the initial request. Later, I was contacted informing me the newest iteration of the Perla was ready for review. The pair was shipped from the Czech Republic to the island in a solid, quality cardboard box (wrapped in cling film) with hard foam around the speakers ensuring safe passage. They arrived in pristine condition.
One day very recently my wife and children were outside in a park socializing with another family. I joined at one point, and the husband told me that my wife had mentioned that I was reviewing some new amplifiers, and that she thought they sounded amazing; she hoped I would keep them. When we came home, I watched as she listened on the couch with our daughters to various pieces of music, and I saw her tapping her foot. I never saw that before, let alone hear her praise a component of my audio system!
What were these amps you might ask? They were a pair of Audio by Van Alstine DVA SET 600 Mono Block Solid State Amplifiers at $2499.00 each ($4998/pr.). In a nutshell, each of these mono blocks is a mono balanced version of Van Alstine’s recently released and very well received Vision SET 400 Stereo amplifier ($1999 − $2199.00, single-ended input (RCA), reviewed by Audiophilia’s Martin Appel who awarded it an Audiophilia Star—and rightly so). This newer DVA SET 600 mono block is Class A/B, rated at 600 watts into 8 ohms and over 700W into 4 ohms; it weighs 36 pounds and is 17” wide, 13” deep, and 7” high. Its power is actually way more than what I just stated (via storing power in capacitors), as according to the Van Alstine specs it offers using burst measurements ‘775W into 8 ohms and 1500W into 4 ohms’.
Some forty or more years ago, the average person who set out to buy a stereo system, typically ended up with a stereo receiver. Things were much simpler then; all you needed was a receiver, a turntable and a pair of speakers. As for ‘audio furniture’, milk crates were the order of the day. A pair of included patch cord interconnects and if you were somewhat sophisticated, a run of heavy gauge lamp cord and you were in business. You didn’t have to give any thought to power cords, because components had captive power cords.
Of course, there were serious hobbyists who bought separates and had furniture grade cabinets made to house their components and speakers. These folks constituted a very small minority of stereo buyers. Once the transistor era took hold, watts per channel was the order of the day; the bigger the box with more knobs and lights, the better.
Over the years it’s been my good fortune to have reviewed and/or been exposed to many fine power amplifiers. These ranged from solid state Class A, a variety of tube amplifiers, with and without transformers, to the latest solid state Class D designs. I concluded there is no one right way to achieve excellent sound quality. We all hear differently and we all have our individual preferences. So, it can be difficult to review a product that will make an impact on a field of quality products.
My current reference, a pair of Merrill Audio Veritas Monoblocks, was doing an excellent job and I was happy with them. Michael Levy of Alta Audio called me and was ecstatic in his praise of a relatively inexpensive, new stereo power amplifier by Audio by Van Alstine. Like all passionate audiophiles, Levy is demonstrative in praise and can be equally demonstrative about dislikes. He enthusiastically offered me the amplifier for Audiophilia review.
Several years ago, I experienced Mike Levy’s original loudspeaker design, the FRM-1s, at a well attended CES. The sound was wonderful but the design was hamstrung somewhat, needing four channels of amplification and DEQX room calibration. Score one for the sound, but zero for the needs of everyday audiophiles.
For more than a few years after the show, Levy received requests to modify the speaker to a standard two channel amplification design so the beautiful sound could be enjoyed by all. Well, maybe not all, at $15,000 (plus stands), but the thoughts were pure.
When Pass Labs comes out with a new piece of gear the audio industry takes notice. Well known for the quality of its products, the longevity of its designs and the seriousness to which it addresses the ever evolving science and art of sound reproduction, the XP-12 Preamplifier arrives. The XP-12 is the replacement for the XP-10, which had been their entry level, reference, one-box line level preamp for nearly a decade. What have they done to improve performance?
The new XP-12 starts with a new power supply. It uses an efficient toroidal design with both an electrostatic and Mu metal shield along vacuum impregnating and epoxy fill. This makes a very quiet transformer both electrically and mechanically. The power supply circuitry is also quieter and has additional filtering. The XP-12 uses a single stage volume control borrowed from the XS line preamp. This gives one hundred 1 dB steps with lower noise and distortion while removing some signal path parts. This redesigned volume control results in greater precision with a more luxurious feel.
Five years ago I began using a music server and DAC in lieu of a compact disc player, thus starting my journey into digital audio streaming. Keeping in mind that music servers are in fact computers, my main motivation came from discovering Mojo Audio, a company which at the time modified Mac mini computers to be serious music servers by (among other changes) replacing their internal power supplies with Mojo's own high-end external linear power supplies. Over the last 5 years I have kept the Mac mini as my reference, only upgrading it by changing player software from JRiver to the revolutionary Roon Labs, subscribing to Tidal, and swapping out its power supply by a series of better ones—all made by Mojo Audio, too; currently I use their Illuminati V2—it is a ‘choke input’ power supply and is my favorite [my review of the V1 may be found here].
But five years is a long time in the digital world. Much has happened. I did see and listen to various new alternatives including NUCs (‘Next Unit of Computing’ mini-computers) which were smaller, lighter, typically less expensive, and more energy efficient than a Mac mini. Like a Mac mini, a NUC is ‘headless’, e.g., you do not need to connect a monitor or keyboard to it except for setting it up with software and such. Once set up, controlling music play is accomplished by using a wirelessly connected app on a mobile device or tablet. I also checked out serious commercial high-end music servers, and I have been impressed at times. Suffice to say it has become clear that the Mac mini is on the way out; there are quite a number of alternatives.
In February of 2015, I reviewed the original PS Audio Sprout, the brainchild of Scott McGowan. It was a powerful, small, simple to use stereo integrated amplifier with DAC, analog preamplifier, headphone amp, phono stage, Bluetooth receiver and more; I was dazzled by its performance at $799. Now we step forward 3 years to the second generation for review here: the Sprout100—at only $599.
I ran into McGowan recently at the Rocky Mountain Audio Fest in October 2017, where he pulled out a prototype of the Sprout100 from his backpack at the hotel restaurant for my perusal; my eyes lit up at what I saw—and hoped to hear soon after. As I will try to convey in this review, some serious thought by McGowan was clearly given to this new version, and by drawing upon the expertise of PS Audio’s engineer Darren Myers, PS Audio has produced a product of exceptional value—and substantially better than the original.
I've been an audio acquaintance of Ron Sutherland, head of Sutherland Engineering, from my earliest days visiting audio shows. Seems, charming, friendly Ron attends them all. He's a great supporter of our industry. Although a staple in high end audio for two decades, Sutherland gear flies under the glitzy marketing radar, but is very well known to discerning and knowledgable audiophiles looking for great sound tagged with some value.
I reviewed his very popular and inexpensive entry level PH-1 phono stage many years ago (under the brand name AcousTech). It was a solid piece that bumped up the quality from the usual phono cards found in receivers and integrateds popular at the time.
A reexamination of my Phasemation PP-300 cartridge review will be helpful in learning about Phasemation as a company, its info/philosophy, etc. I spent a few very pleasurable months listening to and writing about the gorgeous little nugget from the Japanese high end company.
Spring has been a bumper cartridge season here at Audiophilia—I reviewed Shelter's Model 501 III MC Phono Cartridge (another Japanese gem), as well as the 300. Now, Phasemation’s top of the line, $6000 PP-2000.
Serendipity plays a role in discovering new equipment. Lately my vinyl setup wasn’t sounding the way it should so I started to examine my components to see if there were any obvious problems. I then decided to do a little house cleaning and rearranging of my system. During this move there occurred a few rough interludes where equipment and bodies made unintentional contact. It became clear that my Shelter 9000 cartridge was badly damaged.
I called a few buds and they recommended I check with Peter Ledermann of Soundsmith. The man is a legend in the field of cartridge design and repair. After chatting with him, I sent my cartridge in for evaluation. It turns out that I had really done a number on the Shelter. The cantilever was twisted, the stylus was completely gone and there was a lot of dirt trapped in the body. Peter assured me that he could fix the cartridge and bring it up to full working order for $550.00. He also explained how his policy for repair and rebuild is rather unique—all Soundsmith cartridges can be rebuilt to new, forever, for 20% or less. According to Peter, the Soundsmith cartridges therefore have a far lower cost per play over the years.
Shelter has been hand making moving coil phono cartridges in Japan since 1986. It ships two series of cartridges, the ‘Ultimate Line’ and the ‘Legendary Line’. The 501 III moving coil cartridge is mid price point in the Legendary Line, at $1295. The original 501 was produced in 1990. The Mk. III under consideration has the combination of an aluminum clad boron cantilever and an elliptical diamond stylus.
I first heard of Shelter when my Audiophilia colleague Martin Appel purchased a 9000 moving coil (top of the Legendary Line) a few years ago. He uses it on his VPI Avenger turntable. It sounds wonderful. Detailed and vibrant.
The 501 III arrived at the office in tandem with a few other high end pieces and the superb Phasemation PP-300 moving coil cartridge, which is roughly the same price.
Japan’s Phasemation began life in 1970 as Kyodo Denshi System. The company name was changed to Phase Tech in 2002, morphing into Phasemation in late 2010. Much like Britain's SME and other precision analogue companies, Kyodo made its real money in more lucrative tech. In this case, developing measuring devices for the IT industry. It just so happens the company CEO is an audiophile.
I became aware of the company a decade ago after brief listens to sundry Phase Tech cartridges. The company was gaining some ground in the advance notice stakes; lots of analog buzz on the forums. In fact, they were splendid and for a reasonable cost. My local dealer went nuts for them.
Not many American high-end start-ups have made such a splash as Audeze. Founded a mere ten years ago, the decade has cemented Audeze's place among the very best, brightest and innovative of headphone manufacturers.
Audeze arrived on the scene at just the right time—at the genesis of mass market smartphones, mobile music, streaming, and headphones/earphones in general. Musical kismet.
The LCD-3 is the natural development from Audeze's original headphone, the legendary LCD-1. The back story from Audeze's About page reads as follows: Audeze’s origins go back to 2008 when founders Sankar Thiagasamudram and Alexander Rosson met engineer Pete Uka who developed specialized flexible circuit materials for NASA. They quickly realized the material might be perfect for headphones. That’s when Dragoslav Colich, who has 30+ years’ experience in designing planar drivers, joined the team as CTO to create the LCD-1 headphone.
Digital Analog Converters (DAC) in recent years are achieving better and better sound quality, with some getting smaller and lighter that, yes, can still be considered of audiophile/high-end quality both in sound and construction–and at a lower cost than one might think. Some of these newer smaller DACs have a variety of integrated features from among volume control, a preamp for analog input, headphone amp, phono stage–and even amps and streaming, in some cases. This trend is yet another example in high-end audio, where the meaning of ‘integrated’ has been expanded to describe any audio unit that incorporates several functions for your audio system.
Certainly a prime example of this progress is demonstrated by the Brooklyn, New York based company Mytek, which, in mid-October 2017, released the object of this review, the new and improved Mytek Brooklyn DAC +. I am grateful to Mytek President Michael Jurewicz for promptly sending me a unit for review.
I had spotted the DAC + at the recent RMAF 2017 (Denver Colorado, early October) in the lobby with Jurewics, where it was being debuted and was sufficiently impressed to accept his offer of reviewing it. As a Manhattanite, naturally I was initially interested in reviewing the much more expensive Mytek Manhattan II DAC; but the tiny size, lower price, and extraordinary array of included technology in the new Brooklyn DAC + truly intrigued me.
Naim Audio is one of the high end companies we have begun to take for granted. Founded back in 1973 in beautiful Salisbury, Wiltshire by the late, aristocratic Julian Vereker MBE, Naim Audio has become synonymous with the very finest in modular and single components and loudspeakers. A true legacy company of our avocation. British audio royalty.
With the company's success, the vibe has become a little more corporate, a long way from the beginning where Vereker would shout from the rooftops the benefits of beautiful, if austere, design and the unending benefits of power supplies (the more, the merrier).
I have been a huge fan of Naim Audio almost since its inception. I heard my first Naim products in London way back in the late 70s/early 80s when I was studying music there. Along with Cyrus, Arcam, Rega Research, Audiolab and others, Naim Audio began making its name producing very high quality components, eschewing the huge box, huge power, American high end audio design philosophy. You got the MG/Spitfire/Austin Healy power/design acumen, but with reliability. I remember being thrilled with an Arcam integrated with a whole 25 watts per channel, and loving it.
