Vinylphile Magazine : Equipment Reviews

Allnic Audio Labs • H-3000 Phono Stage

By Rich Teer | October 19th, 2010

Allnic Audio Labs is a Korean company that specialises in high-end audio components. In addition to cartridges, power amplifiers, line stages, integrated amplifiers, and MC step-up transformers, Allnic also has a range of phono stages. We reviewed their entry level H-1200 a few months ago, so when Hammertone Audio’s Dave Beetles (Allnic’s North American distributor) offered me the opportunity to review the top of the range H-3000, I leapt at it! (As I write this, a new model has just been announced above the H-3000. Dubbed the H-3000V, it is the same as the H-3000 except that it features improved permalloy (nickel-iron alloy) output transformers and has variable, multiple curve LCR equalisation—hence the V in the model designation.)

Technical Description

The H-3000 is a dual-chassis, fully transformer coupled, tube phono stage which uses LCR filters for RIAA equalisation; one chassis contains the phono stage itself, and the other contains the tube regulated power supply. It features four pairs of single-ended inputs (two each for MC and MM cartridges), a pair of single-ended outputs, and a pair of balanced outputs. The H-3000’s two gain stages use balanced circuitry operating in pure Class A throughout, tube regulation, and zero negative feedback.

The back panel contains all signal input and output sockets, a pair of small toggle switches (one for each channel) to select between the balanced or single-ended outputs, and a substantial multi-pin socket to which the umbilical cord from the external power supply is attached. (I should point out at this juncture that the socket and its accompanying plug on the umbilical power cable are beautiful pieces of engineering overkill. Seeing this sort of attention to detail on something like a power connector really gives one a sense that this is one serious piece of kit.) All sockets are, as one would expect on gear at this level, gold plated.

On the front panel we find a pair of pushbutton switches (each with its own amber LED indicator), a pair of illuminated current meters, and a large knurled input selector which is machined from solid aluminum. The left button is the mute/operate switch, and the right one selects between normal and inverted phase operation. The two meters (one for each channel) indicate the current supply to the gain tubes, which should between the meters’ two parallel lines during normal operation. As its name suggests, the input selector enables the user to select between the four (two MC and two MM) inputs. The front faceplate, which is available in either a natural or anodised black finish, is made from a 16 mm thick sheet of machined aluminum, and features Allnic’s trademark notch in its top edge.

Towards the rear of the top of the chassis is a pair of small transformers (one per channel) each with a rotary selector switch, and a small rotary switch. The switches on the former enable the user to select the gain of the MC step up transformers (gains of 22 dB, 26 dB, 28 dB, and 32 dB are selectable); the latter selects the MC secondary load resistor, the available values being 10K Ohms, 20K Ohms, 30K Ohms, and 47K Ohms (the load resistor is set to 47K for the MM inputs). There is a table in the H-3000’s excellent manual which gives advice on which load impedance and gain setting to use depending on your cartridge’s internal impedance.

At the other end of the aforementioned umbilical cable is the external power supply, which is housed in its own shielded chassis to keep mains nasties as far away as possible from the delicate phono signals. The back panel of this chassis contains the captive end of the umbilical power cable and an IEC mains socket. Although a suitable AC cable is supplied with the H-3000, the use of an IEC socket means that one may experiment with different AC cables (I used the stock cable for my auditioning).

The front panel of the power supply contains the main power switch and an amber LED power indicator. The power supply’s front panel is also available in either a natural or anodised black finish, is made from an 9.5 mm thick sheet of machined aluminum, and features the Allnic notch.

On the bottom of both chassis are four large rubber isolating feet.

Inside, high quality components are used, and all tubes are mounted in Allnic’s patented “Absorb Gel tube damper” tube sockets. These substantially reduce microphonics by isolating the tubes from chassis-borne vibrations. Little rubber rings around each signal tube further reduce microphonics.

Setup and Listening

Before you even take it out of its box, the first thing that strikes you about the H-3000 is its heft: this thing weighs almost 16 kg—more than many power amps! Packed in a separate box, the power supply, weighing in at just over 8 kg, is not insubstantial either. Much of the H-3000’s considerable weight can be attributed to the eight permalloy-cored transformers adorning the chassis. Because of their relatively large size and weight, I highly recommend placing the H-3000 and its power supply on a sturdy shelf.

After carefully removing the packing material from around the tubes in the main chassis and installing the large 5AR4 tube in the power supply, I placed the H-3000 on the bottom shelf of my Target turntable stand and the power supply on a similar, custom made stand. My Lyra Parnassus reference cartridge has in internal impedance of 2 Ohms, so with reference to Table 1 in the manual I set the secondary load resistance to 10K Ohms and the gain to 32 dB. I played the H-3000 for several dozen hours before beginning my critical evaluation. Most of the time I used the H-3000’s matching line stage, the L-3000 (as good as it is, I didn’t feel that my ARC SP-9 Mk 2 was a suitable match for a $12,000 phono stage!).

In addition to a wide frequency response, one of the most important sound quality attributes to me is neutrality: to me, if the character of the sound wanders too far away from neutral it begins to call attention to itself, destroying any illusion of a live event taking place (rather than a reproduction thereof). Fortunately, the H-3000 has neutrality in spades. I can’t say for sure whether it is the absolute last word in neutrality, but it gets very close.

Bass is deep and tuneful, without being overblown. Take, for example, the part in South African a cappella group Ladysmith Black Mambazo’s Who Were You Talking to (from their 1987 album, Shaka Zulu [WEA 925 582-1]), where they stomp their feet. In addition to the sound of eight or so pairs of feet stomping on the ground, the resulting reverberant sound wave from the hall can challenge the bass clarity of lesser phono stages. Not so with the H-3000, where one can not only clearly distinguish each of the stomping feet but feel the air from the sound wave.

Another example of the H-3000’s bass control and authority is the bass drum in the first and third movements (Kije’s Birth and Kije’s Wedding respectively) from Fritz Reiner’s reading of Prokofiev’s Lt. Kije [Classic Records/RCA Victor LSC-2150]. With the right system—and the H-3000 is part of that system—the drums’ explosive concussion is wonderful to behold (not to mention, somewhat startling for other household members!).

The H-3000 fares well with the all-important midrange too. Male voices, like those of Ladysmith Black Mambazo in Rain, Rain, Beautiful Rain and Who Were You Talking to (both on the previously cited Shaka Zulu), are very well reproduced, as are their various trills and other vocal effects. Likewise, female vocals are beautifully rendered.

The H-3000’s treble is light, airy, and sweet. I hear no brightness nor any dullness; as a result, the bells and piano from opening minutes of Mike Oldfield’s Tubular Bells [Virgin Records V2001] are just right. The air around glockenspiel and bells emphasises the sense of “thereness” this recording has. Similarly, the celeste in the second movement of Lt. Kije, Romance, is beautiful.

Cymbals and triangles, when the recording allows, shimmer correctly. For an example of how well the H-3000 reproduces the latter, have a listen to Rejoice in the Sun from the Peter Schickele’s OST recording of Silent Running [Decca DL 7-9188].

The H-3000’s lack of grain and veiling ensures that low level details are preserved and that micro dynamics are passed along intact. When the material calls for it, the H-3000 accurately presents macro dynamics too: just listen to the huge dynamic swings on The Power of the Orchestra [Analogue Productions AAPC 2659-45]!

Somewhat related to this ability to track large dynamic contrasts is a component’s ability to maintain its composure during complex musical passages, e.g., the finale to part one of Tubular Bells. With lesser phono stages, the finale can become a congealed mess; not so with the H-3000, which preserves all the details of even the busiest parts.

Earlier I talked about how wide frequency response and neutrality were important (to me) in the suspension of disbelief when listening to records. Another, equally important, aspect is that of an appropriately big sound stage and accurate imaging. Well, I’m pleased to report the H-3000 has both attributes in spades. Within the right system, the aural holography the H-3000 enables is spectacular: if the recording venue’s acoustics were accurately captured, the H-3000 will reproduce them. If a realistic, three dimensional acoustic isn’t presented when the H-3000 is part of your system (assuming the recording contains the right acoustic cues), look elsewhere for the culprit. With the right recording, acoustic images just float behind your speakers, in a space unconstrained by your room’s physical dimensions.

As good as the system in which I used the H-3000 is, I’m not convinced I extracted every last drop of performance from it. I need to spend more time, with other ancillary equipment, to be sure. I’ll write a follow up article if further discoveries warrant it.

Verdict

The H-3000 is a world class phono stage. I’m sure it has its limitations (what product doesn’t?), but I’ll be damned if I can pin them down. With phenomenal sound quality, very high build quality, and a superb fit ’n’ finish, the H-3000 is a very impressive piece of audio equipment. If you’re in the market for a phono stage at this exalted price point, an audition of the H-3000 is mandatory. Even if your wallet doesn’t stretch to such eye-wateringly high price tags (and I know that not many people’s do), you should listen to the H-3000 should the opportunity present itself, if only to hear what a truly great phono stage can do.

It’s not for me to make value judgements, but the H-3000 earns my highest recommendation. As for me, I’m just hoping that the importer conveniently forgets where one of his phono stages is, so that I can hang on to it for a while longer...

Specifications

Description Dual chassis tube phono stage.
Frequency response ±0.3 dB of RIAA.
Gain 74 dB at 1 kHz (MC), 44 dB at 1 kHz (MM).
Distortion < 0.3% at 1 V, 1 kHz.
Input impedance Up to 470 Ohms (MC), 47K Ohms (MM).
Output impedance 200 Ohms.
Phono equalisation RIAA.
Maximum input voltage 220 mV at 1 kHz (690 mV at 10 kHz), MM non-clipping.
Signal to noise ratio 85 dB (CCIR, 1 kHz).
Tube complement Four E810F (gain stages), two 7233 (voltage regulators), two 6485 (voltage regulators), one 5AR4 (voltage regulator in power supply).
Dimensions (hwd) 173 mm x 430 mm x 350 mm (phono stage), 118 mm x 170 mm x 275 mm (power supply).
Weight 15.7 kg (phono stage), 8.1 kg (power supply).
Finishes Natural and black anodised aluminum.
Serial number of unit reviewed 22044.
Price $11,900.
Warranty Two years transferable (one year on tubes).

Manufacturer

Hammertone Audio
252 Magic Drive
Kelowna, BC V1V 1N2
Canada
(250) 862-9037
www.hammertoneaudio.com

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