[The Audio Beat(2019.5.7)에서 발췌. written by Marc Michelson]
Well, the sound of the Allnic cables — as a whole and individually (with some slight variation for the power cords) — if you can call it “the sound,” was both familiar and unfamiliar. The tonal signature was extremely even-handed, neither warm and full nor cool and lean. Perhaps this was due to Allnic’s technology, aimed at evening out the midrange, but it meant that the equipment and recordings sounded distinct, without any sort of artificial flavoring that can enliven in the short term but create fatigue over time. And as with the various Allnic electronics I’ve heard, the Allnic interconnects and speaker cables presented performers and space in a distinct way: focused, corporeal, roomy. But what was most distinguishing was how the Allnic cables seemed to concentrate the recording’s personality, portraying the music with a singular sense, its own intrinsic character. Time and again the variation from one cut to the next belied any sort of overt personality, the recording and its particular ratio of presence to space conveying the most about the music and the sound.
“음의 특성은 도극도로 중립적이라는 것. 따뜻하거나 꽉 차지도, 차갑거나 야위지 않았다. 아마 이는 중역대를 평탄케 하는 올닉의 기술력 덕분일 것이다.”
“올닉의 인터케이블과 스피커케이블은 연주자와 연주 공간을 아주 특별나게 그려줬다. 초점이 잘 맞춰지고 실체가 잡힐 듯하며 공간이 넓직하게 제시된 것이다. 하지만 가장 두드러진 것은 음악의 특징과 고유한 캐릭터를 그대로 드러내줄 만큼 올닉 케이블이 음반을 하나의 생명체처럼 대했다는 것이다.”
I have heard Dire Straits’ self-titled debut LP [Warner Bros. BSK 3266] or CD [Warner Bros. 9 47769-2] on every system I’ve owned since I was a teenager. Even over forty years after it was released, it is still considered stunningly well recorded — sounding better, I would argue, than Love Over Gold, which is so often cited as the best-sounding Dire Straits album. I pulled out the debut LP to hear with, first, the Allnic interconnects between phono stage, preamp and power amps, and it was all there: the bell-like clarity of Mark Knopfler’s guitar work on “Down to the Water Line,” the nearly endless decay (and tape bleed-through) of the wood block that open’s “Water of Love,” and the lilting chorus of “Wild West End.” It wasn’t so much that the Allnic cables simply resolved all of this; instead, they preserved its singularity within the fabric of very busy music. Knopfler’s voice had its distinct husky nasality, his vocals spoken as much as sung. The Allnic cables secured the recording’s uniqueness while enhancing the band’s presence and the space around it, although “enhancing” may be overstating the issue. It may rather be a matter of preservation, of hearing this recording in all its true, naked glory.
“‘Down to the Water Line’에서 들리는 마크 노플러의 기타 연주는 벨처럼 선명했고, ‘Water of Love’를 여는 우드 블럭은 음이 사라지는 모습이 끝까지 관찰됐다. 더욱이 이 모든 것들이 분주한 음악속에서도 자신의 존재감을 잃지 않았다.”
“올닉 케이블은 밴드의 존재감과 이들을 둘러싼 공간감을 잘 표현하면서도 이 앨범만의 특별한 개성을 잘 간직했다.”
In terms of the overall balance — the relationship of tonality to dynamics to resolution — the Allnic cables were true to the recordings, neither emphasizing nor recessing any region. “Honest, the real thing” is how I summed it up in my listening notes, meaning that there wasn’t any fake leanness that can give the illusion of transparency without it actually being the case, no leading-edge emphasis that can impart excess speed or air. There was, instead, an endearing sense of rightness, a fundamental honesty that let the components and recordings dictate what was heard. And when the recording is outstanding, as is Telarc’s SACD of Stravinsky’s Firebird [Telarc SACD-60039], another oldie but goodie, the results can be as good as I’ve heard my system sound — vivid, impactful and just plain exciting. Conversely, there was nowhere for grit, strain or chalkiness to hide.
“음조 밸런스, 즉 음과 다이내믹스, 음과 해상력의 관계를 따져보면 올닉 케이블은 강조하지도 덜어내지도 않으며 오로지 음반에만 충실했다. ‘정말, 솔직하다’, 이것이 내 청음노트에 요약한 것인데, 그만큼 투명성이라는 미명 아래 음이 야위지도 않았고, 스피드와 공기감을 지나치게 드러내는 모습도 없었다.”
“스트라빈스키의 불새 SACD를 들어보면, 선명함, 강력함, 흥미진진함 등 지금까지 내 시스템으로 들어본 것 중에서 최고였다.”
As for the competition, Shunyata’s Sigma line comes quickly to mind, but I’ve not heard those interconnects and speaker cables in my system. The set of cables with which I’m most familiar, and the last set of cables I reviewed, were Nordost’s mighty Odin 2. I said about Odin 2, they present “the truth of the musical signal, the electronics and speakers with unequaled fidelity,” which sounds similar to what I’m saying about the Allnic cables. Yet, in my listening notes on the Allnic cables, I called them “the anti-Odin 2.” What I meant by this seems easily understandable — the Allnic cables are not like Odin 2 — but that’s not what I was getting at. It’s not that the Allnic cables sound completely different from Odin 2. Instead, while they sound broadly like Nordost’s top of the line, with some variation, there is still one huge difference: price. You can buy an entire set of Allnic cables, power cords included, for the cost — $22,499 — of one pair of Odin 2 interconnects. Cost being equal, Nordost’s proprietary process for creating Odin 2, along with the cables’ outrageously high resolving power, would give the nod to Nordost. But for some systems and most budgets, the Allnic cables will be just the finishing touch.
“노도스트 Odin 2는 음악신호와 앰프, 스피커에 담긴 진실을 적수가 없을 만큼 충실하게 드러내는 케이블인데, 그 소리가 올닉 케이블과 비슷했다. 하지만 내 청음메모에는 올닉 케이블을 ‘안티-오딘2’라고 적었다. 소리는 노도스트 오딘 2와 아주 유사하지만 커다란 차이가 있기 때문이다. 그것은 바로 ‘가격’이다. 오딘 2 인터케이블 한 조를 살 수 있는 $22,499로 파워코드를 포함해 올닉 케이블 세트를 구매할 수 있다.”