Double Bearing Wheels 3.5mm to RCA Adaptors

Spikes, Bearings, Horizontal Dissipation's, Audio on Wheels; Anatomy of an Adaptor
Letter from Shenzhen (22-18): Year-end Leftovers and Morsels

Talk Tweak: Isolation

With this hodgepodge (or chopsuey) of an article, we bid 2022 farewell, and Happy New Year! In terms of audio, it had been a good year for the fortunate among us, but we’re not forgetting the ever-increasing masses of people all over the world suffering from Covid and, even more unfortunately, preventable horrible man-made disasters: war, climate change, famine. We certainly hope 2023 shall be better.

Audio on Wheels
For reasoning's that I simultaneously understand and abhor, spikes have gained such a prominent place in audiophilia that I shake my head. I understand because many systems and gear can sound muffled and spikes can bring out a bit more clarity; I abhor because most who think they hear an improvement do not hear the trade-off - alteration of bassline, usually less natural in decay and loss of heft. Sure, nothing is absolute, but judicious use at most (but that’s not an audiophile trait, is it?). When you see someone putting all sorts of things under everything, you know the person doesn’t have a clue.

Suggestion for DIY Spikes Should you be interested in spikes, please avoid the ridiculous claims of the rip-offs. Go to your local Chinatown (or online) and buy a set of Chinese chess. Unlike international chess, they are flat wooden discs (of reasonable quality, at least the bigger ones). And then buy some spikes for sports shoes (could be running, soccer, or others) that vary greatly in sharpness. These have screws on the other end and since they have to bear full body weight are very well made (but cheap). Drill a small hole in the center of the chess piece and screw the spike in. Simple! Sounds as good as any expensive spike. I dare say the combination of wood and metal is even better than most.

BUT, spikes should only be used sparingly and removed if your basic faulty equipment gets replaced by better ones. Also, I want you to know that I do think of shock or vibration treatment as a possible issue, but it’s one that is far behind the basic quality of the gear.

Now, what about Spherical Interfaces in lieu of spikes? Yes, we’ve experienced expensive Symposium Rollerblocks. It consists of a small solid wooden slab with a half-hollowed-out center where a spherical bearing is placed between it and the gear. Theoretically, it dissipates horizontal vibrations. Does it have an effect? Yes. Is it all good, sometimes. You can also DIY a simple version. Go to your Chinatown store (or online) and shop for the chopstick holder, many of which also allow a spoon to rest (a hollow in the ceramic). Place a bearing in the hollow and you have an el-cheapo Symposium. I can tell you it delivers most of the effects of the overpriced “real” thing. So many years ago!

Now, wheels. Whatever allows a threaded spike will allow a threaded wheel. That goes for your rack, your speaker stands etc. For wheels, I’m talking about industrial wheels, double bearing. You need to know the thread diameter - a caliper will be the best. Nomenclature is, say, M8 for 8mm, size of my rack wheels.

My rack (here) came with cheap “home” plastic wheels, which barely can roll under the weight of my equipment (not that heavy). Replacement with proper double-bearing ones (top pic) made a substantial sonic difference - things just come to life, for just a few bucks.

In HK I still have my treasured B&W 801 Mk II. Mine came with Sound Anchor stands with spikes (which I removed, letting the frames rest on my tile floors). You should know there were many kinds of stands for the venerable classic in those days, and the relative merits were hotly debated. One version was on wheels. I didn’t get to install wheels on the stands - they sound magnificent as they are. But I had wheels on the DIY wooden stands of my previous Spendor SP100, and it sounded mighty fine.

My previous experience with thrust ball double bearings was on turntables (here).

Horizontal movement is supposedly a big issue with belt-drive turntables but I think judicious tampering can bring benefit in many areas as well - more than spikes, IMHO.

As to discs underneath spikes that prevent scratching, avoid like hell! Garbage!

What’s in a stereo 3.5mm to RCA Adaptor
At some point, all audiophiles have to use adaptors for the myriad connective options (or limitations). Today, with the advent of personal, headphone, computer and desktop audio, for integration, or extension, into a full audio system, a Stereo headphone jack to RCA adaptor is a MUST.

There are many ways to do this. For those who solder, one can DIY with a 3.5 male jack, a length of cable, and a pair of RCA males. For those who don’t, they either resort to an adaptor or an adaptor cable. The pic here shows an adaptor, together with a broken one’s innards. It’s quite a revelation.

For years, I have used a similar adaptor, Radio Shack or whatever, and the results have always been satisfying. They served my various cables reliably and well and I had no complaints.

Things changed recently here in China. With my Aiyima etc, I had need for the adaptor, but I soon found out that the several I acquired here (usually about 0.5 $) were subpar in construction and durability. They sounded sonically OK, no problem. BUT, with some of my leftover cables with visor grip, like the AV MIT ones, I can insert them but when I pull them out the outer ground jacket of the RCA Females would come off too. Flabbergasting!

I set about to repairing them, and it was interesting. The molded outer casing can be pried apart with difficulty. But the innards astonished me. For such a cheap adaptor, a lot of thoughts have gone into it!

Look carefully at the photo. A plastic chassis is the foundation. The hot pins of the right and left channels (bottom of the Y harness) are insulated from each other (one channel is broken). The harness is even more ingenious - it’s made of copper. Sleeves extend into the plastic mold for the hot connection. The problem is the ground. The Y prongs of the ground look like they are just crimped to the outer RCA ground sleeve. When the visor grip of the RCA male cable pull out the outer ground metal sleeve, the thing goes caput. I have managed once to re-insert/crimp the ground (the upper one), but that’s perhaps fortuitous.

What’s the point? Plenty! The thin copper harness you may think of as flimsy, but I regard it as perfect for transmission (long been disdainful of large metal block interfaces, like Cardas). THAT is the reason for the sonic success.

If you don’t believe me, in my NYC audio wechat group, one of our members just remarked on how very BAD his Audioquest 3.5mm/RCA adaptor cable (with cable between the connectors) is, and much inferior to his Radio Shack (Chinese) adaptor of yore.

With the humble adaptor, you can use your favorite RCA cables and not have doubts. THAT’s a good adaptor. This humble adaptor shows how much BS there is in expensive audio. Think about it in 2023!

2022 in Review

Sheer Beauty! I have been looking for an opportunity to use this stupendous photo, itself a superb re-creative process. Given the grim world we live in right now, the colors shall cheer us up. Miyake was a man unto himself, irreplaceable. Read about the ways he constantly re-invented material for clothing. Much more imaginative than most audio designers!

2022 in Review

Editor: First, belated Season’s Greetings and we wish you a Happy New Year! At the end of every previous year I always wrote a Year in Review. This year I thought, let’s be different and have our writers contribute their share of what they deem important during the year, be it acquisitions or a new direction. Some of the responses I must say are delightful, even confounding! In fact, I think this article is one of the best ever in the longish history of this blog! There are some authors who are MIA but if they check in late I shall amend the article. Mind you, being a strict webzine, it’s not like all the writers know each other, chat on social media, go to shows and Happy Hour together (though that would be nice; in fact, when the world gets better, which it’s not, one day we should have, perhaps over Zoom, a cheaptubeaudio virtual HH)!

Addendum Dec 29: M Surdi's brief update is added below Doctorjohn's entry.

From mrgoodsound (Canada)
I will try to keep it short and sweet. My experiences in 2022 led me to cease consumerist activities in audio entirely. This seems to be the only persistent path to true satisfaction, not just in audio, but life in general. I could not and can not find any equipment manufactured by others that satisfies me completely. I am sure others are in a similar boat. I decided to take up DIY in all respects: source, amplifier, speakers. While there is much written on the internet about audio DIY, unfortunately the majority of it is unhelpful noise. I find I am walking an increasingly solitary path, and the more I learn the more limited the resources of valuable knowledge become.

My interest primarily lies in German speakers, tubes and components made before WWII. This is a fascinating period of technological advancement in audio, and not much is documented in the West. I wrote to DJ about the 'conclusion' of my speaker project but this was really just the first iteration. The next iteration will feature field coil speakers with a self-made power supply. For an amplifier, I am currently collecting pre-war radio 'junk' with the goal of amassing sufficient compatible parts to make a stereo SE amp. For sources, I decided to quit LP playback entirely and I am selling all of my turntables, tonearms, and records. I decided I cannot get the sound I want from the LP format and that LP playback is inherently anti-minimalist, pro-consumerist. Instead I am focusing on my digital source. I acquired a 1998 Mac G3 computer which I am slowly modifying. In its current state, it plays much better than my Mac Pro from 2008, which I previously wrote about. For cables, I have already made a full set DIY from old transformer wire.

That's pretty much it. I thank the blog for turning me on to the Aiyima products. I did not publish a review of the T9 but it has been my main amplifier since July. It embarrassed other amplifiers much more expensive and esoteric, tube and solid-state alike, which put the 'nail in the coffin' for the idea of attempting to buy my way to satisfaction. It keeps me satisfied while I work on my own amp. I also purchased the T5 for testing speakers on my workbench. They are truly great products!

Happy new year to all our audio friends around the world.

From R Salamat (USA)
I was an audio “naturalist” for a whole decade, starting from the early 90s. Single-ended triodes, Western Electric 300Bs, monoplate 2A3s, custom-built 26 triode preamp, NOS 1541 DAC, solid core pure silver cables damped with varnish and using HQ paper for dialectric, minimum phase / time-aligned speakers or “full-range” drivers...I had them all and it all sounded sublime. But circumstances forced me to give them up, or if I’m being honest about it, the spell was broken by one single, simple component that embodies both a paradigm shift and cognitive dissonance - the original Naim Nait. The first Nait was a small, low-powered, utilitarian-looking integrated amp that belied its size with the sound it made. That tiny amp set me off into another journey, from bigger Naim set-ups and other British Flat Earth makes to vintage silver-faced receivers to smoldering Class A SS amps to vintage Fishers and H.H. Scott’s, and finally circling back to SETs and PP, but of a less “purist” view this time, no doubt owing to my Nait epiphany that a great design is just that, a great design. Let’s just say, I became “woke”, amp-wise, and believe good sound could be thermionic or silicon-based. It comes as no surprise that when I (semi-) retired, I wanted to get reacquainted with my wee friend, so I reacquired a Naim Nait 1, newly minted. It still gets my mojo going whenever I hook it up. I swear this one will never leave my home.

Another Brit integrated that I’ve had fun with over this last year was the Rega Io. It compares very favorably with the venerable Nait. (I must add that I’ve had majority of the Nait versions over the years, and the Nait 1 is the only one I regretted selling.) The Io combined with the oft-said hard-to-drive KEF LS50 make for a compelling combo. I still remember playing the live LP “Home and Abroad” by The Style Council, and the dynamics and in-the-stadium sound heard made me feel like I was in the audience with the band going full-tilt. Better in my opinion than the past Rega integrateds, including the Brio-R and the new Brio, but the Elex-R and higher models are probably better still, although I have not had those in-house. The Io is said to drive Klipsch heritage speakers really well. I can see that…it has an organic flow to it that makes you forget that it is as inexpensive as it is. Definitely a keeper for me.

Talk about throwing purist attitudes out the window, I purchased a pair of Sound Artist “homage “ LS3/5a’s. I know all about the lore of this BBC-designed monitor speakers, and in fact, own original Spendor 11 ohms. I also knew that construction-wise, the Sound Artist do not follow the BBC specs to the letter. Who cares, right? I only do this for fun and for my own amusement. So I ordered the Sound Artist out of curiosity, and found that not only do they sound like real LS3/5A’s, they have characteristics that better my Spendors, namely in a more linear upper bass (but, no worries, my friends, the classic hump is still there), and more extended treble, with less of that “bite”. Mids have that same inexplicable rightness. If you are in the market for a cheaper “LS3/5a”, with no concern for pedigree or purism, check them out. You just might be as surprised as I was. I’ve listened to the Falcon, and honestly, those sound a bit too modern to my ears.

I just ordered a Geshelli J2 AKM DAC (in a wood enclosure) but loads of orders for being the “hot item” right now, coupled with the Christmas rush mean a bit of a delay. I also just received from Jupiter Condenser (maker of excellent capacitors) their new line of speaker cable, a combination, basically, of my two favorite cables, the Belden 9497 and the vintage WE cloth-covered wire. The “Twisted Pair Tinned Copper Cable in Lacquered Cotton Insulation” or TPLC, for short, looks like a cloth-covered 9497, down to the color of the twisted wires used. I am looking forward to playing with these two items (Geshelli and TPLC) and am already scheming in my head what to unexpectedly partner them with.

We can’t all be experimental chefs or Jackson Pollock, but as audiophiles, we can always try to create beauty out of randomness or maybe just come to a serendipitous place, while trying to get max information out of those grooves.

From ELO (Hong Kong)
In the second half of 2022, except for the Wattson Emerson Analog, Dynaudio Crafft and Audiophysics Subwoofer, I have basically uprooted my setup. My 47 Lab Gaincard, icOn4 preamp and all the cables and power cords had been replaced. Now I'm firing up my WEA using a network switch from Silent Angel Bonn N8, through the newly acquired Aiyima A08 Pro and Elekit TU875 preamp. All RCA cables has been replaced by my favorite "Studer" cables; speaker wires by Luna Gris. Preamp and Amp are now placed on top of a IsoAcoustics board; Linn Skeet’s are placed under the spikes of the newly acquired Dynaudio speaker stand (originally for Confidence C1).

Among all the changes, for me the ones that make the most dramatic change are the AiyimaA08pro/Elekit TU875 combo. My friend Kwong's best addition was too the "Studer" interconnect, with which I can't agree more. After implementation, the whole picture becomes more natural, musical and smooth, with better extension on both ends and with improved detail retrieval. I’m also happy that I was instrumental in urging the Nagra Classic Integrated Amp upon my friend Ray, and it is now the anchor of his system.

From Top, SMPS, Reisong Transformers, TDA-1305 DAC and 6X5 rectified, 6AU6/6V6 Preamp.

From Doctorjohn (now in Shenzhen)
After a year and a half of complete audio hibernation (in terms of equipment), the almost accidental acquisition of the Aiyima T9 triggered a new phase (chronicled here and here). My earlier sentiment that it would be a self-containing and self-disciplined run did not turn out to be quite so, But the wave has certainly crested, and I’m entering a late and slow phase that shall have less acquisition and more of tuning (in and out of a bit of audio hell) that involves 1:1 transformers and better (but cheap) regulated PSs (both LPS and SMPS; as I type, one of the latter, which can go to 30V, 5A, has just pleasantly surprised me with the improvement of the Pink Floyd I’m listening to on my cheap but cheerful TDA-1305 DAC, even at the lowly 5V and drawing a mere 0.11A). Also, quite a bit of soldering to make the extra cables needed (the slender, accomplished, but not perfect, dirt-cheap Canare 2B2AT that is my go-to here) and power bars. And attention paid to mechanical isolation using cheap common day gadgets (like Rubber Pads for Cars and the cheap but double-bearing wheels for my “rack” - it just “woke up” the thing). I should have enough material to write for the next half year and more.

My all-tube preamp and go-to FU-50 SET amp, plus the soldering station, likely do not dissipate more than a 60-80 watt conventional light bulb, but it helps in the cold now. Of course, here in SZ, the cold is nothing compared to what many of our readers are experiencing now, and I wish you all well.

All of this is made possible by the absurdly low prices of things here. Which sometimes makes one purchase wrong things. Duh. Yes, even with the good stuff, there can be compromises, and irritations, but that is par for the course. In my upcoming review articles, there will be chronicles of some of these trials. As a footnote, I despise netizens who complain profusely about the inadequacies of their cheap (Chinese or not) gear but yet are oblivious to the high priced garbage their own have produced.

In many ways, this protracted sojourn of mine here in China has re-affirmed my cheaptubeaudio past. The joy of discovery is the same, but what is different can only be boiled down to one word: Experience. Experience positive and negative do not come easy or free - one pays, sometimes through the nose, but one can gain from the process. Unfortunately, even that is not a given, as many less experienced audiophiles, particularly those who are attuned to head-fi or measurement forums, are just trapped in a small cesspool, be it small or big, and they shall never emerge with confidence in their own ears or experience. Experience means we do not move unduly horizontally, but attempt to traverse new sonic horizons (despite failures along the way). Also, one man’s experience does not reliably transfer to another. May we all gain the proper experiences in the new year!

Although the Aiyima T9 woke me up, the things that truly transformed my recent journey are even more important. I cannot emphasize enough the importance of attention to details but, here, 2 things that get my nomination for products of the year: 1) The Beydas LS3/5A, which is unfortunately not available in the west. It’s my main tool now, and it reveals every change upstream. It’s not better than my reference, the more sensitive Sansui towers, but it’s a huge over-achiever - personally I’m tempted to stick my neck out and call it a miracle that with time may gain admission into the pantheon of the best bookshelves ever, albeit on a wild-card basis; but then I better not, as there shall be many detractors and that they are virtually extinct as soon as they were born; 2) yet to be written up, kudos to icefox (his crowd use the rare and expensive WE91A), I started playing with 1:1 transformers (the 1:2 and even 1:3 versions are for cellphone and BT users who need the extra gain, beware). Used between source and preamp, the difference is so sharply etched it’s mind boggling; used between preamp and amp, the improvement is a little less but still obvious. I’m using 2, in both positions now. I have the fortune of experiencing a new kid on the block, UMI (bought it for ELO), which has truly superior bandwidth but, at least between the DAC and preamp, my heart tilts just a little towards the older and more old-world sound of Reisong (available on Aliexpress). This is not at all the first time I have transformer coupling between stages. The excellent EAR 912 that I had has transformer coupling at every stage (input, output and interstage), and my old Wai Lee Preamp uses massive coupling trannies (said to be wound from WE cores). Of course, with those one cannot just put them in and take them out, so it’s a different experience (that comes with the pain of an additional pair of cables).

Despite having covered so much Aiyima (and shall continue to do so), none of their products feature now in my main system, which is all tube and transformer coupled. Yes, I have finally, just last week, removed my trusted guard dog Revox system. It’s not really that tubes are superior in all aspects, it’s just that I’m on to other things now. It’s a watershed. Suffice to say, I am surprised to say this: I enjoy the sound of my humble systems here just as much as in NYC and HK. In fact, many familiar tracks seem to have gotten better. Perhaps, my MUCH greater attention to details here, where I have basically started over with much more limited means available (and on the cheap), makes all the difference. There, a tale for you.

From M Surdi (Italy)

"...I am the happy owner of a Benchmark DAC. I bought it for Qobuz but I now use it as a bona fide preamp on my main rigs. Screeds on the Benchmark as a DAC are ubiquitous but I thought I'd do a piece on using it as a line preamp on a reference rig (actually two of them). It could work out as something of a companion piece to my review of the Pass HPA (on 6moons). Now, for the spoiler: this is a hell of a preamp for Nagra tubes and Pass Class A..."

Editor’s Postcript: 1) The most invaluable content here is the sharing of personal philosophy. Not gear reviews or announcements for reviews to come. We have all paid dearly to get to this point, some of us more than others, and it has nothing to do with age. Our youngest, mrgoodsound, astonishes me by his metamorphosis. His chosen path is not for everyone but, as one with Western Electric equipment and with friends who are much more deeply into WE (some from wosirsir and icefox’s circle) I can completely get what’s he’s doing. There are others like him, many in HK, young and totally committed to the oldest stuff, like Field Coils. My hats off! On this point, I applaud the aesthetics of the young audiophiles who fueled the critical phase of the vinyl renaissance, and I have no doubt they shall continue to be fascinated by other vintage facets of audio, like tubes and horns etc. So much of cosumerist audio (using mrgoodsound’s term) is so bland, so faceless, as to be off-putting, in appearance and in sound. Even industrial design is worse now. The beautiful and economical and modest yet elegant looks of classic Naim, Meridian, Cyrus, etc, are just no more. 2) Ray Salamat’s blurp surprises me too, as his candid Nait centered experience (old, not the stuff now) and not taking sides in the tube vs ss thing is interesting. First, almost all of us here, including ELO and me, are fans of the old Nait (which ELO has said he’d be happy with, though his journey is not at all near its endpoint). Second, someone like me, of cheaptubeaudio namesake, is actually receptive to good solid state, and so a bit like Ray. The end justifies the means? Well, I’m forever a tube man, but I’m open. And ELO, not a tube man by far, does not reject a good offering from the other side either. Call us pragmatic. 3) I mulled upon mrgoodsound’s eschewing of analog. Just as I’m forever a tube man, I’m forever a vinyl man. But I can understand the reasons. During the initial covid lockdown I played a lot more through Bluetooth than my turntables. And humble digital (meaning not hi-res) can be made to sound good, whether through USB or BT, but it’s not through the widely touted “advances” trumpeted daily by the press. Our honorary consultant icefox’s friends actually prefer BT. Their approach is to just confine all the digital nasties to the BT chip (which it must pass through) and then use draconian analog measures, like trannies, to improve the sound of the output. To them, the less digital processing (I agree), the better. According to the man, the monstrous extreme BT gear (shall perhaps report in the future) has KO’ed many an expensive analog setup. Just as in digital, most people mess up their analog setups; the more expensive, the more so. Here, I don’t have a single LP or TT, but I’m fine. Enjoy the music! This has been a difficult article to wrap up, perhaps too ambitious. But long-time readers know that I possibly prefer to talk about the philosophy and small things behind audio than review stuff (hence my pagan HiFi Basics articles). Better stop now and wish you all well. We look forward to a good coming year.

Akitika GT-102 LM3886 NTE7197

Alert: Akitika GT-102 Available Again for Limited Time

Long term readers know that I used this amp almost on a daily basis during 2020 and 2021. Should you search "Akitika" (upper left corner search box), you shall find many entries and pics.

You will find all the important details in the proper GT-102 Review. Our own mrgoodsound had also used it before to his approval.

The amplifier is available as a kit and assembled for a reasonable sum.

For the last year, Akitika GT-102 was not available because TI could not supply the coveted LM3886. As a past customer, I receive Akitika newsletters, and I was surprised that some became available. I have enclosed the newsletter below. Now, it's a limited run, so act fast if you want one!

GT102, GT102-Z4, GT104, and GT108 are in stock for immediate shipment

I’ve finally caught up with parts shortages. That means for a limited time, I will have GT104 and GT108 kits in stock for immediate shipment.

More amazingly, I have a limited number of GT102 and GT102-Z4 kits in stock. Given TI’s inability to deliver LM3886’s, how did this happen? One of my customers mentioned that they had used NTE7197 in place of the LM3886. NTE makes repair parts for consumer electronics, and they list the 7197 as the replacement for the LM3886.

But, is a 7197 really a good replacement for an LM3886? Here’s what I found out:

· The data sheet is a copy of the LM3886 part.

· The pinout is exactly the same.

· I built a pair of amplifier modules with 7197’s, and their measurements looked just like the LM3886.

· My suspicion was that NTE private labeled a bunch of LM3886’s. I put that question to NTE, and received a response from a VP that yes, the 7197 was an LM3886 made by TI that was labeled with the NTE part number and logo.

Given this good news, is there a downside? Yes, but just a few:

· I purchased everything NTE had in stock, which wasn’t all that many.

· They were expensive…not crazy high, but I will have to charge a $25 premium, so a GT-102 kit and the Z4 kits will be $424 plus $26 shipping (lower 48 states).

Total quantities are limited, and I will fill the earliest orders first. I’ll also try to post and block the website from accepting additional orders as soon as possible when stock runs out.

If you’re looking for a GT102, at GT102-Z4, a GT104, or a GT108, I urge you to order now.
https://www.akitika.com/akitikastore.html

Elekit TU-875 Aiyima A08 Pro

Letter from Hong Kong (22-14): ELO finds his Preamp, Elekit TU-875

Who would be interested in a review of a long-discontinued preamp which was sold mostly as a kit? But I think the point is, sometimes you need to look high and low for the right equation and missing link to complete your journey of searching for the perfect system. Therefore, I'm always open to new "old" ideas to improve my overall setup. While my icOn4 passive AVC preamp is very good, I somehow feel it does not have synergy with the Aiyima A08 Pro. Like I said before, this time I'm looking for a tube amp to smooth the edges of A08 Pro. Of the four preamps in consideration, TU-875 is the cheapest of the four (remaining three are the Nagra PLP, Shindo Claret and Lab12 Pre). So, if it works out, I would have picked up a sonic bargain!

"Can I get both Fish and Bear's Paw at the same time?" Let's go find out!!!

Elekit TU-875 Prelude - Benchmarking its Performance
Apart from listening to live performances, home and shop visits are also very important experiences that HiFi and music lovers must gain in order to gauge how your system stands among other great setups! See my latest visit report.

So, I have been to some home visits and showrooms with really great sound, and that is excellent to benchmark the system that I have at home. Otherwise, I will be non-objectively indulging myself and bluffing on how good the sound quality of my own setup is, like a frog at the bottom of the well LOL.

After a few weeks of listening and continuous tweaking, the sound of my TU-875 had improved leaps and bounds. When I first hooked it up, the sound already instantly gained some smoothness and analytical power. However, there was still a layer of haze masking the music. I suspected that the Gotham GAC4 may be the culprit (and it would soon be replaced by the "Studer" interconnects; see below; I had my fingers crossed that it could clear out the mist).

However, before the cable arrived, several things, though small tweaks, that I have implemented over the last few weeks proved highly effective and had unexpectedly huge impact in improving the overall sound quality!

• 1) I hooked up the Subwoofer!! I had thought I had hooked it up with my 47 lab flimsy cable, but IT WAS NOT!!! I immediately replaced it with my Grimm TPR and voila, the image solidified, haze lifted and noise floor was lowered too, with addition of an extra layer of refinement along the way (which is exactly what the addition of subwoofer will offer).

• 2) I hooked up my DIY ground box with similar magnitude of improvement! (P.S. I took my ground box to my friend CW's place to try out and the results was positive. Overall music involvement and PRAT had improved markedly. CW ended up later adding a KOJO Crystal ground box that also resulted in marked sound improvement. I just wonder how my DIY will fare with his KOJO~)

• 3) I pulled out the 2 tubes for the phono circuit as recommended by DJ, then I turned up the volume and immediately I thought there's difference but was not really sure what that was - another Snake oil? After turning on the unit cold with only one tube plugged in for the line stage, sound did not change much and I mumbled to myself whether I should tell DJ that there's no change at all. However, after half an hour, the sound seemed to have transformed. Voices became more pronounced, emotionally involving and different shades of singing was beautifully portrayed in front of me. Imaging was now more nailed to the center as well.

• 4) I replaced all I.C. to "Studer" IC, which I'll talk about later.

• 5) enter the Luna power cable along with the Studer cable. It was hooked up to the 220/110V transformer powering the TU-875.

Preview/TBA:

• 6) To use a better 220V SMPS to replace the stock unit (TBA)

• 7) Upgrade my Luna Gris speaker cable to Orange, a step up from Gris (TBA)

• 8) A network switch with a proper LPS (TBA but initial experience is rather mixed)

• 9) UMI transformer signal isolation device (will directly compare it with Rayaudio's) (TBA)

Overall Sound of Elekit BEFORE including one extra pair of Studer cable into the mix
How would I describe the sound of this little unit? Sound is very refined and smooth. Instruments has body and shimmer; bass is good but has slightly less slam compared with using BT on Aiyima A08 Pro standalone. It has great analytical power, yet not cool and sterile. It's musical, with microdynamics which paints a colourful picture of instruments; in particular, vocals have lots of decay and attenuation. It's not lean at all, yet not bloated, just the right perfect body instead of needle-like imaging. Soundstage is very open, natural and extended to both sides to the wall as well as to ceiling. Music is slightly set backward compare with A08 pro standalone.

Timbre is accurate, better than A08 Pro standalone.

Strings are delicate with nice portrayal of hairpin turns. Acoustic Guitar plucking is solid, with good body, quickness, tenacity and roundness, as well as attack. Bass guitar with attack, authority and sufficient body that is life size. Drums are quick, decisive, with good timing and body, bass slam and PRAT is tad behind A08 Pro alone but still very respectable.

Vocal is where this preamp really excels. It is top notch, capable of capturing all the shadings, techniques and tonal colours delivered by the singer. I am not talking about the breathing or swallowing of saliva (which are just by-products), rather the singer's skills and emotions that is being conveyed to the listener. The rise and fall of singer's voice is parabolic instead of straight-line; starts and stops and change of tone and speed are far more pronounced, such that the whole thing is more emotionally involved. You can actually hear the performers directly sing deep into your heart. Some apparently sing less emotionally or more technically than the others, and it is easier to pick this up with TU-875. I always use this analogy: great equipment will give you Celine Dion's voice while lesser equipment will give you a bar singer's or an ailing Celine's performance. With due respect, some bar singers are still very good, but it's still just not Celine Dion at her best! just found out about the sad news of her "Stiff person disease". Just wish she can overcome it and keep singing for us and for herself!

During the course of replay, you feel the ebb and flow of it, and there's also a synergy among the musicians as if they are playing for and against each other and trying to feed off the energy from each other. That makes you want to keep listening without fatigue as you hear unity in performance.

I have been comparing the music playback through Bluetooth from A08 Pro to A08 Pro /TU-875/ WEA. I must say nowadays music reproduction quality from Bluetooth has improved leaps and bounds and it is not trailing too far behind WiFi streaming! Without intensive and careful auditioning between the two, I could, and I swear that I can live happily with the standalone A08 Pro playing BT music from my LGTV as well as BT from my laptop playing Tidal music - and this is after intensely comparing both options.

Enter the extra pair of Studer IC
Alas, I finally received the Studer IC. I ordered a total of 7m in bulk, and that converts to 3 pairs of 1m IC, 2 pair of 0.25m pairs IC (for use with Rayaudio's signal Tx isolation). I had already been using a pair of Studer IC between my WEA and TU-875. The extra pair was used between TU-875 and A-08 Pro.

The sound has literally further transformed and has reached another whole new level, no shxt!!! At the same time Kwong has also made a pair of the Studer IC for himself and hooked it between his Audionet ART CDP and Amp and has experienced the same Audio Nirvana (slightly LOL?)

What has actually happened? As soon as I hooked up the cable, I was immediately drawn into the music. The wholeness, coherence and sheer musicality just forced me into the world of the musicians, and that makes you forget to analyse the virtues of the cable. "This is MUSIC", the cable is trying to tell me - enjoy and stop criticising.

When I finally came back to Earth, I started to analyse what has happened (I'm a damn engineer anyway). First of all, this cable completely trounced my GAC4 in every way.

It's smooth, organic, musical; notes seem to connect seamlessly as a whole; body fleshes up without being bloated, and with finesse. You pick up the subtle changes from fff to ff to f, or ppp to pp to p; treble notes seem to sustain in the air and feel ethereal. Harmonics is so rich and in abundance; extension on both ends is great; bass has plumpness, and pluckiness; especially with double bass, the sappiness, speed and transients are there and approaching that of the A08 Pro standalone performance. Sound is exciting, yet not even a bit fatiguing when playing music at a respectable level; engaging and involving with PRAT with no signs of digital glare and edges! Imaging and detail retrieval are top class; you can pick up so many instrumental details even at ppp that was never heard before.

Addition of the Luna Gris power cord has further improved everything, though not as dramatic as the Studer.

Up to this point, I really think I am very close to getting both fish and bear's paw...

Sparkler Audio S503 CDP vs WEA
Well, there was one more thing I could try. I wanted to see how my Sparkler Audio CDP will fare through my Elekit with my newly acquired Luna Gris Cable and Studer cables.

Unfortunately, with all the better cables and Elekit TU-875, WEA still sounds much better than the Sparkler S503. With due respect, S503 ia a very nice CD player already. But I think it's about time to consider converting all my CDs into NAS... Been talking to Dom Tu of iAngel, who carries Innous/Plixir/47 Lab/Sparkler Audio in HK; he is trying to get me a old Zen Mini MkII streamer/CD ripper to try out~

Two modes of listening : A-08 Pro vs A-08 Pro/TU-875
Now, the PRAT of A08 Pro/TU-875 is 80% of the A08 Pro standalone. The A08 Pro standalone provides the extra slam and fun that is so thrilling and exciting to listen. So, if I ever want that last bit of slam and fun, I will switch to Bluetooth mode and play music through my TV or Tidal and Youtube through my Laptop!

When I want ultimate hifi mode, I would stick with the combo instead of A08 Pro standalone. I ended up listening with the A08 Pro/TU-875 combo 90% of the time!

I can now play both music that requires huge dynamic, slam and directness as well as music that is more delicate and demanding of delicate emotions with the A08 Pro/TU-875 combo!

For readers with a budget, you can play Tidal through Bluetooth from standalone A08 Pro and it is of really respectable quality. But if you want ultimate music Nirvana, acquire the A08 Pro/TU-875 combo! It's still dirt cheap anyway. (Editor: this is not practical for most people, as the Elekit TU-875 is likely only available in Japan second hand. HK readers are more fortunate in that they can use third party companies to bid/buy from Japan)

Final Thoughts
Ultimately, A08 Pro/TU875 is the definite winner in terms of sheer musicality, genuine vocal portrayal and deep emotional involvement (as with details, soundstaging, background darkness and quickness). But, that said, I can still easily live with with A08 Pro alone should I not have come across the TU-875 ! A08 Pro does have a slight edge of PRAT and slam in music, plus a bit of coarseness and edge to music which I think is FUN sometimes.

But I do treasure highly the finesse, refinement and musical involvement that A08 Pro/TU875 provides. There is no listening fatigue, and with this combo and I can listen for hours and not get tired of the lovely music it can produce.

The miniscule combo of Elekit TU-875/ Aiyima A08 Pro / Wattson Emerson Analog, all roughly palm-size, with total weight of less than 5 lbs, pumps out volume and quality of music that is unheard of in my years of experience! Cost wise, the amp/pre costs at $450USD and represents a colossal bargain in today HiFi world that demands thousands, if not tens of thousands, of dollars for a decent system.

How does my current system stand against the sounds of previous home and shop visits? I can comfortably say that it does not shy away from any of these systems at all. In my early days when I started the HiFi journey, I always felt depressed and lacked motivation to hear my system at home after showroom visits that sounded so spectacular. But not with my current setup, which can stand up against these multi-thousand dollar setups comfortably without feeling inferior in terms of music performance!

Currently, I feel that any further improvement will be icing on the cake instead of a complete upgrade. Having said that, I always welcome surprises but, for now, I will revert to my most treasured and ultimate mode, that is, music enjoying mode!

Of course, I still having high expectations from the Luna Orange, UMI unit, dedicated PS and Bonn N8 network switch that can impact to my current setup! Stay tuned!!

Music used for assessing the system
Numerous Youtube videos from Blue Note Tokyo, Bob James and Tiny Desk Concerts etc

Tidal Music
Far too good - John Smith - uncanny voice with foot tapping solo guitar. Great lyrics.
Rainbow - Kacey Musgraves - uplifting. Hope and positivity through her voice, lyrics and songs.
Blue Orchids - Bill Charlap - amazing attack on piano notes and soothing jazz tunes.
Two Lonely People - Susana Wong - duo sing with one heart; not a usual fan of hers but this one is exception.
Welchester Lady - Bob James - as usual so tuneful and fun.
So What (Live) - Michel Petrucciani - High energy and piano attacks that shockingly knocks on my head!
Where Breathing Starts - Tord Gustavsen - slow ballad that emotionally feels like gently adrift on a slow boat.
The Sky - Allan Taylor - great effect, soundstage; crisp guitar and uncanny voice.
My Favorite Things - Youn Sun Nah - amazing and realistic voice with single, cymbal-like percussion instrument.
When I think of Angels - Eivor - such touching and genuine voice that caresses your heart
One Wish (Trio Version) - Hiroshima - slow version which is preferred to original one; and the Koto plucking is so realistic and beautiful!
My Foolish Heart/ Spain - Chick Corea Trio - scintillating performance. They play together as one, with fire and passion (both A-08 Pro/TU-875 and A-08 Pro standalone options are good)
Bali Run - Fourplay - A-08 Pro standalone has slight edge, but with TU-875, you hear more details.
Bei Shan Wang Hai Li Bu Kai (Live) - Kay Tse - Guitars, sax and drums and dreamy vocals - highly recommended.
Elephant on Ice Skates - Brian Bromberg - showcasing the tenacity of the lightning-fast bass guitar, which has great body!
Volver, volver - Buika -showcasing the dynamic range of her vocals; so much emotions!
Paris - Cy Leo - World champion harmonica artist has such everchanging shades and tones to get you emotionally involved. A must.
The ship is at the Landing - Krut Reiersrud - Twanging of guitars is so fun to hear (both versions are worth listening)

RIP 余師傅 陳楊

R.I.P. 余師傅

無人不認識的余師傅往生了！ 

我第一次聽到他的名字是 ‘92 打後，我剛回歸香港之際。那個時候，正值香港發燒巔峰年代，發現幾個醫學院同事都熱愛古典音樂而玩音響（在醫生里非常普遍）。他們沒有玩非常貴價的東西，但都是好東西。他們帶我去了海運大廈別超（Excel）和金弦 （Golden String），香港的兩個大代理，而在前者我第一次見到了余師傅，也得悉我同事們都是他顧客，跟他挺熟也聽他意見。同事A用的是 ARC SP9/Classic30 推 LS3/5A，B 用的是 ARC LS5/V35 推 Sonus faber Electa Amator I， 聲音都好。 A君那時用的 Marantz CD72，價廉物美；B 君更不得了，是 Micromega Duo 一套; 兩者都是1-bit 典範。那個時候，我沒有那麼發燒，所以這些同事都推進了我對音響的認知和愛好。可惜這兩位同事都已經走了，只能緬懷這一段經歷。

往後，走自己的路，多數單打，買二手和古董，沒有什麼和大代理打交道。燒到通頂。再次和余師傅見面幾乎20年後。那個時候，因為JCR33的飲茶團，拜訪了非常多代理和燒友，真正開始知道余師傅。另外，遲相識的師弟和余師傅是老表，故在他家見過幾次，上圖也是在師弟家拍攝的，余師傅正在調唱盤。後期，余師傅在Jadis時，也見了幾次。

一句話，有余師傅在，沒有不可能的，也沒有悶場！

下面友人 icefox  的話：

icefox selects this video as tribute (NPR Kanneh-Mason)

R.I.P. 陳楊 

香港人對他不熟悉，這個知名台灣作曲家音樂人和我差不多年齡，也就早一天去了。我非常欣賞他電影“桂花巷”的配樂（但電影很爛）。異常豐富的電子音樂溢出文化情操，但斷版多年。頭一曲是潘越雲用閩南語唱的，比她任何國語歌好聽。它占我喜歡的電影配樂頭三甲一席（其它兩個是 “悲情城市” 和 Until the End of the World)。

史特灵 LS3/5A 11 Ohm Taobao 12.12

所有图片点击放大。Click pics to enlarge. Chez Jules‘, atop Vitavox Horns, from L, Chartwell 15, Spendor 15 and Beydas. See below for more pics.
Letter from Shenzhen (22:17): 史特靈 LS3/5A, Part II, 11 Ohm

11.11 錯失良機，15 16 咪又執輸 11 15 本為連體 12.12 亡羊補牢

To Non-Chinese Readers: This extension of an article featuring a local clone LS3/5A is primarily for our Hong Kong and Asian readers. The Chinese products discussed here are not available outside the region. I let you know this to save you the bother of translating. I know for a fact that some readers in the West have tried to buy to no avail, as the courier used by the seller would not ship to the West due to regulatory reasons (there are many during Covid times).

有第一次就有第二次。上一次特地為香港及華人讀者們寫的中文文章事關淘寶雙十一（尤其史特靈），而寶貝暫時沒有賣到西方去的。這一次事關雙十二，佳日重臨；留意，史特靈 12.12 其實在 12.10 晚上 20:00 展開，希望大家抓緊。重要的是，我（及友人們）又聽了一個月，有些重要的心得。 

https://m.tb.cn/h.U8UjWgU?tk=gg95dWTehrn

史特靈 LS3/5A 11 Ohm

沒看過 Part I 前文的讀者，建議你先讀；看過的也不妨重溫。

上一次我寫的是我買的 15 ohm。聽了驚艷，就寫了文章。好像沒有交代過，挑選 15 而不是 11 只不過是因為“傳統智慧”，畢竟是隔山買牛，沒有聽過嘛！有好東西，當然發給兄弟，結果超乎我想像：我的圈子小，但友人們圈子大，居然以訛傳訛，在香港發揚光大！當然，這裡有一個齊娃娃效應，畢竟大家一齊玩開心D，但別忘記，我友人們（及他們的相識）都是老嫖，現代或古董典範器材（包括35）皆全，不少系統價值不菲，叫他們收貨是不容易的！而且不單止認同，聽說還有 CLS 靚聲之言！

前文到現在的一段時間，我了解到代理 HiFi Music 雖然不諳一切設計元素，但掌握的還是蠻多的。原來產商 Beydas 按照一對英國 bi-wire 11 ohm LS3/5A（應該是 Spendor) 先弄出來的是 11 ohm, 曰：聲音幾乎亂真。但考慮到迎合大眾（包括國內）口味，作了調整研發了 15 ohm。這裡我們進入了一個灰色地帶。當初 BBC 把 15 轉成 11 是基於多年來產生的單元差異和時代趨勢的元素。我估計 Beydas 無論 11 或 15，單元都是一樣的，只是分音和調聲不同，這個和 BBC 初心有一點出入。基於這個觀點，11 ohm 理論上該是更加靠近 BBC 的。也就是因為這樣，就身痕搞咗對 11 來聽。長話短說，哈！果然是兄弟，聲底相似；分別是有的，但出人意表。

構造 音箱都是甲板做的。除了分音器一些零件值不一樣，其它都是一模一樣的。值得一提的是，我得悉產商為了那幾隻牛（Autoformer，自藕變壓器）傷了不少腦筋。繞線多少半圈測出來的價值都不一樣；篩選困難。由於成本高昂，沒有利潤，暫時沒有意欲繼續生產，所以史特灵 LS3/5A 可能迅將成為絕唱。 

外觀 15 ohm 的木皮不是我們熟悉的那種黑檀木，而是帶木色斑馬紋的，不是每一個人都會覺得好看的。乍看還會懷疑是不是打印膠皮的，可是用手輕輕掃一下，就會感覺到應有的微凹凸感；我這裡暫時有兩對，木紋是不一樣的，大家可以放心，是真木皮。 11 ohm 就明顯是木皮，木紋也較深，可是像真木一樣，有木眼，紋有深淺，不愛天然參次的人要接受。我自己的感覺是真像木皮，而曝光久了喇叭會深色化而深淺的對比也會沒那麼明顯。據說香港朋友們似乎喜歡 11 ohm 的木色多些。 

聲音 聽了15幾個星期後，把11換上去，也聽了幾個星期 - 沒有任何衝動或需要把它拿下來，兩者都那麼動聽。寫15的文字可以全盤照用在11身上。當然，分別還是有的，我覺得：1）11 中低更像傳統 3/5A聲，婉轉一點，蔡琴會更磁性一點，小提琴也會更纏綿一些；2）15 高音會更開楊一點，聲底爽一些，古典爆棚控制力強一點，向現代英國復刻版靠齊; 3) 值得一提的是，友人留意到數據上（見前文）11 比 15下潛多 10Hz，但我聆聽的感覺是，低音雖然厚一點點，效果更多是反映在中頻（上述），人對音頻波動的反應是非常微妙的。對比如出一轍的聲底，這些分別不大，任何一對都把聯盟音響的Anubis 殺的片甲不留，愧對江東父老（話說回來，那些所謂父老不見也罷！）我很高興兩對都有。下面微信截圖裡我結集香港朋友們的反應，雖然由於系統差異細節上和我的經驗並不完全一致，但都是頂讚的，具參考價值。我們這些評語也多少顛覆了一般錯誤地認為 11 較薄而 15 較厚的觀點 - 像我和朋友 Jules 的 Chartwell 15 ohm 就都很爽聲的。 

居然还有倒头椿

友人Jules 的發燒聖地，被 icefox 譽為”廟细五臟大“

推动有 PX-25 SET 和 Lectron Le Classe A

发廊里的发烧世界，早期 Cyrus 和 35 兄弟 JR149

笔者的 11 和 15。

庫存 因為上一輪的搶購，15 已經幾乎售馨。這是因為在不知底細下每個人開頭都會盲目追隨所謂 15 ohm 的傳奇（包括我），忽視了這其實是個單元完全不同的現代“復刻”！個人意見，趁價錢相怡，起碼趕緊納入一對 11 ohm才是上著。如前文所說，用現代英國復刻版幾乎十分一的價錢取到這樣亮眼的效果，還需要考慮嗎？不要忘記，上述香港朋友們都有英國舊裝，給這麼高的評價，不是偶然的。 

結論 史特靈不單止模擬 LS3/5A 異常到位，且低音線條靚，沒有很多舊 35 的拖泥帶水。如前，友人所說，全面性毋庸置疑。個人更敢說，堪與現代任何  LS3/5A  匹敵，是複刻 LS3/5A 的一個里程碑；兩萬上下的書架喇叭，沒有對手；更惶說，天價小喇叭，如 Magico, Borrensen 等，都沒有它那自然呈現的感染力！

附录：

1）想知道联盟音响的 Anubis 有多离谱，看这里。

2）我最近买的东西记录在这里，有的 12.12 可能会少许折扣。 

LS3/5A Union Audio Anubis Beydas Audio Stirling Falcon

Click pics to enlarge. Falcon Gold Badge on stands. On floor, AE2 SE, Anubis, Aosibao 6P1 amp and Chinese 300B monoblaocks. Preamp is Weiliang clone FM Acoustics next to the TT.

Review: Anubis “LS3/5A”, Part I, A Cautionary Tale

This is likely one of the hardest articles I have had to write. I stared at the blank page for quite a while, before deciding to just plunge on. There's no escape.

First, I had to own up to the fact that whatever good vibes I had initially did not withstand close scrutiny; second, this loudspeaker, as I gradually discovered, has one of the most peculiar responses I have ever encountered. It was not that I didn’t harbor any doubts early on, it was that I simply didn’t pay enough attention when I should have.

My Initial Reaction was documented here. See pics of the Taobao Page at bottom. It must be mentioned that, given my satisfaction with my heavily used main system in the study, the Anubis was only meant to serve just occasionally in the LR, in a more casual manner. I just placed them on top of a low TV cabinet, very close to the front wall. I picked it simply because it looks good and is the cheapest LS3/5A “clone” (little did I know how far it has strayed). It did completely trounce my leftover Sansui AV Rear Loudspeakers I was using before (easy feat really). However, in many ways, what I wrote about its balance still stands. Like the LS3/5A, it is quite pleasing and balanced in the vocal range and it does disperse widely, at least more than my previous Sansui (but more laterally than front to back, now I know). I wasn’t asking much of it.

I did feel, even from early on, that there is a somewhat congealed feeling about the sound 浓得化不开, and a certain lack of air. Changing loudspeaker cables and jumper wires did not significantly ameliorate that, but I wasn’t seriously concerned.

Meeting Falcon LS3/5A proved to be illuminating and perplexing (Top pic; I haven’t written this Home Visit up yet). About 3 months ago, my friend Honwo and I paid a rare visit to David (aka daiwok of Lencoheaven fame) in Dongguan. He was among the early adoptees of the Falcon. He built the (then available) kit himself (but did not apply the supplied bitumen) and upgraded to the Gold Badge Crossover. Now, this marked the first time I heard the Anubis in-room (in fact, half-way into the long axis), on proper stands. The host was using a Chinese 300B amp and I also brought my Aosibao 6P1 PSE amp (which I preferred on that occasion). The Anubis sounded better than in my LR, BUT whereas the Falcon threw a very deep soundstage behind, the Anubis was mostly confined to the loudspeaker plane/axis (the line linking the 2 loudspeakers), with not much behind. It was kinda like mono (but even good mono can go deeper)! No wonder the somewhat congealed feeling I had before! Very strange, an experience I have never had with any other loudspeaker. Honwo said the Anubis was forward, but I think that’s not quite the case - there is little real depth that the sound is mostly collapsed into a single vertical plane, so that the term forward even loses its meaning. The LS3/5A is famous for its imaging prowess, but the Anubis fails miserably in this department. That said, the perplexing part is that I did find the Gold Badge Falcon too lean in the midrange, and tonally (only) I preferred the Anubis. The contrast between the two was stark, to say the least!


Latest Incarnation of the Study. Sharp eyed readers will have noticed that I have now also the 11 ohm Beydas Stirling (on stands, with the 15 idle tot he fore). They are more similar than different, but the 11 is perhaps even closer to the LS3/5A. Article to come.

The Chinese “Stirling” 史特灵 (made by Beydas) then entered my life (here in Chinese; product unfortunately not available outside of Chinese speaking world; if u are in the west, don't even try, just to save your time), and it was a revelation. This is yet another LS3/5A clone I discovered recently but its performance completely destroyed the Anubis. Mind you, if I had not harbored doubts about the Anubis I’d not have taken another chance! It is not available outside China (including HK) and likely will end as a limited run with no future production in sight (this is inside news). The performance of the “Stirling” was so good that I finally bought a pair of stands for the study, which now permanently (if I can say that about my somewhat nomadic existence) includes a pair of the “Stirling” as reference! Of course, I did bring the Anubis in and it did throw a somewhat better soundstage than at daiwok’s, but let’s put it this way, the quasi-mono plane in front is still there and whatever there are in the soundstage behind are more dimly lit than should be. I then bought another pair of stands for the LR and the Anubis sounds better there too, but still not close to the “Stirling” (yes, I did bring the “Stirling’s” out to the LR too).

Reader Shawn P Weighs In Shawn was kind enough to write a blip on his perceptions. So as you know I'm not alone in my findings:

"First off, thanks for John’s invaluable suggestion on the Anubis positioning. I had no experience with any version of LS3/5a and John’s suggestion improved the sound stage enormously. Just about all aspects of the Anubis improved with his suggestion.

Regarding how the Anubis sound, vocal was great with the Anubis and I picked a good “vocal” CD for the first run and that was the main reason for the initial good impression. I enjoyed the entire CD.

I then tried a few CDs which had good balance between vocal and background (based on my regular speakers). Problems emerged, the vocal was still there but the background became distanced and confined. It sounded odd, simply put.

Instruments sounded sort of glued together. There was no weight or texture, as if the only information I had was that there were guitar, piano and bass at the background but they were not contributing to the music. It sounded odd.

I was eventually able to find a few CDs which had good balanced sound stage with Anubis but why were they so rare with Anubis? The speaker positioning was good, and I had listened to those CDs for many years.

Anubis did have nice vocal which stood out and perhaps why Anubis was a 霎眼嬌 for me. "

The Postmortem There is nothing much left (of the Anubis) after the above encounters - except to open it up (as a reader, likely Malaysian, suggests), AND plan to modify it (which is why there shall be a Part II, not any time soon though). Wow! Look at the pics!

Unlike what my Malaysian (I presume) reader commented on, the cabinets appear to be plywood (the ads said Russian Ply). Note the tell-tale chipping of the edge of the top layer in one of the pics. Except around the area of the binding posts, the cabinet has been treated with Bitumen. It should be noted that bitumen treatment was used in the original LS3/5, but I’m not sure of all subsequent A versions (the Falcon uses them). The woofer is Chinese. The tweeter is unidentified (the Taobao page says imported silk dome parts). The wires I’m not happy about, stiff and ungainly. The Crossover is on a Circuit Board (the copper traces are not robust either), and only 5 components as opposed to the 10++ ones of the original 15 and 11ohms! Values are erased. Careful reading of the TB page indicates this is second-order, whereas the original is probably third-order. Just contrast that with Beydas’ “Stirling” and you shall see the divide. Yes, just like what they mentioned on the TB page, the product is “in the spirit” of LS3/5A, not an attempt at replica. It’s funny that it seems to disparage those who do! Problem is, their "spirit" seems far astray of the BBC intentions.

The Anubis seems to have been around a while. The TB page credits (which turns out to discredit) HK veteran Wilmer (威马, whom older HK audiophiles will remember, but he was never a person of particular import) and a certain Ouyang from China. Combing the Chinese net yielded very little, but it does seem early on there was another participant named 小刀 (Chinese for dagger). Unfortunately, blind men could not re-construct the elephant that is LS3/5A. 这一次，三个臭皮匠，凑不出一个诸葛亮， 远尓！The Beydas “Stirling” in details of execution (like the expensive Autoformer laden crossover) and in sonics just completely put the Anubis to shame, and I’d love to know who’s behind!

Anubis is sold by Union Audio 联盟音响 of Guangzhou, who does a brisk business with “own-design” loudspeakers that kinda look like large ATC’s, sporting Eton woofers. They also made clone electronics, ranging from “McIntosh” to “Pass Lab”. Yes, I’ll pass. FYI, I actually did contact them early on in the hope of obtaining more info on the Anubis but, no, requests for crossover pics and response curves were not fulfilled.

I decided to write this mainly in English because I know Anubis has a dealer in Singapore (whose website is stuffed with the same hyperbole) and an older KS version is still sold on Aliexpress (here). Buyers beware. My experience should serve as a cautionary tale for you! A misstep for sure, but one that indirectly generated a real find (Beydas).

寄语香港及其它东南亚地区华人朋友：如果想买老翻35，切记我的经验，把联盟 Anubis 忘得干干净净。光有长相没有用的，打肿脸子充胖子，只是一个扶不起的阿斗。12.10 晚 8 点 淘宝 12.12 活动就会提早展开，抢一对 史特灵 是上着。内幕消息是贝达斯不想后续，所以可能成为绝唱。智者先行动为妙。短期内，在 12.12 前，我会另外写一篇关于 11 ohm 的文章，会包含我香港朋友的经验，到时见！

Anubis TB Page says Russian Plywood  

and Second Order Crossover

Claims about its Sonic Attributes, including imaging,

 are at odds with the listening experience

Claims that it will trounce other loudpseakers

 under 5K was repudiated by Beydas