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.