Allnic 1201 and Herron VTPH-2

The web states that my integrated is 100k ohms .That looks good for the Herron . How about the Allnic ? At 1.2k , that is quite a jump .

Great on both counts! And in fact I doubt that any reasonably well designed phono stage would have a problem driving 100K.

Also, as a point of information, if I am correct in believing that the output stage of the Allnic is transformer coupled, per my earlier comment it would probably be able to handle lowish load impedances (e.g., 15 to 25K or so) better than the Herron, even though the Allnic’s specified output impedance (1.2K) is higher than the Herron’s (400 ohms). That is because what matters when output impedance is high enough to be a significant fraction of load impedance is how much **variation** in the output impedance occurs across the frequency range. And generally a transformer coupled output stage will have relatively little variation as a function of frequency. While capacitively coupled output stages (such as I presume the Herron uses) will often have substantial rises in output impedance at deep bass frequencies, to well above their specified nominal values. (The impedance of a capacitor rises as frequency decreases).  That is presumably why Keith Herron recommends a load impedance of at least 30K and preferably 50K or more, as I stated earlier.

On the other hand, though, if output impedance is particularly high at high frequencies (high frequency output impedance usually being fairly similar to the specified nominal output impedance) its interaction with cable capacitance can potentially have adverse effects in the upper treble region, if the combination of the length of the cable and the capacitance per unit length of the particular cable type results in high overall capacitance. That can occur even if there is no variation in output impedance as a function of frequency. But that situation arises much less frequently than the effects that can arise in the bass region as a result of the interaction of the low frequency impedance rise of a capacitively coupled tube output stage with a heavy (numerically low) load impedance. And an output impedance of 1.2K is low enough to avoid any such effects on the treble unless the cable length is much longer than would normally be used in a home setup.

Good luck. Regards,
-- Al

I heard an early version of the Allnic under the worst possible of conditions - an audio show. That unit I would only categorize as satisfactory. But it was at a show and under the very worst of conditions.  Too many variables in other manufacturer's equipment, shoddy set-up, awful acoustics in the rooms, yada, yada, yada.  So my comment on that Allnic must be discounted. 

I have owned Herron Audion phono stages since, almost literally, the day they were introduced. I currently own a VTPH-2 after Keith Herron was kind enough to take my ancient VTPH-1 in on trade. I have heard a number of other "competitive" units include the best ARC has to offer. I have not heard anything better.... No. I cannot recall any as good as the VTPH-2.

It could, maybe, be that it sounds so really wonderful because it is a great match with all the rest of the Herron Audio electronics I have (all my electronics are from Herron Auddio). But I doubt it.

I would like to emphasize that owning Herron Audio electronics is a treat in itself.  The price of admission is great and the performance is comparable or better than anything else on the market.  BUT, the low price of admission also includes the priceless support from Keith Herron himself.  He is always available for constructive conversation about performance, set-up, concerns, related equipment, suggestions....  Or just about the music. 

After reading so many positive comments regarding the Allnic, it is no doubt a fine unit. It has a long way to climb to reach the lofty pinnacle of performance held solely by the Herron Audio VTPH-2.

I’m headed down to listen to music on my own personal Herron Audio system now. I’m not headed down to listen to the equipment. The music exists because of the quality of the equipment.

Disclaimer: I have zero financial interest in Herron Audio. I do consider myself a friend of Keith Herron as do many of his other customers.

Sorry I can't give you a clearer answer to your question, but I can say without any reservation that these are two outstanding phono stages. I don't think you could possibly go wrong with either. Sonically, both are superior performers, in my opinion.

This statement from the only person on this thread who has owned both phono stages under question basically sums up the OP's question.

You'll be happy with either one.
Pick the one that you like the looks of best, or the one that you get the best deal on.

I can’t weigh in on the sonics merits of these two pieces (though I do own a piece of Allnic gear) but have a different observation and a suggestion: the audio press, such that it is, rarely does "shoot-outs" of comparable gear for many reasons. And, as demonstrated by this thread, it isn’t that common for a single user to have had side by side experience with two or more units for comparison purposes. (One commercial magazine review does stick in my mind as a benchmark- it was a shoot-out of high end line stages some years ago by HiFi+- with in-depth reviews, comparisons and second opinions on the merits. It rang true to me because I owned one of the units in question and the observations concerning that piece were ’spot on,’ as the Brits say).
So, my suggestion: Some years ago, a bunch of car enthusiasts wanted to have a serious comparison of aftermarket exhaust systems, something a mainstream car magazine was unlikely to do. By consensus on a forum, owners of various exhaust systems loaned them to a third party who performed the "tests." In a few instances, a manufacturer stepped up to loan their product for review. One piece- a RUF- was quite expensive and I made a deal-- I’d buy it and loan it for the test if I had the right to return it for a full refund if the test didn’t prove out in its favor. RUF agreed. The test was done --- about 1/2 dozen different products were compared by the third party with results published. This was like a "crowd sourced" reviewing process. Granted, much of audio reviewing is subjective by nature, so perhaps it wouldn’t work-- system dependence and all that, but the established audio "press" can’t do any better in that respect, and most of us suffer the same problem of "system constraints"- so why not have the community attempt to undertake this? I suppose the risk of damage through shipping or mishandling of a equipment is a factor, but this could go a long way toward answering some of these X v Y questions, which come up constantly in audio.