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Atonement was powerful; it was the lock on the door you closed against the past. – Stephen King. During its time in my system, the BP Aquarius performed admirably with the Analysis Plus Power Oval power cord as my go-to choice for numerous phono stages in the past. By the end of many weeks of auditions, I wound up preferring the TG Audio SLVR power cord, a very flexible 12-gauge high capacitance/lower inductance copper wire with silver-plated brass connectors. It proved to be more transparent and dynamic and delivered more texture while firming things up in the upper bass and lower midrange. Tight buns and six pack as it were.

Because both are accurate within their sonic spectrum, the Allnic and BPA deliver an equally smooth and properly balanced top-to-bottom presentation. Nothing sticks out or seems out of place. Both are of a cloth. They hold together. They are coherent. Yet they sound nothing like one another - much like cuisine that has variations, regional or otherwise. Assuming two chefs in two kitchens each acquire a great free-range chicken, the Basque approach (Poulet Basquaise) will taste vastly different from the classic from the Provence (Coq au vin). Yet both are French cuisine and they both are very flavourful. But that’s pretty much where the similarities end because despite what they have in common, they taste very different. They have their own personalities. And that’s how it is spending time with the BPA and the Allnic. They’re both very competent phono stages. And they both are suave like a great Sumatra. Yet one is more sweet and the other more bold. Beyond that, their characters continue to diverge significantly.

Allnic Black Pearls Audio
Ethiopian Yirgacheffe   Guatamala Antigua
Butterscotch Truffle
Pinot noir Cabernet
Virtuous Sunday Morning Colourful Saturday Night
Fuji Provia Fuji Velvia
Smoothness Texture


As I read these two columns, I see I'm already sold. It's not that I picked things I don't like to place in the left column but the things I crave landed solidly on the right. Tempo, dynamics and melody lines are terrific with both units but the timbre is not entirely as rich or colourful with the Allnic. The BPA also gets a double thumbs up for drive as its big organic sound washes over you. On the other hand the Allnic’s transparency allows it to more rigorously distinguish detail.


Surprisingly the BPA is quieter even as it pulls forward in the lushness and richness realms. Love a dirty sax? Check out the up-tempo aggression on Ike Quebec’s Soul Samba or Blue & Sentimental. How about raw guitar? Try the alley-cat howling licks on Danny Gatton’s Redneck Blues. You know where to go and the BPA will get you there. Though the BP might lose that very last bit of air and space on some recordings, it’s eminently musical. Check out the big breathy sound for which Quebec is famous. What very little it may suffer on the sonic side of the equation, it makes up for on the musical side.
Another impression we all shared was that both have an excellent grasp of dynamics and melody. And that the tempo and drive of the BPA feel more forceful and more physical while the Allnic gives the impression of moving the pace along more quickly (perhaps owing to the lighter touch). The BPA effectively communicates differences among albums. While spinning Bill Henderson’s 45RPM version of Send in the Clowns, the BPA was appropriately reserved and pleasant sounding; it communicated instrumental legato and the arcs of vocal phrases very well.


When it came to the more boisterous 45RPM of Angola Bound courtesy of Aaron Neville, it was obvious that we were no longer in Kansas. The drive, force, depth and emotions were persuasive. Sounds were more focused, more real and more smoothly controlled than I have heard from other phono stages. We also noticed how clear the harmony was when some musicians sang along. It was easy to make out their individual voices. Transient attacks happen swiftly and are gone in less than a blink of the eye. The percussion gave a tangible sensation of hands touching instruments and as if that weren’t enough, an impression of seeing what we were hearing.
As Jeff noted during our visit, "It does not at all scream solid state." I would add that it does not even whisper solid state. The BPA has the kind of tube-like meatiness that so many crave. I certainly prefer it. Sure, the Allnic does better individuation and timbre. It’s not as romanticized. On Reiner’s Scheherazade for example, the Allnic presents violins that sound plausible with a lovely resin timbre. It has a thinner and less rich tone whereas with the BPA, the remarkable resonance of the violin is there. Body, clarity and presence all collude despite the late hour, to suck you in for just one more album.