Tonal neutrality and transparency.

No absolute polarity switch.

I recently obtained a used Audible Illusions Modulus M3a, which I sent to the factory to be updated to current production status. The upgraded version is so much better that it makes me wonder why they don't just call it the M4! The first thing that I noticed was the deeper, tighter bass. The upgraded unit plays about a third of an octave lower, and with much better pitch definition. My Von Schweikert VR4s play good, low bass, and I have also heard the new M3a on another system with really big, bi-amplified subwoofers. So I can hear the difference, and, believe me, the extension and control of the low bass on the latest version is just incredible. I mostly play music from acoustical instruments, so colorations are not welcome on my system. Most tube gear doesn't meet my standard for strict neutrality. Happily, the new M3a is dead-on neutral. The M3a seems to have no sonic signature of its own. That's what I want: a component that sonically isn't there! In reading comments of the previous contributor from Korea, who also purchased a used Modulus, I noticed that he didn't appreciate the fact that it was "unforgiving" because it was "too transparent." What can I say? Welcome to high-end audio! Transparency is one of the attributes of the Modulus. In my opinion, transparency is essential; lack of transparency is just distortion. Output doesn't equal input when a component covers up or changes its input source. My upgraded M3a seems to resolve fine details better. I've been going through my music collection with renewed delight, because on everything that I play, I'm literally hearing things that I've never heard before. I think part of the reason for the new M3a's enhanced ability to resolve fine detail is the fact that it is even quieter than the previous version. This preamp is now really quiet, even with the volume turned all the way up. The other improvement is in the area of dynamics. I don't think I have ever heard even a solid-state preamp that has that kind of dynamic range. The upgraded M3a nicely handles complex material and it has the ability to recreate the dynamic range of a large orchestra, even at fortissimo levels. To amplify challenging material realistically without the soundstage collapsing is essential for a high-performance preamplifier, and that is what the new M3a does. IMO, the upgraded M3a has the best qualities of tu

Tonal neutrality and transparency

No absolute polarity switch

I recently obtained a used Audible Illusions Modulus M3a, which I sent to the factory to be updated to current-production status. I loved the sound of the M3a just as it was, but the upgraded version is so much better that it makes me wonder why they don't just call it the M4! The first thing that I noticed was the deeper, tighter bass. Not that I thought there was anything wrong with the bass output before the factory upgrade. It now seems to me to be the closest thing possible to a cross between solid-state and tube performance, especially in the lower frequencies. The upgraded unit plays about a third of an octave lower, and with much better pitch definition. My Von Schweikert VR4s play good, low bass, and I have also heard the new M3a on another system with really big, bi-amplified subwoofers. So I can hear the difference, and, believe me, the extension and control of the low bass on the latest version is just incredible, particularly for a tube preamp. Probably my biggest criterion for anything that goes into my system is tonal neutrality. I mostly play music from acoustical instruments, so colorations are not welcome on my system. Most tube gear doesn't meet my standard for strict neutrality. Happily, the new M3a is dead-on neutral. I also listen to piano and voice to gauge how colored a component is. The M3a seems to have no sonic signature of its own. That's what I want: a component that sonically isn't there! In reading comments of the previous contributor from Korea, who also purchased a used Modulus, I noticed that he didn't appreciate the fact that it was "unforgiving" because it was "too transparent." What can I say? Welcome to high-end audio! Transparency is one of the attributes of the Modulus. In my opinion, transparency is essential; lack of transparency is just distortion. Output doesn't equal input when a component covers up or changes its input source. So the downside is that if you play a bad-sounding source on a truly transparent setup, you are going to hear it just as it is. Sorry, but that's the way it is with high-end equipment. You hear the bad with the good. But when you play material that is really good and really well recorded, it can be glorious. My upgraded M3a is revealing in another way. It seems to resolve fine details better. I've been going through my music collection with renewed delight, because on ev

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LAMM and Audio Research preamps

Its the reality.

None!

Harmonic Technology pro-9 speaker cabel: From the very first minute you listen whit this cabel to your music its wonderful.If you have a good equipment you must have this cabels.Its so airy full of music.Evreything from deep bas to highest cymbals sounds so reel and relax.You feel lots of power and silence at the same time.Its expensief but if you hear it its the reel thing.

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Not at this level.

very transparent, detailed with just a hint of tube sound.

see above. in a word, if you think you are (or want to be, at times) a little lazy, then forget it.

Ugraded from Creek passive (OBH-12). It's much more transparent and the sound is detailed. Especially, the treble range (HF) is so attractive. When I purhcased, I compared this one with two other preamps about the same price range, which were Krell KRC-3 and ML No.28. ML was taken out first because the sound was too hard for my taste. I thought Krell sounded decent overall(nothing outstanding but just easy to listen). But the sound of viloin from M3a made me to stop the comparison. It was that attractive but not tuby or overly warm at all. Now, bad things: After using it for a couple of months, I found several things which I am not quite happy with. - not very forgiving (because it's too transparent?), so source/power amp should be good and "smooth". It means more invetment (huh!) - Weak Bass: overall balance seems to be a bit tilted upward. - Convenience factor: no remote, dual attenuaters, very high output impedence (i.e.less freedom to select poweramps), no balanced in/outs (some poweramps sound better using balanced), reputation of "tube eater", no distributor here (means no A/S!). In sum, soundwise excellent product (except for bass region). But practical reasons mentioned above finally persuaded me to sell it and go to Krell KRC-3. Krell lacks that sexy sharpness and attractiveness in the violins. But otherwise, the sound is very smooth and easy to listen even with my poweramp KAV-250a. Furthermore, life now is much easier and simpler.

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KRC-3, Creek OBH-12, Mark Levinson No. 28 (just auditioned)

Musical. Honest. Detailed and precise, yet with just a pinch of analog (tube!) decency and delicacy. Great sound field, very precise, now with really solid bass. It is a "brings ya'' there" component.

No remote (for which I don''t really care). Some don''t like dual volume controls, but I do -- it allows more precise channel matching. Has a lot of gain, but shouldn''t bother most systems.

I have used the AI Modulus preamp line for years -- since it was a Modulus 2. I have always valued the simplicity of design, which I feel translates directly into an uncomplicated purity of sound. I had the latest M3A upgrade performed last fall, and it uped the ante: tighter bass, a more impressive sound stage, and even more precise location of sound(s) within the sound stage. I am in a position to get all but the sper-megabuck preamps, but I continue upgrading the Modulus -- because it seems to bring me closer to the music, and to the "real thing," than anything else I have auditioned. System includes: AI Modulus 3A (latest) (2) Bel Canto eVo 200.2 amps (monoblock) Sony 777ES SACD/CD player w/Kern and Audiocom mods Magnum Etude FM tuner Well Tempered Classic Table and Well Tempered Arm (w/Pedersen mod); and Benz Glider cartridge Magnaplanar 1.6QR speakers with modified XO (Hoveland/etc.) (2) Vandersteen 2W subs Pure Silver Sound ICs and Acoustic Zen Satori speaker cables/jumpers Argent Room Lens Shunyata Hydra

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A variety of preamps auditioned through the ''90s, but only the Modulus for the last few years.

Musical

I submitted an earlier review detailing how much I liked this pream but I had not heard it with a CD player. Well, I just purchased an AH! Tjoeb 99 CD palyer. If you haven't heard of this CD Player, check out the reviews elsewhere on this site. All I can say is I been missing a lot from this preamp.

A lot of it has to do with this CD player but the bass goes much deeper, the sound has more punch, and the airiness is just as good as it was on the phono.

To me, this is an excellent combination.

A side note. I replaced the original tubes with some Tungsram tubes orderd from Upscale Audio. These were recommended by Kevin Deal, the owner. He really knows his vacuum tubes. Most of the excellent sound has a lot to do with these new tubes.

System
AH! Tjoeb 99 CD player
Audible Illusions Mod 3A
Audio Research Classic 60 amp
Project 6.1 Turntable
Grado 8MZ cartridge
Kimber PBJ interconnect
Gholson-geyer interconnect
Monster M1000 speaker cable

Outstanding Value, Quality and Reliability

Slight hum from external power supply

I've owned my 3A since 1995 and have never had a problem with it. I also have no problem with the preamps gain in either phono or line mode as the sensitivity of my speakers is within normal range. My only complaint is a slight hum from the power supply box. I called AI and they said they would be happy to install a vibration pad underneath the transformer but I never sent it in to have this adjustment. To date, my experience with their customer service department has been good although it does take a few
calls to get a live person. They were also very helpful in recommending one of their dealers who specializes in NOS tubes.

Like many audiophiles, over the years I've owned several preamps and suffered much frustration with various pieces of audio equipment and so-called, high-end manufacturers. It's rare to find a company who really cares about their products and I've never known a company like Audible Illusions who puts so much effort into every detail. They really make an effort and I'm sure most of us appreciate it.

Yes, I wish I had a few more steps on the volume controls but I can live with this slight inconvenience as the sound is absolutely wonderful. This preamp really brings my Maggies to life! Never have I experienced such a three-dimensional soundstage. I can state with certainty, when it comes to stereo imaging, your going to have to spend a lot of $$$ to find anything better.

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Audio Research LS15, CJ PV10

Overall Design & Build

No Balanced Connectors, Awkward Volume Controls, Customer Service

This is not a bad pre-amp, but especially with the latest price hike - I was told by a dealer last week the new list is $2,500 - you can do better for less money.

Virtually all other pre-amps and amps at this price point, offer balanced connections, making for a conspicuous absence on the 3A. Also a bit unusual are the dual attenuators in place of the traditional volume & balance controls. Overall I found the attenuators, with their fixed steps, pretty much of a nuisance in the long term.

The line section offers more gain than most pre's - only about a third of the 24 attenuator steps were practical for normal listening when paired with the Meridian 508 (which has balanced outputs BTW), a Classe 150 amp & B&W speakers. The MM phono stage on the other hand was nearly perfect with the Shure V-15 or Sumiko BPS and allowed more of the attenuator range to be used.

Lastly it would be remiss to not mention that my unit required service during the time I owned it, and unfortunately the repair work took about 4 months to complete. I can't say if that is normal for the company, but I found it entirely unacceptable.

All things considered this is a somewhat quirky piece of gear that should be carefully evaluated before purchase to ensure that you will be happy with it in the long run.

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Audio Note, Bryston

Little did I know were the upgrade path would take me.After years of quietly upgrading spearkers,amps,sources and cables,I was ready to try cost-effective but noticeable changes.The Modulus 3 (1994) was recomened by a friend who knew one for sale at a good price. He runs a 3A through a Quad valve-amp and 57,speakers.I was running my power hungry Martin Logins through a Krell 300i.A Carver A760x (700W-4ohms)gave more grunt,but it was the Modulus 3 that gave the delicate and emotional connection that I was seeking.This Pre-Power amp combination works very well with the electrostatics.I have found it is the synergy of the components that works the greatest magic.I have also driven the M3 through Rotel 985THX amp and Vaf DC-X speakers (very sentisive to tone and timbre) sourced by Pioneer DVD- 515
and Chesky 24bit-96hz two channel DVD.

Sounds as much like real music as any preamp I've tried -- highs, air, soundstage -- et. al!

No audio product can equal live music.

I have made several upgrades to my system, all with good to outstanding results (I will cover several of these in other reviews over time -- Glider, ARC VT100MkII, Maggie 1.6QRs, PS Audio P300). One thing I have NOT replaced is my Audible Illusions M3A. In fact, I have owned a Modulus preamp for several years -- one incarnation after another, each better than the last, and each after sneaking out and listening to a few other units before deciding to upgrade once again.

Folks, the Modulus is a throwback to great preamps of yore -- but with thinking, simplicity, parts and the improved performance of today. It is not your high-tech marvel of year 2000, catering simply to digital (NOTE: Digital has improved -- that's not the point). It does have a fine line section. But what sets this puppy apart is its phono section and performance.

I'm not going to gush in audioragology about each little snippet of performance. It helps me to approximate the real deal in the confines of my listening room. I say, "Wow!," a lot. I hear subtle stuff, and occasionally have to settle myself down after an electrifying transient or a tummy-tucking bass passage. But that's nitpicking. What it contributes to is my nightly gallop back into my listening room to -- listen!

Who should consider the M3A? It is obviously highly regarded by any number of serious, qualified reviewers. I think, despite it now being almost $2500, that it should appeal to those who want excellent preamp control and performance at a reasonable price; those who love LPs; and, those who respect simplicity in both design and performance.

Since reviews are limited by their nature, I would be pleased to email with other AI M3A owners, or those out there who might be interested. Or who might be confused after the recent, startling "one star" bashing that has now mysteriously morphed into an almost identical "three star" bashing -- and which bears no real resemblance to my long experience, or that of other M3A owners I know.

The M3A works superbly in my system (see below), and that in itself is the endorsement of very good company. My system:

Audible Illusions M3A
Audio Research VT100MkII
Well Tempered Classic (with WTT mods) and WTA arm (modified
by Pedersen Labs), with Micro-Benz Glider HO
Cal Alpha (with 24/96 upgrade) and Delta
Onkyo T9090 FM tuner
Magnepan 1.6QRs
Vandersteen 2W subs (2)
PS Audio P300 Power Station (M3A and all source components
ex WTT)
Synergistic Research cabling
AudioNut elevators and fastpoints
Sanus CF45 stand (with lead shot)

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In 40 years of trying to be an audiophile, I have listened to far too many of these things to remember which!