This is a special, built-to-order, version of Atlas for expert users with very high-gain, extra low noise phono stages, or alternatively a step-up transformer designed for phono cartridges of 2 - 3 ohms or less.
Most users (and phono stages) will benefit from the regular Atlas with much higher output and considerably more energy; resulting in a much better signal-to-noise ratio. If you are in doubt about which version of Atlas that will work best in your system, please go with the regular Atlas.
The Atlas SL may provide extra pure and pristine sound from an audio system that is optimized for a low-impedance, low-output cartridge. However, this may be accompanied with a lesser level of energy and power.
Lyra nevertheless has decided to offer SL models, as built-to-order at a 10% surcharge, for those who are confident that they can extract the benefits from such a low-output MC phono cartridge."
Yes. I have the Atlas Lambda SL, which is 0.25mV output. It’s the correct model to have if you use the regular Naim SuperLine. That cartridge is truly special. I also have a Dynvector XV-1s, which is excellent, but when I switch back and forth between the DV and Lyra I realize how special the Lyra really is. It’s in a class of its own.
Joe Harley uses a regular Atlas and he warned me that the SL is really more demanding about having the right gear, and that when he was at AudioQuest they steered people away from the SL. After we talked a bit about it he became convinced I was right to pick the SL.
One point to note: Joe uses the non-SL version, but he has an Audio Research tube phono-stage. He told me he’s been down the road of the SL variant and tube phono-stages. They are not a happy match, so he always recommends a non-SL with tube phonos.
The other thing is if you don’t have a superb tonearm and TT (and isolation for it) it’s likely a waste of money to get something like a Atlas SL. It really needs something special to control and bring out what it has to offer. Resonance control is key.
BTW: I also have the Atlas Lambda Mono, and it’s like the SL, with single windings and a 0.25mV output.
This coming week I am going to home audition a Boulder 1108 phono-stage, but it also has high gain. 70 db in balanced mode, which probably means 64db when using single-ended adapters that I will need.
@ChrisBell has what I have in the Superline/SupercapDR, so he is correct to look towards the SL version of whatever Lyra he chooses.
Thanks. The main reason I am looking is that I want a two tonearm solution. I either need a phono-stage that has two-inputs or I need to get a second Superline. If I get a 2nd Superline I will power it from the 252, and maybe look for a HiCap DR.
If the Boulder smokes the Superline I will have to start saving my money. My dealer says that other then the $50k Boulder 2108 they have never had a phono-stahe in the store that sounds as good as the 1108. They are off to Axpona this week, so they are leaving me with the Boulder 1108 to play with.
Years ago I had a standard Kleos cartridge with my Superline and it never sounded right. I emailed Lyra and asked if they’d build me a SL version. 6 weeks later I had serial number 001 Kleos SL and it was the perfect match for the Superline. Lyra is correct, you need the very best phono preamp to enjoy a SL cartridge.
While the 552 can power the Superline, a HiCap is better. The Supercap realizes the full potential of the Superline. It’s quite sublime.
@JosquinDesPrez has a 252 preamp and a 552 would be a BIG jump in sound quality. The 552 is the perfect match with the Superline/Supercap. That would be my advice.
If you do decide to get a different phono stage try the allnic range if you can.
I tried many phono stages over the years.
Naim superline/ supercap dr, fully maxed out.
Rega aura.
Tron seven gt.
Rcm theriaa.
Emt 128.
But the allnic H7000 was the one. 4 inputs, valves throughout, absolutely lush sound.
I’m not getting a 552 in any case. That’s a lot of money I don’t want to spend, and the SL works really quite well with my 252. I have no complaints.
Whether or not I keep my SuperLine and get a second one depends on how I get along with the Boulder.
The other side of it if I get a second SL and a HCDR I’ll be at 10 boxes, and need yet another Fraim level, which is all getting a bit much. If I chose the Boulder I reduce my count to 7 boxes and I can sell off a Fraim level to help cover the expense.
When somebody tastes good valves, it’s very difficult to come back to solid states.
It’s my case, and many others. The diversity of nuances, colours, textures and true tones can’t be achieved with a solid state. Of course it’s not a statement, just my opinion.
You can be close with high end solid states, but in my experience through years, you have to have at minimum a 500 series level.
The tron opened up to me what valve’s can do on a phono stage. Only problem was it was fixed and couldn’t adjust it to anywhere near the loading i needed for my cartridge.
The allnic does it all.
You really need to go hear one or try one, as you owe to yourself to atleast try one if you are this serious about vinyl. I don’t think you would be disappointed as the combo works so well together.
I’ve had two tube phono-stages in the past. The Fosgate Signature V2 and a Herron Audio VTPH-2a. The Herron was quite excellent (and completes with Allnic by reputation). Keith Herron is a friend and lives down the road about 10 miles. He tweaked the phono-stage for me on several occasions. However, the SL/SCDR is much better.
My opinion is the tube sound isn’t necessarily better or worse. It’s different. I guess it depends on what you want to hear.
Trying a tube phono is moot now anyway. I have a Lyra SL and that needs a SS phono-stage.
Why does it need a solid state?
Also i wouldn’t put the superline/supercap in the same league as the allnic h7000, well certainly not with my vinyl rig. It’s good but it also has it’s limits like most things.
The SL versions of the Lyra don’t work well with tube phonos. They need ultra-quiet gain. Joe Harley was a VP at AudioQuest, the former U.S. distributor for Lyra. He’s really knows when he tells me don’t use Lyra SLs with tube phonos. He says he’s been down that road and it was not good. He says the noise floor is too present when using an SL and dynamics suffer.
He was adamant that I don’t order an SL if I want to use a tube phono. He said the Naim or Boulder are fine, but tube phonos are different.
Seems a bit demanding?
My dealer says that other then the $50k Boulder 2108 they have never had a phono-stahe in the store that sounds as good as the 1108. They are off to Axpona this week, so they are leaving me with the Boulder 1108 to play with.
correct.