Allnic Audio L-8500 OTL/OCL Preamplifier
The HiFi reviewing challenges continue to arrive from the pearly shores of South Korea. The Allnic Audio L-8500 OTL/OCL Preamplifier ($13,500) is the third Allnic preamp we’ve had in for review. All three are beautifully designed and manufactured. The varied designs/topologies made serious impressions on the rest of my components. All in different but musically fabulous ways.
Other than these gems eventually leaving my system, the delightful challenge is trying to describe the subtle but very important differences and directing our readers to the best purchase choice for their components and listening habits. In this review, there will not be an indeterminate ending. One, after many happy hours of listening and comparison (two in house and one from very pleasant aural memories), did work best for my situation and needs. Ever so slightly. Continue on and read about the L-8500, a very special component, and which of the three preamps may work best for you.
Please check out the L-8500 video we did for our YouTube Channel ‘A Prince among Preamplifiers’. Note: the correct price is $13,500. Thank you.
My Use
David Beetles, North American distributor (Hammertone Audio), offers me a review sample from his inventory quite regularly. Happy to oblige. The consistency in Kang Su Park’s designs (pre, power, phono & integrated) is rare in the highest of high end. The review is always an exciting prospect (look for a first review of the brand new Allnic Audio H-5500 phono stage coming early summer).
The L-8500 (more on the OTL/OCL acronyms below) arrived from South Korea unharmed. The wiring, parts, tubes, etc are so refined and somewhat delicate in these jewellery pieces, I’m always surprised nothing goes bump in the night on the long, cold flight across the Pacific. As such, shipping/packing is first rate.
Setup is as quick as plugging in the correct cables. The 8500, like the other Allnic preamps, uses a side IEC power socket with rocker switch. A stock 90˚ cable is provided but there are better available. I began by using a standard angle Allnic ZL-3000 Power Cable ($1400) which left the cable looking a little like beautiful Athena springing at birth from her father Zeus’ head. Yet, the ZL-3000 is such a fine, good looking power cable, it didn’t bother me. Kindly, Beetles provided a 90˚ ZL-5000 Power Cable ($2000). I love, and very favourably reviewed, its standard angle version a couple of years ago. It was this new ZL-5000 90˚cable that was attached to the 8500 for the bulk of the review [see photo above].
Additionally, I used a mixture of Allnic, Audioquest, Antipodes and Anticables in Inputs 1 through 3 (RCA & XLR).
Acronyms and Features
Park describes his $13,500 L-8500 OTL/OCL (Output Transformer-Less/Output Capacitor-Less) Preamplifier as a ‘triple gain stage, remote controlled, line-stage preamplifier, without transformers or capacitors in its single-ended signal path’.
It is a dual mono design with two SEPP (single-ended, push-pull) 12B4 output tubes and includes Park’s remote-controlled, 61-step Silver Contact Constant Impedance attenuator (volume control).
Park’s 61-step attenuator design.
Park goes on to describe his design this way:
In an OTL/OCL preamplifier [Output Transformer-Less/Output Capacitor-Less], there is no coupling device between the preamplifier and the power amplifier, that is, the preamplifier’s final output tubes are directly connected to the power amplifier. Normally, an Output Capacitor or Output Transformer for separating AC music signal from the DC operating potential; if this is not done, the latter will destroy the power amplifier or loud speakers.
But these two types of coupling devices are effectively obstacles to transmission that add their own character (color), increase distortion, and consume small signals according to physical efficiency theory. In addition, they limit signal dynamics.
Because of all these adverse effects, OTL/OCL has been considered the best solution for amplifiers in order to maintain signal purity.
Park employs a very sophisticated ‘Active Balanced Positive and Negative Feedback Circuit’, in which a 6AN8 pentode tube controls the circuit’s operation with very low distortion and fast speed.
Allnic Audio provides NOS tubes where prudent. Mine looked to include Sylvania, Westinghouse, etc. Tube compliment is:
6AN8 x 2, 12AU7 x 2, 12B4 x 4
One of the two ubiquitous Allnic Audio tube health metres glowing beautifully.
Specifications
Inputs 3 x RCA, 2 x XLR
Outputs 1 x RCA, 2 x XLR
Input Impedance 10k ohms (RCA, XLR)
Frequency Range 10 Hz to 90 kHz
Voltage Gain +18dB
THD (1kHz, 1V RMS) less 0.03%
S/N ratio -100dB
Maximum Output 15V RMS (non clipping)
Output Impedance 200 ohms
Power Consumption 120W
Dimensions 430mm (W), 380mm (D), 160mm (H)
Weight 16kg (48.4 lbs) unpacked. 21kg (59.5 lbs) shipped
Sound
As I get older and get to test world class preamps from Allnic, MBL, Audia Flight and other stellar manufacturers, I describe each of their full featured line preamplifiers as the heart and soul of my stereo system. Sure, I flirt disgracefully with my turntables, speakers and, especially, my phono stages, but the preamp is where the magic gets interpreted, directed and channeled. No company manufacturers tube components doing musical chores and heavy lifting better than Allnic Audio. And Park is a master of this particular component.
First, we’ll talk about the L-8500’s sound signature and its many strengths. Later, I’ll give you the skinny on the other two I reviewed in comparison.
The colourful description Allnic uses in its 8500 promotional material is actually far more fact than hype.
‘…breathtakingly lifelike, and the placement of instruments and bodies in three dimensions startling, life-size, and addictive. The L-8500 OTL/OCL has no voice of its own, none. It is silent, except for the music emanating from the blackest of backgrounds,’
I assume by ‘voice’ they mean ‘colour’. ‘Colour’ is a dirty word in audio design, the root word of ‘colouration’, an even dirtier word. Yet, in orchestration, instrumental tone, vocal timbre, and all the things that make musical life meaningful, colour is the word. So, no ‘colouration’, to be sure, but the flesh, bones, and, yes, the timbral colours this device brings to music of all genres both vinyl and digital is nothing short of sensational.
First on the Bergmann Audio Magne Turntable was Pictures, of course. Chicago/Reiner, of course.
In no other recording does the listener ‘hear’ the barrel shape of Chicago’s Orchestra Hall (now Symphony Center) so clearly with masses of air around the perfectly positioned solo trumpet and brass chorale in the opening ‘Promenade’. This, followed by clinical separation of massive bass drum and cymbals strikes in ‘Gnomus’. The L-8500 performed as well as the other two Allnic preamps on trumpet tone, ambience, instrumental separation and percussive attack. At these prices, you’ll expect all the benefits of a full featured preamp with superb audiophile characteristics and performance. In those terms, any of the three will suffice. As Beetles said to me when discussing the differences between the three different topologies, ‘there are no losers’. He wasn’t kidding.
The Allnic preamps previously reviewed include the L-7000 ($16,500) and the L-8000 DHT ($22,900). The L-7000 has been with me as my reference on a long-term loan. Each is made unique by Park’s benedictions: 7000/with 300B tubes (not in the audio chain as expected, but in the power supply chain as a voltage regulator). The L-8000 DHT is the successor to Allnic’s L-5000 DHT, the world’s first commercially produced, pure DHT preamplifier. Finally, the product herein, with an OTL/OCL design. All three proudly displaying their individual tube topology.
Park’s L-8500 OTL/OCL design sounds different from the others and demonstrated a few idiosyncrasies. First, don’t be shy about break-in. Meaning, 100 hours minimum to get it unwound. For purchasers, you’ll be loving what you hear out of the box, but the 100 hours plus brings subtle differences, especially heard in the beauty of the timbral display of instruments and voices. At first I heard, in comparison with both the 7000 and DHT, a smaller, shallower soundstage. It’s certainly an effective soundstage, but not quite the vistas the 7000 and DHT established after unboxing.
After 100 or so hours of 8500 listening, my predilection for wide and deep sound stages had me hankering for my reference L-7000. Of course, my equal propensity for the finest things in life had me pining for the DHT, but I knew a long relationship was out of the question. However, my first two hours with Park’s DHT was so musical, so moving, so intensely personal, I’d probably kick out my turntable, speakers and phono stage to have kept it. Thus, a top preamplifier recommendation. If you have the scratch.
Back to the ‘real world’ of 13.5K to 16.5K preamps!
Because of their price, I call these expensive components of superior design, ‘forever products’ or ‘aspirational audio’. If you’re a full on audiophile, you’ll be forgoing the Audi, drive 3rd hand domestic, upgrade, upgrade, upgrade, then save like a banshee. You’ll get there. And the journey will be worth it.
Throughout the review period, my wife and I were almost sick of going back and forth switching the cables between the 7000 & 8500. The rear connections are exactly the same, so there’s that. But, I was waffling over which I liked best. I admired them both for different reasons. There was no doubt for most of the review period I loved the utter neutrality and wide/deep soundstage of the L-7000. But, damnit, why was I returning to the 8500 so often?
It was at this time, my stereo rig (Magne) was sent back to Denmark to be replaced by a 10th Anniversary version (follow up review forthcoming). It was shipped to me a while ago by FedEx. Still waiting! Need I say more? The new Magne showed up after this review was put to bed.
As the days went by with no stereo set up (still had my mono rig), I succumbed to digital. Happily, my MBL N31 CD/DAC is a masterpiece with the bits and allows real musical insight other than a black background (what good is a black, silent background if the timbre is not up to par?). Fortuitously, Enno Vandermeer, owner of Roon Labs, sent me his Nucleus + to review (up next month). So, I had a purpose built Roon Core, great Roon endpoint card in the MBL and its brilliant DAC (all digital connections via Audioquest Cinnamon Ethernet Cables).
Consistently, the L-8500 made my digital sound very beautiful. Instruments heretofore sounding effective and impressive, now sounded as played by real people, flesh and blood, emotion and most of all, truly accurate timbre. Too, after many hours playing, the soundstage width and depth had improved. It was as close as a hair to the L-7000’s. Bass was incredibly emphatic, as well. Those bass drum thwacks in Pictures had real gravitas, energy and tone. I was hearing both these improved traits from the 8500 on vinyl and digital. Małcużyński’s thunderous piano tone in mono (A Chopin Recital on a 1956 Columbia LP) was spectacular—his sfz punches in the ‘Ballade No. 2 In F Major, Op. 38’ made me jump out of my seat.
If I played the Małcużyński LP through all three preamps to three different audiophiles, especially those invested in the Chopin aesthetic, I’d get three different preamp first choices. As such, remember we really are splitting musical hairs.
Breaking up is hard to do
I recently received a care package of wonderful ESOTERIC SACD remasters from American Sound in Toronto, incl. a famous Boston/DG recording of Má vlast by Smetana conducted by Rafael Kubelík. It was during the many replays of this set of tone poems when I realized that I had fallen in love with the OTL/OCL’s replication of instruments. Vinyl gives the search for accurate timbre a huge helping hand, digital much less so. The 8500 spun the bits into liquid gold. Accurate, sure, but with with timbres so full of life and passion that its sound became, to use Allnic’s word, ‘addictive’. Frigging catnip for my ears. The OTL/OCL topology was winning me over. Although missing the very last 10% of the DHT’s manipulating magic or the vistas set free by the 7000, I kept throwing the L-8500 OTL/OCL into the mix. And, when replaced by the L-7000, I’d be sitting away from the system and the 8500’s sound would keep popping into my head. It felt like an illicit affair.
Conclusion
The King of Allnic Preamplifiers in my experience would be the DHT (I have not heard the L-9000 OTL/OCL Line-stage Preamplifier @ $19,500 and L-10000 OTL/OCL @ $30,000), but in the here and now the L-8500 works best for my particular situation, aurally and musically. Look, if a price-is-no-object preamp is in your future, you can choose any of the three and leave it at that. They are all astonishing musical instruments and will transform and elevate your system to the sound you hear in your dreams.
Further information: Allnic Audio
