RCA PB23 Sun Radio CR10 Sony CDP CDS 3000 Sound Sales

Click pics to enlarge. Kites hovering above a Shenzhen Park 莲花山公园. A fine fine day, just like my time at Taimonsing!

Letter from Hong Kong (24-10): DHT PP Amps Parade!

Written in Shenzhen

Last Friday, before I attended an alumni dinner, I re-visited Taimonsing, our RCA guru (first visit here). It was an even more astonishing experience, with the singular theme of DHT PP amps only!

L, from top, Douk E6 (not used), Music First TVC (only selector used), Chinese 天晓 TDA 1540 DAC, Sony DVD as Transport; R, Sony CDP-3000/CDS-3000.

This time the setups were simpler. We only listened to the large PG105 Horn System (see link above). The 3 DHT PP amps all had their own preamp gain stage and so only their own volume knobs were used. No preamp added. We heard the 2 CD sources pictured above, both routed through the selector of the Music First TVC (transformer bypassed).

The custom 天晓 DAC uses 2x TDA-1540, and is very well specified. As Taimonsing mentioned, its sound is more modern, certainly more than my Magnavox or even my Revox 225. In fact, it did not seem to have too much of the flavor that I associate with this chip. The built is excellent, fully worth its humble price of RMB 2k. Then came the venerable and iconic Sony CDP/CDS 3000, an early 16-bit of Sony's own design, contemporaneous with the even more iconic Philips LHH-2000 (but much lower in second-hand price). I have always been a fan of early Sony CDPs and I love this machine, its industrial design and crisp sound all appeal to me. The Control Unit can support 2 players. For more info, read this Fabulous French Site.

Sun Radio CR-10 6B4 PP amp First up was this little known amp (above pic). All Peerless transformers!

The Double Plated Octal based Direct-Heated 6B4G is an interesting tube. Basically, its a 6A3 with a different base, and can be viewed as a double plate 2A3 with 6V Filament. It's also said to be the American answer to the PX4. Considering its pedigree, compared to the 2A3 it's a very cheap tube, undervalued.

Sound was very good, highly organic, with little to fault. Last visit we heard the RCA 2A3 PP (sporting single plates) and I think that has a little more sheen (as single plate should vs double plate), but partnering stuff was very different. DIY lore has it that 6B4G is not as good as 2A3 but judging from what I heard that seems like, well, just lore...A highly worthwhile amp!

Click to enlarge. R: the astonishing RCA PB-23 45 PP Amp.

RCA PB-23 45 PP Booster Amp

My Oh My!!!!! Holy Molly!

This belongs in an Industrial Building, as it'll never get pass your wife! Any wife or, for that matter, any sane man. But this beast of beasts is a beauty among beauties! Very early vintage, and extremely rare.

This is a 45 PP amp, with 80 as rectifier. In front is a 56 tube. As readers know, 45 is one of my fav tubes (here all precious globes). The globe 80 is not cheap either. Mind you, 80 is evolved from the venerable WE 274A and is a fabulous rectifier. As I write, I'm listening to a later humble ST (but engraved) Tungsol 80 on my humble BRZ-50 amp, and it's still lovely!

Sound of this beast? Out of this world! The live quality is just astonishing. As with the best (and rare) gear, one feels the dialogue between musicians - it's like tossing musical phrases back and forth. One saying is one is kept at the edge of the seat - yes, here for sure. I also say the best stuff makes you anticipate what comes next 有期代感 - yes, here for sure. Also, as in WE gear or tubes, there's a scintillating quality 撩撩吓. There's another more common and much smaller RCA 45 PP (the Model 245) which I've heard, but it's not in the same league as this beast.

This RCA amp is actually a Booster Amp for the RCA 845 PP amp (still in restoration)!!!!! Wow! This is like WE Booster amp for 212. But, somehow, I think this amp will stand tall and the 845 may fall short. To this date, with my preferences and a highly efficient horn system, I cannot say that I've heard a high-powered DHT transmission tube beat a flea powered DHT tube. I'm a firm believer that the lower the power the better. There's a good reason why the Japanese rate the 0.5/1.5 watt (SE/PP) WE205D as their Dream Tube 梦幻之球 (yes, I've heard it in our friend Eric's WE46). And I'm a fan too of the much more humble 0.7 watt (SE) 71A! But, unlike many others, I actually like to be proven wrong, at least in audio!

Sound Sales 12/14 I was really impressed with this PX4 PP last time. This time, the setup may have been different and, perhaps, the aforementioned RCA PB23 was just so much to my taste that it seemed to have paled a little. Yes, the marvelous rhythm was still there, but I missed the sheer fleshiness, nigh, carnality, of the RCA. Perhaps, like the host says, it's a case of 虾饺 vs 烧卖, in English Apples vs Oranges. But...I'm a carnal person...

Turntable Galore As if all that was not enough, the host showcased his TT's behind the horns. Unlike last time's parade of 16" Transcription TT's, these were all classic home use legends. Details are shown in the pics below. For sound, let me say, for classical replay, this time it's even more to my taste. The Shostakovich 13th (Haitink, Decca) was totally spread out and marvelous!

Thoughts

• I cannot isolate the amp from the marvelous horn system, so in a way I can best compare whole systems. These are insanely intricate systems. For me, this visit's ostensibly simpler system sounds even better than last time's more vintage-oriented preamp-amp oriented systems. This place is a treasure trove! Every time shall be a different finding, I'm sure...

• RCA PB-23 45 PP Amp I rate this amp as one of the best DHT PP amps I've heard. And that includes the formidable WE46 (205D, our friend Eric's system here), WE86 (300B) I heard at 白马王子 and Humphrey's place, etc...and, including my Brooks 2A3 PP, and my favorite WE133, PP 349A (an exception to my world view, as it's a tetrode) .In fact, in terms of the rare titillating quality 撩撩吓, I rate it among the very top! I somehow think it surpasses the WE's. But, let's not forget, this is with the RCA horns!

• Sun Radio CR10 6B4 PP This is a very even-tempered amp. Somehow, its qualities are enduring. This time, I'd rate it as even better than the UK Sound Sales! This is likely the best bargain entry to the DHT PP world!

• Resisong 1:1 Transformer You may have noticed its presence in may pics here. Yes, we tested it here, extensively (to great effect), but the report shall appear in the next post.

El-cheapo Chinese Selector Switchboard and

 Chinese replica EAR 88PB (834P not used)

Thorens TD124 Mk I SMG 212 Koetsu Black

Lenco L75 Slate Plinth Decca International Mk 5, and

Thomas Schick Supex AS-900

Sound Sales 12/14

Micromega Solo Duo 3.1 Pro

Click pics to enlarge. Right, in Station B, from Top: Micromega Duo CD3 Transport; Solo CDP; Philips CD771, Duo Pro DAC.

Letter from Hong Kong (24-9): More...More Days

Written in Shenzhen

Cheaptubeaudio: Overview Micromega

Informative Hungarian Fan Site Pg 1 and Pg 2 and LEEDH Pg

In previous episodes I have used a variety of CDPs, mainly the usable ones without hiccups! I did try to operate my two best Micromega's, the Solo and Duo, but I had difficulties. Not surprisingly, since it had been ages since I had used them. After repeated attempts I was met with partial success.

More Micromega Overview In researching this article, I was really surprised that Micromega Offical Website now suddenly has some brief capsules on a few of its legacy products! Unfortunately, there are some glaring and inexcusable errors (see captions to bottom pics). Since one can never trust these sites for posting them forever, I took some screenshots of the more interesting ones and include them at the bottom with comments. But, if you are interested in more, I'd urge you to also read my own Overview (one of my best) as well as the Hungarian site linked above. For the latter, use a translator - I assure you it'll be worth your while. It even includes a page on the super rare pre-Micromega LEEDH. In the early 90's you can occasionally see some of the LEEDHs in HK second hand shops. Not now.

The earliest LEEDH and Micromega's (like the small Duo DAC) were still 16-bit. Our Hungarian friend did not seem too enthusiastic about this era, but I have heard people say the 16-bit stuff were good and I tend to believe them as I once had a Micromega modified Philips 16-bit CDP (I don't remember the name, but I don't think it's the 3 mentioned in the website) that sounded very good to me. Nonetheless, Micromega really shone in the Bitstream era. The Solo, Duo and Trio represent Micromega's best efforts and the company's most resplendent period. If we count the period before this (model CDF1) some of these were in production for around a decade, about the lifespan of Bitstream. The Solo evolved from the slanted front to non-slanted (just like Duo). The Duo first had a smaller matching DAC, then came the matched size, stackable Duo Pro (like Trio minus one). Earlier Duo Transports, indeed all Micromega transports, also had the mechanism towards the left, not centered like mine. The Trio had always been similar cosmetically. All three lines evolved as Philips evolved with their Laser Heads, so one will find all kinds of lasers, from CDM3 (as in my Solo) to CDM9/9Pro (as in my Duo CD3).

I'm sure these machines underwent revisions from time to time, but they were all good. Later ones had the ACCUTRANS electronics, but I'm not sure what that is (perhaps something to do with jitter reduction, as Micromega was a pioneer in this, starting with the Trio). Finally, a word on the Weight/Puck. There have been several types, The somewhat flexible round disc for my Solo is made from what looks like plasticized Kevlar (no doubt for its damping properties). The one for my Duo is acrylic. There had also been a Mark Levinson Clamp (ML and Micromega were in business early on). 

Solo Mine is an earlier version with slanted front, likely an H. It sports a CDM3 swing arm. I was able to operate it some months ago but then the next time it wouldn't even turn on (no display). The next time I had it powered on for quite a while and the display came back on eventually. And then it would not read and spun awkwardly. I then noticed that the disc had almost no clearance from the chassis, maybe even scratching - I think the suspension has aged but I have yet to open it up to see what could be done. What I did was using my fingers to slightly wiggle (a little pulling too) the center of the mechanism, and it worked! As for now I've played many discs without any issues.

Sound? Just great. This is in Station B with the Ruark Crusader II. In comparison to the Philips AK601 (and CD771 when it works), sound is significantly more refined and smoother. In the past, sometimes in comparison with other gear I'd find the Solo a little too ripe, but not really with my SET amps in this station now. It also throws a gratifyingly huge soundstage, much deeper than the cheap Philips players, is astonishingly well layered and has first-rate image specificity. And of course, with Micromega, sound is always very musical, with good rhythm and pace...

Then...an event...read on...

Pic lifted from the Chinese internet. Note the high grade parts of the Duo Pro, including WBT RCA connectors.

Duo CD3 + Duo Pro There had been many generations of the Duo Transport. Some interesting aspects of the design can be found in the manual (Duo CD3.1 Manual). This "cheaper" CD3 sports a CDM9. It came back to life relatively quickly and plays discs perfectly. However, not so the Duo Pro DAC. Even before, it'd only work sometimes. Part of it is for sure contact problem. The front display are sometimes messed up. E.g., pressing the Phase Reversal would mess up the Bit Rate indicators (blinking 44.1, 48 etc) and issue forth some digital noise. Usually the DAC would indicate the correct 44.1 and locked status but no music would pour forth.

I did succeed in getting music through one time! And it was swell. The Duo is more detailed than the Solo and tonally a little less rich, though just as musical.  Right now the DAC refuses to make sound. Maybe I shall open it up and do some cleaning. Or maybe next round I shall revive my Duo BS, the smaller, cheaper and less detailed DAC (if I can find it). I'm thinking of reviving my Micro series products too.

With the Solo, there is a fascinating turn that involves other gear...but it'll be in a following article...

From the CDF1 on, Micromega had maintained the same (robust) chassis. In the center, the first separate chassis DAC is 16-bit and is rarely seen now and coveted more than the later Duo BS. However, most have been heavily modified.

A ridiculous error by the current Micromega team. The CONCEPT series look completely different

(like my Micromega Stage 2)

The error continues to this L capsule. The Minium can be dismissed.

I have all 3 of these My components!

as well as the MyAmp and CD-10

Entreq Silver Minimus Infinity Grounding Boxes

Letter from Hong Kong (24-8): ELO on Grounding Boxes and other Conundrums

For most of my 50 + years of HiFi experience, I have not been a believer of grounding and its ability to remove the high frequency and other unwanted noises that exist in the power grid and around the whole flat. Not until the recent two years, that is, largely thanks to Doctorjohn for letting me write here, which reignited my HiFi journey to chase after Nirvana....

There are people who spend whole lots of money on improving the power supply to create the cleanest and most accurate sine curve to power the system. Some spend ample amount of money on noise grounding. Mechanical grounding of vibration is another intriguing topic; I think people like us invest much time and money on this - many blood sweating stories on choosing the right type of vibration control material to take away the unwanted vibration that can mask and deteriorate the sound! For me, I agree with all of these means to improve sound but a lot of people simply use "measurements" to judge things instead of ears and heart to FEEL the music.

Even seasoned veterans in my early years paid very little attention to noise grounding. Many did not think it can improve the sound, and that's even true as of today. Even my old self always saw this as voodoo magic or snake oil. Even when it comes to cables, many say they are not worth the investment. But I do believe any cable can alter the sound in a way that can improve or worsen the sound depending how setup is tuned. There are a lot of uber expensive cables available in the market. While they offer improvement to sound, I always question their PQR or even the actual performance. I am extremely happy with my cheap cables (by today's standards) but I'm still open to trying mid priced cables. That is another topic that can lead easily to heated discussions!

Without drifting too far, (which I did many times as usual) those who had read my earlier posts some time back know I was sold on the idea of grounding my system and that I started to DIY some simple ground boxes (as in here; this is not something that requires a whole lot of electrical knowledge)!! And they really work in my system. Since then, I have been adding more and more ground boxes into my system. Even if some did not work out, most did and, as a whole, the effect is more beneficial than adverse.

Entreq Silver Minimus Infinity (SMI) had always been on my radar after I acquired the Entreq Micro, though not top of my shopping list. After acquiring the Grimm SQM, the hifi bug made me itchy again to try to improve further on my system. 

On my current setup, so very listenable already, I am really satisfied with the sound but with a small issue: the midrange is very transparent but still missing the last bit of texture and, perhaps, bit of warmth and that final bit of musicality. I'm just nitpicking, and of course any improvement is welcome.

As usual one day, I was surfing R33 for interesting stuff, not necessarily to buy, and then saw the Entreq Silver Minimus Infinity (SMI) on sale at a very reasonable price and I got it quickly with a slight further discount. With no expectation at all, I immediately installed it into my system. I hooked it up to my Aiyima A08 Pro - the difference is huge, but on the negative side: the soundstage has shrunk and air was dried up. So without waiting for too long, I unhooked it and then tried it on the UMI. Sound seemed to be back to normal but, to my surprise, there's one track that really perplexed me! The guitar should be dead on the left, but  then here it had moved to slightly left of middle!  Then I moved the Minimus to the back of my Wattson WEA and connected it to the Viard ethernet cable's connector. Soundstage seems to back to normal. Then I let it settle down and played some random tracks from my Tidal collection.

Without any expectations, at first I heard only small changes but, after prolonged listening for more than a week, the subtle changes grew and grew and became vital and integral to the system. It elevated the level of one very important HiFi indicator: MUSICALITY. Just when I think the system has enough detail retrieval, the SMI somehow improved on it. 

So what are the improvements?

• 1) Improvement of Microdynamics is the most important. The speed of music can be lightning fast if demanded and can happen all of a sudden. Then it will die down within a split second, followed by absolute black and quiet background, plus the seemingly unfathomable decaying reverb of the instrument that can only be heard to last second of the track. Also the musicians and vocalists seem to play more TOGETHER, instead of everyone being on his own in an isolated space. The timing of all instruments are dead on accurate with not a bit of sluggishness. The portrayal of violin has gained an extra level of performance;  possessing the right body and harmonics, the hairpin turns are negotiated smoothly and swiftly like by a top F1 car racer! As a result, it can sound ferocious and scintillating yet, if required, it can be as regal, melancholic, solemn, sad, or serene. Quiet as a virgin, agile as a rabbit, as the Chinese say. In a nutshell, the violin sounds like what it should be, but tube lovers beware, no rosin was smelled yet, so maybe there are another things to improve on my list.

• 2) Midrange Cohesiveness and Sensuality. Before, the midrange sounded a bit cool and slightly impartial, though overall still very very listenable (just being critical). Enter the SMI: suddenly the vocals, especially females, seem to put on a thin layer of flesh.  All female singers gained an extra level of sensuality and lushness, while male vocals take up on masculinity without sounding chesty nor boxy. All became ultra pure with just the right amount of intensity. Though not at all tubey, the agility, belting, runs, deliberations and articulation that distinguish a skilled singer from a pedestrian one is easily identified from pppp to ffff! AThe SMI brought to the surface, and in a non-intrusive manner, a lot of the singing techniques that were not heard before or were just simply masked! I was hearing 50 shades of gray, LOL!

• 3) Details in the Lower Registers I could hear more bass articulation and changes of yin and yang. Basslines are easier to follow, and my foot tapping index is really high. Yet, I don't think the system has the tendency to tune the sound towards the hot side of PRAT. Still, if it is there in the recording, it will honestly convey it without any added spice nor overcooking, and that is very important to me.

• 4) Recorded Information Retrieval I can hear a lot more Hall Sound and the capture of decays and reverbs at the end of the song where before I would just think the song has already ended and focused ahead to the next track. The effect of the additional level of  attenuation of music played on multiple instrument can be compared to watching fireworks. In the sky, fully blossoming fireworks overlap with decaying ones, one after another, to form the amazing and colourful pictures that we all expect and love to see and become touched. Imagine that happening in your system with music instead of fireworks!

• 5) Imaging Truth is, I'm not an image freak; as long as it can be felt, I am good. With the UMI, I can actually touch the instrument (often caught me in awe) since the the instrument sounds so complete with the presence of all the subtle spatial and textural information (air surrounding the instrument, the correctness of size, proportion, timbre). The fingering of musicians and the tapping of instruments are all clearly heard; yet, they never intervene with the flow of music. I can identify the number of backing vocals without being  analytical.

Building up My System: Trying to understand why and what it sounds like A bit of sidetrack, with all the improvements, one day I started to realise that often I feel like I'm hearing something that is very close to live music in every song. Things are so natural and organic; there is no makeup (or at most some skin care treatment but definitely no colouring nor powdering and mascara)! Now that I think back, the reason is not difficult to identify, it is the synergy among the equipment: the almost transparent and dynamic Aiyima A08pro; the musical yet airy Studer cables; the cleansing effect of UMI; the really high end performance of WEA (punched way above its asking price); the classy yet finely detailed Viard speaker cable; my most reliable, honest, dynamic and irreplaceable Dynaudio Crafft; the Audio Physics subwoofer providing the bouncy and taut foundation; plus all the accessories like grounding SPEC RSP-01 on speakers; mechanical grounding, high frequency Earth Boxes (SMI, Micro and DIY) and endless high quality Tidal music! To say that I'm one step closer to my ultimate Audio Nirvana is not an overstatement! Doctorjohn, you gotta come and listen when you are in HK again since I am not sure whether it is true or simply my self indulging illusion or my own self indulgence, LOL! But right now I am the most satisfied in my 50 years+ of music listening journey!! I may not be any average HiFi lovers since I really go small instead of go big (except my Dynaudio's which are not the most compact). But the outcome is BIG and BOLD, musical and enjoyable, yet not coloured or with any added exaggerated PRAT or euphony, which is exactly what I am looking for during the course of my HiFi journey!! And right now, I begin to feel that I am not that far away from my ideal picture of what it should sound like (say it more than a hundred times already LOL)

I also like details that can lead to a better understanding of the music piece but not distract you from the main picture. To be honest, if I want musical experience, I can simply turn on any analog tuner and be able to hear it on my earphones or in my car. As a music and HiFi lover, it is only the minimum requirement !! I don't chase effects, since if the system is not musical and enjoyable, details will be deemed to be boring, artificial and useless! Details is simply a byproduct of musicality, not the main character, just my 2c.

My take on grounding If connected to the right place, a grounding device can improve the sound of your system from slightly to significantly and, indeed, you must experiment and be aware that sometimes one can overdo it. Perhaps, different equipment has its own threshold and too much grounding can have a negative effect like too much drying up of the sound.

Grounding does not change the sound signature of your setup, in fact it can only strengthen or disclose more of the strengths or, sometimes, weaknesses of your system, which is likely the byproduct of a darker background. In my case, the increase in musicality is definitely felt in particular when Entreq is used. They are not cheap but I would consider it as money well spent - they are definitely not at all snake oil but a nice glass of fine claret! Cheers!!!!

Counterpoint Overview SA3000 ANUK Kit 4 Marantz CD60 CDA90 Limited

Click pics to enlarge. R, in use the Revox 221 CDP, Counterpoint SA-3000 Preamp, (Rotel 870BX) and the original Bryston 4B.

Letter from Hong Kong (24-7): More days after the Longest Days

Written in Shenzhen

This article picks up after my last article left off and chronicles what I have been doing in my old house in HK.

I'm slowly but hopefully surely rehabilitating some of my gear in HK. I meet with many obstacles, as long periods of disuse do harm to all things electric. When I first got back to the old house last year, all electric outlets near the floor were out, and the electrician had to install a new fuse box! 3 phase for HKD 3,000.

Counterpoint SA-3000 As mentioned in the last article, in Station A I was until recently using the MFA Magus Preamp. I had actually tried the Counterpoint first, but on turning on it'd not come out of relay. All the indicator lights on the board were green. I suspected a tube problem but could not entirely remove the top plate because one of the Philips screws had a worn out slot that no Philips screwdriver could grip. So I put it aside for a long time.

Last week I gave it another try. I found a silver colored sharp tipped tool that looks like companion to the Ortofon screwdriver that comes with its cartridges (not sure what it's for). I hammered it a bit into the center of the defective screw slot and voila! the Philips screwdriver now could grip it and I took out the screw. I first changed the 6DJ8 tubes to no avail. Then I noticed the (latter-day International) 6CA4 tube was barely warm. I dug out a replacement tube (a better old-stock Zaerix, likely Eastern European) and Eureka! it came back to life!

Sound at first was a little grey but over time it improved quite a bit. Compared to the MFA Magus, the sound is more laid back, but still involving. Over a few visits, it worked quite well with my equally old and trusty first-gen Bryston 4B driving B&W 801 Mk II. The lighter character works well with the super full bodied 801. The unit now has a gold-pin Zaerix 6DJ8 in the line section. Two Mullard's sit in the phono section but I've yet to test that section out. For more info, see the Brief Overview below.

Brief Overview: Counterpoint Over the years I've owned a few and heard even more. I don't pretend to be an expert but I'm a fan. This Overview is by no means exhaustive! For years on end, owner and designer Mike Elliot maintained an Altavista Audio site which was chockful of info, and offered upgrades, but then his health forced him to shut it down. It's too bad there's no site like arcdb.com (for ARC) to archive this brand's stuff.

There have always been a sleuth of comments on this brand, two of which I'd like to address here:

"Counterpoint is  poor man's ARC 窮人的 ARC" This saying is at least popular in Hong Kong, but it's nonsense. I think I know why this comment came about. First, ARC had always been held in the highest regard in HK (and I'm a fan of their oldest stuff) so this saying honors contemporaneous Counterpoint, meaning one can aspire to "high-end" on a lesser budget. But I demure. IMHO, Counterpoint has its own sound, and its best is no less than ARC, albeit at lower cost. The other thing is, like ARC, Counterpoint had many hybrid designs, reflective of the era actually (my excellent Melos 222 Preamp used in Station B is hybrid too).

"...Prone to Failure...药煲" Basically no, but...Now, these products happen in an era when ALL tube gear are prone to issues like microphonics and failure because of the unreliable tube supplies at the time. As tube power amps are more demanding of tubes, they fail often during this era, and that includes ARC, CJ and Melos products. Counterpoint had few all tube products but then even the small tubes used in the hybrid amps were prone to failure at the time. Whether Counterpoint, ARC or CJ or Melos, the use of 6DJ8 is always prone to microphonics. Counterpoint is actually better as it can run on cheaper but quality 6DJ8 (like an Amperex) whereas its ARC counterparts, not to mention the then-popular Audible Illusion (which I have never liked) run the tubes harder and demand higher grade and much more expensive 6922.  Another important factor is that Counterpoint was purist and in most amps did not have protection circuit. The accidental and briefest of shorting in the speaker cable connection would result in demise. But if one takes care, it'd be alright. My experience is mostly with preamps which in my opinion are well built and reliable.

SA3/3.1 The 3 is less seen, the 3.1 more often by far. This is an all tube unit, full function with good MM phono stage, with separate PS . I had once owned a 3.1, and heard them at others numerous times. It's a sturdy unit, but subtractive in its virtues. Good, but not the best for me. Riding with the 5/5.1, they are overpriced.

SA5/5.1 Again, mostly the 5.1 heard. Sturdy all tube unit with good full function MM phono stage and  separate PS. I have never owned one but have heard several. They are superior to the 3/3.1 in dynamics and sheer presence for sure. Very decent, but still not close to the last word in resolution, though the 5.1 is Elliot's own favorite (more than the 5000, see below). Currently, they are overpriced imho.

SA7/7.1 This is still all tube, basically an updated SA3/3.1, full function with MM phono, but I personally think it is much better, at least in resolution. I still own a 7.1, which I have to fire up again. Now, by this time, surely to cut cost, the chassis had become much lighter metal. AND, the power supply is incorporated within, no longer separate. So, a much cheaper unit to build. Despite all this, for me the sound is much more transparent than both the 3 and 5 series, although the lighter chassis and onboard PS likely contribute to the more serious issue of microphonics. The SA7 is notorious as Stereophile then gave it a horrible review. The tubes used might have had played a negative role, as I always use good old-stock tubes to best effects. To conclude, for me the 7.1 is better than the 3 and 5's. Perhaps less oomph, but more refinement and resolution. Also better price. My ranking may sound like heresy and there is a factor that one has to keep in mind. Many of the 3s and 5s have had mods that will surely affect the sound (it's a fact that the more expensive the old gear, the more chances that it had been modified; no one will modify a 7.1 or 1000). YMMV.

SA1000 With this series, Counterpoint Preamps entered the big chassis and hybrid preamp era. I had owned one. It's full function with MM phono stage (2x 12AX7 in phono; 1x 6DJ8 in line section). Its sound is subtractive, but very smooth and pleasant, less immediate and upfront than the all tubed 3/5/7 (the observation holds for the entire thousand series) but still musical. Aside from a small degree of greyness, one would be hard put to hear it's hybrid. A bargain and underrated entry preamp in my opinion, at least for those who desire a built-in phono.

SA3000 As above, this one I still have, and listen to! This is a solid cut above. Instead of the ss rectification of the SA1000, this is tube rectified (6CA4). The line still employs 6DJ8, but the phono employs also 2x 6DJ8 and is both MM/MC! Although I've not fired it up this time (I'll soon update), in my recollection the MC Phono section is highly capable (FET based headamp section), even with my Denon DL-103! THIS IS A BEST BUY. SA2000 This is just a line-only SA3000, without Phono.

SA5000 This is the flagship and all-out effort, the only one with separate power supply. It's like a beefed up SA3000, 6CA4 rectified, with 2x 6DJ8 in both Line and Phono stages. Tube regulation is added (2x 6DJ8 and 12AX7)! I have never owned one but did get to spend a long time with a mint sample (Danz' unit which I brought back for him). I was not entirely happy with it, however. In this article on the BAT VK3i I wrote: "...At the same time I have the Counterpoint SA-5000 here, and comparison with the VK3i betrays the Counterpoint’s dynamic limitation, a slight midrange recess and mild emphasis of upper treble..."

The dynamic limitation is a characteristic of the entire 1000 series. As for "hybrid sound", I think only in the 5000 is it particularly evident. Let me say that I'm not against hybrid preamp at all. The ARC SP11, which I own, has the hybrid sound too but the 5000 is even more on the pale side. The best hybrid design to me is my Melos 222 (and likely its predecessor 111 and successor 333), which I still use in my Station B. If I don't tell you it's hybrid, you'd never guess. The very expensive CJ preamps have been hybrid for a long time, and I've heard many models to reasonably good effect. My pick of the Counterpoint 1000 series is the SA3000. For those who wish for a more traditional tube sound, go for the older 3/5/7. The SA5/5.1 is in many ways very similar in sound to my trusty MFA Magus. In my Station A, the Magus produces a more dynamic and upfront sound that most tube die-hards may prefer, but I also like the SA3000 for its lighter hand and more subtle resolution. Both prove to work well with my Bryston 4B (despite use of XLR-RCA convertors).

SA2 This is a legendary headamp. I've heard it once but the demo was not very good in general. A wasted opportunity. One of my dream gear!

SA12 To me, this is the best (hybrid) ss amps I have heard. My unit was an early one with 12BY7 tubes instead of the later 6DJ8s. It's so musical that if I don't tell you you'd never guess it's solid state output. I sold it to a friend who clamored for it. I was told by a tech that, as it has no protection whatsoever, one should be very careful with speaker cables. Even the briefest short will result in the unit's demise. If you come across a good unit (or the SA100) by all means consider purchasing it! Aside from this I have no experience with other amps. Our friend Humphrey has a pair of the legendary SA-4 OTL amps (very rare, so are the 6LF6 tubes) which I hope to hear one day!

The small black box atop the CDA94 Limited is the April Music (Stello) U2 USB convertor. Note the large italic Limited. 

Marantz CD60 + CDA94 Limited Both of these are 100V, plugged into my 100V line (Chinese Gold Ox Step Down). The Marantz CD60 model number for some reason had been used several times by the company, so it could be confusing. Not to be confused with the current CD60, this much older CD60 was very popular in its days. It has the CDM4 transport and 16-bit TDA1541 DAC. Mine is a "water goods" (or "grey goods" or "parallel import") 100V version, not the ones sold in HK (230V). HK audio lore has it that the Japanese domestic 100V ones have better components than the export versions, and it's true (even if it's just a few parts). Here in Station A it is used as a transport, hooked up with Belden 1694 to the CDA94 Limited (I believe the link has the wrong pic of a regular CDA94, as my specimen has a large Limited logo; see also the many pics in hifido). The CDA94 Limited was never exported (not to HK, nor the West I believe). As I had both the Marantz CD94/CDA94 I can attest that the "Limited" is indeed the best sounding (by a small but significant margin as compared to the regular CDA94; difference not as large as between the internal DAC of the CD94 and CDA94). There are 2 coaxial inputs. On the other one a Stello U2 USB(B) to SPDI/F convertor was connected via also a Belden 1694. During my 2-month stay in HK at the end of 2020 I actually streamed NML and Spotify on my Chromebook. The CDA 94 Limited has XLR outputs (transformer coupled I believe). As my Bryston 4B has only XLR input I'm already thinking of trying out the Douk T8 Pro Preamp (which has both XLR in and out) to create a fully balanced Station A!

vs Revox C221 The Marantz CDA94 Limited belongs in the top echelon of 16-bit, just as the Revox C221 ranks among the top in Bitstream (my write up). So, being an avid student of both 16-bit and bitstream, the matchup was both fun as well as predictable. As my Pioneer T-07A suffers now from an unusual problem (midway it'd sputter, not skip but producing unusual digital noise), I had been using the C221 in Station A, so it was definitely re-run-in.  Unfailingly musical but, true to its studio origin, the C221 renders music in a sunny and explicit manner (Micromega 1-bits have a little more yin, or subtlety). The CDA94 Limited is likely not so re-run-in, but it does put out classic 16-bit sound. For me, that is, a less upfront perspective, better hall sound and ambience, and weightier bass quality. Even though a little darker, the proceedings benefit the big symphonic classical works. Bruckner through the Marantz had more breath and weight, but vocal and jazz fans just might prefer their material though the more explicit Revox. The difference is quite substantial, and that involves both technology and house sound preferences. Suffice to say this is just a start to this project.

Audio Note UK Kit 4 It took some time to fish out some tubes for the long abandoned ANUK Kit 4 (see here). Finally found 2 pairs of "matched" old-stock 6V6's and installed a pair of UK Brimar 6SN7 (with interesting somewhat curved plate structures) that I didn't even know I had. The 12AX7s were stock Yugo EIs. I was really surprised by the sound. Finally, the amp seemed run-in, or at least out of the initial murky period! In Station B, with the el cheapo Philips AK601 and Melos 222 Preamp driving the Ruark Crusader II, sound was really engaging! More than the ANUK Kit 1, or Preamp and Phonoamp kits, this one immediately showcased its rhythmic elan. Pacey, confident, it certainly made me want to tap my toes. Given that I am a huge 6V6 fan, I'm really gratified. Now, this is a more modern sound that is different from my vintage Bell and Grommes. If you are interested in 6V6, you should read my Overview. No, the Kit 4 does not have the subtleties and sheen of the best vintage samples, but it's worthy on its own. I'm sure it's superior to an old Raphaelite/SinoVT 6V6 PP amp that I had (here). More useful power than my SET amps for the Crusader, it's a highly worthwhile addition to Station B.

I stop here, but there are a lot more coming very soon, on Reisong trannies, Micromega and the mighty WE274B (even used in SZ now!!!) Going back and forth between SZ and HK has galvanized my audio libido. Watch this space.

UMI 1:1 Sun Audio 300B VT25 ICL

Click pics to enlarge. Not exactly on this occasion but close enough. Station B in front. Center, Philips AK601 CDP and Melos 222 Preamp below Sun Audio VT25 and DIY 45 amps. Left, from top, Micromega Duo transport, Micromega Solo, Elekit 8230 2A3 amp, Philips cheapo CD-771, Micromega Duo Pro DAC, PS of Melos 222 and Bryston 4B. To the right, note the Ruark Crusader II in front of the B&W Matrix 801 Mk II. Note the "wall" on the right side was a partition using steel cabinets. In the back (actually near the entrance) is Station A. CDPs in use are the Revox 221 and Pioneer T-07A, second and third from top, below which is the MFA Magus B Preamp. Amp usually a Rotel 870BX.

Letter from Hong Kong (24-6): The Longest Days, Part III

Written in Shenzhen

Part I, our gathering on Jan 28th in Chaiwan

Part II, the next day, starting with the amazing den of Taimonsing. 

January 29, chez moi to finish

After being cooped up in the RCA Warehouse of Taimonsing, we had a late lunch. Then the 3 of us headed back to my old place in Pat Heung. Now you know why I fired up all my amps late the night before - in preparation for their visits! I planned out a program for them. Equipment was more or less as before (Station B described here; see Top Pic for Station A).

Program/Station A For a starter, I first fired up the B&W 801 Matrix Mk II. CDP was the Revox 221. Preamp MFA Magus B to the Rotel 870BX. I played mostly Until the End of the World. We didn't listen to this for very long as it's not the main program...

...then, after Program B finished, icefox the taskmaster asked for the Rotel amp to be replaced by Bryston 4B, which we did. Fortunately I was able to produce 2 XLR to RCA adaptors for use (no RCA inputs; there are actually a pair of professional TRX female sockets which I presume would take 1/4" phono plugs). With a lot more power than Rotel, the sound was drastically different, much fuller but less clean, the Rotel being faster in bass transients. But, as the 801 loves current, overall this was for sure an improvement. The Bryston had not been run for a long time, and it was probably a little murkier than when optimal, and there were occasional small popping noises...

...That was not all: see the UMI section below...

Program/Station B We spent the bulk of the time here. The Ruark Crusader II was used. CDP was the lowly Philips AK601 (CDM4/TDA1543). Preamp Melos 222. The program was to let them hear 2 Sun Audio amps, the 300B and VT-25, and an ICL/Softone 300B. Below you will find the reasons why I programmed it so.

Sun Audio 300B As mentioned before, this was built not on the 2A3/300B kit (2.5 and 3.5K taps) but on the Sun VT-25 kit, using the 5K ohm tap of the output trannies, so a "mismatched" amp of less than usual power (say between 4-5 watts). 6SN7's are a pair of old RCA's. As before, the 300B's and 274B are all 50's WE. The reasoning was to have them hear WE tubes. They have heard a lot, more than I (especially icefox) but not so often outside WE equipment or in humble SE amps. To my ears, this amp has the most WE qualities, including that elusive 撩撩吓 feeling. Many of the tracks on Until the End of the World have quite a bit of electronic ambient sound, swooshing and undulating. The effect is much enhanced in the amp. icefox incidentally might have found some of it a little "hea" (Cantonese for relaxed).

Sun Audio VT25  6SN7's are a pair of old suspended filament GE's. We heard first the white based WE VT25's with the WE 422A rectifier. The idea is also to hear WE tubes, albeit less famous ones (in particular, the 422A is much less regarded than the 274B). To my ears, sound was good (though some clipping is inevitable), but definitely less subtle and more yang than the 300B. And of course, sometimes the amp shows some clipping (1.x wpc)...We later changed to 274B and the sound improved markedly!

ICL/Softone 300B (here) I've always been an ICL/Softone fan. Very good designs for very sensible money, even now. The idea is to compare the WE equipped Sun Audio 300B amp with one using common tubes. The 6SJ7 (essentially a 6J7 without top cap) here is old stock glass GT with metal bass. 300B's a pair of old Shuguang's. Note that in its use of tubes this amp has a shade of the WE91A in it (though it is thoroughly modernized, with things like constant current source). Humble tubes. Sound is quite good, but modern, and certainly more powerful than the Sun.

UMI 1:1 Transformer (here and here) Surprise! I brought this one over from Shenzhen just for this occasion. The effect was unbelievable!

• Inserted between CDP and Preamp It immediately improved the performance - across the board. Wider soundstage and better dynamics. It helped to bring the Sun VT25 closer to the 300B, but what was truly amazing to me was that, when used on the ICL, it kind of brought the modern amp (with modern tubes) at least a little bit closer to the old Sun with WE tubes. The ICL amp suddenly became less a straight-shooter and a little more suave!

• In Station A Again, inserted between the Revox CDP and MFA Preamp, the sound took an unbelievable turn for the better. Pushed out envelope. Much cleaner and more dynamic! We played the Burmester CD2 (long oop; pirated on TB) and it was just fab! Taimonsing rated this one as the greatest improvement.

• I gave the UMI to Taimonsing to make the rounds among the circle as I want more opinions. I'm looking forward to the feedbacks! U shall read more in this blog in due time!

Comments

• WE 274B All agreed that this tube makes the most difference. In fact, although it's very expensive, the 274B in the VT25 amp gets my vote for the "best value" WE. Although the 274B is subtle, sinuous and tactile in its upper reaches it's amazingly powerful in the lower reaches. In fact, the way it fills out the lower end may be a character trait (I think Taimonsing will agree with me). If there is just one WE tube you should get, this is it.

• WE 300B Personally, I think the real WE 300B is just a phenomenal tube. For me, its sophistication is way over any modern replicas. But, as mentioned above, the 274B is even better entry into the magic of WE. It's the essential portal.

• SET? Now, you may not know that both my guests, Taimonsing and icefox, are not SET fans! In fact, at their dens, you shall not find any SET amps! All PP amps! Well, for the SET amps I demonstrated on this occasion, their comments are fascinating. "...don't sound like the usual SET amps we have heard..." I take that as a compliment! Yes, indeed, many SET amps are just way too lean and meager, but they are not for me.

• Sun Audio Tamura Another note here on Sun Audio and Tamura transformers. If you ask me, I don't think I can easily find SET amps better than Sun Audio at any price. They are just superb value for money, and its a pity that they are so low-keyed and invisible in the US market. Mind you, for this round, I also screened Elekit 2A3 and my DIY 45 Amp (WE412 driver, Tango trannies), but I did not offer them for tastings as I thought their sounds would not be exactly what my guests were looking for.

Pics of the Food the Night before

Grimm SQM , TPR vs Studer (blue) and Studer (Yellow and Black) RCA Interconnect and matching with UMI

Letter from Hong Kong (24-5): ELO fails to better "Studer" Cable

First of all, I wish you a happy and prosperous Year of the Loong (gone is the evil Western dragon). Good health and wealth and improvements to your stereo setup!

I have always been interested in Grimm's products and I had read a lot of rave reviews of SQM. MRSP is about $5600 in HK, which I think is a bit over my budget. When I noticed it's selling at half the price second-hand on R33, I immediately took the plunge! After all, it has been voted as best interconnect in 2020; gotta have some bearing on the sound quality! I hooked it up between my Aiyima A08 Pro and UMI and started listening. My initial impression was that it is very even through the spectrum and it sounded really neutral with no edges. I let the music play for a few days and then assessed it seriously. I decided to listen for 3-4 days before making a conclusion subjectively.

Before the purchase I got another "Studer" cable in blue coating but the sound was not at all the same as the old one I have been using at. My old "Studer" with the black and yellow tweed cotton sheath had long become an integral part of my system. Doctorjohn still thinks it is Sommer SC Club Mk II in disguise (see here; Ed: Keep in mind the tweed cloth sheath does have an effect on the sound!). Please send me a Sommer to try out!

I seldom host Home Visits lately. Although I think my home system is now probably at its best ever (by far) I do sometime wonder if I'm the only one who feel this way. Finally, one day my friend Dr Lo came and he was quite impressed and said there had been marked improvements since last time. He said the soundstage is wide and imaging if instruments well sized. Decay and harmonics abundant and there is a sense of coherence and overall balance. He reckons his system may have better midrange vocals whch I'd not be surprised about (as well as better microdynamics). Hope I can visit his place soon. He's also impressed by the sound produced by the miniscule and cheap setup. Give you an idea, the amplification part including cables and UMI is less than USD 500! In my listening experience, my system can easily compete with those costing 10 times as much.

Grimm For me, using "Studer" cables at both ends of my UMI makes it sound its best. Replacing even one with TPR (Ed: here was the first time ELO was disappointed by Grimm; I'm surprised he gave the brand a second chance), SQM or the other blue "Studer" the loss of the magic is felt immediately. After prolonged listening to this Studer/UMI setup, let me sum up:

With the Studer/UMI thus wired, I experience Live Music in my Living Room at close distance!  The sense of being there was so immediate that I ran through over 600 of my favorite tracks on Tidal. Every single time I was engaged to my innermost core. Be it classical, jazz, Canto or Western pop, the sound is natural, balanced, spike-free and without grain. There is good layering and microdynamics are preserved. Tonally, it's neither fat nor thin and midrange is clear as a stream. Well, it has everything!

Without a doubt, the performance is approaching new heights! Every now and then, I'm looking at further upgrade but I'm currently in such a great place that I'm afraid any new gear may not match the old! The UMI/Studer is performing like a signal enhancer, albeit one that adds nothing to mask the sound.

I tried so hard to persuade someone that I almost lost him as a friend! That's how much I am a believer! Sorry, dude, that was so unlike me. Currently, 3 other friends jumped on my bandwagon to join a group buy organized by icefox. Hurry up icefox, with all my talk my friends are impatient, LOL.

I should add that, for maximal performance, from Wifi Router all the way to speakers, every single piece of gear is actually grounded with Entreq Micro or DIY Tourmaline boxes.

I watched the latest video by Steve Huff on the new AXXESS Forte all-in-one amp and I was drooling over it. Maybe AAVIK amps? Maybe the newly released Eversolo Amp F-2 (800 Euros). Well, maybe...

聘珍樓初一開年飯

The Garoupa is steamed to perfection

The Crispy Chicken Skin is so crunchy！

The Fried Rice was a highlight!