I now have about 50 hours listening with Bill's uber-upgraded L3 in my system and can share some thoughts.
For context, my L3 was built in late 2007 and used the upgraded AN HiB double c-core output trannies, along with DACT main and L/R channel fine adjust stepped attenuators. It had far bettered any linestage I had before (see my original post: "JB's Custom Audio Note Deluxe+ preamp" for a list). It possessed (perhaps exceeded) the transparency of any passive, yet added the "expressiveness/soul" I've only heard from actives.
I contacted Bill in late 2008 about installing the AN Kits "MKII" choke decoupling circuitry upgrade and to add two pairs of true balanced inputs (with Jensen JT-11P-1 input trannies), as I had changed to a balanced output DAC. Bill's about the only guy I've met in the industry willing to accomodate such system-specific requests, for which I am ever grateful. Conversation turned to Bill's new Musica Bella preamp line, then in pre-production. He told me how impressive outboard dual mono psu prototyping had been for his own line, so we decided to incorporate much of the circuitry/layout into my preamp (heck, I was sending it in anyway, and already had half the major psu parts...). I even sent him four NewClassD "UWB Super Regulators" to add to the recipe.
Well, what did I receive?
First off, Bill told me when the preamp shipped that I'd really notice the channel separation. Channel separation? I kind of regarded the comment like Allen Iverson did "practice" back in his Philly days. Now I understand. My upgraded preamp has dual AC inputs, so the channels are separate from wall sockets through XLR output jacks. I initially balked at the idea but I did have an unused pair of Furutech IEC inlets and a pair of PCs, so I went along. I'm so glad I did! The preamp's channel separation (passing to monoblock amps) translates into stereo imaging precision/soundstaging which defies description.
Another immediately apparent significant improvement was in upper bass/low midrange authority and timber, especially on tenor sax, drums and upright acoustic bass. It is NOT an overemphasis of this portion of the musical spectrum. One still hears the breath across the saxophone reed in proper balance with the notes played. Listening to Billy Cobham's "phase" drumming on "Crosswinds" reveals both more oomph and timbral complexity, yet the stick strikes still come through as they should.
The preamp is dead quiet, even with my ear to my 95dB sensitive line arrays. For me absence of background noise is a system essential, not to be compromised. The subtlest microdetails and nuances are audible in a way that adds so much to late night listening sessions.
Clarity/"space", a strong suit of the "original" L3, remains as good as I've heard.
While the preamp retains the treasured liquidity of the Audio Note house sound, it is neither muddy nor "slow". Transients will startle the unprepared.
Voices, BOTH female and male, are uncannily realistic.
Such a highly-upgraded preamp comes at a price, but pieces like this one and those in Bill's own line are on a par with the worlds best in workmanship, circuit design and parts quality - and at far lower cost. Mine is unique and a true heirloom. I consider it the centerpiece of a 2 channel music system carefully assembled over years of persistent effort. Bravo, Bill!
One thing to consider is that, for those interested in Bill's Audio Note Custom preamps, a potential upgrade path exists for folks who buy the single box unit to later evolve to the outboard psu version.
My system:
Antelope Audio Isochrone 10M Rb oscillator >> dCS Scarlatti Master Clock >> Esoteric P-03 transport (with Upgrade Company mods) >> dCS Scarlatti Upsampler >> dCS Scarlatti DAC >> Bella Extreme Audio Note Custom L3 preamp >> Atma-Sphere MA-1 monoblocks >> Selah Audio custom "AOD" line arrays (pictured on Selah Audio website) with stereo subs
