I just pulled the trigger on a new tüübed pre....this one should be pretty sweet!

george daniel · February 2020

dromunds wrote: »

Tom, did you ever send the Dodd to that guy down south?

Send it to me,, I will make sure it gets fixed

TEAforONE · February 2020

Congrats Tom! I’m glad this issue is finally concluded for you. It sounds like a beautiful pre.

sgmsmg · February 2020

Glad this worked out and it is all fixed now. Enjoy!

treitz3 · February 2020

Alright guys. Don't laugh.

I had to play this one twice. This song sounds freakin' incredible now. So much so, that it could be considered reference (No joke). Tony Braxton's "Your'e Makin' Me High". I can't stand the beginning and I was about to fast forward it but after she stopped huffing or doing whatever it was she was doing (about 15 or so seconds into the song)?

The sonics were absolutely spot on. If you have a chance, play this song and see if there is anything that left you wanting. There were sounds that easily came out 10 feet from the outside of each speaker (Well outside of the walls of my room). Wonderful recording!

Now, if you are asking why in the heck I am playing her with all of the music I have? I have probably put in 40-45 CD's so far and while I haven't listened to all of the tracks on any particular CD, I have found myself just randomly picking CD's out of the rack, regardless of genre or recording type (HDCD, XRCD, SACD, Redbook, Mo-Fi, DCC, etc.).

When I stumbled across this gem, I had to pause and let you all know to check it out. I bought the album originally for the song "Unbreak My Heart" but like with some albums, you find hidden gems within. "Your'e Makin' Me High" one is definitely one of them.

As for the review, as you can tell, I'm workin' on it. Patience grasshopper. I'm having a blast listening.

Tom

muncybob · February 2020

While my rig is not even in the same ballpark as your's, I know what you mean. For the first week or so I didn't play a complete album as I just wanted to hear a little of everything that I was familiar with. Wish I had the coin to climb the ladder.

verb · February 2020

Very cool Tom! Glad that everything worked out, and that you're loving your new toy!

treitz3 · March 2020

Update coming soon to a post near you. I am about halfway done with the write up/review. Lots 'o listening as of late and listening as I type.

I'll give a short and sweet review that Russ (@Lightman1) could appreciate.

"Sounds good".

Tom

treitz3 · March 2020

Okay, it is a little bit better than "good" LOL. Here is the "official review" . This is a long read, so if you have something else you need to get too? Come back when you have the time if you are interested.

As you have read in this thread, I had high expectations. Not of this pre but because of the sound I got spoiled for years on end with the Dodd MLP with the 12AX7Ei Gold Pins. I will not accept any move down, regardless of prestige or cost. I simply will not do it. After the "issues" I had with the pre when I first got it, I was afraid that I had made a bad decision and my expectations lowered considerably. I would have honestly been happy at that point with a lateral move with the Dodd…It honestly did sound that good in my rig. With that said, here is the review. You decide what the final outcome was/is…

Seller - I have to give credit to where credit is due. The seller was outstanding in his quickness to respond, quickness to please the buyer (me) with getting a product that was top notch and basically brand spankin' new. There may have been a delay in getting the sound I now have but the wait was well worth it. Wai (the seller) goes under the handle on the 'Gon as "sjevo". Sjevo bent over backwards to make sure the transaction went as smooth as possible, given the challenges we both faced with the unexpected issues. John at Canary Audio was just as helpful, fast and a pleasure to work with. I thank them both profusely for making a bad situation good again.

Physical - The dimensions of the unit are bigger than a normal stack of gear. You need to keep this in mind when considering. It's about an inch and a half wider than normal gear. The entire thing inside and out wreaks of quality and the end result as to what hits your ears is reflective and equal as to what your eyes see. There is no tradeoff for one to the other. The remote is simple and easy to use with zero lighting in the room at all. Volume controls are center, low and the only other things the remote does is change the inputs that can clearly be seen from across the room on a red dot matrix display.

Sound - I am experiencing things that I am not used too in my system with the introduction of the Canary. You know, if you have read this thread, that I have mentioned that this pre was quiet. That is an understatement. The crescendos within the music are well beyond what I have ever heard in even the best systems I have heard in my travels. All music has crescendos. That's a given. With the Canary and the rest of my gear, it is at a whole other level. A COMPLETELY whole different level. It is very hard for me to describe what it is that I am trying to relay here but I cannot put enough emphasis on the crescendo effect. The music comes out of nowhere, can fill the room within a split second, back to silence, then back to filling the room with precision of all frequencies and complete separation of all instruments. Even during busy transients. It's freakin' AWESOME an so much fun to listen too. There are many different aspects to albums I have heard through the years that I have not experienced before and it is all because of the speed in which it comes and goes and the introduction of such good ability to offer superb crescendos. I have mentioned this before. It's almost sublime how the music starts. From nothing but solid black to the softest of chimes flowing like magic across the room...or the thump of a kick drum pounding you in the chest and through your core that sounds just like a kick drum would. When the extremely realistic kickdrum sound stops, the sound is natural and whether or not other instruments follow during or after the kick drum? You hear them each in succession with crystal clear clarity and separation as if nothing else was playing but that instrument. This increases in SPADES as the recordings that I listen to get better.

When a cymbal is hit, whether it be softly or a hard whack with plenty of shimmer, you experience a natural roll off along with a natural decay of the shimmer of the cymbal and never a "Tsst, Tsst, Tsst". It sounds just as a cymbal should as if you had the cymbal in your listening room but without the ear piercing levels that would be piercing to your ears. It is about as good as one could hope for in a reproductive effort of not only the cymbal but the entire drum set. Outstanding impact and pressurization to the core and through your core!

The Canary is fast - like a clock or something was installed giving the impression of an extremely rapid reaction time, which allows a reproducing system to keep up with the signal fed to it. In other words, the pace and rhythm are spot on. There is no "one note bass" whatsoever. Each bass guitar pluck you can hear when the finger hits the fret, you clearly hear it, the note is made and the texture of the reverb is spot on to what the sound a the bass guitar makes as it naturally cycles. The entire system is taut throughout the entire frequency range and not just the bass or lower registers. The articulation of both musical instruments and the human noise has been vastly improved and it was definitely no slouch before. In fact, I would venture to say, before that it was outstanding versus many other systems but has been brought up a couple of notches. The rhythm and pace of the system now has no discernable issues. It's effortlessly fast!

The synchronizing of instruments and how the entire instrumental field along with human voice reproduction(s) are also noticeably improved and not by a slight margin. Basically, the system speed has been enhanced and I don't know how the Canary did it or does it and I don't really care. It simply sounds phenomenal when everything comes together, whether or not it is a soft passage or an extremely heavy passage. Loud or soft, it is the same and the pitch resolution is easily heard. One does not ever need to strain to hear or feel it. In other words, it is more consonant than dissonant.

It has good tonal balance with a seemingly perfect damping abilities, although this is recording dependent. When I want to adjust something, I have to stop and tell myself no. Why? I'll put in another album and it's damn near perfect. The bass and lower registers go VERY DEEP. It's never excessive which is surprising, considering how low it digs and one can experience these low notes whether the volume knob is on 3 or 30. Of course you feel it a bit more when it's on 30 but you can hear (and somewhat feel) it perfectly fine at 3. If it ever does seem excessive, my experience so far is that it is the recording. When I take the same album and listen to it on a better recording or format, what was something undesirable is no more. It offers great impact of certain instruments, even during heavy passages with clarity that is precise and with plenty of rather impressive visceral impact.

treitz3 · March 2020

The Canary is clean and free from audible distortion. No discernable coloration or sonic signature to it. Linear from top to bottom offering a nice, well rounded aspect of frequency reproduction. It is very pleasing to the ears and listener fatigue at any volume level is laughable. There simply isn't any. Just choose your preferred listening level and enjoy. The delicacy of macro and microdynamics are outstanding, even the most subtle of musical sounds appear with zero straining to hear them. Like none at all. It's either there in the music or it's not there because it wasn't recorded. It's a little disheartening when you hear a sound and you think it is distortion, only to find out that it is a finger hitting a fret, fingertip-friction sounds produced when a guitar or a harp is played, the foot action of a piano or it is the sound of the key of a flute hitting the pad at the bottom but I will say this.

It's clear enough that so far, I have been able to figure out where the sound is coming from on each instrument. The sound is tight, detailed, and focused with plenty of control with no need to turn it up or down to hear something as there is seemingly zero haze or veiling whatsoever. Much like looking at a lake through 20 panes of glass. When the panes of glass are taken away one by one, the image gets clearer and clearer until there are no more panes left to alter the image. It seems to me as if there are no panes left and everything is as it's supposed to look (or in this case, sound).

The ability to float imagery suspended within the sound stage is astonishing at times. The images that it can produce with spatial locationality cues can be pinpoint down to being able to (with your eyes open or closed) point at laser at the images or perceived location of the instruments or singers. It's easy NOT to be able to pinpoint where the speakers are though. I have been fooled many times on many different recordings as to where I "thought" the speakers were. My soundstage on an average recording has increased two feet to the outside of each speaker. On some recordings, the sound stage is remarkably 10 feet out from each speaker, well outside of the walls of the listening room. Keep in mind when I mention this, I only sit 11 feet away from the mains. Sounds on some recordings come from nowhere, only to whiz around the room in depth, height and from side to side. To anywhere. To everywhere. Very transparent with good layering of the instruments on the depth.

Images are not bloated or exaggerated in size and give the perception and perspective that offer more of a 3-D sound stage versus that of a flat, 2-D sound layering. This, in turn, offers a more realistic as well as musical reproductive effort and listening pleasure. While there is plenty of air, it is definitely light, delicate, refined and more open than the Dodd without being unrealistic like an MBL speaker would sound. This one is in spades, although the Dodd is no slouch. I am very impressed at this attribute along with the seemingly limitless upper extensions it offers with a smooth, yet extended response.

Simply put, the Canary C800MK-II stereo preamplifier is the most profound preamplifier I have heard to date in my rig. With that said, the stock tubes are not even in it. I am still running the spare tubes that I got from Dave (Verb). A huge shout out goes to him as well for hooking a brother up quickly when called upon. This was a generosity that was unexpected and I tip my hat to him for helping out when needed. Thank you sir!

Gripes. So far, some of the gripes I have with it is being able to easily pick out the size of venue. I mean, you can tell but it isn't as obvious as it was with the Dodd. I used to be able to tell (seemingly to the meter) what type of venue I was in, whether it be a small nightclub, amphitheater, or outdoor concert. Live music is currently a hit or miss and I don't believe this is because of the recordings, as I have heard them before on other rigs and with the Dodd and live music sounded, well….live. It is palpable but it seems right now that it is a hit or miss. I have experienced this before but not with such varying degrees. Many aspects of the reproductive effort offer a sense of aliveness which gives the impression that the performers are there, in the room (spooky real at times) but isn't really what I expected and I feel that this is an area that can be improved upon.

The sound is tight, detailed, and focused with plenty of control. Dynamic is an understatement, on many aspects throughout the frequency range. The ambiance combined with everything else draws you into the music and it makes it hard to pull away from listening but, and yes there is a but, no goosebumps. The Dodd would have me getting goosebumps 3 or 4 times a song, sometimes even on poor recordings. From just the arms to full body goosebumps. This is not happening with the Canary so far. Not even once which makes me yearn for new tubes….which are on the way. More on that later on in this review. Some instruments are the best I have ever heard, while others are just a lateral move or different "flavor", if you will when compared to the Dodd.

The volume clicks as you go up and down. While this is barely noticeable at volume levels over 20, I am used to smooth volume knobs that do not click as the volume changes. That concludes my gripes.

With that said, there is a 120-step discrete relay attenuator for volume control and finding the exact volume for that "perfect" listening level is something that I feel one could not improve on with the Canary. I have yet to bring it up above 40, which leaves 80 to for those that may have an impedance mismatch, FYI. At level 4, level 10 and level 30? The sound does NOT change at all. Nothing gets exaggerated or changes like what happens in some systems. It simply changes the volume and that's it. Those that have experienced a change in the frequency response, imaging or the like when the volume goes up or down know exactly what I am referring too. At level 35-40 (depending on the recording), it does tend to get a bit loud in the room and I would guestimate that it's pushing 105db at that point with more on heavier transients. With my listening room only being 13'x15' and my ears being only 11 feet from the speakers, at extreme high volume levels, I am getting too much to truly enjoy at realistic listening levels. I value my hearing and don't really want to listen louder but the pre (as you have read) has the ability to go much, much louder.

I am at the point to where I could use some acoustical treatment in the room but to be honest with you, it sounds so damned good right now, I honestly do not know what that will improve or take away. I do have plants for deflection and round / odd shaped items within the room (I believe having non-square items help to disperse the sound better)

As loud as I have had it in the room, I discern no audible distortion, other than that of reflections within the room. Especially after my lazy bum got up and put the spikes back under the mains (room and rig is currently under construction/has multiple projects going on in it). There was a HUGE decrease in room caused overponderance in certain frequencies there. This is where the sub and mains overlap.

treitz3 · March 2020

Now, I do believe that the Canary has taught me that we may have overdamped the speakers during the massive crossover project a couple of years back. I had thought I heard this from time to time on the Dodd, Cary and Ampino but never really thought too much about it because if I heard it, I had to strain to hear it. The Canary has me wanting to experiment with the removal of some dampening within the speakers themselves and this will be a project after the new tubes come in and get settled in….if needed.

Tubes - In the linestage, there are 4 6SN7's. They are currently ElectroHarminix's and I don't know much more about them other than that. The power supply has 1 GZ34 that is a stock Canary tube. This is for the rectifier. For the voltage tubes, there are 2 6V6's and 1 6SL7. Those are also stock Canary tubes but I never did get around to asking the seller or John (at Canary) what types they are.

I had the pleasure of talking to Brent Jesse a couple of days ago and we had an in depth conversation about sound and what I was looking for with what I have. He is a great guy. I know this and I hae recommended him in the past (based upon empirical evidence and trusted ears recommending to me) but I must say….this guy is the real deal. Anyhoo. I went ahead and ordered 4 6SN7's which are VT231 military stock 1950 Raytheon tubes for the line stage and a 5AR4 - Mullard from the 60's with factory code on the glass for the rectifier (proof that it is legit). We shall see if after break in, if the gripes that were aforementioned can be reduced to even less, along with some possible attributes that may surprise me even further than I already have been with the introduction of the Canary C800 MKII. They should hit within the next couple of days and then I should expect bad sound until about 100 or more hours, then they should offer what I am expecting. If not, back to the drawing board for a different tube or set of tubes. After speaking with Brent, these "should" be up my alley. I will say this, I never knew rectifier tubes could be so daggum expensive!

Gear - The LP and network setup are currently in the closet as I wrap up projects and get things done with the audio rack but here is what is currently hooked up to offer this review.

PS - Richard Grey 400Pro Power Supply to –

CD/SACD - Marantz Reference Series SA-7S1, Nerve Audio PC and Transparent Reference IC's to Pre –

PRE - Canary Audio C800 MKII w/ Transparent Reference IC's to amp–

AMP - Musical Fidelity AC3r Dual Mono SS amplifier w/ PS Audio Prelude PC, Transparent Music Wave Ultra SC's to –

CROSSOVER - The crosssovers have been removed from the cabinets and were part of a 3 and a half year project from design to finished product. Completely custom. A cabinet enclosure was manufactured from scratch to hold three levels of crossover components. 1st level, the original crossovers that came with the speakers. 2nd level, the tweeter network with all VR3 Abott series upgrades (his top tier line). 3rd level, VR3 Abott series upgrade bass and mid-bass network. This is actually two crossover networks in one enclosure so we can very rapidly change from the original crossovers that came with the speakers to the upgraded crossovers. Custom aircraft aluminum chassis with independently suspended/isolated shelves, powder coated black and spiked w/ custom umbilical cord to speakers with NL4 connections to –

SPEAKERS - Tyler Acoustics Lynbrook Signature Series one piece towers in Ribbon Mahogany. The speakers have been completely disassembled and rebuilt/finished from the ground up, resealed, damping material added, crossovers removed from the cabinet. Also, upgraded wiring, spikes, back plate and NL4 connector/umbilical cord that connects back to the crossover networks.

SUBS - Stereo set of Rythmik 800w Direct Servo sub's, on Target stands that are spiked w/ AQ King Cobra IC's and MIT "Y" splitter cables coming from the MF AC3r and PS Audio Prelude PC's

That's all for now. Time for an adult drink and more tunes.

Tom

BlueFox · March 2020

Quite a review. Glad it’s fixed and you are really enjoying it. Have fun.

treitz3 · June 2020

3 months later? Everything I throw at it sounds great. It is a very detailed pre with sounds that can emanate from places you didn't think possible. Brent Jesse definitely nailed what tube choice to make for it. My hat's off to him for that.

I am currently listening to -

It just hit about an hour ago. I normally do not listen in the sweet spot on new alums. I'll just futz around the house doing chores/projects but I can't seem to keep myself out of the sweet spot. I have found that this happens quite often since I got this broken in....and I'm not saying that this as a bad thing. It draws you into the performances.

I was worried about the synergy this new pre would have in the system and I can say with full confidence that it fit right on in. Shawn is in the room, playing before me. I am experiencing the performance, instead of just listening to it. The Dodd had that ability too but at this point, I'm thinking, "what Dodd".

I highly recommend this pre if you are in the market for one.

Tom

george daniel · June 2020

What Dodd you say? Then you know what to do with it,,send it to Florida!

Clipdat · June 2020

A rocky start to your Canary experience, but a smooth finish! Nice, Tom!

BlueBirdMusic · June 2020

Tom, is your Soul's Core album on CD or vinyl?

I've never heard Shawn Mullins, but see he is from Atlanta and does some smaller venues.

That cover is really beautiful. I ordered the album just to look at, but I'm expecting his music will be enjoyable too.

treitz3 · June 2020

The one I listened too yesterday is on CD. I usually check out something on CD and if it's worthy (which this one definitely is), then I'll buy that album on vinyl and/or source an audiophile version or both.

The RB of this album I would consider a good "audiophile" listening CD, even for the discerning audiophile. Not the best RB I have ever heard (Burmester Vorführungs CD-03 gets the top spot there) but easily one of the top 20 RB recordings I have ran across in my travels. The recording, mixing and mastering was very well done and definitely stands out from the crowd of other recordings.

The music makes the album extremely enjoyable. The mastering, mixing and recording make it into a jewel. I caught myself tapping my toes quite a bit yesterday and I almost never do that with an album I have never heard before.

I have not been this excited over an album in years and I look forward to listening to it on vinyl.

Tom

TEAforONE · June 2020

After getting caught up with this thread,I pulled up Shawn Mullins on Qobuz. Very,very good stuff! I’m glad you shared that artist. I actually spent about an hour or so last night listening to him. I think his music is very well recorded.

treitz3 · June 2020

https://forum.polkaudio.com/discussion/191256/shawn-mullins-soul-s-core-revival

Actually, don't thank me. Thank @TroyD. He was the one who pointed me in the direction of Shawn Mullis, as evidenced in the thread linked above. He deserves all the credit with this one.

I just so happened to order the CD when he brought it to our attention and it came in yesterday. Will be ordering the vinyl as well and you are right about the recording. Great tunes and a great recording make for a jewel of an album.

Tom

AlanP · August 2020

Good Afternoon and Greetings from the wet UK. Quick bit of advice if I may - I am 'stalking' a 2nd hand Canary C800 to compliment my Quad 11/80' set up. I am wholley vinyl and will need a head amp but so saying should I press the button and buy it?. I read the reviews above with great interest - does the unit still float your boat. Cheers and Thanks in advance