| *AI Comments on Clube do Audio
Magazine (Brazil) Review Although published in 1999, this is an excellent product review of an early-model M3a preamplifier with MM phono stage, before the stepped-attenuator volume control and revised line-stage. We very much appreciate Mr. Diniz’s comments and his appreciation of our design philosophy.
Audible Illusions
Modulus 3A
Voice of the People (Vox Populi) Some years ago the plastic artist Andy Warhol declared, that in the future, every one would be famous for 15 minutes. The Modulus preamplifier, on the other hand, is acclaimed in the High End Audio community for well over 15 years- and not due to the media, but to the great number of satisfied owners and admirers. The 3A version is the "n-nth" of the original project, already several times recreated and transformed. The Modulus 3A is quite different and developed than the previous versions. Moreover, it sounds better, too. (Follows a historical briefing of the company; the contribution of men like John Curl and Saul Marantz; and owners in magazines and Internet forums. The sturdiness, simplicity, good sound and affordability, entitling the Modulus as the (Volkswagen's) Beetle of the High-End world (‘or would they be Porsches?').
A- To keep the 3A's audio circuit as simple as possible, the topology is single-ended and unbalanced. As I have mentioned in earlier reviews, the signal path has to be duplicated in each channel, in order to be balanced. In this case, there is one circuit for the positive side of the signal, and one for the negative. Two circuits per channel instead of one burden the cost of the unit, not the mention the additional technical difficulties introduced, regarding phase balance and signal amplitude, especially on tube amps (for instance, any tube mismatch unbalances the whole unit). Balanced preamplifiers however, handle long cable runs easily and have superior immunity against capacitive or inductive cables, reaching higher voltages at the output, as well as lower noise levels. These qualities do make a difference, but a circuit does not necessarily sound more musical just for the sake of being balanced. A "good" single-ended easily outperforms any "so-so" balanced system in terms of sound quality. Mostly at home, where cables are usually short, and there is no electromagnetic pollution, as opposed to what happens in studio environments. B- The Modulus 3A is built of aluminum with 4 big rounded and lighted knobs (selection control with six positions, tape/source and one volume know per channel), besides 4 keys (subsonic filter-6dB/10Hz, stereo/mono, mute and on/off with automatic mute) on front panel. On the rear it has excellent quality connectors. The circuit board is perfectly assembled and counts on carefully chosen components, adding several years of improvements. The volume controls have 24 attenuation degrees, sealed and gold-plated, with precision resistors. There are 9 separate sources (power supplies) (6 of them regulated) for the circuit segments. The transformer, AC Rectification and 4 of the supplies are located in a separate power supply chassis interconnected with a heavy-duty 5 ft. umbilical cord permanently connected. C & D- The MC Gold optional board is recommended to users of low output moving coil cartridges, which employs FET transistors and was designed by John Curl. It alone allows a 55-dB gain just in the phono stage. The circuit, on the other hand, will not handle simultaneously well with high gain cartridges, due to signal saturation (overload). Again the essence, one pays for what one needs. If the dear reader has sent the big cookies (LPs) away, there is always the option of purchasing the Audible Illusions L1, more affordable, and comes only with the line stage, but also with headphone output.
(Follow comments on the records used for reviewing the above: Malcolm Arnold- English, Scottish & Cornish Dances- LPO- Arnold (Lyrita); Beethoven/Enescu- Sonatas for Violin and Piano (Wilson Audio); Muddy Waters- Folk Singer (Mobile Fidelity Ultradisc); Bill Evans Trio- Waltz for Debby (Riverside))
If this on one hand indicates high transparency, on the other it shows that the Modulus not only does not handle long cable runs well but has problems with capacitive cables. It is sensitive to ringing and mechanical vibrations and is not fond of low input impedance amplifiers. Both interconnect cables and input/output equipment must have good transparency and be very open high frequencies, to preserve the musicality of the setup. The 3A must be placed over a platform or a rigid, inert shelf, and kept away from power cables, digital processors and other sources of noise and vibration. Despite these recommendations being universal; valid for any HI-FI equipment, I found the Modulus more susceptible than the average, in this regard. Its transformer module (the external black box) generates a bit of 60 Hz hum and should preferably be kept inside some piece of furniture or box. My place is very quiet and I hear these details perfectly well. Being single-ended, the circuit of the Audible Illusions does not have balanced inputs/outputs, which may prevent its application in some setups. Warning to the couch sailors: the Modulus 3A does not have a remote or headphone output.
If the reader is seeking excellent musical performance without spending too much money, in exchange of a few niceties, the Audible Illusions preamp is undoubtedly a great way. In addition, since I am acquainted with several people walking along this path, I can assure the reader won't be alone. Finally, the great phono stage of the Modulus 3A makes it a must hear for every one owing LPs, either being or not looking for a quality preamp.
Sound - Four Stars and a Half (+)Great spatialness and
transparency; excellent dynamics and transient handling; good tonal balance; great phono
stage; simplicity and quality of build; a great investment. |
