Gilbert Yeung, Custom Audio Designer (Copyright Soundstage, Inc.)
It is with pleasure that I announce that Gilbert Yeung, former head of his recently closed Blue Circle Audio, has agreed to serve as a custom designer for Amherst Audio. As I wrote earlier, Blue Circle has closed but the brain and imagination of Gilbert Yeung has not! This will definitely be a part-time project,” says Yeung. “I am enjoying my retirement too much to return to anything approaching full-time work.” Yeung’s role for Amherst Audio will be to fill special orders for several of his favorite previously existing pieces and to work on new designs, which he hoped to do anyway. Gear designed by Yeung for Amherst Audio will carry the original Blue Circle logo (circle of blue light) on the faceplate so there will be no question about essential product continuity; and “Amherst Audio by Gilbert Yeung, Amherst, Massachusetts, USA” on the rear. The Yeung designed gear is only for sale in the U.S.
Amherst Audio plans to sell a selection of the gear that was current when Blue Circle closed. This gear will be identical to or a step up from what was available from Blue Circle. The previous names and model numbers associated with the gear will include a GY designation to indicate that while these models are nearly identical to the earlier models, there may include some upgrades.
Needless to say, I am deeply gratified that a way has been found to keep the designing brain of Gilbert Yeung alive, fruitful, and available to the audio world. The plan is have this change take effect before Spring, 2019.
Below is essentially what was here before! With a few edits to bring things up to date. It also reflects a severely shrunk product offering in line with Yeung’s commitment to a simpler life…
A great many audio designers seem to forget that they are supposed to re-produce music, NOT re-produce sound. There is a big difference between music and sound. If we, as designers, don’t understand the difference and interpret it correctly, the end result is going to be awful. G.Yeung
Listening to equipment designed by Gilbert Yeung reminds us that simply capturing all of the information on a recording is not enough. As impressive as that can be, it is far too modest a goal. From the listener’s point of view, an accurate rendering of a recording is seldom an accurate rendering of a musical performance, though we often try to persuade ourselves that it is. Audio technicians would love it to be that straightforward, but it is not. Anymore than a high resolution photograph gets the essence of its subject. How to turn even a superb recording into music remains a challenge that begins when the pure technician leaves the room.
Gilbert Yeung is among a select few audio designers who understand this. We hear it immediately when we hear our first Yeung amplifier driving a pair of — in my house — JMR speakers. Our very first response is not how accurate this recreation of a recording is, how impressive the verisimilitude; but how wonderful the music is. We respond first with our emotions, which is what Yeung addresses. The brain follows in due course — Yeung is a brilliant technician — but it is our feelings that pick up the first wave of sound: Yeung’s designs send the information through the emotions to the brain.
The key to the ‘Gilbert Yeung Sound,’ from the early Class A Blue Circle hybrids on up the current solid state gear, has been the designer’s unique kind of technical & intuitive genius that enables him to capture the complete package, the information and the emotion, with hardware.
Yeung’s quest to reproduce the emotional essence of ‘live’ music has yielded some of the most satisfying preamplifiers and amplifiers in the world.
Amherst Audio began with Yeung when he was Blue Circle. The zig-zag that got me to his line of preamps and amps followed one of the predictable routes: zig from Krell to Conrad Johnson, zag halfway back to Plinius. It could just as well have zigged from Bryston to Cary and zagged halfback to Plinius. To my ears, Yeung’s electronics, especially in its latest essentially all-solid state designs, comes remarkably close to achieving the mean between an accurate version of what’s on recordings and a presentation of what ‘live’ music really sounds and feels like.
What follows are my subjective opinions of the selection of gear that will be available by custom order from Amherst Audio.
Model O22i-GY Integrated Amplifier
The O22i is a 125 watt (160 into 4 ohms) all solid state integrated based on the 1022 stereo power amp. It was obvious that once we’d heard the 1022, something on this order would have to follow. It is one of the most comforting, satisfying, and commanding new products to emerge from Gilbert’s garage since the new “N” series stereo amps.
It is clear and commanding in an entirely natural way. Its chief virtues are (1) a sense of scale (large), mainly the result of a robust bass foundation, reminding us how essential really good bass is in conveying music realistically; (2) an almost magically silent background that makes possible an appealing kind of clarity; (3) body, which is not the same as bass, giving everything a sense of exciting physical presence; and (4) beauty, mainly the savory (meaty?) midrange but there is also a lovely sweetness to the highs. I would say the most conspicuous of these is body: pianos have body, low brass have rich clear authority, singers have chests!
I consider the O22i along with its new little brother, the 002i (see below), statement products, the best integrated amps Gilbert Yeung had designed, at least until the fall of 2018. They are the amps I’d hoped for but was reluctant to expect and they complement each other perfectly. Price: $7500.
Great new review of the O22i on Positive Feedback.
Model 002i-GY Integrated Amplifier.
The 002i is a Class A/B 002i 80 watt integrated amplifier. In its standard form, it has a beautiful sound, more noticeably beautiful than its big brother, the 022i. It is less robust and lighter, which creates a sense of greater subtlety, more delicacy. It is a trifle (pleasantly) indulgent. There is plenty of body to the sound when it’s called for — left hand of piano suddenly coming in alongside a cello. But body and weight are not the chief impression we get. What we hear first is beauty. This amp feels more like a cousin of the NSL than of an 022i. And it has the sound of delight in it: “When I designed the 002i, I said I wanted to bring back the joy of the 80’s when most people were listening to the music and enjoying it.”
Gilbert has also made available as an add-on option an external power supply called the EPS. With the power supply hooked up to the 002i, the augmented amp is dramatically more impressive, audibly a whole other amplifier. It sounds firmer, more forceful, vigorous, faster, firmer, more energetic, tighter — and more refined. There is more evident control, edges are clearer & better defined: the overall presentation has a sharper but also subtler focus. Without the EPS, the 002i is softer, ‘romantic,’ easeful. With the EPS, beauty is no longer the amp’s most conspicuous quality…or rather the beauty has more backbone.
As my 002i settled in, I found I was playing it all of the time with the EPS, as is my first 002i customer. As good as the 002i alone is on more modest speakers, I now feel that the EPS makes it twice as good. On Penderecki concertos (flute, horn, clarinet), the solo instruments are dramatically real and present, the double bass and low brass are both solid and clear. I’ll have to say I’m finding its modest 80 watts sometimes sound more powerful than my 022i’s 120 watts; and the amp itself, for those who crave refinement, clarity, and natural weight, even better. I did not expect that. The 022i has the 1022’s beefy voice, and many have to have that, along with its deeply saturated tonal colors. But the 002i – EPS is definitely the more refined amplifier of the two. It really does bring to mind the NSC/NSL sound for those with 80% fewer dollars.
There will likely be some people who start out with the 002i alone and come to like it as it is and may not like the added forcefulness and clearer focus introduced by the EPS, preferring the stand alone amp’s slight softness, especially on warmer speakers that can’t take advantage of the EPS’s qualities. Some may like the stand alone on some recordings, the full boat on others!
The 022i and 002i/ESP are two amps that will choose among us. The passionate, bass-loving, and connoisseurs of prime rib on one side, the discriminating lovers of eloquence, beauty, and nuance on the other. I’m not talking extremes here, just clear variations on the Gilbert Yeung sound. The 022i is no dumb head-banger and the 002i/EPS is far from being a priss. These are Gilbert Yeung designed amps, folks. As we have come to know, the 1022 school of Gilbert’s amps and N series cater to different tastes. And Gilbert has the uncanny ability to ‘know’ and value both of these tastes — more important, to address them both brilliantly.
Price for the stand alone 002i is $5250. The EPS is an additional $1750 and can be added later. I expect it will steal a lot of business from the 022i. So it goes in audio.
Model NSI NT – GY G with custom walnut & curly maple faceplates
Model NSI-GY Integrated Amplifiers
Despite the fact that very few of you have heard the 002i integrated amplifier, it is probably the best reference for describing the new NSI amps, which are available in basic and ‘grand’ forms, the latter called the NSI-GY G.
As I’ve said, the stand-alone 002i is a lovely, slightly euphonic, even sweet, amp that in my house is a very good match for JMR’s basic and middle range speakers which match its goals: to please. With its optional EPS, the 002i wakes up and has more clarity and dynamic energy, transforming it into a considerably better machine ready to take on more ambitious speakers. If you’re feeling adventurous, as I was, and substitute an NSC preamplifier for the 002i’s own preamp stage, it becomes a magically wonderful amp with no conspicuous limitations, sufficient, I should think, for most of us. The magnificent NSC adds refinement, ease, and even more clarity, qualities we associate with the considerably less powerful NSL.
Coupled with the 002i, the NSC transforms that combination into what is essentially the basic version of the new NSI, which is in effect an 002i plus an NSC plus “unnamed refinements.” Both NSI amps include an optional tube stage to enable you to “tune” the amp to your needs and tastes — more about that below. Gilbert is making both the basic NSI and NSI G available without a tube stage on demand at an attractively reduced price than the amps with the tube. An NSI NT and NSI G NT, he is calling them. This may be where many of us finally settle out. It has what strikes me as a perfect overall balance of clarity and the highly sought after ‘natural warmth.’
Enter the NSI G. To my ears, the NSI G reveals the essentially invisible limitations of its less ambitious little 002i based brother. It maintains the smaller amps’ perfect balance but adds what struck me immediately as nearly unlimited scale and an ability to reach all the way into recordings. It makes the smaller amp, for all of its unquestionable quality, sound modest and restrained. That’s the way it is in audio. Perfection trumps excellence. The G’s sound is absolutely true to instruments and voices but it can also, when appropriate, be utterly beautiful. If the EPS woke up the O02i and the NSC refines and fleshed it out, the NSI G shows us that even a perfectly balanced, alert, and refined amplifier isn’t quite all there is. I keep coming back to the sense that the G unleashes recordings. I was only occasionally aware that the NSC/002i-ESP was restrained, under any sort of leash. But it is now clear that for all of its wonderful charm, it is. Through the NSI G, violins are more brilliant and penetrating but without a trace of a loss of liquidity; pianos are larger, both clearer and more powerful — a bass chord can rock you. Percussion is more visceral; brass flash like golden lightening; instrumental ensembles fill the room with power and with the complexity of their timbral detail. And surprise, even a new LP of Nordic tunes, “Last Leaf,” arranged and performed by the Danish Quartet on ECM, which sounds fine on the smaller rigs, becomes absolutely bewitching through a BC phono stage running into the G.
Old audiophiles become jaded the older they get. We’re not that hard to please but it takes a lot to excite us after we think we’ve ‘heard it all.’ The NSI G excites this old audiophile. It excites me more than live music because it exceeds my expectations. When we go to a concert, we tend to take the sound for granted because it is, of course, perfect. We expect that and so we don’t much notice it. And there is a whole lot going on around us to distract! Audio in the home, where there is nothing visible to distract us, has the potential to make us more aware of what music actually sounds like. The NSI G realizes this potential extraordinarily. I’m hearing everything and it’s knocking me out. In tandem with the new JM Reynaud Abscissa Jubilee, this is absolutely the best audio I’ve ever heard. The NSC/NSL on Offrandes can sometimes sound more beautiful — that is what they do. But on the more complete and truthful sounding JMR Abscissa Jubilees, it is more truthful. And that truth comes with plenty of beauty!
The tube. It is a 6SN7, an old favorite of Gilbert’s, in a version chosen especially for the NSI amps. Gilbert has said it is designed primarily to forgive the faults of old recordings. Turning the knob up to ten o’clock fleshes out my old, somewhat dry sounding Stravinsky LP’s that the composer recorded for CBS many years ago. To be fair, it saves them, and makes them more listenable. I’ve got a handful of other old LP’s I’m looking forward to saving. On good recordings, CD’s and LP’s, to my ears but perhaps not to others, the tube domesticates the proceedings, reducing excitement and enhancing atmosphere by slightly darkening and enriching the sound overall. If you want that, you got it. But it will, to my ears, limit, apply restraints to the G’s power to do all that it has been designed to do. Or to sound less opinionated, it will change the G. And as Nature and Gilbert tell us, we are free to choose.
You don’t need an NSI G. Very few of you will acquire one. If you are in this silly game of audiophilia for the music but enjoy superb audio equipment’s ability to deliver a pleasing amount of genuine verisimilitude, a basic NSI, with or without its tube stage, will do you fine. More than fine. As I say, it has no conspicuous flaws or limitations. But if you are at heart as much of an audiophile as music lover, if the state of the art excites you more than it ought, more than a family of four (or five) can afford to have it do, the NSI G now exists to tempt you to proceed beyond reason into a whole new world. Sorry about that.
NSI NT-GY. $15,000. 17″ wide x 6.5″ high x 19″ deep, 45 lbs. Power Supply 5.25″ wide x 5″ high x 15″ deep, 22 lbs. $15,000.
NSI-GY. $22,800. Same dimensions.
NSI-GY G NT, $32,500.
NSI-GY G, $38,800. Available in a variety of chassis, essentially made to order. See image above for the most popular option for both NSI G’s.
Note: It is possible to upgrade an 002i all the way to an NSI G in steps that financially amount to approximately the difference between the amps. I say approximately because there may be some added costs involved when chassis need to be replaced by larger ones, faceplates replaced, etc. So strictly speaking it may not be the most cost effective way to get to G, but for many of us it may prove the most financially feasible one. One of my customers has already taken the route from an 002-i to an 002i-EPS to an NSI NT.
Model 3- GY Despina II.
Tubed, single-ended. The “original” Blue Circle preamp, upgraded to MK II status, which tightens its low end and adds dynamics, reflecting its designer’s move toward more incisive, bolder, and somewhat faster reproduction. Retains enough of the classic Despina sensuousness and remarkable midrange clarity to keep the BC3 faithful in the fold. The BC Despina II, Galatea II, and BC3000 II make excellent mates for cooler solid state amps. The Despina II is available in balanced topology for an additional $750. The BC 3 Despina is at the heart of many fine music systems. Price: $4945.
Model 3-GY Galatea II.
Tubed, single-ended. The upgrade from Despina II to the Galatea II, which amounts to the substitution of the 3.1 II for the 3.0 II external power supply, takes this extremely popular preamp a significant step forward. Bigger power supply means better bass and a bit more refinement through the midrange. The Galatea II is available in balanced topology for an additional $750. List price: $6395.
Model 3000-GY II with stainless faceplates.
Model 300o-GY II.
Tubed, single-ended. The 3000 II represents a huge sonic upgrade from the Galatea II. When it is coupled with the optional GZpz power supply, it gets more refined and picks up an astonishing sense of ease on large orchestral and big band music. The BC 3000 GZpz was the best of the BC preamp line I’d heard until I heard the 107 and then NSC solid state preamps. Those who prefer tubes in their preamps are likely to consider it unchallenged yet. List price for stock 3000 II: $8795. With GzPZ power supply: $10,995. The BC3000 II is also available in balanced topology for an additional $750.
Designed especially to mate with the 1022, the Model 107 benefits in this role by sharing some of the N amps’ technology. In my house, coupling it with an earlier amp model, the NSP, makes the excellent NSP an even better NSP: a more coherent and balanced sounding amp than it is on any other preamp I’ve tried it on.
On Gonzalo Rubalcaba’s Solo piano album, the piano has more low end authority on the NSP with the 107 than it has had without it. Actually, the NSP’s low end with the 107 has a lot of the weight of the 1022 and O22i but more clarity. The weight is less noticeable than it is on the 1022 and O22i because it’s part of a whole picture that contains the midrange and treble clarity and detail the amp revealed with the Crimson preamp. With the 107, the NSP is a more complete sounding amp than it was, full of both feeling and musical information. The superiority one would expect it to have over the 1022 (and O22i) is now complete and evident, whereas before it was only partial. We are talking about a $15,000 package vs. a $7,500 one, so it should sound better. But in audio, things are not always that simple. Some may, for example, prefer the O22i’s and 1022’s hint of sweetness and emotional simplicity and directness. The O22i’s presentation is more intense; the 107/NSP’s more extensive, full of a variety of fascinating instrumental flavors!
The 107 can be ordered with a very fine optional phono stage, an adapted version of the L’il 703. The 107ph, playing with my Audio Note TT2 Deluxe with external power supply, an Arm 3/Vx, and an IO1 moving coil cartridge sounds…analogue. Meaning it conveys what Audio Note’s Peter Qvortrup calls ‘the medium,’ a sense of the physical aspect of musical instruments. It is not artificially and conspicuously warm, like some phono stages I have known; it is realistically and compellingly warm. When Starker’s cello shrieks in the Kodaly solo Cello Sonata, we hear a shriek but it a full-blooded shriek. I don’t remember very well what my 703 sounded like, but the L’il 703 as implemented in this preamplifier sounds close enough to what I remember of the full 703 that it should keep you from feeling you’ll be losing much in moving to the L’il 703, at least in the form it takes in the 107ph. Price: $4695. With optional phono stage and external power supply that serves both preamp and phono stage. Price: $8500.
Model NSC-GY with custom walnut & curly maple faceplates
The NSC solid state preamplifier arrived in the summer of 2016 to be the ideal mate for the NSL (see below): to realize all of the potential of that extraordinary amplifier. It is a considerably enhanced 107 (many internal upgrades, larger chassis, much larger external power supply). It also implements the new DCRN (Direct Current Rails Network) power supply network, technology conceived to address the chief weakness of preamp/amp combinations: that the two units use their own power supplies, totally separate from each other. According to Gilbert, ideally what is wanted is some way to tie these separate power supplies together, “so that they are seeing the same picture at the same time — so they are working as one.”
Coming to the NSC from a 107, we are immediately struck by its greater overall authority: we get a significantly weightier, fuller, richer, and more dynamic presentation — with all of the 107’s clarity but in a more rounded form. The NSC actually has the ability to make the truly fine 107 sound like a lightweight! Definition is comparable but has greater dimension, instruments have more of their distinctive color and substance. There is absolutely no loss of the 107/NSL combo’s characteristic tactile grasp of surfaces, the NSC/NSL simply delivers them with more depth and backbone: woodwinds have more wood in them, brass have more balls. And there is no loss of refinement: rather, the refinement seems more an integral part of the whole presentation. Bottom line: the NSL driven by an NSC with its DCRN network feels more forcefully present. As good as the NSL is on a 107 — it was this combo that got me to order an NSL in the first place — we really don’t know how good that amp is until we hear it with an NSC.
We are told the NSC with or without its DCRN network (Gilbert can retrofit any of his solid state amps for use with the DCRN) can be used with any solid state amplifier.
The NSC is available with an optional phono stage that in terms of performance approaches that of the standalone 703. Price: $10,000. With phono stage: $15,000.
Benefitting from a technology trickle down (mainly its input stage) from the top of the “N” line, the NSL, the 1022 is a 125 watt stereo amp which, used with an appropriate solid state amp (like the 107, produces a somewhat purer and clearer sound that we’ve heard from Gilbert up ’til now. It also puts out over four times the power of the NSL. Among the four new amps, the 1022 is distinguished by a firm low-end grip and a subtle and beguiling bit of warmth that contributes to a remarkable sense of intimacy through the midrange. It sounds great on both the JMR Abscissas and Offrandes. Clearly the best value of the four, it sells for $4795.
Model NSW 300-GY
The new, high powered N series solid state stereo amp, the NSW, has been here for eight weeks now and I am deeply impressed. In my house it plays a pair of the new JMR Orféo Jubilees, which have been sitting here a while just waiting for it. They demand considerable power to do the eloquently full-range thing they do, and they are doing it now. As the Orféos are, among the the speakers I own the ones that mate with the NSP especially well, it is difficult to separate their virtues, so I won’t try. The NSW has extraordinary reserves of power — 600 watts into 4 ohms — and we can hear that when an orchestra opens up: dynamic energy and an absolute sense of overall ease. I’ll say more as both amp and speakers settle in, but at this still fairly early stage, I’ll have to say that the BC 200 series has met its match. The contemporary Gilbert Yeung line of stereo amps now feels complete – or will when the 1002 is officially here. It’s a line to be proud of and I’m sure our leader is just that. $10,000
In the world of amplifiers, this lower power solid state amp is unique, so far as I know, in generating its output from a great many op amps wired in parallel. The upside of this approach is an extraordinary gain in control, subtlety, and refinement — with no sacrifice in overall response from bottom to top. The downside, for those who consider it such, is that its output power is 28 watts into 8 ohms respectively. The NSL can be supplied with additional power on special order, but this requires many more op amps. From my listening experience and from the two reviews I’ve read, you should be sure you need extra power before even considering that option: it doesn’t sound anything like 28 watt amps is what I’m saying. I would be comfortable pairing it with any speaker of around 92 dB or more, maybe even something less sensitive in a smallish room.
My direct experience of the NSL amplifier began in mid-November, 2015, with a demo NSL, a 107 preamp, a Resolution Audio Cantata digital source, and JMR Offrande Supreme, V2’s, with Crimson cabling from stem to stern. It resumed in the summer of 2016 with the arrival of my own NSL — and the new NSC preamplifier designed specifically for it. The most important thing I can say up front is that at the time, with the NSC the NSL brought me as close to my ideal as I expected to get in my lifetime — maybe another 10-15 years, 20 tops if all of the various celestial and medical meteors miss me. I could finally say, with full confidence, this is good enough. Actually, it sounded so good enough it was ridiculous. That’s the first word I sent back to Gilbert after the first half-day of listening: “Gilbert, this is ridiculous.” If a near perfect domestic rendering of music is what matters to you most, the NSL may well be the best amplifier in the world.
I could compare the NSL with the NSP, which until recently has sat next to it on my Mapleshade rack, but at the moment that seems silly. Because the NSL has simply stepped clear and beyond it into another world. As good as the NSP is — and it’s very good indeed — and as audibly related to its sibling as it clearly is, comparing it with the NSL seems irrelevant. It’s the difference between a truly great effort and success. The NSL doesn’t sound like a better NSP, it sounds like instruments and voices in my living room. Playing beautifully.
I told Gilbert I wanted to hear his best before I was finished with this whole business and hobby. With him since the BC3 Despina and BC 2.1 of many years ago, I simply had to hear him at his best. It became a matter of wanting to hear the best audio designer I know at the top of his game, regardless of where he goes from here. No one understands how art and technology go together like Gilbert. No one. I heard that back at the beginning.
Hearing the NSL for the first time told me where it’s all been going, if I hadn’t guessed: what it’s always been all about. What the original room heater Class A gear, all of those hybrids, and now the latest all solid state gear were searching for. Unlike life, a narrative gets its meaning from its ending. Even though, it turns out, this wasn’t the ending.
With the NSL, we are looking through a clear window. While we are not quite sitting in the concert or jazz hall in the presence of the musicians, we do sometimes have the sense that we hear behind them, seemingly inside them; and we feel the frontal wave of their sound. We can hear everything they are doing and it all fits together and we are mesmerized by it all. Music from the NSL, especially when coupled with an NSC, inhabits the air. To my ears, when I first heard it, it was the ideal we music loving audiophiles have always sought. One of the most delightful features of listening to this amp is hearing all of the instruments that make up an orchestral chorus. The emotional thrill that degree and kind of clarity effect can generate — bassoons, cellos, double basses, trombones, each with their individual voices, all singing together — is impossible to describe. The effect is almost visual.
What are the most significant attributes of the NSL?
SPATIAL DEPTH. A sense of space, of a performing venue.
EASE. That belies the NSL’s modest power. A smoothness and lack of effort that sometimes surprises and even amazes us. An ease that becomes…
BEAUTY. Ease may finally be what we mean a great deal of what we mean by beauty in performed music.
DETAIL, NUANCE. The seemingly absolute retrieval of instrumental sound, timbre. Qualia.
CLEAR AND NATURAL BASS. Low brass are stunning clear. Some will object to the NSL’s bass because while it has extraordinary clarity, body and impact, it hasn’t the weight and body of a 300 watter, or even, as it turns out, of the new NSI on larger Abscissas. Fat it ain’t.
Marc Mikelson has always seemed to me to get Gilbert’s electronics better than most. Here’s what I think is the essence of what he says in his review of the NSL:
Piano, horns, and strings were marked by an effortless ability to cascade into the soundstage, their attack and decay prolonged. There seemed to be more of the instruments’ elemental selves, and less of an electronic signature, than with so many amps, even exceptional ones…In this way, the NSL was a sonic peculiarity: a component that was both highly detailed and abundantly easeful, presenting the music with precision and naturalness…The harmonic refinement it packs into its 28 watts is truly unique in my experience, bringing music to life in a fresh way.
I write in my introduction something to the effect that gear can’t make music better. When I listen to the NSL, music does in fact sound better. Composers want us to hear the bassoons and the cellos and double basses separately and together. When I’m reviewing CD’s for Positive Feedback on several different audio systems, I actually like the music better on the NSL. What else is there to say? If your speakers are happy with its 28 watts, this should probably be your amp. Price: $19,995.
Model 515-GY Digital to Analogue Converter
I have yet to hear new 515. All of the dacs that have preceded it were notable for natural warmth and fullness, producing a sound that approaches many listeners’ ideal: analog without that medium’s downsides. According to Gilbert, if the older dacs, in particular the popular 501ob, had somewhat of an BC208 sound, the 515 has more of a NSL/1022 sound, continuing the evolution of the Blue Circle sound toward increased definition without loss of its traditional musicality. I am optimistic that this new dac will satisfy most of us! Price: $3150.
Model 703-GY Phono Preamplifier with custom wood faceplates.
Model Li’l 703-GY Phono Preamplifier. This is essentially what’s in my NSCS preamplifier and it’s lovely. $2200 plus power supply.
Model 703-GY Phono Preamplifier. more coming. $7695. I had one of these here a whle back and enjoyed it immensely. There will be another coming soon. In the meantime, here’s a review of long-time Blue Circle aficionado Mark Mikelson:
Available in two configurations, one more open and transparent (BC95), the other a bit warmer and richer (BC 99.5). I have the 95 here and enjoy it. If you want something a bit more savory than Crimson but still able to recover natural detail, this could be your cable. I’ve not heard the 99.5. BC 95 and BC 99 are both $300 for a one-meter pair, $180 for each additional meter.
GY Speaker Cable
Like the interconnects, available in a more open format (BC 91) and richer sounding one (BC 92). To my ears the 91 mirrors the BC95 interconnects, keeping the overall sound consistent. I’ve not heard the BC 92. BC 91 is $460 for 8-foot pair, $22.50 per additional foot. BC 92 is $600 for an 8-foot pair, $66 per additional foot. Bi-wiring for both adds $66.
Link to new Gilbert Yeung/Blue Circle Forum
The Blue Circle owners and fans Forum is now alive again, in a new form.