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.

Vinyl Talk: K&K LL1678 + Audio Note Kit Phono amp, Part II

Vinyl Talk: K&K LL1678 + Audio Note Kit Phono amp, Part II

For Part I, click here

Round 6, comparing K&K gain options
Previously, for the LL1678 I chose the 24db gain option (others are 18 and 30db). The impedance ratio thus is spec'ed at 256 and so the loading of the MC would be roughly 183 ohm, theoretically therefore likely more optimal for Denon than my Ortofon's.

And listening revealed it to be so. While the Denon DL-103 sounded fine, the Ortofon Kontrapunkt C (weight 10 gm; compliance 12; output 0.47; internal resistance 5 ohm; loading recommendation 20-200) mounted on the Kuzma was comparatively lackluster with this phonoamp. In my experience, Ortofon cartridges sound better when loaded at low value.

Minor Surgery: I looked at the K&K spec's for the 30 db gain option. With turn ratio of 32, the impedance ratio is 1024, which makes the loading 45.9 ohm, this time theoretically likely more suitable for the Ortofon than the Denon. I studied the connection diagram. All I have to do is bridge two links and move another, not insurmountable. Half an hour later I was done with the conversion.

Immediately it became clear the sound of the Ortofon improved. But what about the Denon? Well, at the unusually low loading it surprisingly sounded quite well! Perhaps a little less airy and rich, but I think most of the magic is preserved.

While the load impedance is one thing, there are caveats. Calculating according to the info available at The Analog Dept, the Ortofon is likely overloading. Resonance figures are unlikely to be optimal for both cartridges (one high on low in compliance) with either turntable (one high mass arm, one medium). Well, I don't hear much wrong. Let me run this in for further comments.

Review: Leben RS28CX and RS-100 Preamplifiers

pic from Audio Asylum: RS-100 on top of RS-28CX

Review: Leben RS-28CX and RS-100 Preamplifiers
Vinyl Talk: Leben vs AN Kit vs Softone/ICL

As you know, because of my preference for SET, I have always been interested in boutique Japanese tube manufacturers. Even after the pinnacle of Kondo, now my reference, my interest in other manufacturers remain.

I have to admit that my interest in Leben previously had not been particularly great. Contrary to others, I am not exactly a fan of its golden looks. Leben makes only push-pull amps and I am not interested in those. Hence, the only area left for me to explore are their preamplifiers. As a vinyl man, the one I was interested have always been the RS-28CX, but my journey started with a borrowed sample of the line preamp RS-100, a product that evolved from the RS-28CX. I was grateful for that opportunity, which allowed me to gain the all-important initial insight. Ancillary equipment used in evaluation:

Digital: Audio Research CD2 as transport/Genesis Digital Lens/Musical Fidelity M1 DAC
Analogue 1: Kuzma Stabi S/Stogi S + Midas Denon DL-103
SUT: Denon AU-1000.
Phonoamps: Audio Note Kit MM Phonostage (older version); Softone/ICL Model 4
Connection to preamp: I used my best cable, the incomparable Kondo KSL-LPz.
Preamp: Leben RS-100 line preamp (info) on loan to me
Amp: Elekit 8230 amp (2 wpc 2A3 amp)
Loudspeakers: Tannoy Canterbury.

RS-100 Line Preamplifier (Official literature)
Like its bigger brother RS-28CX, from which it is derived, the RS-100 uses 2x 6CG7 in SRPP mode for amplification, but its tube rectification is by 6X5 in lieu of 5Y3. There is also a "U" version that employs 12AU7 instead of 6CG7. You can find out all the details from Jeff Day's review in Positive Feedback. It is a handsome unit and I prefer its size and hammertone finish of the top plate to that in its brethren.

The loan period coincided with my evaluation of the Audio Note MM Phonostage Kit, and you can read about that in my previous article. Here I'd add some brief descriptions. The sound of the Leben is utterly lucid in the entire frequency spectrum. Noise level is extremely low. The sound is neutral, without much tube coloration, which is how I like it. Dynamics have an unforced quality, with full, clear bass, good rhythm and pace and microdynamics. In my 200 ft LR and with my flea powered 2A3 amp I need to turn the volume knob to 11-12 o'clock to get the volume I need. This is in marked contrast with my other preamps from Japanese SET manufacturers; with the Kondo and Wavac line preamps, the volume is plenty loud already at 9 o'clock. Considering the SET amps all have very high input sensitivity, this is understandable as Leben does not make SET amps, rather higher-powered PP amps.

Since this is purely a line stage, there is a direct in feature, which was what I used. There is a set of variable output (with a knob at the back) but as you'd expect it did not sound quite as good as the fixed output. Unusually, there is also a Stereo/Reverse knob!

I did do a brief comparison with Kondo. No, there was no miracle. The Kondo just had more air and that je ne sais quoi quality, and was even more dynamic. But, keep it in perspective, the RS-100 remains a wonderful piece.

RS-28CX Full-function Preamplifier (official literature)
This flagship preamplifer has been in existence for much longer. For details, read the same Jeff day's review in 6moons.

By chance a second-hand unit became available here and I purchased it. You might remember that I have reported a little on this preamp's phonostage performance in my recent article on LFD (here).

Where the RS-28CX really diifer from the RS-100: Not surprisingly, while the sonic signature is close to the RS-100 (that is not much signature), there are important differences not explored Jeff Day's reviews. The integral part of the difference is due to the difference in gain structure of the line stage: the RS-100 has 23 db of gain, with maximum output at 53V; the RS-28CX line has only a little more gain at 25.2 db but the maximum output is much increased at 80V.

So while the line sections of the two superficially seem similar, they behave quite differently. With the same equipment, I need only to turn the RS-28CX's volume pot to about 9 o'clock to get the volume I want, bringing the preamp in line with my Kondo and Wavac. The reason for this is undoubtedly due to the presence of the phono section (keep in mind Kondo and Wavac all have separate phonostages).

This major difference in gain structure also makes the sound different from the RS-100. The higher gain undoubtedly is more suitable for my SET amps: the sound is more dynamic, more nuanced at low volume, more vital. Not a huge difference, but instantly audible. It is still not quite Kondo, but the difference narrows a little.

I think if you are a SET amp user, or your amp is low-powered, or have inefficient loudspeakers, even if you do not play vinyl, the RS28CX will likely be a better choice than RS-100. But for Leben amplifiers the RS-100 may be as suitable for digital-only users. Given Leben's integrated amplifiers are basically amps with passive volume, I'd also advise adding a Leben preamp and use the integrated as an amp (volume at maximum) if you want to upgrade the sound.

The phonostage: On Leben's website and in the reviews, there is a lot of hooplah on the superiority of the NFB-less CR type phonostage. IMHO this is over-hyped. CR types are actually not uncommon in modern tube phonostages; my Softone/ICL Model 4 is just such a device.

I had a hard time removing the tube shields of the 2x 12AT7 in my unit. Someone had applied some gluey substance to the tubes and after drying the shields were hard to remove. I had to chip away carefully. I wonder whether this was done at the factory or by a previous owner. I replaced the stock green-latter GE tubes with much older GE black-plate 6201's to great effect.

The gain of the phonostage is spec'ed at a VERY low 20.2 db. Together with the 21 db gain of Denon AU-1000 SUT, the gain of the phono section is only 41.2 db. But let numbers fool you, the truly amazing thing about it is that it sounds like twice that! With either my 0.3 Denon DL-103 or 0.47 Ortofon Kontrapunkt C, I only need to advance the volume knob to barely past 9 o'clock, about the same as using digital sources (here thanks to the high gain line section). It is also superbly quiet. Wonderful!

Which leads me to ruminate yet again. I have seen so many vinyl people calculating gain based on manufacturers' data and debate theoretically on whether a certain phonoamp is suitable, but let me tell you many of the (mostly transistor) devices just sound like less. Or shall we say there are quite a bit of inflated figures out there. Theory and data is one thing; listening is another.

Comparison with AN Kit MM Phonostage and Softone/ICL Model 4: Not to mince words, used with the Denon AU-1000 SUT, the sound of the Leben RS-28CX phonostage is decidedly superior to either high-value phonoamps. In almost all parameters, so no more elaboration.

Previous owner's setup
RS-28CX is seen here with re-issue McIntosh 275, driving Tannoy Stirling. Sound was not bad!

Audio Note Kit Phono amp, Softone/ICL Model 4, Denon AU-1000, K and K LL1678

Vinyl Talk: 2 phono amps + 2 step-up transformers
Softone/ICL Model 4 vs Audio Note Kit Phono amp, Part I
Denon AU-1000 vs K&K LL1678, Part I

Last revised Sept 7, 2011 (round 5 of K&K added)
For round 6 of K&K (change to 30 db gain option), see Part II

Behind this article is a lot of work I have done recently. I am on a roll with my current vinyl gigs, and it has been fun experimenting with everything. More Vinyl Talk are coming!

Introduction: Denon AU-1000
In 1982 Denon released the legendary DL-1000A cartridge (official literature in Japanese. Amazingly, online there is a review from the classical music Gramophone; note that the cartridge is very light, enabling its use on the light SME3009 Series 3 arm (whether that is a good idea is hard to say).

One year later, Denon released another statement product, the AU-1000 step-up transformer (official literature in Japanese), to partner the DL-1000A. Look at that curve, impressive to say the least, and probably hard to duplicate even today. The 25 lb behemoth weighs more than a small tube amp! My unit is on loan from my friend Danz, who is out of the vinyl circuit temporarily because of his child. Hey, he is not getting this back!

Spec: Twin perm-alloy transformers with direct input/output connections (no selector switch in circuit); double-shielded sealed xfrmr case; transformer and input/output connections incorporated inside an outer gun metal shield cover

Cartridge load matching: 10 to 40 ohms
Step-up ratio: 1:11.5 or 21dB
Output load matching: 50k ohms
Freq response: 10 to 80KHz flat
Freq response: 5 to 200KHz +/- 3dB
Dims: 7" x 9.5" x 4.5" (W x D x H) approx

Introduction: K&K Step-up Transformers
In 2007-8 I learned about the K&K (Swedish Lundahl step-up transformer) SUT kits (K&K official website) from two articles by my favorite writer Art Dudley in Stereophile (the shorter article available here). Who else would write about a large selection of SUT's, some budget priced, in a mass market magazine?

Almost all designs at this budget level are based on (or at least factor in) the venerable Denon DL-103, the budget cartridge to beat, and as AD knows the Denon well and praised the K&K, I decided to try it out.

True to my cheaptubeaudio roots, I only ordered the transformers as well the tiny circuit boards (which makes wiring easier). I'd probably prefer my own choice of cables for wiring anyway. But as every DIYer know, getting the right enclosure and hole-drilling is the hardest part of a project. I thought of several short-cuts to evade hole-drilling, but never got around to it. Here lies a warning: buy the complete kit to save yourself hassles (the current version shown on the website seems to be a revised larger board that combines the 2 channels. Must be easier to work with than mine!).

When I called up K&K in 2008, a one-man operation it seems, they were sold-out temporarily of the LL9206 (the one reviewed), which has a 20 db gain option that is theoretically perfect for the Denon DL-103. As I have many other cartridges with even lower outputs, I decided to order the higher-gain alternative LL1678 (Data Sheet). The LL1678 was $78 each, the circuit boards (pic) $6 each, so with shipping I spent a grand total of $175. Today, three years and much depreciation of the US dollar later, the LL1678 is $80 each and you only have to spend $4 more for the same order. That is holding the line on inflation and I sing praise to K&K.

Phonoamp 1: AUDIO NOTE MM PHONOSTAGE KIT (old version):
The current Audio Note Kits is a Canadian company that works closely with Audio Note UK and sources many parts (not sure about all) from them. The kits now have evolved to be quite different from older kits that AN UK directly sold before (like the original Kit One 300B and the Preamp Kit that I sold long ago; I still have the rarer Kit Four, a 6V6 PP amp). It is officially sanctioned, so I am sure the philosophy and methodology and parts have remained consistent, but I still wonder a little how much the designs and revisions (in particular sound) resemble AN UK. But the official ties are strong and the dealer of AN UK in HK, Elephant Holdings, is also commendably dealer of the kits (not the way to make quick money).

Hong Kong Audio Note Kit users beware: there is another place in Mong Kok that sells AN "kits". While some appear to be the Canadian stuff, there are too many "options" that are not found on the official Kits site. I'd exercise caution and only buy direct or from Elephant Holdings.

My unit is second-hand, one assembled by Elephant Holdings. It is an earlier version called MM Phonostage Kit (details still in the official archive). Comparing the pics, although there are some differences in components, I confirmed with Brian at AudioNoteKits that it is a standard version with some upgraded Jensen caps. Many thanks to Brian here; he must be a busy man!

Compared to the current L3 phonostage kit, there are similarities as well as major differences:

-Power supply: similar, based on AN UK's M2 preamp (6X5 rectifier; ECL82 regulation).
-Main circuit: L3 uses circuit from AN UK's M3 phono preamp (3x 6072) whereas mine uses Andy Grove designed, modified phono circuit of AN UK's original Preamp Kit (pic here) (2x12AX7 and 1x 12AU7).
-Wiring: L3 uses silver and mine copper AN-A.
-Gain: L3 is considerably higher than mine (40 db vs 32 db)

Click pic to enlarge. Before full surgery (1 large cap already removed).

My particular over-burdened unit: My unit came with an anomaly, make that a deformation. Look at the photos. The previous owner thought the phonoamp had not enough bass and kept adding to the output caps. For each channel, he used 2 ridiculously large and expensive 1μ Jensen output caps (2 μ per channel). Needless to say, the bass was sluuuugish; shall we say the bass stood still? I am sure he knew, as he added a 0.01μ Jensen cap in parallel, surely in an attempt to liven up the dull top end. Considering all these are Copper PIO with Silver Lead-Outs, I could probably recoup some cost by selling them. Any offers? The units came with Mullard CV4035 (=CV4004=12AX7) tubes adapted to regular socket.

How does it Sound? Round 1, take-out: Before the unit got home I actually lent it to my friend AL. At his place he used it (warts and all) surprisingly to good effect as an MM stage with his Lenco turntable and Decca cartridge, fed into Mark Levinson electronics driving big MBL. It held up well against the EAR834P and the Softone/ICL that I am going to cover below. They did think the gain on the low side and preferred crisper current production tubes to the installed Mullards in their tube rolling.
Round 2, back home with Denon AU-1000: After I got it home, I tested it in my system. As I didn't have an MM cartridge already installed, I had to use it in conjunction with a SUT:

Analogue 1: Kuzma Stabi S/Stogi S + Midas Denon DL-103 (up to round 4)
Analogue 2: Garrard 301 grease/Ortofon RS-212S/Midas DL103/Ortofon Kontrapunkt C (round 5)
SUT: Denon AU-1000.
Connection to preamp: I used my best cable, the incomparable Kondo KSL-LPz.
Preamp: Leben RS-100 line preamp (info) on loan to me
Amp: Elekit 8230 amp (2 wpc 2A3 amp)
Loudspeakers: Tannoy Canterbury.

The gain of the SUT + phonoamp is 20 + 32 = 52 db, enough for my sensitive speakers, especially since the Leben linestage has 26 db of gain!!!!! However, as mentioned, the sound was lugubrious and sluggish in the bass. No, the big output caps don't work for me!

First Surgery, weight losing:
Without a manual or circuit, I was not sure of the correct value of the output cap. Some searching showed that the later L2 kit used 0.22 μ, which seemed right to me. I removed all of the outputs caps and put in place cheap cheap (yes, I have temporarily re-discovered my cheaptube roots) 0.22 μ NOS Russian (military) caps, which instantly restored normalcy to the sound. I later confirmed with Brian that 0.22 is the right value. Thanks again, Brian!

Round 3, after first surgery, with Denon AU-1000: After I restored the output caps to original value, the sound improved hugely. Now, rhythm and pace came back, and the bass finally moved! :-) Now, I was able to assess the true sound of this unit as well as the Denon.

The sound of the Denon AU-1000 is truly exceptional (I have used it with other preamps; more reports later) , dark in background, wide in bandwidth and dynamic. Probably partly due to its low gain, the sound of the AN kit was just a tad slow with my gig, slightly soft on top, but smooth and quiet. I didn't think Mullard tubes are the best choice for it. Swapping in 2x 12AX7 Holland Amperex + 1x RT 12AU7 resulted in some gain in air. Even if the caps were not run-in, I was satisfied with the very good performance of this kit.

Click pic to enlarge. Note the green K&K boards and grey Russian output caps.
Second Surgery-K&K weds Audio Note: As I rarely use MM, I decided to turn the AN into an MC phonoamp by installing the K&K trannies (plenty of space). This way, it saved me one chassis and the hassle of hole-drilling; cheaptubeaudio forever!

I cut off the stock AN-A input cable near the circuit board ( originally star grounded under the circuit board) and re-used the cable for input to the K&K, but I did not yet connect the shield at either end.

For the K&K/circuit board interface, I reused the AN-A red + strands. The original white -ve and shield could not be extricated as they were twisted and soldered together; worse, they broke off while I manipulated it (I am not so sure I like AN's way of wiring). As they could not be re-used, I soldered a tiny length of Radio Shack solid core to the star-ground underneath, and connected this to the K&K boards' -ve's with small lengths of silver-plated wires. I used blue-tac to fix the trannies to the cage. I did not solder in posts for loading resistors. Perhaps when I tweak again I may, but then I may not.

Aside from the -ve, each K&K circuit board has a separate ground as well as another ground out (labeled CT, presumably center tap). I did not connect these but did solder wires to them in case I need to ground them.

For the LL1678 I chose the 24db gain option (others are 18 and 30db). The impedance ratio is spec'ed at 256 and so the loading of the MC would be roughly 183 ohm, theoretically therefore likely more optimal for Denon than my Ortofon's. But again, I belong to the camp (which includes K&K) that think loading is much less important when SUT is used. But there are many who think otherwise and would go to great lengths for impedance matching; for that you can read this wonderful Vinyl Engine article on SUT and MC cartridge matching.

Round 4, with K&K, now an MC phonoamp: Brand new, without run-in and a trace of hum, the sound was not bad at all, even at first play. Compared to the Denon AU-1000, the raw K&K seemed just a little less precise, rendering the proceedings with a broader stroke, but in terms of dynamics and detail, they seemed just fine and not much behind. I shall run these in and then tell you more about it.

Later in the evening, when I returned after rendezvous with my friend, I decided to switch in the Kondo M7 preamp in place of the Leben. My my, the cheap K&K much preferred high society!

Click pic to enlarge. Note more grounding and the yellow output caps.
Round 5, with Garrard, hum management and output cap tweak: While I did have a trace of noise with the Kuzma gig, it was at low level. But when I switched to my Garrard 301, the noise, hum and Rf and all, became quite prominent. At this point I connected the ground outs of the circuit board to the ground, but to NO avail.

I replaced the output caps with a generic yellow 0.22 output cap (available at 麥氏). It has no brand name, and I don't know what it is. Rated at 1000V I suspect it is intended for use in power supplies, but I have used these for years to great effect. Sonically they are crisp and balanced, scoring over the Russian caps for sure. But the noise remained.

I discovered accidentally that touching the phono cable connectors produced noise, and knew then that the input -ve was not well grounded. Indeed, checking the circuit diagram revealed that the -ve on the input side should be grounded (shows you how much of a DIY person I am, or am NOT). I did so and bingo, cured. The connector is no longer hot and things became much less noisy, with just a low-level hum remaining.

Click pic to enlarge. Note removed AC filter top right.

Phonoamp 2: SOFTONE/ICL MODEL 4:
Softone is a small Japanese company that used to be ICL (official site in English). Its chief designer is quite respected. I have long been a fan of this company, and shall write an overview when I have time. I have all their current products except the passive preamp. If you wonder why there is no Model 1, it is an discontinued integrated ICL amplifier available with either 300B or 2A3 (I have both).

The Model 4 is a MM/MC phonoamp of hybrid CR-type RIAA that eschews NFB. Its price has not increased in years, and at USD 650 is a screaming bargain. It is a hybrid CR-type RIAA with no NFB. ICL's mail order is efficient and packaging first-rate. Buy with confidence.

At this price point, it is a great luxury to have the choice of 2 MC loading impedance. Under the cover, the built, as with everything from this company, is exceptional.

Round 1, comparison with Denon AU-1000: The Model 4 worked a treat with the Denon DL-103 to produce a beautiful and mellifluous sound (it was after all designed around that cartridge), just a little on the soft side at the top end and in terms of dynamics. Using it as an MM stage, it was obvious the Softone has more gain than the AN Kit. The Denon AU-1000 had just a little more precision than the stock trannies, but the results were very close. This attests to the fine quality of the SUT's inside the Model 4. Incidentally, like K&K's Lundahl, they use Permalloy.

Round 2, comparison with K&K/AN: In terms of tonal balance and macrodynamics the two are hard to tell apart, even if the Softone has higher gain. But after a lengthy session one thing started to emerge: even if it is a little slow, likely due to the low gain, the AN/K&K had the better rhythm and pace. It is like speech with better cadence that employs good punctuation and appropriate pause when needed. The Softone was by no means not fluent, but it sang in a somewhat broader stroke and its fluency seemed just a little less related to the music, a sort of mild euphony if you will. It was obvious the Softone lacked a little in microdynamics.

Round 3, minor surgery before rematch: At this point I did a minor surgery that saved the day. The idea, which oozed out of my friend oozz, was conveyed through my 惡客 friend icefox.

You see, the ICL phono and digital gears all employ an AC filter at the AC socket. Personally, like my friends who noticed, I have never liked these and would prefer not to have them (even if my home is RF prone). Fortunately, as the Model 4 AC wires are only clipped on, substituting a normal filter-less socket was a breeze. I also corrected the AC polarity (Japanese AC polarity is different from HK) while at it, though I don't think that accounted for much. I did the same on my ICL DAC, but haven't had time to test it.

The result was instantly audible as better microdynamics. Now the 2 phonoamps are very close in performance and I will cover more in Part II.