Rega has announced its latest premium phono stage, the Aos MC.

First seen at the recent Bristol Hi-Fi Show 2026, the Aos MC moving coil phono stage features a circuit and design based heavily on the brand's five-star reference Aura MC stage (£4620 / $7025). With the Aos MC, Rega aims to bring "customers closer to the Aura performance at a more affordable price".

Promising "exceptional definition and greater realism" to "bring your favourite vinyl to life", the Aos MC is designed to work with a wide range of moving coil cartridges, with ample gain and load adjustments.

It's a two-stage design with no digital control circuit. The engineers have taken care with the layout to ensure there are no unnecessary components to degrade the signal path. The phono stage uses a symmetrical, complementary class A amplifier, with ultra-low noise, parallel 'FETs' (Field Effect Transistors) configured in pairs to ensure optimum performance. The engineers were keen to ensure no bias current flowed in the cartridge's coil to upset its delicate magnetic geometry.

The input circuit configuration also reduces the use of coupling components between the cartridge output and the input stage transistors, something which would also negatively impact the Aos MC's performance.

You can adjust the resistance loads between 70 ohms to 400 ohms, as well as choose the capacitive loading of 1000 – 4300pF to suit a variety of MC cartridges. The gain sensitivity can be changed by 6dB using a switch at the back panel, where you'll also find a pair of RCA phono inputs and outputs apiece.

The new phono stage's half-width aluminium case screens the internal circuit from any stray RFI signals in bid to further preserve sonic fidelity, all while maintaining a compact footprint if you're tight on space.

The Rega Aos MC will be available in early March, priced at £1500 / $2299 / AU$2999. A moving magnet-only version of the Aos is also in the works, although availability and pricing of that is yet to be confirmed.

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Ask us to talk about some of our favourite high-end phono stages of all time, and it wouldn’t be long before Luxman’s excellent valve-based EQ-500 is mentioned. What Hi-Fi? tested this immaculately engineered unit back in 2017, and it made such an impression that we even used it in our reference system for a while.

The Luxman E-07 replaces that capable model, and quite clearly has a lot to live up to. This new design is no mere tweak of its predecessor, using a solid-state circuit rather than valves, but in terms of build and performance, it is every bit as impressive.

Build

Luxman is currently celebrating its centenary, a milestone that few rivals can match. All that experience shines through in the construction of this phono stage. The company’s products have always been understated in appearance, and the E-07 is no different.

Its casework is reassuringly solid and well-damped, while every switch and control dial works with quite lovely precision.

The base of the chassis is made of two copper plates stacked together to a thickness of 3.6mm. This type of construction not only adds mass and helps to control resonances, but also improves chassis rigidity. In addition, the E-07’s feet are made of dense cast iron to provide greater resistance to unwanted mechanical vibrations entering the phono stage’s structure.

Its all-in weight is a hefty 13.2kg, which is more than most premium integrated amplifiers that come through our test room.

Features & connectivity

There is definitely a no-nonsense aura about the E-07, though don’t take that to mean that it is a stripped-down, bare-bones design. It has three inputs, one of which is balanced, and that connectivity is mirrored on the output side.

Multiple gold-plated, solid brass posts offer slightly different grounding options to allow the user to minimise hum, and, as is typical for the price point, there is a full complement of cartridge loading options on offer.

You can change the Luxman’s moving coil input resistance loading in five steps (4.7, 10, 40, 100, 300, 1000 ohms), and the gain of the MC section changes from 57dB to 66dB when the resistance value selected is below 100 ohms.

Moving magnet gain is an entirely conventional 38dB, which should be fine for most such cartridges on the market. Unusually, the E-07 also has loading options for MM cartridges, with four settings for both resistance (34, 47, 56, 100 kOhms) and load capacitance (0, 100, 220, 320 pF).

However, the placement of some of these adjustments is one of the few areas where we feel that E-07 has taken a backwards step over its predecessor, as it puts the moving magnet loading dip switches on the back panel where they are more awkward to get at. The previous generation model had an array of metal dials for both MM and MC, easily accessible on the front.

Of course, it’s easy to argue that such adjustments aren’t used often, so the lack of easy access shouldn’t matter. It is also fair to say that the vast majority of high-end cartridges tend to be moving coil designs, and so it makes sense to give the dedicated controls priority.

Even so, the E-07 is aimed at enthusiasts, the kind of people likely to have a whole collection of cartridges of all types, so why make things harder than they should be?

Elsewhere, you will find toggles for switching to mono, a bass cut to help with warped records and a phase invert option that switches the pin connections of the balanced output. You will also see a switch labelled as ‘Articulator’. This function uses the cartridge’s signal to demagnetise the cartridge itself and the E-07’s internal moving coil step-up transformers.

This control sparked our curiosity. Turn it on while a record is playing and the sound mutes, as the signal is rerouted. It needs to be left on for around half a minute to work. We notice a slight improvement in clarity and definition once the operation is carried out, so it is worth the effort every once in a while, but you will need a revealing system to hear the benefits.

We’re less convinced by the bass cut function. It does what it says on the tin, reducing speaker cone flap, but the sound also becomes more veiled and less clear. This is something we would avoid using unless we really had to.

Design & engineering

Take a look inside the E-07 and you will find that it is an obsessively designed product with a generous power supply arrangement and carefully crafted audio circuitry packed with high-quality components.

While all of this would be expected given the price level, it is unusual to find that some of the components have been custom-developed by Luxman itself. When a brand chooses to develop its own components rather than buy off-the-shelf items, it points to an engineering team determined to get the performance of the product just right.

The E-07’s power supply packs three mains transformers: one for each channel and the third to power all the control circuitry. This kind of arrangement not only prevents the sound from one channel adversely affecting the other, but also stops unwanted noise from the control circuitry spoiling the results. Great care has been taken to make sure mechanical vibrations from the power supply don’t disturb the sensitive audio circuitry, too.

Any product of this type positively demands a top-class partnering system. Our main source is the Technics SL-1000R record player with a Kiseki Purpleheart moving coil cartridge. We also try Vertere’s Dark Sabre cartridge to test out the Luxman’s moving magnet capabilities. The rest of our system is the Burmester 088/911 MkIII pre/power amplifier and ATC SCM50 stereo speakers.

Sound

The first thing we notice is just how quiet this phono stage is. Noise levels are exceptionally low, with hum and hiss barely audible even with the Burmester preamp’s volume level turned up with no record playing. This speaks well of the Luxman’s electronic design and the care taken by the engineers to keep the sensitive audio circuits protected from sources of noise and interference.

Once we start listening, it doesn’t take long to conclude that the E-07 is an exceptional performer, even for the money. This isn’t the kind of product that impresses through sonic fireworks, preferring instead to deliver the sound in a natural and unforced manner. It’s all about honesty and balance.

This Luxman is a transparent performer, one that’s tonally neutral and refuses to stamp too much of its own character onto the sound. The result is that the spotlight falls firmly on the partnering record player and the quality of the recording. If those are of a high standard, then the Luxman will sing, conveying the feel and drama of the music superbly. However, while not ruthless in the sense that it will go out of its way to highlight flaws in the source signal, it will not hesitate to reveal any shortcomings either.

As we work our way through our record collection, we can’t help but admire the sense of scale and authority our system produces with the Luxman in the signal path. Given an appropriate recording, the Luxman sounds brawny and powerful without sacrificing finesse in the process.

Orff’s Carmina Burana is a famously demanding piece of music, with savage dynamic sweeps and dense instrumentation, yet the E-07 handles it all with ease. This phono stage’s exceptional detail resolution comes to the fore in its rendering of vocal and instrumental textures. There is delicacy here, coupled with a pleasing sense of solidity to the sound.

Leading edges of notes are crisply defined without ever sounding like they are being artificially highlighted, and the subsequent decay is smooth and convincing. When it comes to refinement, this Luxman is hard to beat at the price, and we are pleased to note that there isn’t a trade-off in terms of the phono stage’s ability to excite and entertain.

The E-07’s stereo imaging capabilities are also pleasing. It presents a broad and deep soundstage and populates that with precision. Instruments and vocalists are positioned with care and nicely layered. They remain locked in place even when the music becomes demanding. Those familiar with this classic Orff work know that it can get frantic on occasion, but when it does, the Luxman’s innate composure keeps everything organised.

A spin of Bob Marley’s Catch A Fire set confirms the E-07’s surefooted handling of rhythms and its ability to convey the subtle yet insistent momentum of a track like Stir It Up. Basslines are taut and tuneful while Marley’s voice comes through with passion intact. There is plenty of punch when the music demands it, but the Luxman never sounds like it is forcing things.

We’re pleased to report that the Luxman’s performance stays consistent whether we’re using a moving coil or a moving magnet cartridge. The Luxman simply steps out of the way and allows the inherent character of the cartridges, in this case the Kiseki Purpleheart moving coil or Vertere Dark Sabre moving magnet, to shine through.

Verdict

The Luxman E-07 is a classy product in just about every way. It is beautifully made and carefully engineered, but most importantly, it delivers an exceptional sound for the money. Provided you have a suitably talented record player and system to match, we have no choice but to recommend this excellent phono stage highly.

Review published: 24th December 2025

SCORES

• Sound 5
• Build 5
• Features 5

MORE:

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Best phono preamps: budget to high-end, tried and tested

A phono stage is arguably the most important electronic element in the signal path of a turntable-based system. It does the crucial job of amplifying the tiny signal produced by the cartridge, and applies the necessary tonal equalisation, so that the resulting sound you hear from your system is audible, accurate and well-balanced.

We've had three excellent outboard phono stages pass through our test rooms, all sitting together closely in the £500-£600 price range, and offering a considerable step up for any mid-priced to premium turntable system. How do they fare against each other, and which one is the best of the three?

It's perhaps a little bit of a spoiler that one of these models has already been announced as a newly crowned 2025 What Hi-Fi? Award winner in its category, but that doesn't mean the other two in this talented trio are not worth considering.

Quite the opposite, in fact. All three phono stages here – from Graham Slee, Lindemann and Moon – are five-star models, and have their own merits and sonic talents. We do, inevitably, find there is a clear running order in our preference when it comes to outright sound quality.

How we tested

All three phono stages were tested in our hi-fi reference system, which consists of the Technics SL-1000R turntable, Burmester 088/911 MKIII pre/power amplifier and ATC SCM50 speakers – a system that puts a spotlight on any limitations of the products on test. We also used more price-comparable products as part of our testing, such as the Arcam A15 integrated amplifier and KEF LS50 speakers.

Additionally, we used a variety of cartridges on the Technics, which included moving-magnet cartridges such as the Sumiko Rainier (£159 / $179 / AU$299), the Nagaoka MP-200 (£449 / $509 / AU$649) and Vertere’s Dark Sabre (£1450 / $1995 / AU$1895). Moving-coil cartridges used were the Ortofon MC-X30 (£599 / $699) and the more ambitious Kiseki Purpleheart MC (about two to three grand in price.)

Moon 110LP v2

It says something about the quality of this group test that the one recipient of multiple What Hi-Fi? Award wins in this sector is probably the least capable performer here.

It’s not that we have suddenly discovered some massive weakness in a product that we’ve been recommending for almost half a decade; it's more that newer competition has emerged that has raised the sound-quality standard considerably for a sub-£1000 outboard phono stage.

Make no mistake, the former Award-winning Moon’s 110LP v2 remains a fine performer that ticks plenty of boxes. It is nicely made, sensibly specified, and delivers, with moving-magnet cartridges in particular, what is by general standards a terrifically refined and insightful sound.

The aluminium box with its curved panel is beautifully machined and looks classier than most of its rivals at this price point, and it works with both moving magnet and moving-coil cartridges.

Even in a group as talented as this, it's hard to better the 110LP v2’s broad and spacious soundstage and innate smoothness.

In our review, we praise its “undemanding nature, which makes it easy to listen to over long sessions.” It’s a fluid, spacious and expansive presentation, with enough in the way of punch and rhythmic agility to be satisfied.

We say: “The stereo imaging is accomplished and remains stable even when the music becomes demanding. Overall, insight levels are good, though this isn’t a product that goes out of its way to highlight detail.”

If you are after an unfussy and easy-going performance, we still recommend that you put the Moon top of your shortlist.

For more in-depth detail, read our full Moon 110LP v2 review

Lindemann Limetree Phono II

Unless you have a moving-coil cartridge, in which case Lindemann’s Limetree Phono II becomes the obvious choice.

Admittedly, the Lindemann provides a different perspective on the music. It has a leaner and more up-front presentation than the Moon, and that makes it a little fussier about partnering cartridges and general system matching.

However, take a bit of care over those aspects and it proves a more musically communicative performer than the Moon. This holds true whether we are using moving magnet or moving-coil cartridges, but the talent gap is more significant with the latter.

The Limetree Phono II is an agile and articulate phono stage that resolves an impressive amount of detail and has the organisational skills to assemble all that information into a cohesive and musical whole.

It has strong dynamics and a firm grasp of rhythmic tracks. Sure, there isn’t quite the scale and space the Moon renders, but the payoff is a more obvious sense of rhythmic drive and attack.

We say in our review: “The Limetree Phono II confounds expectations and delivers high levels of clarity, plenty of detail and a good level of transparency. It reveals the well-balanced character of Ortofon’s new MC X30 moving coil, highlighting the cartridge’s powers of clarity, precision and expressive dynamics.”

Ultimately, of the two, the Lindemann is the one that gets us closer to the emotional core of the music being played. If you are looking for a switchable moving magnet/moving-coil phono stage anywhere near this price, we haven’t tested an alternative that we prefer.

Build, fit and finish of the petite phono stage are of a good standard, though the Moon edges ahead in these respects. The 100LP v2 really is a nicely turned-out thing.

For more in-depth detail, read our full Lindemann Limetree Phono II review

Graham Slee Reflex M

In contrast, the Graham Slee Reflex M is highly unlikely to win any beauty contests. The compact model is much closer to the no-nonsense Lindemann than it is to the classy Moon when it comes to aesthetics.

Importantly, though, it remains solidly made and worked faultlessly during our extended test sessions.

The lack of moving-coil compatibility is the obvious shortfall compared with its two rivals here. If you do have an MC cartridge, Graham Slee makes step-up devices to add to the Reflex M for the job, but they will cost extra.

Alternatively, it also makes a dedicated moving-coil version of this phono stage called the Reflex C, which will do the job. We haven’t tested it yet, but we would be surprised if it wasn’t worth a listen, given the quality of its moving magnet-only sibling.

If you are using a moving-magnet cartridge – and we suspect the vast majority of our readers fall into this category – then the Reflex M is our top choice in this group.

It is more insightful and honest-sounding than the Moon, delivering the kind of transparency that wouldn’t be out of place in products costing twice as much.

The Lindemann is great, but even here, the Reflex M pulls ahead thanks to a greater sense of solidity and a more fluid way with dynamic shifts. It punches hard when the music demands and delivers rhythmic tracks with class-leading verve.

In our review, we said: "This is an organised-sounding product that keeps a firm grip of the music’s various instrumental strands, while still able to tie them all together to deliver what is, at times, a thrilling experience.

“The level of detail resolution is excellent for the price, as is the way this unit renders subtleties such as instrumental textures and dynamic shading. Despite a generally even tonal balance that edges towards leanness, this phono stage has no problem revealing the natural warmth and richness in the recording, something many rivals struggle to replicate.”

For more in-depth detail, read our full Graham Slee Reflex M review

Verdict

All three phono stages have plenty to commend them, and you wouldn't be shortchanged no matter which model you pick.

The most unassuming model, the Graham Slee Reflex M, is moving magnet only, but of the three contenders in this £500-£600 price range, it’s the one that is most transparent to the music in the record groove. Great as the others are, this is where our money would go.

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Musical Fidelity has launched the Nu-Vista Vinyl S phono stage, which is directly inspired by its flagship Nu-Vista Vinyl 2.

The Vinyl S adds a “price-appropriate source product” to the brand’s high-end Nu-Vista range, which includes the 600.2 and Nu-Vista 800.2 integrated amplifiers. Its £5499 price tag, however, means it still falls into the higher end of the market.

Like the Vinyl 2 (£9999 RRP), the Vinyl S features nuvistor tube phono technology but costs around half the price. Unlike its more expensive counterpart, however, the Vinyl S features a smaller chassis (48 x 13 x 40cm) and the front panel has been redesigned.

The front and side panels are built from extruded aluminium. According to Musical Fidelity, this makes the unit “immune against the effects of vibration from the environment”.

The Vinyl S phono stage is designed to work with a range of moving magnet and moving coil cartridges, with the standard RIAA equalisation curve available alongside the Decca and Colombia EQ curves to account for different vinyl records or musical tastes.

The phono stage offers a wide range of cartridge loading adjustments, including capacitance, impedance and two-step subsonic filter. You can adjust all these using the control dials on the front panel, or the newly designed slim remote control.

As for connections, it features two RCA and two balanced XLR inputs along with an RCA and XLR output, so it can slot into a wide range of hi-fi systems.

Thanks to Class A discrete transistor circuitry, the Vinyl S contains three gain stages, while the unit is fully balanced to ensure the integrity of the signal path throughout. The brand says this “results in minimal noise and distortion – allowing your music to remain true to the original reproduction”.

Musical Fidelity further says: “The Nu-Vista Vinyl S is a phono stage without limitation. Making use of the finest components, and employing them in a sophisticated, meticulously engineered manner, this device can deliver a truly engaging musical experience that perfectly complements a high-end audio system”.

The Musical Fidelity Nu-Vista Vinyl S is available in the UK now and comes in a Silver or Black finish. Both options are priced at £5499.

It's due to go on sale in the US and Australia soon and will be priced at $6999 and AU$12,000 respectively.

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If you have a beloved old turntable and don't want to replace your perfectly functional vinyl hi-fi system, but still want to give it a sonic refresh and some extra features, then an outboard phono stage is an excellent upgrade path.

Alternatively, you might have bought a new budget turntable and have a pair of active desktop speakers, but are missing the crucial phono stage element in the chain.

In either use case, this Cambridge Audio Alva Duo phono preamp is a great, inexpensive and discreet addition that will give your vinyl system a modern refresh and a sonic upgrade in the process. You can snap it up for £249 at Richer Sounds – that's a £50 saving off its full price in this early Black Friday deal.

The five-star outboard phono stage is compatible with both moving magnet (MM) and moving coil (MC) cartridges. Best of all, it includes a built-in headphone amplifier stage and volume dial, which is highly unusual for most standalone phono stages, no matter the price.

This is ideal if your ageing turntable-based hi-fi system doesn't have a headphone socket, and you want to enjoy listening to your records late into the night and without disturbing anyone else in the house.

The Cambridge Audio Duo's full-size 6.3mm headphone socket means you can easily plug in a pair of great wired headphones – such as the Beyerdynamic DT 990 Pro X, the Grado SR325x, the Austrian Audio Hi-X20 or your trusty old Sennheiser HD 600 – and enjoy your records with their quality largely intact.

For those embarking on their first turntable adventure, the addition of this Duo phono stage to a pair of active speakers (one that already has amplification built in) will ensure your vinyl records will be heard with a smooth, detailed and full-bodied sound.

You do get a punchier and more rhythmically precise sound from our current Award-winning Rega Fono MM Mk5 phono stage for a similar price, but it doesn't have any of the extra features that make the Cambridge Duo so enticing.

Most budget to mid-price turntables that we would recommend using the Duo with will likely be equipped with MM cartridges as standard, but if you were to explore MC options in the future (be warned: they tend to be much, much pricier), the Duo gives you the option to expand your horizons when the time comes.

Whether it's the missing link in your compact desktop vinyl system or a modern refresh to an ageing but much-loved hi-fi system, the stylish little Duo with its dynamic sound and great features is worth considering as an upgrade. Snap it up for its deal price of £249 at Amazon or Richer Sounds before Black Friday is over.

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When we think of Michell Audio, it's always the company’s strikingly styled turntables that come to mind. The likes of the Gyrodec and Orbe are deeply woven into the fabric of British high-end turntables, and deservedly so. Both models have been on the market for decades, yet their combination of engineering, aesthetics and sound quality remains hard to beat.

The brand has always made more than just turntables, of course. Michell’s current range includes tonearms, cartridges and various accessories, but what often gets forgotten is that it has a history of making electronics too. We’re not talking about the numerous upgrade power supplies made for its record players over the years, either.

Michell made an unexpected foray into the world of premium amplifiers that started at the tail end of the ’80s. Over the next decade or so, it produced exceptional preamps (the Argo, Argo HR and Orca) and the ever-so-capable Alecto power amplifier (that was available in both stereo and mono form). There was also the Iso, one of the first standalone phono stages on the UK market and now, sadly, something of a forgotten gem.

So Michell has previous experience in phono stages, and that gives the new Apollo a foundation to build on. And build it does, even though there is precious little in common between the two designs bar their purpose and compact form factor.

Build & design

The Michell Apollo is part of a two-box package that includes the Muse power supply. The phono stage and supply are built into identical-looking aluminium cases and connected via a short umbilical cable.

This casework is beautifully made, impressively rigid and feels wonderfully dense. It is machined from a solid billet of aluminium, and there is some nice detailing, such as the grid texture on the top panel and the gold branding.

Inside the Apollo, you will find a passive RIAA equalisation circuit that is optimised to improve transparency, as well as Class A gain stages and additional power supply circuitry that works in conjunction with the Muse. The company hand-matches critical capacitors in the circuit to ensure the phono stage’s tight channel tolerances are maintained.

The Muse power supply uses a low-noise toroidal transformer, capacitor multiplier technology and high-grade voltage regulators to reduce supply ripple and noise. The result is a pair of highly filtered and regulated DC outputs that give the sophisticated circuitry in the Apollo every chance to shine.

Of course, housing the mains transformer in a separate box, well away from the delicate cartridge signal, is always a good thing, given the reduction of noise, vibration and hum it brings.

Even the short cable between the Apollo and Muse is carefully considered, using silver-plated, oxygen-free copper conductors wrapped with cotton fibres to reduce mechanical noise and covered with FEP (Fluorinated Ethylene Propylene) insulation. The terminals are ChorAlloy XLR connectors.

Features & compatibility

The Apollo is a pretty straightforward unit when it comes to features. There are no multiple inputs in the fashion of Cyrus’s 40 PPA phono stage, nor balanced outputs or a remote control. This product deals in the essentials: one phono input and a single-ended stereo RCA output are the sum of its connectivity.

The sockets are excellent quality, mind, and the earthing post is sensibly sized, so even those with thick fingers can tighten it easily.

There is a choice of cartridge loading options, of course. These are selected by a series of dipswitches on the base of the phono stage and hidden behind a removable flap. The resistance range is sensible at 33 ohms to 47 kOhms, while gain can be set from 40 to 73dB. Capacitance is fixed at 100pF.

This range of adjustment means that the Apollo should be happy with just about any cartridge on the market, even very low-output moving coils.

A phono stage at this level positively demands a top-class partnering system. We feed the Michell with our reference Technics SL-1000R turntable fitted with a range of cartridges from the Nagaoka MP-200 and Vertere Dark Sabre moving magnets to the Ortofon MC X30 and Kiseki Purpleheart moving coils.

The rest of the system is our usual Burmester 088/911 MkIII amplifier and ATC SCM50 speakers. We also try the Apollo with the PMC Cor integrated and Epos ES14N speakers to hear how it sounds in a different flavour of system.

Our comparison phono stages are the pricier Cyrus 40 PPA/40 PSU combination and Vertere’s cheaper but excellent Phono-1 MkII L.

Sound

The Michell Apollo is a great-sounding unit regardless of the partnering system. Its character is unusually fluid, reminding us of the naturalness of the very best valve phono stages we’ve heard, but adding the control and grip that is very much transistor in nature. And it sounds quiet, delivering a wonderfully dark canvas for the sound to grow from.

As we listen to Orff’s Carmina Burana, it is the sense of space in the presentation we notice first. Few rivals sound as large scale and open as this. We love the way the Michell renders the soundstage, which is expansive, uncluttered and wonderfully precise in focus. The stereo imaging is impressively stable and stays that way regardless of the music’s demands.

Anyone familiar with this Orff piece knows just how frenzied it can be, and the Apollo isn’t upset by this one bit. This phono stage is a calm performer that can track the music’s exuberant dynamic shifts with confidence.

There is no shortage of muscle here, but it is underpinned by class-leading composure and control.

We have no complaints about the Apollo’s insight. There is plenty of detail here, from crisply defined leading edges to lush instrumental textures and the kind of low-level acoustic information that defines the size and characteristic of the recording venue.

It is important to note that this isn’t a product that shows off by putting a spotlight on the leading edges of notes. It is far subtler than that, and more organic in the way detail is rendered.

The result is a natural, full-bodied balance that pulls the listener into the music rather than focusing attention on the mechanics of hi-fi.

This Michell certainly has sonic character. It has a smooth and rich nature, but doesn’t err too far. This forgiving balance makes it reassuringly accommodating about recording quality and partnering equipment.

Don’t take that to mean that you can partner this phono stage with any old budget turntable, as that simply is not the case. It remains highly transparent to the source, but its sweet character prevents it from making a meal of things.

The Apollo doesn’t favour any particular kind of music, either. It sounds as capable with electronica such Four Tet’s There Is Love In You as it does Kind Of Blue by Miles Davis. There is a surefooted way with rhythms and the ability to track multiple instrumental strands while still producing a cohesive and musical sound.

Lows are authoritative and agile, while midrange clarity is of a high order so that the likes of Mary J Blige and Billie Eilish can shine.

Verdict

The competition is tough, but the Apollo’s formidable blend of talents is hard to resist. Its unfussy attitude, seductive sound and excellent build make it one of the standout options in this part of the market.

Michell may be best known for its turntables, but once again, it proves a dab hand at electronics too.

Review published: 27th October 2025

SCORES

• Sound 5
• Build 5
• Features 4

MORE:

Read our review of the Cyrus 40 PPA/40 PSU

Also consider the Luxman EQ-500

Read our Vertere Phono-1 Mk II L review

Best phono preamps: budget to high-end, tried and tested

Looking for a talented, sensibly-priced moving magnet phono stage? You can stop searching now, because Lindemann’s Limetree Phono II might be exactly what you need.

Now, don’t judge it on appearances. That unassuming casework may look pretty unremarkable, but it hides a phono circuit design of considerable merit, and even more importantly, a sonic performance that rivals the best at this price.

Build & design

The Limetree Phono II is a small unit, barely taking up more shelf space than a coaster. At 295g, it is light too. So, it is easy to tuck away on an equipment rack, but be warned that heavy or stiff interconnects can and will drag it off the shelf. As with other phono stages, keep it away from anything with a large power transformer to minimise hum levels.

We have no issues with the Lindemann’s build or finish. Its aluminium casework is solidly made and nicely finished. The front panel toggle switch not only powers up the unit but also switches it between moving magnet and moving coil options.

On the back, you will find dedicated inputs for each cartridge type and a single stereo RCA output. Power is provided by a separate plug-mounted supply.

Like any serious phono stage, the Limetree Phono II offers a choice of cartridge loading options for its moving coil input, providing a range of resistances from 50 to 400 ohms, accessible via a set of dipswitches on the back panel. While not truly extensive, this spread of values should be enough to cover any conventionally-specified price comparable MC cartridge.

Moving magnet cartridges don’t need any such special treatment, of course, and that input is specified as having a pretty standard 47kOhms/150pF loading.

The Limetree Phono II’s circuit is based on a design originally used back in the day of vintage valve amplifiers. It is a two-stage circuit that uses passive RIAA equalisation and J-FET transistors, while making careful use of premium resistors and capacitors in critical areas.

Gain values are sensibly chosen with 40dB for the moving magnet input and 66dB for the moving coil.

Compatibility

Given this phono stage’s price point, a suitable partnering record player would be something like the Rega Planar 3 RS Edition with Nd5 moving magnet cartridge.

While we do try that, the bulk of this review is done with our reference Technics SL-1000R turntable fitted with either a Nagaoka MP-200 or Vertere Dark Sabre moving magnet cartridge, or the Ortofon MC-X30 moving coil model. Just for fun, we also try our reference high-end Kiseki Purpleheart MC to hear how the Lindemann copes with something high-end and truly ambitious.

It turns out that the Limetree Phono II has plenty of stretch in its abilities. It may not be quite talented enough to reveal the full scope of the Kiseki’s abilities, but we can forgive that, given that the cartridge weighs in at around four times the phono stage’s price. With any of the more price-compatible cartridge options, the Limetree Phono II shines.

Sound

It does the basics well. Noise levels (hiss and hum) are commendably low. Through the moving magnet input, this phono stage sounds detailed and agile, offering plenty of insight into Orff’s Carmina Burana. Those who are familiar with this piece of music know it is something of a musical rollercoaster with savage dynamic swings and dense instrumentation.

The Limetree Phono II doesn’t miss a beat. It is a fast and punchy performer that captures the frenzied energy of the piece well, while having the composure to track low-level instrumental strands with ease.

The Lindemann’s stereo imaging is expansive, with a decent sense of depth and good precision in the way instruments are laid out in front of the listener. The soundstage remains stable and focused even when the music becomes demanding, and there is a fine sense of scale.

Tonally, things are even-handed, though slightly tilted towards a degree of leanness. Those looking for a rich and warm sound would be better looking elsewhere. The Lindemann will deliver balanced results with most cartridges, though we would avoid anything that sounds thin, bright or aggressive. This phono stage isn’t an overly fussy unit, but it will highlight such flaws.

Switching to the moving coil input proves a pleasant surprise. At this price level, most phono stages tend to perform better with moving magnets rather than moving coils (which have substantially lower outputs and more finicky natures as a rule). The Limetree Phono II confounds expectations and delivers high levels of clarity, plenty of detail and a good level of transparency.

It reveals the well-balanced character of Ortofon’s new MC X30 moving coil, highlighting the cartridge’s powers of clarity, precision and expressive dynamics. Whether we listen to Michael Jackson’s Thriller, Billie Eilish’s Happier Than Ever or Kind Of Blue by Miles Davis, the Limetree Phono II copes admirably, slipping into the background and allowing the music to take centre stage.

It has the rhythmic drive to deliver Jackson’s Wanna Be Startin’ Somethin’ with real verve and thumps out the bass with punch and power. The Limetree’s midrange clarity is excellent for the price, revealing the subtle textures of MJ’s voice well. The Billie Eilish set benefits from the same strengths, with the phono stage rendering her vocals with the finesse and delicacy they deserve.

Good as it is, the Lindemann isn’t the only talented phono stage selling for this kind of money.

In fact, if you were only interested in using a moving magnet cartridge, we would point you towards the excellent Graham Slee Reflex M. This is another understated little box that is supremely talented, delivering a slightly fuller and more fluid sound than the Lindemann.

Verdict

But, if that moving coil ability is essential, then right now we can’t think of an alternative we’ve tested that sounds better than the Limetree Phono II. You would have to stretch to the likes of Rega’s Aria or Vertere’s Phono-1 MkII L, which cost at least double the Lindemann’s price, to get something appreciably better.

Simply put, this phono stage is one that you can buy with confidence.

Review published: 22nd October 2025

SCORES

• Sound 5
• Build 4
• Features 4

MORE:

Read our review of the Graham Slee Reflex M

Also consider the Moon 110LP v2

Our pick of the best phono preamps you can buy for every budget

We think many people underestimate the importance of a phono stage. If a record player is your main source, it is fair to say that this humble circuit is arguably the most important piece of electronics in your system.

A phono stage like the Graham Slee Reflex M amplifies the output of a typical moving magnet cartridge (around 4-5mV, 1kHz/5cm/s) by over 100 times. A typical moving coil signal (0.3-0.5mV, 1kHz/5cm/s) increases that demand by a factor of ten. Any noise or distortions generated by the phono stage’s circuitry are also amplified proportionally.

No other electronic component in the audio chain comes close to being put under such scrutiny.

Build & features

Graham Slee has taken a focused approach with the Reflex M phono stage. It is designed to work with moving magnet (and high output moving coils) only. Beyond doing that exact job, there is little extra here in terms of features, not even a power button.

All you get is a single stereo RCA phono input, a ground connection, a conventional stereo RCA output and a rather dim front panel power indicator.

The Reflex M’s casework is a compact aluminium affair, barely occupying the same shelf space as a small paperback. It is neatly made, but bar the graphics on the front panel, there is little to distinguish this product. True, it is easy to tuck out of the way, but if you have heavy or inflexible interconnects, the unit can be dragged around, such is its lack of weight.

This phono stage comes with a small socket-mounted power supply, and it is possible to get a performance lift by opting for one of the company’s more ambitious outboard power units instead. We didn’t try one this time, but previous experience leads us to expect a sizeable lift in sound quality if that box is ticked.

If you have a moving coil cartridge, then Graham Slee also makes a range of suitable phono stages and step-up units to accommodate that. We have tried the company’s EXP moving coil step-up unit in the past (which can be added to the Reflex M) with great results.

Take a broad view of the phono stage market and you will find that there is no shortage of cheaper alternatives to the Reflex M, with Rega’s Fono MM Mk5 (tested at £220 / $445 / AU$499) moving magnet-only phono stage being the frontrunner.

Yet, feed the Graham Slee with a suitably high-quality signal and its advantage over such talented, cheaper opposition is obvious. It really sits closer to the likes of Vertere’s excellent Phono-1 MkII L (£1495 / $1995 / AU$2995) in terms of outright ability, though that is also superb at handling moving coil cartridges.

We use our reference Technics SL-1000R record player as the main source for this test, swapping between moving magnet cartridges such as the Sumiko Rainier (£159 / $179 / AU$299), the Nagaoka MP-200 (£449 / $509 / AU$649) and Vertere’s Dark Sabre (£1450 / $1995 / AU$1895).

The rest of our system is made up of Burmester’s 088/911 MKIII pre/power amplifier and ATC SCM50 speakers. These are hugely capable high-end components that have no issue putting a spotlight on any limitations the Reflex M may have.

We also try Arcam’s A15 integrated amplifier driving the KEF LS50 Meta speakers to hear how the Graham Slee copes in a more price-comparable system.

Sound

The headline news is that this phono stage performs remarkably well, regardless of the cartridge and partnering system used.

At one point during the test process, it formed part of an impromptu phono stage group comparison that included our reference Cyrus Phono Signature, the five-star Vertere Phono-1 MkII L, the new Cyrus 40 PPA and the soon-to-be-reviewed high-end Michell Apollo two-box, and the Reflex M held its own.

Unsurprisingly, it didn’t shine the brightest in this group, but it also wasn’t embarrassed. Given that the other units cost anywhere from three to four times as much as the Graham Slee, that’s impressive.

Sure, all those other units can handle both moving magnet and moving coil cartridges, and offer far more in terms of features, but the mere fact that the Reflex M can be considered to perform in the same ballpark with moving magnet cartridges is a real testament to its quality.

Through our test sessions, we play a wide variety of records, including Kind Of Blue by Miles Davis, Bob Marley’s Catch A Fire, right through to Orff’s Carmina Burana, taking in the likes of Billie Eilish’s Happier Than Ever in between. Regardless of genre, the Reflex M has a blend of talents that allows it to shine.

It is quiet for starters, with little in the way of obvious hiss or hum. This low noise floor translates into a wide dynamic range that benefits frantic pieces of music such as Carmina Burana. Here, the Reflex M has no trouble tracking the recording’s demanding peaks.

Importantly, it still has the control and composure necessary for this chaotic piece to make musical sense. This is an organised-sounding product that keeps a firm grip of the music’s various instrumental strands, while still able to tie them all together to deliver what is, at times, a thrilling experience.

The level of detail resolution is excellent for the price, as is the way this unit renders subtleties such as instrumental textures and dynamic shading. Despite a generally even tonal balance that edges towards leanness, this phono stage has no problem revealing the natural warmth and richness in the recording, something many rivals struggle to replicate.

We’re impressed by the Reflex M’s stereo imaging too. It may not quite reveal the spaciousness of higher-end alternatives, but it still manages to deliver a wide and expansive soundstage that is as focused and precise as we have heard at this level.

There is a decent amount of space around instruments and a pleasing sense of scale that makes a classical music recording, such as this Orff piece, all the more convincing.

Discs such as Kind Of Blue and Catch A Fire show the Reflex M to be a coherent and rhythmically skilful performer. It conveys the ebb and flow of music well and can serve up a rhythmic track with all the drive and energy intact.

The Graham Slee sounds wonderfully relaxed with Marley’s Stir It Up and serves up the sophisticated jazz of Miles Davis with the charm and expression it deserves.

If we dig into the specifics, the Reflex M’s treble has bite and enough refinement not to get over-excited by a bit of aggression in a recording, while the midrange is as explicit as you like. Moving to the low-end, bass is taut, precise and articulate.

You’ll have to spend considerably more than the Reflex M costs if you want a greater sense of bass power or authority. For the price, it is really good.

Verdict

The Graham Slee Reflex M isn’t much to look at and is pretty limited when it comes to features, but if you are looking for the best sounding, sub-thousand-pound moving magnet phono stage, then this is it. It is a fit-and-forget device of the highest order. Highly recommended.

Review published: 23rd September 2025

SCORES

• Sound 5
• Build 4
• Features 3

MORE:

Read our review of the Vertere Phono-1 MkII L

Also consider the Moon 110 LP v2

Read our Rega Fono MM Mk5 review

Best phono preamps: budget to high-end, tried and tested

What Hi-Fi? is no stranger to Cyrus Audio’s phono stages. We have been using the company’s terrific Phono Signature in our reference system for almost a decade, thanks to its excellent sound quality and useful range of features. So when the company launches the ambitious 40 PPA, we’re keen to have a listen.

It might be tempting to think of the Cyrus 40 PPA as simply the previous generation phono stage in a swanky 40 Series casing, but that isn’t fair. While the two designs are clearly related, Cyrus’s engineers have worked hard to improve the performance.

Design

Beyond the lovely modern styling and large, clear display, you will find that the main circuit board has had a thorough going over.

It now features a six-layer circuit layout rather than the previous four. Doing this helps to minimise unwanted interactions between the circuit components and helps to reduce noise levels. The internal power supply arrangement has been revised, leading to a massive claimed 20 per cent reduction of noise levels as a result.

As has become traditional for the brand, it is possible to add an optional outboard power supply to boost performance. However, the 40 PSU is hardly a cheap upgrade at £2495 / $3495 / AU$4499, though it is also fair to say that it lifts the 40 PPA’s performance to a significant degree. More on that later.

Features & connectivity

On the features front, this is an impressively equipped phono stage, probably the best we have come across anywhere near this price. It has four inputs, for starters. While this is undoubtedly excessive for most users, for those with multiple decks, it is a pleasure not to have to swap around cables every time another record player is used.

Such a range of inputs is also an absolute gift for anyone who routinely has to compare multiple record players, be they a retailer or reviewer.

Each input can be tailored for a specific cartridge. With a gain range of 30-65dB in 5dB steps, the 40 PPA should be electrically compatible with all but the most extreme low-output cartridges on the market. It also offers a good range of moving coil cartridge loading options (capacitance and resistance) to help optimise performance.

In addition, there is also a warp filter that reduces very low frequency output to avoid excessive bass driver travel with less-than-perfectly flat records. Unlike some we have tried, this filter doesn’t spoil the 40 PPA’s performance significantly.

It’s fair to say that most premium phono stages also offer similar cartridge loading options, but the advantage this Cyrus has over most rivals is that the setting can be adjusted with a remote control rather than just on-unit dip switches (as is the norm).

The remote operation means that the listener can make sound comparisons between different loading values from the listening seat, which makes the whole cartridge optimisation process notably quicker and easier.

Alongside the four phono inputs, there are stereo analogue outputs in both single-ended RCA and balanced XLR flavours, and rather helpfully, a ground lift switch that is likely to help in situations where hum is an issue. There are also connections for servicing and system integration.

The big change for the 40 Series over previous Cyrus products is the new casework, of course. This preserves the brand’s trademark half-width proportions but looks fresh and modern. It is beautifully made and finished to a high standard.

The casework, along with the range’s large, clear display, instantly makes the brand’s long-established Classic line-up look generations out of date. That said, we aren’t great fans of the front panel touch buttons, which are a little erratic in use.

The display isn’t just for appearances, either, as it shows the configuration for each input and makes the initial set-up of the 40 PPA a breeze. It also has a cartridge output level indicator, and while the indicator isn’t as fluid in movement as some we’ve seen, it proves useful in optimising the gain level for any specific cartridge.

Any phono stage at this level demands a top-class record player. We use the Technics SL-1000R with a range of cartridges that include moving magnet designs (Nagaoka MP-200 and Vertere Dark Sabre) and moving coils (Ortofon MC-X30 and the Kiseki Purpleheart).

The rest of our system is our usual reference amplifiers, the Burmester 088/911 Mk III pre/power and PMC Cor integrated, both feeding the ATC SCM50 speakers. We also use the Fyne Audio F1-8 standmounters to gain a different perspective on the 40 PPA’s performance.

Sound

We hear much of the character of the earlier Phono Signature design in the 40 PPA; the newer phono stage sounds similarly balanced and articulate. But there is no doubt that the newcomer clearly offers a step up in performance. If you feed it a suitably high-quality signal, it is a better performer in every area, from clarity and dynamics to delivering a more spacious soundstage.

By the standards of the price, this Cyrus is an impressively detailed performer. It digs deep into the recording and brings out low-level subtleties that most of the competition ignore. Just as importantly, it takes this mass of information and arranges it into a musical whole that communicates the emotional content of the recording superbly. We are impressed with the low levels of hiss and hum produced.

The 40 PPA’s transparency is obvious whether we listen to Michael Jackson’s Bad album or Holst’s Planets Suite. Listening to Jackson’s Smooth Criminal, we note the Cyrus’s ability to track low-level instrumental strands and the impressive way it handles dynamic contrasts. There is plenty of punch when the music demands it, yet the phono stage is still able to render instrumental and vocal textures with considerable skill.

Best of all, despite delivering a deeply analytical view of the recording, the 40 PPA remembers to have fun. It communicates the song’s relentless rhythm track with enthusiasm and punches hard.

The Holst suite shows the more sophisticated side of the Cyrus 40 PPA’s character. It is a highly neutral performer with little in the way of unwanted emphasis in any part of the frequency range. Yet, unlike some that achieve neutrality, it doesn’t sound tonally grey, instead delivering a sense of natural richness when the recording demands.

Stereo imaging is wide and deep, and perhaps most importantly, remains stable when the music becomes dense.

Large-scale dynamic shifts are delivered with confidence, and without hardness or strain entering the equation, while top-end insight is up with the best at the price. High frequencies have attack and bite, combined with a good level of refinement.

Let’s not get this wrong. If the recording is thin, hard or aggressive, this phono stage doesn’t soften the edges. The 40 PPA delivers whatever the record player gives it, whether that is good or bad. That’s why anyone contemplating buying a phono stage like this has to be sure that their record player is up to the standard required.

Add the 40 PSU power supply unit and the results get even better. Admittedly, this upgrade more than doubles the cost, and moves the 40 PPA into some exotic territory, but there is no denying the increase in scale, authority and dynamic finesse the addition of the outboard power supply offers.

The 40 PPA/40 PSU pairing builds strongly on all the solo unit’s good qualities without introducing any sonic downsides. It’s an impressive upgrade, albeit an expensive one.

Verdict

To sum up, the 40 PPA is a great performer. Provided the rest of your system is talented enough, its blend of excellent detail resolution, articulation and expressive dynamics is sure to please. This is also a well-made and well-featured unit.

Add it all up, and we have no choice but to highly recommend this Cyrus phono stage.

Review published: 19th September 2025

SCORES

• Sound 5
• Build 5
• Features 5

MORE:

Read our review of the Cyrus Phono Signature

Also consider the Vertere Phono-1 MkII

Best phono preamps: budget to high-end, tried and tested

Pro-Ject has announced the launch of two new phono stages, the compact Pro-Ject Tube Box E and the balanced Tube Box S3 B.

Let's start with the more premium of the two. The Tube Box S3 B is a valve-based balanced phono stage that seeks to blend high-end technologies with an extensive range of connection options housed within a compact design, with Pro-Ject promising a model which "raises the bar in the premium analogue market".

Central to the new unit is its symmetrical discrete gain stage which, when coupled with a balanced-ready turntable, maintains a balanced signal path for reducing noise and preserving musical detail.

The Tube Box S3 B offers a wide array of gain options from 40–65dB, meaning it can cope with moving magnet and moving coil cartridges. There are control switches for changing the input or toggling the subsonic filter, something which Pro-Ject envisions will make the Tube Box S3 B easier to use.

The new phono stage is housed in an aluminium enclosure to protect against unwanted interference, showcasing twin input options for connecting dual turntables – one balanced and one unbalanced – with stored settings for switching easily between the two.

If you're seeking something a little more affordable, the Tube Box E might be suitable. Despite its small footprint and more modest price tag, the Tube Box E features a fully discrete, dual-mono design, resulting in reduced noise from a design which Pro-Ject claims produces a "musical sound with a rich midrange".

Offering a wide range of gain settings, the Tube Box E supports a broad spectrum of moving magnet and moving coil cartridges. Capacitance and impedance can be adjusted, while a front-mounted subsonic filter provides further scope for tweaking your sound to your liking.

Pro-Ject's more affordable phono stage is fitted with a metal enclosure for protecting against interference and vibrations, as well as an aluminium front panel and gold-plated RCA sockets.

Both new models are available now, with the Tube Box S3 B priced at at £529 / €599 and the Tube Box E priced at £240 / €299 (further prices pending).

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We first glimpsed Cyrus Audio's new phono preamplifier at the Bristol Hi-Fi Show earlier this year. And now, after a long wait, we can confirm that the Cyrus 40 PPA is officially launched and available to buy.

Encased in the Cyrus 40 Series' modernised design, the 40 PPA features the same half-width anodised aluminium chassis and five-inch glass-fronted touchscreen display as the rest of its siblings, the 40 ST streamer, 40 AMP integrated and 40 CD player.

The 40 PPA has enjoyed more than just a cosmetic facelift, with extensive updates inside. Cyrus has re-imagined the flow of audio signal from start to end, giving special attention to shielding the sensitive signals from any interference.

Cyrus says: "The PCB design has had a complete overhaul and increased from four to six separate layers to help separate those key circuits from each other and decrease noise interference to almost zero."

The power supply has also been revised to reduce noise by 20 per cent compared with its predecessor, the Classic Phono.

Additionally, you now adjust gain in 5dB increments to further fine-tune your turntable set-up.

As with the previous models, the 40 PPA supports both moving magnet and moving-coil cartridges, with ample gain, load and capacitance adjustments available to match your vinyl set-up.

A ground lift switch is included to prevent any ground hum problems that arise. It also displays the level of signal you’re outputting, to help you adjust the gain.

As before, you can connect up to four turntables to the phono stage, and there are a pair of RCA stereo and a pair of balanced XLR outputs.

The included remote and on-screen menu aims to make the cartridge configurations easier to set up, while a warp filter is also available.

The Cyrus 40 PPA is also compatible with the outboard 40 PSU power supply, which can be bought separately for £2495 / $3495 / AU$4499.

Cyrus Audio's long-running Phono Signature has been a permanent fixture in our test rooms since we reviewed it back in 2016. The five-star phono preamplifier is part of our reference system – such is its estimation in our eyes (and to our ears).

The Phono Signature was retired in 2024 to make way for the Classic Phono model, and this has now been superseded by the 40 PPA as Cyrus's new flagship phono stage – one that the brand believes is "one of the best phono preamplifiers on the market, at any price!"

The new Cyrus 40 PPA is available now for £1995 / €2499 / $2899. We'll be sure to take it for a spin as soon as we have a review sample.

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Read our Cyrus 40 AMP review

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That 'groundbreaking' new analogue product that Chord Electronics teased last week that will be launched at High End Munich 2025?

It's a phono stage.

The Ultima Phonostage.

Joining the flashing reference Ultima range, the new Phonostage is set to officially launch later this year – at which point we will get the full details of the product and final price. But we've had our first look at the new product as it was unveiled at High End Munich, and can share some initial images and specifications.

The Ultima Phonostage features an advanced dual mono design and is imbued with Chord’s Ultima technology.

It is compatible with moving magnet and moving coil cartridges, offers selectable impedance (47k with capacitance options for MM cartridges; 12ohm to 2200ohm for MC cartridges) and gain adjustments, and has individually assignable inputs so it can be used with up to three turntables or three tonearms.

There are three XLR inputs and three RCA inputs, with one output apiece. Other features include a rumble filter, clip detection and gain boost.

Of course, the Ultima Phonostage is encased in Chord Electronics' visually striking chassis and space-age aesthetic as the rest of its Ultima range of high-end electronics.

There is the glowing LED indicator in the middle, but this is flanked by two eye-catching VU meters on the front panel.

The phono stage is set to launch later this year, in black and silver finishes, with a tentative price tag of around £18,000. If true, that would make it go head-to-head with the fantastic five-star, £15,000 Vertere Calon we tested recently.

We'll bring you more information when the official details are released in a few months.

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The name Calon means ‘heart’ in Welsh, which is quite a poetic name for an electronic component that can make or break the performance of a vinyl-playing system. Make no mistake, when it comes to replaying records, no other electronic component in a system sets more of a ceiling on the sound you get than the humble phono stage.

This is obvious once you think about it. Not only is the phono stage responsible for applying the RIAA playback equalisation curve to the cartridge’s signal to balance the tonality, but it also has to amplify that tiny signal by a factor of around 5000 (with a typical moving coil cartridge) before a conventional preamp section can use it.

Any noise or distortion the phono stage’s circuitry generates is also magnified along with the cartridge’s signal, so these unwanted artefacts have to be at an ultra-low level if the performance is going to be good.

The Vertere Calon is a shining example of how things should be done. It is a hugely expensive product, but in a price-appropriate turntable system, it’s hard to better. Any options that come close in ability are priced even more out of reach. Such a towering performance (more of which later) doesn’t come by accident.

Design & engineering

The Calon’s circuit is dual-mono in configuration, with extensive care taken over the power supply arrangement and shielding. This means the signal from each cartridge channel is treated identically and kept isolated from unwanted interaction by its partner.

Doing things this way not only has the potential to improve stereo imaging but also should reduce distortion and interference, so helping performance.

The amplification boards are sophisticated four-layer gold-plated circuits that are packed full of high-quality components just as you would expect. Unusually though, Vertere hasn’t just crammed them full of fashionable ‘big name’ audiophile parts, rather it has spent a considerable amount of time testing the various alternatives and chosen those that offer the most accurate musical results.

The signal path is unusual too. Ignoring convention, the cartridge’s miniscule output first enters a user-adjustable gain stage that has 0dB, +10dB and +20dB options. The idea is to boost the signal before any equalisation takes place in a bid to preserve the detail and dynamics present.

The RIAA equalisation is then done with a hybrid circuit where the low frequencies are handled actively and the higher ones equalised passively. Vertere has found that this approach gives the most accurate results. The fully equalised signal then passes through another user-adjustable gain stage (0dB, +2dB, +4dB, +6dB and +8dB) before being routed to the single-ended and balanced outputs.

The company is particularly proud of how it has implemented the switchable subsonic filter, claiming it to be pretty much inaudible and having almost no measurable effects above 20Hz. The advantage of such a filter is that it removes subsonic noise, reducing the additional strain on the partnering amplifier and speakers. Once we had confirmed the transparency of the filter (we didn’t hear much in the way of degradation) it was left on for the rest of the test process.

There is also a 180-degree phase switch that can compensate for albums recorded out of absolute phase. Provided your system is transparent enough, it isn’t hard to hear when an album or track isn’t in phase properly, usually due to mistakes being made in the recording or production process.

Cartridge compatibility is good thanks to the Calon’s wide range of adjustability. It has a gain range of 45-73dB with a capacitance from 100pF to 1.0uF and resistance that starts at 100 ohms up to 47kOhms. Those are numbers that should cope with just about any cartridge on the market.

Connections & build

This phono stage’s connectivity covers the fundamentals. There is a single input and both balanced XLR and single-ended RCA outputs. Some rivals have the option to connect more than one deck at a time, which is useful if you have more than one record player in your system, but for most people that probably wouldn’t be a consideration.

Given that hum can be a tough nut to crack in some vinyl-based systems, it is good that Vertere has equipped the Calon with multiple earthing options to help.

Build quality is as good as you would expect at the price, though it is fair to say that the Calon has more of a functional aura than a luxury vibe. It is not hard to find alternatives with more glamorous-looking casework, though we doubt many get close to the internal sophistication of the Vertere.

Even so, the Calon’s casework is beautifully finished and predominantly made of non-magnetic (Austenitic) stainless steel, which provides good shielding from interference without suffering from eddy currents and other magnetic issues the use of steel would normally bring. The front panel is a neatly machined aluminium plate and is available in two colour options: silver or black.

The multiple front panel dials to adjust gain and loading values feel solid and pleasingly positive in use, which simply adds to the quality feel.

It should go without saying that the Calon deserves to be used with a top-class system fronted by an impeccable record player. Much of our testing is done with the high-end Vertere SG-1 Super Groove MkII turntable with the company’s range-topping XtraX moving coil cartridge, but we also use our reference Technics SL-1000R with both a Kiseki Purpleheart MC and a Nagaoka MP-200 moving magnet.

Just for fun, we also try the Rega Planar 3 RS Edition to see just how good this relatively affordable deck sounds when used with such a revealing phono stage. It copes remarkably well, in case you wondered, though obviously it would never be something we would recommend in real life. The rest of the system is our usual Burmester 088/911MkIII amplifier driving ATC SCM50 speakers.

Sound

It may seem an odd way to start talking about the Calon’s sound quality, but the aspect of its performance that grabs our attention first is how quiet it is. We aren’t talking about a lack of gain, of course, but the almost total lack of background hiss or noise at anything approaching normal listening levels.

This gives the rest of the sound a wonderfully clean background from which to flow. Such a low noise floor helps with dynamics too, of course, so it’s no surprise to find the Vertere excelling here.

The Calon has the headroom to deliver the large dynamic peaks of Orff’s Carmina Burana with ease, and it is done with a mix of enthusiasm and control that is hugely appealing. Where appropriate, this Vertere sounds big, bold and powerful. It has scale and authority to spare, rendering sounds with a solidity that we’ve rarely heard from any phono stage.

Of course, there is plenty of insight. The Calon sparkles when it comes to detail resolution and the ability to use that information to build a convincing sonic picture. Instruments and voices sound richly textured, full-bodied and spellbindingly natural.

Stereo imaging is as stable as you like. Instruments and voices are firmly locked into position and inhabit an impressively expansive and grounded soundstage. Things retain a crisp focus even when the music becomes demanding, which, if you know this Orff piece, happens quite often.

Tonally, the Vertere sounds natural, refusing to add too much of its sonic signature to that of the cartridge’s signal. In an odd way, and despite all the resolution and transparency on offer, the Calon is a pretty forgiving thing. Some rivals love to take recordings apart, highlighting every flaw and limitation, but this phono stage is different.

Give it a recording that can sometimes sound a little thin and unyielding on rival products and it will reveal more substance and richness to the sound than you would expect. Sure, the shortcomings in the recording will still be obvious, but this phono stage tries its best to show you the positives.

Feed it a decent recording, like Nitin Sawhney’s Prophesy set, and it shines. Given appropriate music, it is something of a dance machine with the ability to tie intricate rhythms together and convey the momentum of the music convincingly. Drill down to specifics and there is so much to admire. The lows are immensely powerful and reproduced with a weight and authority that can’t help but impress.

Pleasingly, the bass remains tuneful, taut and articulate, so the music really motors. Voices come through with clarity, subtlety and a generous dose of texture. They sound palpable and more life-like than we tend to hear, even at this level.

Our time with the Calon is a blur of records as we work through our collection. We listen to everything from David Bowie’s The Rise And Fall of Ziggy Stardust… to Bob Marley and the Wailers' Catch A Fire taking in Bruce Springsteen, Michael Jackson and Beethoven in between. Regardless of the material being played, the Vertere never disappoints.

Verdict

Some people will never be able to look past the Vertere Calon’s huge price tag, and we can understand that. But given a suitably talented system, with a capable record player worthy of such a phono stage, it is very hard to argue against its exceptional performance.

Putting the specifics to one side, the important thing is that listening to music through this phono stage brings an enormous amount of enjoyment. In the end, surely that’s the thing that matters the most.

Review published: 29th April 2025

SCORES

• Sound 5
• Build 5
• Features 4

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Best phono preamps: budget to high-end, tried and tested

If you’re dipping your toe into the world of vinyl, you might find that you’re missing an important link – namely a phono preamp – between your record player and your active speakers or amplifier. The best external phono preamp (or a phono stage) is a neat way to bridge that gap; it’s also a great way to upgrade the quality of your existing vinyl set-up, as they tend to be a better quality than the ones built into your powered speakers, amplifier or turntable.

iFi’s Zen Phono 3 model is a compact and wallet-friendly phono stage that can neatly slot into most affordable vinyl systems, and is – unusually for a phono stage at this level – compatible with both moving magnet and moving coil cartridges.

Build & features

The Zen Phono 3 is a nicely made unit, with a similar footprint and design as its predecessor. The chassis is identical in dimensions and finish to the Zen DAC 3 we reviewed recently, and it’s a sleek, smart unit that is easy to accommodate on your desktop or hi-fi rack space.

There has been a major cosmetic lift from the original model, with the Zen Phono 3 now featuring a circular display and LEDs to indicate the different gain and loading options chosen, along with responsive buttons that help you make these adjustments.

The LEDs are subtle enough to not distract you when listening to records in a dark room, while the labels are legible – it’s a straightforward unit to use.

Compared with the previous model, the Zen Phono 3 allows you to mix and match gain and load settings independently of each other – you have four gain settings from 36dB to 72dB and four input impedance settings. This makes it compatible with a wide range of cartridges – even moving coil models. You can select low to very high gain settings using a switch at the rear of the unit, while you can choose the correct load option for your MC cartridge using the front panel button.

Around the back, you’ll find a single pair of stereo RCA inputs and outputs, along with a single 4.4mm balanced output.

The Zen Phono 3 boasts a relatively quiet noise floor as standard, while you can go further and diminish low-frequency rumbles caused by warped records or excitation of cartridge/arm resonances by using the Subsonic filter. This is a useful function but also affects overall transparency to a degree.

That this phono stage can work with a variety of moving coil cartridges for this price level is clearly a huge draw, but it’s worth noting that most good-sounding MC cartridges tend to cost at least double the price of the Zen Phono 3. While it’s admirable that an entry-level product such as this is so versatile and also offers an upgrade path, we think it offers most when partnered with budget-to-midrange moving magnet cartridges.

Sound

We plug the Zen Phono 3 into our reference system of the Rega Planar 3 RS Edition turntable, Naim Nait XS 3 amplifier and Epos ES-7N speaker. For comparison, we have our current Award-winning Rega Fono MM Mk5 phono stage (MM only, £230) and the five-star Cambridge Audio Alva Duo (£299), the latter of which is also compatible with MM and MC models.

Straight away, the iFi Zen Phono 3 shows its mettle with a refined, smooth and spacious presentation. Fleetwood Mac’s Dreams comes through in a composed manner, with guitar strums, drum kicks and vocals delivered with good detail and even better clarity. There is no undue harshness at the top end, which means that some of those scratchy, bright, high-pitched tones on Portishead’s Numb and Roads are a little more polished and polite. Overall it’s a nicely balanced sound that isn’t fazed by a rather rough and compressed Slipknot pressing or a very old but great-sounding Son House blues album.

We would like the iFi to dig a bit deeper into subtleties and have greater precision and verve when it comes to dynamics and rhythms, however. Bass performance is fairly taut and solid, although switching over to the Rega MM Mk5 brings us that greater level of authority, muscle and verve that we were missing. The Rega phono stage adds a heap of extra subtlety and textural depth to voices and instruments, along with a more propulsive sense of rhythm. The iFi’s sound is just a touch lightweight in comparison, but it also sounds fairly nimble and smooth-flowing.

The Rega MM Mk5 is more willing to unearth the grittiness and nuances of recordings, although it is a smaller-sounding and less refined presentation than the Zen Phono 3. The Cambridge Duo is also nicely dynamic and punchy (and has the added benefit of a headphone port), but it lacks the detail levels, refinement and clarity of the iFi rival. The Zen Phono 3 easily offers the biggest and most spacious sound of the three.

To test its MC capabilities, we plug the Phono 3 into our reference Technics SL-1000R record player with the Kiseki Purpleheart MC cartridge. This a high-end option far beyond what we would ever suggest pairing with the iFi, but it shows the iFi to be a decent and consistent performer with moving coil cartridges, though lacking in true transparency. Given this phono stage’s price point, that isn’t a major issue.

Verdict

The iFi Zen Phono 3 is a neat little unit and a good upgrade option for your turntable system. We like its clear, refined and big-sounding presentation, but find it plays it just a little too safe for our liking. For a similar price, the Rega rival is more expressive and musically satisfying.

However, we can see the iFi’s combination of features, smart design and price attracting those looking to give their fledgling vinyl system a spruce. It’s an alternative worth considering.

First reviewed: March 2025

SCORES

• Sound 4
• Build 5
• Features 5

MORE:

Read our review of the Rega Fono MM Mk5

Also consider the Cambridge Audio Duo MC/MM

Best phono preamps: budget to high-end, tried and tested

Musical Fidelity has revealed its latest high-end phono preamplifier. The M8x Vinyl builds on the brand's established M6x Vinyl model to deliver what the maker describes as offering "reference-class sound" without the extortionate price tag. 

Incorporating much of Musical Fidelity's flagship technology and featuring trickle-down technology from the more premium Nu-Vista range, the M8x aims to be a flexible device that strives for a sound which mirrors the intention of the original recording. 

The M8x Vinyl is a discrete, fully balanced phono preamplifier, boasting a "purer" signal path for a natural, dynamic musical performance with minimised noise. The chic phono preamp also boasts an improved gain stage design with selectable gain adjustments up to 69dB, as well as a refined power stage with a "super silent" power transformer designed to ensure as little noise generation as possible.

The M8x is built to provide greater user flexibility thanks to its balanced XLR and unbalanced RCA input and output options, with the new phono preamp letting users connect multiple turntables and have their settings stored for each input. For the outputs, both the RCA and XLR options offer individual power stages for simultaneous use during playback.

The M8x Vinyl is constructed using an extruded aluminium chassis to protect the internal circuitry from the outside world. The front panel houses aluminium buttons and twin dials for changing your input/output selection or customising each input's gain, capacitance and impedance settings.

The new Musical Fidelity M8x Vinyl phono preamplifier is available this December with a black or silver faceplate, priced at £3599 / €3999 / AU$7200.

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Dan D’Agostino has expanded its middle-sitting Momentum range with a preamplifier that also has the potential to become a dream digital source.

The Momentum C2 (“Concept 2”) succeeds the Momentum HD model released in 2019, propelling the design forward with an advanced circuit topology and power supply, improved digital functionality (including the introduction of an optional digital streaming module) and “sonic attributes inspired by the flagship Relentless” preamplifier.

Let’s tackle this progression bit by bit. Firstly, Dan D’Agostino has evolved its use of JFET transistors (which debuted in the aforementioned predecessor). Here, four of these transistors are arranged in a unique and complementary push-pull design to significantly enhance input impedance (the claim is that the JFET impedances surpass one megaohm), isolate it from extraneous noise and reduce the overall noise floor.

The input stage boasts a very high voltage input signal capability (30 volts), while the front end of the design is supposedly “immune” to source-related electrical issues.

Dan D’Agostino has taken various steps to implement this design with great care, from developing a unique circuit that maintains a stable bias and thus offsets temperature-related anomalies, to using four-layer (as opposed to two-layer) circuit boards to reduce distortion and losses, and even – digging down into ‘the little things’ – hermetically sealing the signal-switching relays. 

Not so little is the two-chassis approach, which sees the power supply separated from the main audio circuits to achieve optimal mechanical and electrical isolation. The two boxes are connected using electro-mechanical, thirty-pin interlocking connectors (pictured below) that do a more secure job than conventional wiring.

That supply delivers power via individual transformers dedicated to the analogue and digital circuitry, and offers greater output from the same footprint as the Momentum M400 amplifier. 

Quirkily, the power supply’s chassis features an LCD screen displaying unit status, functions and, when equipped with the optional digital streaming module, also metadata. Speaking of which, that optional module offers not only physical digital connectivity (SPDIF coaxial, optical and USB-B) but also networking via wi-fi or Ethernet. Native integration with subscription streaming services like Tidal, Qobuz, and Spotify is supported within the app, with additional compatibility for Tidal Connect. Native decoding for PCM 32-bit/384KHz and DSD256 (11.2MHz) wraps up an impressive digital offering.

The Bluetooth, rechargeable remote control has its own LCD screen too, mirroring the information on the chassis display. But needless to say, the more mechanical, ergonomic touches of D’Agostino designs are present and correct too: volume levels, for example, can be displayed through the Swiss watch-inspired volume wands or shown numerically.

Available in silver, black, or custom-painted finishes and hand-built in the company’s Arizona factory, the Momentum C2 preamplifier costs £59,998, with the digital streaming module a further £11,398.

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Luxury Swiss audio brand Goldmund is back with more high-end hi-fi with prices to make your head spin and your wallet weep. The new Mimesis Excellence preamplifier is aimed squarely at "audiophiles seeking the pinnacle of sound quality", blending Goldmund's high-end technology and components with some of the most luxurious craftsmanship you'll likely find in the consumer market.

Central to Goldmund's latest preamplifier is the newly crafted Themis audio board, which employs mechanical shielding to block distortive electromagnetic emissions. Through the Themis (which is also modular), each channel processes audio separately, minimising noise and keeping the audio signal cleaner and clearer. Each channel also comes with its own advanced DAC and volume control, again seeking the purest sound at a range of volumes and minimising distortion in the process.  

The preamplifier houses a customised DAC capable of handling hi-res audio files, including up to DSD512. The amp's bespoke clock generation system promises the lowest levels of jitter possible from digital signal transmission. Fully separated left and right digital and analogue power supplies regulate power in two stages for greater stability and refinement.

Around the back of the preamp, you'll find an array of analogue and digital connectivity. Inputs include three pairs of line level RCA, two pairs of balanced XLR, two S/PDIF and two optical digital RCA connections. There are two pairs of analogue RCA and XLR outputs apiece.

Carsten Roth, Goldmund's CEO, says: "We are committed to pushing the boundaries of audio technology (and) the Mimesis Excellence preamplifier embodies our dedication to innovation and quality, delivering an unmatched listening experience for our customers". 

Goldmund aims its products squarely at the luxury end of the market, with the Telos 8800 power amp boasting a price tag of £350,000 and the Telos 2800 mono power amplifier setting you back a cool £250,000 / $140,000. 

The Mimesis Excellence preamp, then, looks like a bit of a steal (relatively, of course). Available in Goldmund's signature grey or matte black finish, the new preamplifier is priced in the bargain basement realm of £45,000 / $48,000 / AU$81,000. 

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These are the best phono preamplifiers money can buy

Vertere Acoustics has introduced the high-end Calon phono stage at High End Munich. The name Calon means 'heart' in Welsh, which is quite a poetic name for an electronic component that can make or break the performance of a vinyl-playing system.

The Calon is a carefully considered moving magnet/moving coil unit that takes a fresh look at how a phono preamplifier should be designed. It is dual-mono in construction to ensure that the signal path for each channel is identical, with extensive care taken over the power supply arrangement and its shielding. The amplification boards are sophisticated four-layer gold-plated circuits packed full of high-quality components. Vertere hasn't just crammed them full of 'big name' audiophile parts, rather it has used its extensive experience to choose the components that give the most accurate and musical results.

The signal path is unusual too. The cartridge's tiny output first enters a user-adjustable gain stage that offers 0dB, +10dB and +20dB options. The idea is that the low-level cartridge output is amplified before any equalisation takes place in a bid to preserve the detail and dynamics inherent in the signal. 

The RIAA equalisation is then done with a hybrid circuit where the low frequencies are handled actively and the higher ones equalised passively. Vertere has found that this approach gives the most accurate results. The fully equalised signal then passes through another user-adjustable gain stage (0dB, +2dB, +4dB, +6dB and +8dB) before being routed to the single-ended and balanced outputs.

The company is particularly proud of how it has implemented the switchable subsonic filter, claiming it to be pretty much inaudible and having almost no measurable effects above 20Hz. The advantage of such a filter is that it removes subsonic noise, reducing the additional strain on the partnering amplifier and speakers. There is also a 180-degree  phase switch that can compensate for albums recorded out of absolute phase. 

As expected, there is plenty of adjustability here. The Calon offers a gain range of 45 - 73dB with capacitance from 100pF to 1uF and impedance ranging from 100 Ohms to 47 kOhms. That should be enough to cope with just about any cartridge on the market.

The Calon's casework looks beautifully finished and is made of non-magnetic (Austenitic) stainless steel, which provides shielding without suffering from eddy currents and other magnetic issues steel would bring. The small control dials are made of highly polished stainless steel. There are two finishes available: silver and black.

All this quality costs a fair bit, as you can imagine, although you may not have guessed the eyebrow-raising price of £15,500 / $19,995 for the Vertere Acoustics Calon when it goes on sale in July 2024. 

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Japanese high-end audio brand TAD Labs is adding to its current Reference Series of hi-fi products. The new TAD-C700 preamplifier – to be showcased at next month's High End Munich show – teases a host of technical refinements which, says the manufacturer, will allow the latest model to reach a new level of performance over 2011's outgoing TAD-C600. 

Central to this new level of performance is the preamp's single-stage amplifier circuitry. According to TAD, the minimal use of amplifying elements lets the C700 reproduce "every musical nuance faithfully", while a dedicated amp circuit for each line output aims to stop signal branching and unwanted interference from connected components. The C700 uses fully balanced circuitry throughout which, along with the symmetrical dual-mono construction, aims to deliver identical amplification to left and right channels – this should result in "near-perfect stereophonic sound reproduction", says TAD.

The new preamp's power supply is separated from the main unit, preventing vibrations and magnetic flux from affecting the audio circuits housed within the main unit. Further, the C700's terminals are made from oxygen-free copper to eliminate magnetic distortions in a bid for even purer sonic reproduction.  

The C700 preamp comes equipped with four balanced and two unbalanced inputs, as well as two balanced and two unbalanced outputs, with a dedicated recording output that sidesteps the selector circuit to directly put out input signals.

The main unit itself is a hefty 29kg chassis, while the separate power supply unit weighs in at 15kg. To prevent unwanted vibrations, the primary amplifier circuit is mounted on a 33mm aluminium sub-chassis, aiming to reduce vibrations caused by your speakers. The module's custom-made volume control circuit, meanwhile, shoots for ultra-low distortion to once again preserve your music's clarity and purity. 

A master C700 can control several passive C700s hooked up to the provided master out jack, letting two or more units provide dual-mono configuration or deliver multiple-channel sound. TAD's new high-end preamp also comes with a pass-through mode which outputs input signals from a pre-out jack without altering the signal level.

The TAD-C700 preamplifier will cost a hefty $68,500 USD (further prices pending) and will be available to buy through selected dealerships at the beginning of June 2024. The previous model's retail priced hovered around the £27,000 / €31,000 / $42,000 mark, so that's a significant price rise for the new model.

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It is fair to say that the humble phono stage has more impact on the quality of record replay than any other part of the amplification chain. Such a unit not only does the heavy lifting as far as amplifying the cartridge’s tiny signal goes but also performs the delicate equalisation necessary for a flat frequency response. At the same time, it shouldn’t add too much noise and distortion into the equation either.

This isn’t an easy job to do, so it comes as no surprise to find that the phono modules built into most non-premium integrated amplifiers are pretty limited in ability. In most cases, a dedicated, stand-alone phono stage will give you a better sound, and that’s where Pro-Ject’s Phono Box DS2 comes in.

Build & design

Pro-Ject has built its reputation on good value and high-quality vinyl replay, so it is no surprise to find that the Phono Box DS2 is a convincing piece of kit for the money. Its build is impressive with the aluminium casework feeling solid, smartly finished and put together with care. 

Take a look inside and you will find a neat dual-mono circuit layout (which helps to optimise stereo imaging) and general standards of construction that are up with the best at this level. There are two standard finish finishes (black or silver) and, rather unusually, the option to add magnetic wooden side panels (walnut, rosenut or eucalyptus) for a small price premium (£65 / $129 / AU$159).

Features

There is nothing unusual as far as connectivity is concerned; you get a stereo input, stereo output and a grounding post. More interestingly, the Phono Box DS2 outdoes most of the competition by offering a range of adjustability that’s rare for the price. It can accommodate both moving magnet and moving coil cartridges thanks to gain settings that range from 40dB to 65dB. These are sensibly chosen values for the kinds of cartridges this phono stage will likely be partnered with, and are selected via a button on the front panel.

Most moving magnet designs will deliver comfortably with 40dB of gain, while all but the very lowest output moving coils will work well with up to 65dB. The Phono Box DS2 also allows a good amount of adjustability regarding input resistance (10-47kOhms) and capacitance (100pF, 120pF and 320pF). The result should be a more optimal performance from your cartridge. 

Most rivals don’t offer this kind of adjustability, so it seems like a knockout punch for the Pro-Ject. But things aren’t so straightforward. Most phono stages at this level tend to get partnered with moving magnet cartridges, and as a breed such designs tend to have pretty standard requirements as far as electrical loading parameters go. In general, we rarely come across a case where pampering is necessary. 

The story is different for moving coils though, as there are greater variations in what is required for optimal performance. That’s where the Phono Box DS2 offers a significant on-paper advantage over most competitors. However, even here we feel the need to point out that the choice of good-sounding moving coil cartridges that are price-compatible with the Pro-Ject phono stage isn’t particularly wide. The most affordable MC we’ve tested and liked is Ortofon’s Quintet Blue, which now retails for £459 / $569.  Take a look at the step-up MC cartridge options beyond that and it doesn’t take long to hit four-figure price tags. At that point, the Phono Box DS2, as good as it is, becomes a limiting factor.

Sound

We plug the Phono Box DS2 into our reference set-up of Technics SL-1000R/Vertere Sabre record player, Burmester 088/911 MkIII amplifier and ATC SCM50 speakers, as well as a more price-comparable system using a Naim Nait XS3 integrated and KEF LS50 Meta speakers. We also try it with a range of cartridges: the Sumiko Rainier MM,  Ortofon’s Quintet Blue moving coil and for fun, our reference Kiseki Purpleheart MC. Rega’s similarly-priced Fono MM phono stage is on our equipment rack as a price benchmark as is our reference Cyrus Phono Signature phono stage.

The Phono Box DS2 is a pleasingly consistent performer generally and sounds most at home with the more price-compatible Sumiko MM and Ortofon MC cartridges. Understandably so, as more ambitious options such as the Vertere and Kiseki need something more capable to shine.

There is much to like here once the Pro-Ject is surrounded by price-compatible components. The Phono Box DS2 has a clean and refined balance that allows it to slot into a wide range of systems without issue. Once properly warmed, it delivers crisply detailed results. Listening to Orff’s Carmina Burana it is easy to appreciate the Pro-Ject’s spacious and expansive presentation. While alternatives like the Rega Fono MM deliver the sound with a little more verve and attack, the Phono Box takes a more relaxed approach to music-making. It renders instruments in a smoother and more full-bodied way and does a better job of revealing the space around them.

Carmina Burana’s brutal crescendos highlight the Phono Box’s slightly safe nature, where it favours taking a more sanitised view of the music. The dynamic extremes may be a little rounded but things aren’t taken too far and we’re still having fun. The presentation remains clear and informative, it's one that’s well-organised and musically interesting.

As the music becomes increasingly dense and demanding, the Phono Box DS2 stands firm. It has a good sense of composure and retains control when stressed. We switch to Four Tet’s There Is Love In You and like the Pro-Ject’s expansive and precise imaging. Things are nicely layered and retain stability when the production gets busy.

Would we like a bit more sense of drive? Certainly, but this unit still communicates the energy of the music well. It has our feet tapping, which is more than many similarly-priced alternatives can manage. Lows are a touch rounded but retain enough in the way of punch and agility to please. There is good low-end authority here and a feeling of muscularity that isn’t so common.

The Carpenter’s Best Of collection shows off the Phono Box’s lovely midrange. On We’ve Only Just Begun, the Pro-Ject’s articulate and fluid character through the middle frequencies becomes obvious. It sounds sweet, open and delicate when required, and delivers the passion in Karen Carpenter’s voice well. 

Verdict

Add relatively low noise levels to the Phono Box DS2’s fine build and insightful nature and you have one of the better phono stages at this level. Its flexibility is likely to have plenty of appeal for some but we think its easy-going nature is what really makes it worthy of a place on the shortlist.

SCORES

• Sound 4
• Build 5
• Features 5

MORE:

Read our review of the Rega Fono MM Mk5

Also consider the Graham Slee Gram Amp 2

Read our Cambridge Audio Alva Duo review

Best phono preamps: budget to high-end phono stages

Rega’s Fono Mini A2D phono stage was never a looker, and this Mk2 version doesn’t change that much. Sure, its appearance is a little cleaner and the new glossy front panel fits in with the aesthetic of the brand’s current range better, but we doubt whether the new appearance will be the reason for any dramatic increase in sales.

But really, we don’t think that matters. The important part of this phono stage, the audio circuitry, remains unchanged, and while in most cases that would be a complaint, here we’re not unhappy that Rega has left well alone. You see, the Rega Fono Mini A2D has always been something of a star performer at this level and this Mk2 version continues to impress.

Build & design

Physically, this remains a small unassuming box. It barely takes up any more shelf space than a typical coaster. The technical side is as expected with a 47kOhm/100pF input loading, which are the standard values needed for moving magnet cartridges. Those with a higher quality moving coil cartridge should be looking much further up the food chain than this Rega to something like Musical Fidelity’s MX-VYNL.

Apart from the stereo RCAs that cover the input and output connections, you will find a grounding screw; we wish Rega had used a thumb screw for ease of use rather than one that requires a screwdriver. It would make connecting a turntable (other than one with a Rega arm) easier. On the Fono Mini’s front panel you will find the reason for the A2D in this product’s name: the USB (Type B) output with an accompanying level control. 

The digital output of the USB connection means that you can connect this Rega phono stage to your computer and turn the music signal from your records into a digital file. It is faff (and time-consuming) to digitise vinyl, but this phono stage makes it an easy thing to do provided you have the patience. The output level of records can be all over the place, so the level control fitted to the Fono Mini A2D allows the user to optimise volume levels to maximise the signal-to-noise ratio, though take care not to go high enough to induce overload distortion. As a starting point, something like Audacity recording software works well, and we have no problems recording numerous tracks from vinyl to our MacBook Pro. The quality of the recordings mirrors that of the Rega, and that’s a positive thing.

Sound

The Fono Mini A2D Mk2 would be ideal to add record player compatibility to KEF’s LSX II speaker system or as a proper step up on the disappointing phono stages built into otherwise excellent stereo systems such as the Elac Debut Connex DCB41 or Triangle AIO Twin. Moving up a level to proper separates hi-fi, listening to the Fono Mini A2D connected to a Rega Planar 2 or Pro-Ject Debut Carbon Evo turntable feeding likes of Cambridge Audio’s CXA61 amplifier and the Bowers & Wilkins 607 S3 standmounters would be a treat.

This is a frill-free performer in the sense that it concentrates on getting the basics right. It is a budget product and as such there are compromises in its sound, but Rega’s engineers have been careful in their choices. Listening to Beethoven’s 6th Symphony we find that the Fono Mini A2D Mk2 is good at delivering dynamic contrasts. It has a lively presentation, one that communicates the energy in the music well. Detail levels are good for the money, but the impressive thing is the musically cohesive way in which the Rega organises the information; it makes sense to us, and keeps us listening in a way that’s rare at this level.

Tonally, things are nicely balanced. We use both a Sumiko Rainier MM and Vertere’s Sabre MM cartridges during our testing and the Fono Mini A2D sounds balanced with both. It isn’t the sweetest of sounds or the most spacious but there is enough refinement to avoid things sounding wearing and plenty of insight to keep our interest. Mary J Blige’s No More Drama shows that the Fono Mini A2D maintains Rega’s tradition of surefooted rhythmic drive and punch, as well as shining a light on the phono stage’s ability to render vocal and instrumental textures well. Blige’s voice comes through with power and passion on the title track and we’re pleased with the amount of dynamic nuance and finesse this phono stage displays in general. Lows are punchy and articulate without dominating, and the overall composure when the music gets demanding is admirable.

Verdict

Sonically, this new version of the Fono Mini A2D is no step forward over its predecessor. Rega doesn’t claim to have made any changes to the audio circuitry so that conclusion shouldn’t come as a surprise to anyone. This new one looks just a little smarter and still sells for a competitive price. Its ability to convert the signal from vinyl into digital is handy, but for us it is the quality of the sound that continues to impress. Quite simply, we haven’t come across a better-sounding alternative at this entry level. 

SCORE

• Sound 5
• Build 4
• Features 5

MORE:

Read our review of the Cambridge Audio Alva Duo MC/MM

Also consider the step-up Rega Fono MM Mk5

Best phono preamps: budget to high-end phono stages

Pro-Ject has announced three new products, including the Tube Box DS3 B phono stage alongside the company’s first-ever step-up transformer products.

The Tube Box DS3 B is a dual-mono phono pre-amplifier with a valve output stage, which is said to present audio with a unique sound signature. This phono stage offers plenty of adjustability as far as electrical loading goes, which makes it easy to optimise results with any particular cartridge.

Along with the usual unbalanced RCA connections, the Tube Box DS3 B also features balanced XLR input and output options – a first for a Pro-Ject phono stage. The company says the result of using these outputs should be a cleaner, clearer performance thanks to the reduced noise and higher gain typically associated with balanced connections. On the topic of noise, an external power adapter should also assist in lowering any electrical inference.

What is also nice to know is that the input settings for Loading, Gain, Capacitance, and the Subsonic Filter (which are all accessed via the front panel) are stored in memory. This means if you switch between unbalanced RCA and balanced XLR inputs, you won’t be required to dial everything back in every time.  

Moving on to Pro-Ject’s first step-up transformers – the MC Step Up Box DS3 B and the MC Step Up Box S3.

Both devices are passive units and are designed to increase the output of moving-coil cartridges to a level that is comparable to a moving-magnet cartridge. The use of a transformer gives a simpler signal path than a conventional active design and is claimed to deliver a purer sound.

The MC Step Up Box DS3 B is said to be particularly suited to balanced turntable connections and contains Lundahl LL1678 transformers. It offers both unbalanced RCA and balanced XLR inputs and outputs, and also includes selectable transformer ratio options depending on the level of gain required.

The MC Step Up Box S3 is designed to be an upgrade solution for users wanting to add moving-coil compatibility to an integrated amplifier’s built-in moving-magnet phono stage. It features a 1:16 transformer ratio – which should suit a range of pick-ups – and offers unbalanced RCA inputs and outputs.

Pro-Ject’s new phono-stage and step-up boxes will be available later this month and will be priced as follows:

Tube Box DS3 B phono stage: £949 / $1299 / €1049
MC Step Up Box DS3 B: £799 / $1099 / €899
MC Step Up Box S3: £399 / $549 / €449

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Bryston has drawn the curtain on its all-new BP-19 preamplifier, which for the first time sees the Canadian company offer its BP-2 moving-magnet phono stage circuitry as an onboard option.

That BP-2 phono is, in Bryston’s words, “highly accurate, offers extremely low noise, minuscule distortion, and provides headroom margins sufficient to prevent overload from any known phono source”. And vinyl junkies with moving-coil cartridge-fitted turntables can also be catered for via Bryston’s custom-made outboard step-up transformers to accommodate the lower output of MC designs.

Integrated inputs, meanwhile, include two pairs of balanced XLRs and four pairs of RCAs, the BP-19 being an all-analogue design. While it benefits from design innovations that were achieved during the development of the next-model-up BP-20 preamplifier, according to the company, it omits its well-featured sibling’s DAC, AES/EBU, optical, coaxial and USB digital connections, and streaming transport. Each of the BP-19’s six analogue inputs has a corresponding button on the front panel and supplied infrared remote for easy switching.

As for outputs, there are two pairs of RCA outputs (one fixed, one variable) and two pairs of balanced XLR outputs (one fixed, one variable). And that signal path from input to output is a fully balanced design.

In the name of musicality, Bryston says it has implemented an oversized toroidal power transformer, an "advanced" volume attenuator and “only the finest hand-selected premium components”. The distortion claim is an extremely low THD+N measurement at or below 0.0006 per cent.

Made in Canada and with Bryston’s 20-year warranty, the BP-19 is pretty versatile as preamplifier builds go. It is available in five standard faceplate finishes, in 17- or 19-inch widths, though custom colours are also on the menu alongside 19-inch rack mounts for professional applications.

The Bryston BP-19 preamplifier will be available in the coming months with a suggested retail price of $5195. UK and Australia pricing information will follow.

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Rega’s Fono MM has been our go-to recommendation for the best phono preamp for more years than we care to remember. It is about as minimalist as such things get at this level, being a moving magnet-only design with just the basic input and output connections.

The company clearly doesn’t want to spoil a winning recipe, so the revisions for this new Mk5 version amount to a change of casework to match some of the brand’s newer products and… well that’s it. The internals have remained unchanged from the last generation, but given that it was a clear class leader maybe that is not such a bad thing.

Build & design

Unlike some rivals, the Fono MM Mk5 is not compatible with moving-coil cartridges, though Rega does make a dedicated MC version for that job. A gain of just over 41dB is more than enough for any price-compatible moving-magnet cartridge. And provided the Fono is placed with a bit of care, hum and other noise levels are respectably low.

This Rega is a small box, about the size of a paperback, so it is easy to tuck away out of sight. The new design is as understated as we’ve come to expect from the British brand and the quality of build and finish is perfectly fine for the money. Connectivity is as simple as they come with stereo RCAs as the input and output. Just connect the wall wart power supply and off you go.

Sound

We try Rega’s Planar 3/Elys record player with the Fono MM Mk5, as well as our reference Technics SL-1000R/Vertere Sabre combination to gauge how well the phono stage does. The short answer is very well.

Once it has had a few hours to settle, this little phono stage turns in a strong performance. It has a fast, punchy sound that works a treat with the likes of Bruce Springsteen’s Born To Run set. There is plenty of drive to the title track with the Rega conveying the hard-charging energy of the track well. Things are rock solid rhythmically and there is enough in the way of low-end power to satisfy. Those lows are taut and tuneful without being overbearing.

Detail resolution is good too. This isn’t the most pristine of productions but the Fono MM can uncover a good amount of detail and organise it into a cohesive and musical whole. Springsteen’s distinctive, textured vocals come through with all the power and passion they deserve and the result is as musically involving as we have heard from a phono stage at this level.

We switch to Beethoven’s Fifth Symphony and this little Rega continues to impress. It makes a decent fist of conveying the scale and authority of the music and is full of enthusiasm when it comes to thumping out the music’s dramatic dynamic shifts.

In a budget system context, there is little to complain about here, as the presentation is decently balanced when it comes to tonality, and the soundstage, while not the most expansive or spacious, is perfectly acceptable.

Sure, this isn’t the most refined performer we’ve heard, and its treble could be a bit sweeter, but the Fono MM does such a good job delivering the musical message that it feels overly harsh to complain too much. At the price, this performance is hard to better.

Verdict

Rega may not have pushed the boat out with this latest upgrade, but it really didn’t need to. The new casework is smart enough, though the secret to the Fono MM’s success really comes down to its performance. Judged by sound quality, the Rega Fono MM Mk5 phono stage remains the one to beat at this level.

Review published: 2023. Review updated: November 2024.

SCORES

• Sound 5
• Build 4
• Features 3

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Vertere's first and so far only phono stage, the Phono-1, has turned out to be a stonking product. We reviewed the MkII version in 2019 and since then it has garnered five-star reviews and awards galore. There hasn’t been some massive design or philosophy change with the MkII L version. It’s a case of carefully honing an already capable product to make it even better.

Build

Surprisingly, there aren’t any upgraded components or significant changes to the circuit design. What Vertere has done is more akin to housekeeping, where the physical position of numerous circuit components has been revised to reduce unwanted interactions, and the signal path refined to reduce distortions. The unit’s linear power supply has also been moved to the main circuit board, allowing improvements in the placement of the connecting tracks and ground plane optimisation. In addition, the signal tracks are now of equal length and care is taken to lower impedances and optimise track widths to improve current flow.

Externally, little has changed from the 2021 award-winner, the Phono-1 MkII, bar the use of an orange power LED to indicate that the unit is working. The lack of external change isn’t necessarily a bad thing given the quality of the original design. This has alway been a nicely made but basic looking box.

There’s the usual single-ended stereo input and output RCAs and a choice of three grounding options, which are really handy in more hum-prone systems. Compared to the earliest Phono-1s, the cartridge loading adjustments on the base are better labelled and easier to follow. There are numerous dip switches that when used in combination allow a wide range of gain adjustments from 40.2 to 62.8dB. Resistance and capacitance loading is also adjustable and means that the Vertere should be able to cope with pretty much any cartridge out there, bar possibly some extremely low output oddities.

In line with most products in recent times there has been quite a large price hike for this new version, which costs around a third more than the original did on introduction. That’s just a reflection of the way the world is at the moment, unfortunately.

Sound

A phono stage at this level demands a suitably talented system. We use our reference Technics SL-1000R record player with a number of different cartridges, including Kiseki’s Purpleheart moving coil and two moving magnets in the form of Vertere’s very own Sabre and the Goldring 2500. The rest of the set-up is Burmester’s 088/911 Mk3 amplifier and the ATC SCM50 speakers.

We’re pleased to report that all of Vertere’s work hasn’t changed the Phono-1’s character much, and that’s a good thing given that up to now it’s been the most entertaining phono stage we’ve heard at this level. The MkII L is clearly better than the last generation though, delivering notably more in the way of dynamic expression together with improved clarity and insight. Levels of hiss and hum are unobtrusive, too.

We listen to Paul Simon’s Graceland and love the way this new Phono-1 MkII L sounds even more lively and energetic than before. You Can Call Me Al comes through with its infectious energy intact, the phono stage managing to dig up layers of fine, textural detail and arrange it in a cohesive and musical manner. Simon’s distinctive sweet delivery is crisp and easier to follow; his voice packed with nuance and charm. The overall result is cleaner and more precisely drawn than the older version of the Phono-1 managed.

Tonally, things are balanced with no part of the frequency range gaining undue emphasis, and the top-end is impressively crisp without obviously lacking refinement. You can add a pleasingly precise soundstage to the list of plus points and the ability to remain composed when the music becomes demanding, as it does when we listen to Orff’s Carmina Burana.

We love the scale of this piece of music and the way the Vertere delivers the seismic dynamic shifts of the recording with so much enthusiasm. As with the previous version, our takeaway after hearing this product is that it makes listening to music interesting and, where appropriate, fun. There’s not much we can ask of any piece of hi-fi beyond that.

Verdict

If you’ve got an earlier version of the Phono-1 don’t worry about swapping it out for this new one. Yes, the MkII L is clearly a step ahead, but the older generation remains an excellent unit. For new buyers, don’t hesitate to go for this version. Given a source and system of appropriate talent, it shines.

Review published: 2022. Review updated: November 2024.

SCORES

• Sound 5
• Build 4
• Features 5

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If you play records, no other electronic component in your system has as much impact on the sound as the humble phono stage. There aren’t many talented units around the £500 ($500) mark, so when we come across something as capable as Moon’s 110LP v2, it’s something to celebrate.

Build

This is a neatly made aluminium box finished to the high standards we’ve come to expect from Moon. The curved front panel is beautifully machined and makes the 110LP v2 look classier than most of the competition. This phono stage is a switchable unit capable of handling both moving coil and moving magnet cartridges.

Unlike most rivals, the Moon offers gain adjustment in four increments, starting from 40dB and continuing through to 66dB. This range should be enough to cope with every moving magnet design and all but the lowest output moving coil cartridges.

The phono stage’s gain is changed through a series of dipswitches on the underside of the unit, as are the various input capacitance and resistance values. Provided you know what the correct settings should be, it’s easy to manage – but check your cartridge’s specifications if you’re unsure.

Features

Elsewhere, the 100LP v2 is as simple as most affordable phono stages usually are. There’s a single input and partnering stereo RCA output (to go to your main amplifier), a power port for the wall socket adaptor and a grounding post. That’s your lot.

Provided care is taken with placement, by keeping it away from other mains powered products and power cables, the 110LP v2 proves suitably quiet and hum-free too.

This is a fine sounding unit, particularly with moving magnet cartridges. It works well with Goldring’s 2400 mounted to our reference Technics SL-1000R record player, and we can’t see any reason why it wouldn’t work equally well with similarly capable Ortofons, Audio Technicas and Nagaokas.

The rest of the system is our usual Burmester 088/911 Mk3 amplifier and ATC SCM50 speaker combination to really put a spotlight on the Moon’s performance. We also give Cambridge Audio’s CXA81 integrated amplifier a go to see how this little phono stage delivers into more modest amplification.

As for comparisons, we have the cheaper MM-only Graham Slee Communicator (with PSU1 power supply) on hand, as well as the more premium Lindemann Limetree Phono. Overall the 110LP v2 sits well with such talented company.

Sound

This phono stage has the classic Moon sonic signature. Its sound is smooth, fluid and refined but has enough in the way of drive and punch to satisfy. We start with Beethoven’s Fifth Symphony and the 110LP v2 delivers an impressively spacious and expansive performance. Nothing sounds cluttered or confused and it’s easy to follow individual instrumental strands.

The stereo imaging is accomplished and remains stable even when the music becomes demanding. Overall, insight levels are good, though this isn’t a product that goes out of its way to highlight detail.

Each piece of information is presented in an unforced and subtle manner, meaning that in a short demo it would be easy to conclude that more forward-sounding rivals were more revealing. Give it a longer listen and it becomes clear that the Moon is right up there with the best at the price when it comes to resolution.

This unit has an undemanding nature, which makes it easy to listen to over long sessions. The aforementioned Graham Slee pulls ahead when it comes to dynamic punch and rhythm drive, but the Moon counters with greater refinement and sweeter tonality. The choice comes down to taste and partnering system, rather than a difference in absolute ability.

We move to Catch A Fire by Bob Marley and the Wailers and the 110LP v2 responds with a lovely flowing presentation that’s rhythmically surefooted. While the lowest notes are a touch rounded, there’s enough in the way of agility and articulation to make that something simply to note rather than a notable shortcoming.

As with most phono stages at this level, the Moon’s performance with moving coil cartridges is less impressive. There’s not much to complain about when it comes to noise levels or gain, but when we swap the Goldring MM cartridge for an Ortofon Quintet Blue MC, we note that large-scale dynamics sound a touch restrained and bass becomes softer. It’s important to note that you’d have to spend half as much again to get a phono stage that does appreciably better.

Verdict

The Moon 110LP v2 remains one of the best of its kind at this level. It’s better built than most and is certainly musically satisfying. If you’re in the market for a quality affordable phono stage, this little box is well worth auditioning.

Review published: 2021. Review updated: November 2024.

SCORES

• Sound 5
• Features 5
• Build 5

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Vertere Acoustics, the high-end turntable specialist, has announced a new Phono-1 MkII L phono stage – which succeeds the current 5-star and Award-winning model. 

We said the Phono-1 MkII was "one of the finest phone stages we've heard at the price" (£1,000), so an upgraded version is bound to pique our interest. 

The new Phono-1 MkII L promises "subtle but significant" improvements to the sound quality, made possible by "non-trivial" refinements to the internal circuit board layout.

The "L" in the name refers to this improved L-shaped circuit board. Changes include moving the linear power supply to the main PCB, ensuring signal track lengths are equal, lowering impedances and adjusting track widths to direct current flow.

The user experience has also been refined, with better organisation of the dip switches on the underside of the case that offer plenty of customisation options: 10 gain settings, 15 input impedances and 9 capacitance settings. Working with most moving magnet and moving coil cartridges available on the market, these settings are now easier to use and match to your record player.

As before, it has the unusual but very welcome ground switch with three positions, which should help reduce any hum in your turntable set-up.

Cosmetic changes include an orange power LED to distinguish the new L version from the previous model. Various front panel finishes are available, including the signature Vertere orange, silver aluminium, semi-matte black, and a new DG-1 gloss black to match the Vertere DG-1 Dynamic Groove turntable. 

All these small changes have added up to an increase in price, too, with the Phono-1 MkII L available to buy now for £1,350 (€1648, $1895, AU$2700). 

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Pro-Ject Audio Systems has unveiled the latest iteration of its MaiA integrated amplifier, the S3, that aims to provide users with wide-ranging flexibility on a small scale.

First introduced in 2014, the dinky sounding MaiA stands for 'My Audiophile Integrated Amplifier', and as with its predecessors, Pro-Ject has been generous with the feature set of the deceptively small stereo amp combining a DAC, phono stage, Bluetooth receiver, headphone amplifier and, of course, an integrated amplifier within its petite chassis.

With eight inputs in total, the rear panel of the MaiA S3 comprises three RCA analogue line-level inputs, one Moving Magnet phono stage based upon Pro-Ject's Phono Box and three digital inputs as well as a new Bluetooth 5.0 receiver with aptX HD support, ensuring that it should satisfy the needs of most hi-fi fans.

Using a Cirrus Logic CS4344 DAC chip, the MaiA S3 can handle up to 24-bit/192kHz digital audio files. Meanwhile, its integrated amplifier has two 40W outputs at 4 ohms (or 23W at 8 ohms), utilising improved low-noise circuitry and built around a dual mono design. Thanks to the variable pre-amplifier output, the system can also be expanded with a subwoofer or a separate power amplifier.

The front of the MaiA S3 is clean and uncluttered, providing source selection, a 6.3mm headphone socket for private listening and a central analogue volume control with a motor-driven potentiometer.

Measuring 5.5 x 20.6 x 17.6cm (hwd), the new aluminium casing of the MaiA S3 is slightly larger than previous generations but is designed to visually complement other components in the S3 range that can be neatly stacked together. The S3 series may not turn heads like Pro-Ject's recent Metalica turntable, but it aims to deliver maximalist performance with minimalist looks.

Priced at £539 (around $676, AU$940), the Pro-Ject MaiA S3 will be available in the UK this month and comes in black or silver.

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British hi-fi brand Exposure has just announced the release of its new top-of-range VXN Phono Amplifier. 

The firm says the VXN series was created with the serious vinyl enthusiast in mind and the new phono amplifier is designed to be partnered with Exposure’s VXN Power Supply, thus forming a two-box set-up in which the sensitive phono circuits are entirely isolated from the power supply circuitry in a bid for the lowest possible noise and highest possible performance. Or, for the absolute maximum experience, Exposure recommends two VXN power supplies are used, one for each channel, in a three-box dual mono configuration. 

Fully adjustable input stages (separate MM and MC inputs are selectable on the front panel) can be finely tailored for either moving magnet or moving coil cartridges, ensuring that the cartridge loading and gain are optimally set to promise faithful retrieval of the finest details your turntable can deliver.

Key features of the VXN phono amplifier include the use of discrete transistors only in the audio circuits (no integrated circuits in the signal path), very low noise power supply with multiple stages of regulation, high quality resistors and capacitors throughout the signal path, very high quality polypropylene capacitors in critical areas of the RIAA equalisation and adjustable loading and gain switches on the back panel.

Visually, you're getting high quality all-aluminium casework and an extruded front panel to control resonance and stray electromagnetic fields, available in black only.

The Exposure VXN phono amplifier is available now, priced at £1790 (which is roughly $2400 or AU$3300) and you check Exposure's website to locate your nearest dealership.

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If your music system includes a turntable, a phono preamp is a must-have component in the product chain. Also called a phono stage, it is essential for the playback of vinyl records.

A phono stage is what makes the music signal recorded in the vinyl groove audible through your amplifier and speakers – it raises the turntable's audio output and adds standardised equalisation for a tonally even presentation.

Many stereo amplifiers, turntables and active speakers now come with a phono stage built-in, but if they don't, you will need to buy a separate phono stage to complete your vinyl system and hear your records.

Upgrading your existing phono stage or opting for an external one is also a great way to upgrade your turntable system's sound beyond what's possible with the built-in versions. If you're thinking of giving your vinyl system a sonic lift, we recommend you consider a phono preamp upgrade first.

Phono stages can be compatible with moving magnet or moving coil cartridges – or even both. Check which type your turntable has before choosing a new phono stage.

You can check out our buying advice on choosing the right phono preamp for you, or scroll down to see our list of the best models we recommend, new and old, across all budgets and sizes.

Every model below has been rigorously tested by our experienced review team in our dedicated listening rooms, with the appropriate turntable and cartridge pairing at each price level (and with plenty of records being listened to), so you can trust our advice.

The quick list

The best phono preamp overall

We've continuously been impressed with Rega's excellent (and rather affordable) Fono MM range, so it was something of a relief that the latest model, which featured a brand-spanking new look, didn't sacrifice style for sound.

That same Rega DNA is still in there throughout the latest Fono MM Mk5 phono stage.

No, the changes aren't massive from the previous models, but what remains is the Fono MM's ability to knit music together confidently and cohesively.

When testing the phono preamp out with the Rega Planar 3/Elys and newer Planar 3 RS Edition turntable (it's a moving magnet-only model), we were once again struck by the unit's fast, punchy sound that gives your favourite tracks a real sense of weight and gusto.

Detail levels are great, too, uncovering new layers of musicality and subtle texture as it goes, especially with regard to vocals. From Beethoven to Bruce Springsteen, the Rega Fono MM is completely at home, and is "full of enthusiasm when it comes to thumping out the music’s dramatic dynamic shifts."

It's a significant step above the more budget Fono Mini A2D Mk2 (below), bringing greater power and detail retrieval. It's a terrific unit on its own and as an upgrade for your vinyl system.

Rega didn't exactly reinvent the wheel with the Mk5 model, but that's not necessarily a bad thing. That new case is certainly attractive enough, while that same agile, punchy performance gives you just the sound you're looking for if you like your music to have a bit of bite.

Read the full Rega Fono MM Mk5 review

The best budget phono preamp

If you're looking for the best budget phono stage currently on the market, Rega's Fono Mini A2D is a top contender.

This tiny, plain box was never much of a looker, and the Mk2 version is no different, with only a new glossy front panel and a neater appearance bringing it up to date with Rega's current amplifier range.

The most important part of this phono stage, the audio circuitry, remains unchanged from the original model we gave five stars to.

It features stereo RCA for input and output connections, and a USB-B output with an accompanying level control, for recording your vinyl records to your laptop as a digital file.

It's unusual to see this option on a phono stage, let alone at this budget level, but it's a fairly easy process to digitise vinyl, provided you have the time and good recording software.

We use Audacity and have no problems recording numerous tracks from vinyl to our MacBook Pro. The quality of the recordings mirrors that of the Fono Mini A2D's performance, and that’s a positive thing.

Sonically, it's as frill-free as it looks, but gets the basics right. It's a lively presentation, full of convincing and nuanced dynamic contrasts, with power and passion behind vocals.

While it's not the most refined or spacious sound, there's ample detail and insight to hold our interest.

We use both a Sumiko Rainier MM and Vertere’s Sabre MM cartridges during our testing and the Fono Mini A2D sounds balanced with both.

It has Rega's surefooted sense of rhythm and punch, plenty of low-end articulation and its overall composure when the music gets demanding is admirable.

What we find most impressive is the musically cohesive way that Rega organises and delivers all this information – for this price, there's no better alternative.

We imagine this phono stage to be an ideal go-between for, say, a KEF LSX II LT speaker system and a turntable, or if you wanted to upgrade your existing vinyl system.

Undoubtedly, it's a talented little device that delivers excellent performance for the money.

Read the full Rega Fono Mini A2D Mk2 review

The best phono preamp with headphone jack

With an offset volume dial, minimalist styling and mirrored rear labelling that's easy to read even if you're peering over the top of the unit, it's clear a lot of thought has gone into the Cambridge Audio Duo phono stage.

And no less attention has been paid to the audio quality.

The presentation is very good indeed, sounding engaging, cohesive and dynamic, with a good deal of detail and agile timing.

It doesn't quite match Rega's Fono MM for outright punch and rhythmic precision, and you'll find clearer detail and a bigger scale from the iFi Zen Phono 3, but it certainly holds its own verve with both MC and MM cartridges.

The bonus here is the inclusion of a built-in headphone amplifier with 6.3mm headphone jack, which is somewhat unusual but entirely welcome in a phono stage at this level.

It's a lovely way to upgrade your vinyl system or add a bit of modern flourish, meaning you can listen to music in peace or at night.

The smooth, full-bodied performance, coupled with the inclusion of a headphone amp, makes this stylish box certainly worthy of consideration.

If you want a simpler, MM-only phono preamp with no headphone socket, then the cheaper Cambridge Audio Alva Solo is an option.

But we think the Duo is a more versatile and long-lasting model that will work with a variety of affordable to mid-priced turntables and headphones.

Read the full Cambridge Audio Duo MC/MM review

The best mid-price phono preamp

A new What Hi-Fi? Award winner to make our list, the Graham Slee Reflex M is an unassuming but outstanding mid-priced MM phono stage that works a treat with your turntable system.

In design, it definitely falls into the category of minimalist. It is neatly made, but other than graphics on the front pane and the connections at the back, there is very little to distinguish this compact aluminium box.

The Reflex M works with moving magnet cartridges only, so you won’t find any features here beyond the phono input and output connections.

However, if you wanted to add on moving coil compatibility, Graham Slee offers an EXP Step-Up unit at additional cost, which works well.

Regardless of the cartridge and turntable you partner the Reflex M with, its sonic performance is hugely impressive.

Its generally even tonal balance leans towards the lean side, but the level of detail on offer is simply excellent, as is the way it renders subtleties such as instrumental textures and dynamic shading. Plus, it’s nice and quiet when in use.

During testing, we listened to Carmina Burana and the Reflex M’s wide dynamic range meant it had no issues tracking the recording’s demanding peaks, while its excellent organisation ensured such a chaotic piece of music made perfect sense.

However, we also played The Wailers’ Catch a Fire, where it aptly demonstrated its surefire handling of rhythms. Stir it Up, in particular, sounded wonderfully relaxed.

In our testing, we also found it “manages to deliver a wide and expansive soundstage that is as focused and precise as we have heard at this level”.

Quite simply, if you’re after a fantastic-sounding phono stage with no frills that simply gets the job done, you won’t find any better at this price point than the Reflex M.

Read the full Graham Slee Reflex M review

The best audiophile phono preamp

Phono stages tend to be, apart from the sleek Cambridge Audio Duo above, rather plain black boxes that are meant to be hidden away.

Musical Fidelity takes a different approach: this phono preamp is beautifully made, with a smartly machined front panel and nice-to-use controls.

Rather than use a series of dipswitches (as many rivals do), the MX-VYNL has a rather elegant control dial to manage the switch between moving coil and moving magnet inputs and their different loading requirements.

Alongside a standard single-ended phono input – something that will be used by the vast majority of decks around – it can also accept a balanced signal in the form of a mini XLR 5-pin connector.

Thankfully, convenience is far from the MX-VYNL's only strength – sound is wonderfully transparent and detailed, digging up low-level instrumental strands and sonic textures with ease.

We love the way it handles vocals. There's a fluidity that makes rivals seem mechanical by comparison, although it may not have the outright rhythmic cohesion found in the similarly-priced Rega Aria. But it doesn't exactly hold back when it comes to bite and attack.

It's a superb balance of attitude and refinement. If the rest of your system is up to scratch, the MX-VYNL is worth the investment.

Read the full Musical Fidelity MX-VYNL review

The best high-end phono preamp

Vertere already had a great phono stage on its hands, but this updated version manages to deliver significant performance gains, thanks to some careful housekeeping and honing of the circuit board and power supply.

The tidy little box remains the same; an orange power LED is the only addition to the design.

The new Phono-1 MkII L is a brilliant performer, with a useful selection of features and adjustments that should help you get the most from any cartridge.

Its detailed, musical delivery makes it a joy to listen to. We love the scale of performance and the way the Vertere delivers the seismic dynamic shifts of the recording with so much enthusiasm.

As with the previous generation (also an Award-winner), our main takeaway after hearing this phono stage is that it makes listening to music interesting and, where appropriate, fun. And what more could we ask from any hi-fi product?

If you’ve got an earlier version of the Phono-1, don’t worry about swapping it out for this new one. For new buyers, don’t hesitate to go for this version as it's a clear step up and worth the price hike (now around £1495 / $1895 / AU$2700).

Given a source and system of appropriate talent, it remains one of the finest phono stages we’ve heard at this higher price.

Read the full Vertere Phono-1 MkII L review

Also consider

• Moon 110LP v2: This might have recently been knocked off its perch as our best mid-price phono stage, but that doesn't mean it's not still a fantastic proposition. This well-made phono preamp works with both MC and MM cartridges, serving up a smooth, fluid and refined sound with a satisfying punch.
• Lindemann Limetree Phono II: This unobtrusive box might need to be partnered with the right equipment to get the best sound, but if you can find that perfect pairing, you've got an incredibly talented performer on your hands. What's especially notable at its £685 / $1075 price tag is how good it sounds with both MM and MC cartridges, although the Graham Slee at this price just performs that bit better.
• iFi Zen Phono 3: For its price and compact size, this model packs a lot in: MM and MC cartridge support, low-noise power supply, and a clean, refined, smooth and spacious sound. The MM-only Rega Fono MM Mk5 digs out more detail, has more energetic timing and dynamics and is more expressive overall, but the iFi is a decent and versatile alternative.
• Rega Aura: Rega's more affordable phono preamps are easy to recommend here, but even more accomplished is the brand's flagship high-end moving-coil offering. The impeccably built Aura MC phono stage costs £4000 and is fully adjustable, with terrific clarity and insight levels, impressive agility and expressive dynamics – it's hugely exciting to listen to.
• Vertere Calon: The price is prohibitive for most but performance like this never comes cheap. If you've got a turntable that requires the very best, and the rest of your system is of comparative quality, you won't find a better phono stage at enabling your records to reach their full sonic potential. The Calon is as expressive and musically cohesive as they come.

How to choose the best phono preamp for you

Which phono stage you need is entirely dependent on what your existing turntable system is, and your budget.

If you have a budget turntable, then an affordable phono stage that's simple to use and is compatible with your (most likely) moving magnet (MM) cartridge is the only parameter you need to consider.

If you're a hi-fi enthusiast with a more premium or high-end turntable, and you enjoy fine-tuning your system and swapping out different MM and moving coil (MC) cartridges like a mad scientist experimenting for the best sound quality, then you'll want a phono stage with plenty of flexible cartridge loading and gain adjustments to suit your matching high-end system, and more inputs.

Phono stages typically only have one set of inputs (for the turntable) and one set of outputs (to the amplifier). Even those on the entry-to-mid-level price range now increasingly let you switch between MM and MC cartridges – although beware that plenty still specialise in one type only.

High-end phono stages tend to be larger (separate power supply units and better components all take up space), while budget options have a smaller footprint. Compatibility trumps design in this category, although it's not hard to find nicely made boxes.

Ultimately, which phono stage you choose will depend on what's most appropriate for the turntable and cartridge you already have, so make sure you've got your deck's specifications handy. It's the same case if you're looking to upgrade your current vinyl set-up, although it's always worth looking at the next model up for future-proofing.

Of course, sound quality is the final decider: we'd recommend demoing your new phono preamp with your existing deck and system if possible, to ensure you get the best-sounding performance when spinning your vinyl records.

How we test phono preamps

We have dedicated, acoustically treated testing facilities in Reading and London, where our team of experienced, in-house reviewers test the majority of hi-fi and audio kit that passes through our door – including phono preamps (or phono stages).

Sound quality is key in forming our verdicts and star ratings. What Hi-Fi? is all about comparative testing, so we listen to every phono preamp we review against the current leader in its field and price point to gauge how it compares to the best-in-class competition.

We are lucky to be able to keep all What Hi-Fi? Award winners in our stockroom, so we can always truly compare new products against our current best-in-class products in each price band.

We are always impartial in our testing and ensure we hear every phono preamp at its optimum – with the matching turntable and appropriate cartridge(s) of course.

We'll use them in their best use case with different partnering source kit and speakers, as well as play plenty of different types of music and records through them. Here's a sample of the best vinyl records we use during testing.

We give phono stages ample time to run in and listen to them over days and weeks to get a full picture of how each model performs.

All review verdicts are agreed upon by the team as a whole rather than an individual reviewer, to eliminate any personal bias and to ensure we are consistent across all our reviews.

There's no input from PR companies or our sales team when it comes to the verdict, and What Hi-Fi? is proud of having delivered honest, unbiased reviews for nearly five decades.

You can read more about how we test and review products on What Hi-Fi? here.

FAQ

Recent updates

• January 2026: The Graham Slee Reflex M replaces the Moon 110LP v2 as our best mid-priced phono stage. The Moon and five-star Lindemann Limetree Phono II are added to the also consider section.
• July 2025: No new entries, but checked prices and mentioned the new Lindemann phono stage we have in for testing.
• May 2025: Added the Vertere Calon as an ultra high-end option to the list of 'also consider' entries.
• March 2025: Added a new 'also consider' entry, updated new phono stages being tested, and checked all prices.
• January 2025: Checked all information is correct and updated where necessary.
• November 2024: Labelled the current 2024 What Hi-Fi? Award winners, and added an update log.
• July 2024: Checked through current products, prices and advice to ensure accuracy and added hands-on photo gallery for the Cambridge Audio Duo.
• May 2024: Added an Also Consider section to offer additional choices to consider when buying.
• February 2024: Updated our advice and testing process, and added FAQ section to help buyers with the most asked questions about turntables.
• January 2024: Added Rega Fono Mini A2D Mk2 entry following its five-star review.
• November 2023: What Hi-Fi? Award-winning products are labelled after the 2023 Best Buys and Product of the Year announcements.

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Moving magnet vs moving coil cartridges: which is right for you?

16 of the best-sounding vinyl records for testing your turntable

The Musical Fidelity M3x Vinyl MM/MC phono stage is a first for Musical Fidelity in more than one way. First, it’s the first phono stage in the company’s M3 Series, which Musical Fidelity promotes using the catch-phrase “Great-looking, superb-sounding hi-fi doesn’t have to cost a fortune. Our M3 range offers an elegance of design, quality of build and standard of finish you’d associate with products costing twice as much.” 

The M3x Vinyl is also the first Musical Fidelity component to be built entirely in countries in the European Union. This is a significant switch that requires some explanation. 

When he started the company back in 1982, Anthony Michaelson built Musical Fidelity products exclusively in the United Kingdom. He later switched production of most of his products to Taiwan. However, in 2018 Michaelson sold Musical Fidelity to his good friend Heinz Lichtenegger, the owner of Pro-Ject, who with his wife Jozefína (who owns European Audio Team, also known as E.A.T.), have between them multiple high-tech manufacturing facilities in the EU. The M3x Vinyl is the first Musical Fidelity product to be built in one of these facilities.  

It remains to be seen whether Lichtenegger will start manufacturing other Musical Fidelity components in the EU. 

The M3x Vinyl is also almost the first phono stage Musical Fidelity has manufactured that does not use op-amps (operational amplifiers), instead using discrete components (separate resistors, capacitors, transistors and so on in the place of op-amps. This is rather the opposite of what’s happening in other hi-fi components, so we asked Musical Fidelity the reason for it.  

The answer, according to the company? “Countless hours of listening tests have shown us that even the very best op-amps do not tend to be so neutral, natural, dynamic or vivid – all of which are characteristics of the Musical Fidelity sound. For that reason, we’re rediscovering our passion for traditional, discrete designs.” 

• The best phono preamps we've reviewed

Musical Fidelity is not the first company to eliminate op-amps from its circuits. Marantz famously uses op-amp replacements it calls HDAMs and here in Australia, local high-end manufacturer Burson Audio builds what it calls ‘Supreme Sound’ op-amp replacements that it sells to other manufacturers as well as to DIY upgraders. 

Burson Audio’s Supreme Sound ‘op-amps’ are comprised entirely of discrete devices. Each one is about 40 times the size of its IC equivalent and comprises 24 matched FETS (Field Effect Transistors), 16 metal film 0.5% tolerance resistors, a pair of silver mica capacitors and a pair of variable resistors. This means that a manufacturer that replaces a single dual op-amp with discrete components will have to solder in (and make room for on the circuit board) 44 components. This means you’d need almost 900 discrete components to replace just 20 dual op-amps. 

But the M3x Vinyl wasn’t the first Musical Fidelity product to eliminate op-amps. It was the second.  

The first was the M6xVinyl phono pre-amplifier, a component that in many ways is very similar to the M3x, which we’ll discuss later on in this review. However Musical Fidelity hasn’t only removed op-amps from the M6x Vinyl, it has also removed all the active circuitry that’s usually used to provide RIAA equalisation and instead provides the all-essential RIAA equalisation using a completely passive circuit.  

What’s more, it’s divided this passive circuit into two different circuits. Musical Fidelity says its split passive EQ circuitry: “is more costly to design and implement but ensures the most accurate representation of the ideal EQ curve. Split passive equalisation allows for better impedance matching and less deviation from the ideal RIAA curve.” 

In order to understand what this all means, and why it’s so important, we need to delve a little more deeply into RIAA equalisation and the whys and wherefores of how it can be implemented – active or passively.

Passive vs. active RIAA EQ

The purpose of a phono stage – its raison d’etre, if you like – is to ‘correct’ the frequency response of the signal the diamond tip of your phono cartridge’s stylus is extracting from the LP’s groove. This comes about because in order to ‘store’ music on an LP the cutting engineer has to pre-attenuate the levels of the low frequencies and pre-boost the levels of the high frequencies. At the midway point (1kHz) there is no boost or cut. This is the 0dB point. 

As the music being recorded on the LP gets progressively lower in frequency, its level is progressively reduced until at 20Hz it is 19.3dB lower than the 0dB reference at 1kHz. 

The opposite happens with frequencies above 1kHz. The higher the frequency of the music being recorded, the more the audio signal is boosted until, at 20kHz, it’s boosted to +19.6dB. 

Because the levels of boost and cut applied are different for every different frequency, the overall effect is described as an ‘equalisation curve’, the most common of which is the RIAA curve, so-called because it was developed by the Record Industry Association of America. 

So in order to ensure the correct response is sent to your main amplifier and then to your speakers, a phono stage must provide an ‘inverse’ RIAA curve that restores all the frequencies to their correct levels, for example boosting the bass at 20Hz by 19.3dB and cutting the treble at 20kHz by 19.6dB. 

But what happens below 20Hz? If the RIAA equalisation boosts frequencies below 20Hz, this means that unwanted low-frequency sounds from your turntable (drive motors, bearing noise and so on) as well as from your LPs (record warp and sounds actually inadvertently recorded at the original recording session) would be made more audible. It is for this reason that in1976, Europe’s International Electrotechnical Commission (IEC), decided to authorise the RIAA replay curve to be modified in such a way as to reduce (attenuate) frequencies below 20Hz.  

It wasn’t an entirely popular solution to the problem of low-frequency noise, because the circuitry required introduced amplitude and phase errors into the frequency response above 20Hz, and the circuit’s action was so mild below 20Hz that it really didn’t do a lot to remove rumble, particularly if that rumble occurred between 10 and 20Hz.  

Most manufacturers decided a better option was to use a standard RIAA replay curve but provide a dedicated ‘rumble filter’ that provided far more attenuation at low frequencies than the IEC RIAA variant. 

As for the means of providing RIAA equalisation, the circuitry required to do this can be implemented in two different ways – actively or passively. Active RIAA equalisation involves using voltage gain and feedback loops that adjust the frequency response depending on the amounts of feedback returned to the input. One advantage of active equalisation is that exact component values in the circuit are not crucial and that left- and right-channel matching is largely unnecessary. One disadvantage is that, because it is active, the circuit is prone to input overloads. 

There’s also the problem that an active circuit must have a very high voltage gain in order to deliver the level of compensation required to boost low frequencies by 19.3dB as well as providing the additional gain necessary to bring the circuit’s output up to the necessary one or two volts required to feed the line input of a hi-fi amplifier (or pre-amp). 

The problem with gain is that the more of it you use, the more unstable a circuit becomes and the more phase shift you introduce. A solution circuit designers often use to get around these problems is to split the equalisation process into two, and use one active circuit to manage frequencies below 1kHz and another to manage the frequencies above. 

The alternative to active equalisation is passive equalisation, so-named because only ‘passive’, non-powered, components – resistors and capacitors – are used to create the RIAA equalisation required.  

The advantages of passive equalisation include that the input can’t be overloaded and because there is no feedback, the circuit is completely stable.  

However the disadvantage is that because the circuit is passive, no ‘gain’ is possible (this has to be done by a separate circuit) and the performance of a passive circuit will be affected by the phono cartridge’s own resistance and capacitance, as these effectively become part of the circuit itself.  

To get around most of these problems, designers of passive RIAA equalisation circuits usually take a leaf from the circuit’s active counterpart, and use two passive networks, one for frequencies below 1kHz and the other for frequencies above.

Features and facilities

The front panel of the M3x Vinyl phono stage pretty much gives away exactly what features it has inside it because they’re all printed right there on the panel itself.  

You can see that the unit will accommodate both moving-magnet (MM) and moving-coil (MC) cartridges but despite the provision of two push-buttons to select between them, there’s only a single phono input on the rear, so you can connect either the one or the other, but not both simultaneously.

If you are using a moving-magnet cartridge, the six push-buttons just to the right of the two MM/MC selector buttons allow you to choose what load capacitance will be presented to your cartridge: 50pF, 100pF, 200pF, 300pF 350pF or 400pF. Whichever of these load capacitance values you select, the value of the load impedance will remain fixed at 47kΩ. The gain of the MM section is fixed at 40dB.  

If you are using a moving-coil cartridge, the six push-buttons at the far right of the front panel allow you to choose the load impedance that will be presented to your cartridge: 25Ω, 80Ω, 100Ω, 400Ω 800Ω or 1.2kΩ.  The gain of the MC section is fixed at 60dB. 

Between the MM and MC load-setting buttons are two buttons, the left-most of which is labelled ‘IEC’ and the rightmost ‘+6dB’. What the IEC button does is switch the M3x Vinyl’s equalisation curve from being a standard RIAA curve to an IEC-RIAA curve. 

As for that ‘+6dB’ switch, it activates an additional amplifier stage that adds an extra 6dB of gain to increase the voltage at the M3xVinyl’s output terminals (which, by the way, are standard unbalanced types, using RCA connectors). So activating this circuit will mean that moving-coil cartridge output voltages will be boosted by a total of 46dB (40dB + 6dB) and moving-coil cartridges by 66dB (60dB + 6dB). 

What the previous paragraph means in real life is that without the additional gain stage if your moving-magnet cartridge was delivering 5mV to the M3x Vinyl’s input terminals, you’d have 500mV at the output terminals. For a moving-coil cartridge delivering 0.5mV, you’d have 500mV at the M3xVinyl’s output terminals. 

If you press the +6dB button in, those output voltages would double, to 1000mV, or one volt (1V) for the same inputs noted previously. 

As explained earlier in this review, the more gain stages you introduce during the equalisation process, the more you increase the possibility of errors being introduced, so if you can achieve adequate volume levels from your loudspeakers without using the additional 6dB of gain on offer, my advice would be to leave it switched off. 

If you try to compare the ‘sound’ of the two gain settings by alternately pressing the button on and off, you should be warned in advance that this is a waste of your time, because the sound will always seem to improve when you switch to the +6dB setting. This is a trick your brain is playing on you, because given two otherwise identical sounds, the human ear will always prefer the louder one over the softer one. Why do you think rock bands sound so good at live concerts? 

As for the final button on the front panel, the ‘Power’ button, I’ve left that to last because it’s rather curious. It’s not an On/Off switch. It instead switches the M3x Vinyl between ‘On’ and ‘Standby’. The reason I say the switch is ‘rather curious’ is because Musical Fidelity’s promotional literature claims the M3x Vinyl is fitted with – and I quote verbatim – “a new proprietary power supply solution that has zero standby power consumption. Absolutely zero! It is a super green product and we are sure, there isn’t any other product in existence with an ecological standby function like this.”  

This statement is, of course impossible and, therefore, not true. 

The Musical Fidelity M3x Vinyl does draw power in its standby mode, but it draws it not from the mains power, but from a 3V CR2030 battery inside it. This battery ensures that whatever cartridge type, load and gain settings you were using when you switched the M3x Vinyl off will be restored when you next switch it on. 

Take a look inside the M3x Vinyl and you’ll not only see the battery, but also that the PCBs inside it take up so little space that Musical Fidelity could, theoretically, have made the chassis a good deal smaller than it is, but one reason for its physical size is that it enables the designers to position all the unit’s power supply components on a separate printed circuit board (PCB) and mount it as far away from the primary circuitry as possible.  

They’ve also used a totally shielded low-core saturation toroidal transformer to step down the 240V mains voltage to the amplifier’s rail voltage. Look inside very carefully and you’ll see that while Musical Fidelity hasn’t used any op-amps in the circuitry of the M3x Vinyl, the circuitry is not, as the company claims, “entirely discrete” because the PCBs do contain integrated circuits, including an STM32F030F4P6TR 32-bit 16kB 48MHz ARM micro-controller. 

Worthy of special mention is the all-essential turntable ground post fitted to the rear panel of the M3x Vinyl. It’s simply the best such terminal I have ever seen on any phono stage, or pre-amp or integrated amplifier. It’s a full-on brass screw fitting not unlike a speaker terminal. So much better than the horrible plastic/arrow prong terminals that are usually provided.

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Listening

If you use a high-quality phono cartridge, it is essential to also use a high-quality external phono stage if you’re to extract the best performance from it. The phono stages built into even the best high-end pre-amplifiers and integrated amplifiers simply won’t do it justice, most particularly if you’re using a moving-coil cartridge. 

I first listened to a brand-new LP I’ve just purchased, but one with which I was intimately familiar, having listened to earlier versions of it for more than two decades. That LP was the 45rpm version of ‘L. A. Woman’, by The Doors, pressed by Analogue Productions.  

It’s a part of a six-disc set which makes up The Doors’ six studio LP titles (the others being ‘The Doors’, ‘Strange Days’, ‘Waiting For The Sun’, ‘Soft Parade’, and ‘Morrison Hotel’). All were cut by the legendary Doug Sax using the original analog masters. According to Doors producer/engineer Bruce Botnick, in order to play the original tapes they had to be baked in an oven to make sure the layers didn’t stick before they could be replayed! 

Of course L.A. Woman has Love Her Madly on it which was a No 1 here in Australia, a No 3 in Canada and reached No 11 on Billboard’s Hot 100 chart when it was released as a single. But look past Love Her Madly and you have such unbelievably good tracks as Riders on the Storm, L’America, Been Down So Long, The Changeling and, of course, the title track. Game-changers of songs all. 

For my money, the outstanding musician on Love Her Madly is bass player Jerry Scheff, who once played bass for Elvis Presley. Listening via the Musical Fidelity M3x Vinyl I was able to appreciate even more how he manages to be totally inventive, with unusual bass lines that drive the song and create an underlying pulse, while all the time containing the song’s break-neck tempo (one of Scheff’s jobs was to make sure keys man Ray Manzarek didn’t play too fast!). 

The M3x Vinyl revealed the tone of his bass better than I’ve ever heard, and also delivered the best stereo image I’ve heard from this track, given that it was recorded wide, with instruments played mostly left and right, rather than spread across the sound-stage. 

The spacey intro to L.A. Woman was served up beautifully by the M3x Vinyl, which makes the bass and drums intro even more exciting, with the excitement increased even more by how well the M3x Vinyl handled the crisp drumming of John Densmore. I think Densmore was pretty excited to be working with Scheff because I think he lifted his playing to a level higher than I’d ever heard from him before. 

Listen particularly to the way his cymbals cut through the mix on this track: you won’t hear that using a lesser phono stage! Listen also to the repeated riff after the rhythm change at 3.02 and how the Musical Fidelity’s channel balance is so exact that you can hear the almost imperceptible difference in arrival times from left and right speakers. This is a level of detailing you just won’t hear from lesser phono stages. 

On Crawling King Snake (a cover of a John Lee Hooker classic) you can hear not only the restraint of Marc Benno’s guitar contribution, but also the unrestrained scream of Robby Krieger’s lead. But then listen to how purely and delicately the M3x Vinyl delivers the final light-hearted Krieger contributions. The contrast is educational. 

Morrison’s vocal on Riders on the Storm was also delivered marvellously well by the Musical Fidelity, and balanced perfectly against the ghostly background vocals. The sound of Manzarek’s Rhodes is also amazing, particularly in the upper octaves. 

It’s a masterpiece of engineering, considering the ‘studio’ and the equipment used, so the album is a real tribute to the skills and talents of Bruce Botnick as well as those of the band. I can never really listen to the lyric of Riders on the Storm without thinking how it was a portent of Morrison’s death just three months later. The lyric also reflects that it was not only the last track on the album, but also the last track Morrison would ever release. 

A real test for any phono cartridge – or any phono stage for that matter! – is the magical soundscape presented by the Alan Parsons Project’s album ‘I Robot’. I was absolutely captivated the minute the stylus dropped into the title track that kicks it off. The mezzo who sang the wordless lead vocal on this should have been given a credit. (Presumably it was Jaki Whitren, but it could also have been a member of the English Chorale). 

The vocalise is a bit reminiscent of Pink Floyd’s Great Gig in the Sky (it’s actually much better!), which is rather fascinating when you consider that Parsons was the engineer for Dark Side of the Moon. The vividness of the orchestral colouring on this track was reproduced blindingly well by the Musical Fidelity M3x Vinyl. 

I personally think this was Alan Parsons’ best album, mostly because it has more ‘best’ tracks than any other PP albums. those tracks being I Wouldn’t Want to be with You, Breakdown, and Some Other Time. I think his best-ever song is Eye in the Sky, but it and MammaGamma are the only good songs on his album of the same name (IMHO), so it misses out according to my personal criteria for ‘Best Album.’ (And yes, I know Alan Parsons Project is Alan Parsons and Eric Wolfson, so when I say one I mean both.) 

The Parsons link dictated that ‘Dark Side of the Moon’ just had to be the next album on my auditioning list, and once again, the opening track dictated the auditioning mood because the clarity of the sound from the M3x Vinyl was such that as those fake ‘heart’ beats pulsed from the speakers, I could feel my body melting back into my listening chair. 

Great sound has that ability to relax the soul, and the sound from the Musical Fidelity had me totally relaxed from the get-go. There’s an amazing amount going on in Speak to Me/Breathe, and I’m not only talking about the spoken contributions. Then in the following track, On the Run, listen to the pan that starts at 1.36 and then the panoply of effects that follows, and hear how the imaging ability of the M3xVinyl throws everything into stark relief. The breath sounds as the track closes out were rendered as well as I’ve ever heard them. Marvellous! 

As for Time, I was revelling in the hollowness of the acoustic: the echoed percussion was rendered with amazing precision. Money revealed yet again the M3x Vinyl’s amazing ability to separate the left and right channels while still maintaining a crisp stereo image. And on Us and Them I snapped to attention when I heard the sound of Dick Parry’s sax – the M3x Vinyl was working wonders with it, so it was a flawless performance, both sonically and musically. 

During every album that I played while I was preparing this review I experimented with the RIAA curve setting, switching back and forth between each and rather confoundingly, I found that I preferred the IEC-RIAA setting every time. I really wasn’t expecting this! And it wasn’t because it cut out rumble, because on all but one of the LPs I played there was no recorded rumble, and my system doesn’t have any rumble to remove anyway. The IEC-RIAA setting just sounded better to me, period. 

As for that single LP I played that did have rumble on it (‘The Buskers’ Album’) the IEC-RIAA setting completely eliminated the rumble recorded on this album whilst leaving the street and traffic noises untouched. In other words, a perfect outcome.

Final verdict

Musical Fidelity’s M3x Vinyl phono stage is certainly a one-trick pony, in that it only does one thing and accommodates only one phono cartridge, but as Paul Simon says in his song of that name, “it turns that trick with pride”.

• Best cartridges: budget and premium options for your turntable

Full lab test results

Newport Test Labs first measured the frequency response of the Musical Fidelity M3x Vinyl phono stage’s moving-magnet input using RIAA equalisation, the result of which is shown in Graph 1. 

You can see that there’s a very slight ‘tilt’ to the overall response that would tend to emphasise the level of the lower frequencies and reduce the level of the very highest frequencies, but if you look at the vertical scale of this graph you’ll see that the top of it represents a +1dB increase and the bottom a 1dB decrease. This means that the response as shown is 20Hz to 20kHz ±0.13dB! This is not only outstandingly good, but also exceeds Musical Fidelity’s specification for it. 

The frequency response of the moving-magnet stage using the Musical Fidelity M3x Vinyl’s IEC-RIAA equalisation setting is shown as the red trace in Graph 2, with the black trace showing the original RIAA response from Graph 1. 

The vertical graph scale has had to be extended to accommodate the designed roll-off of the IEC curve, but you can see that the horizontal scale has also been extended down to 5Hz and out to 40kHz. With regard to the high-frequency extension, you can see that the M3x Vinyl’s response rolls off only very slightly from 20kHz, to be barely below reference at 40kHz. At the opposite end of the audio spectrum, the RIAA response is only 3.2dB down at 5Hz. 

As for the low-frequency response of the IEC-RIAA equalisation, you can see that it’s only 3.33dB down at 18Hz yet is 20dB down at 10Hz, a very steep slope that’s actually 18dB/octave and will effectively reduce all unwanted noise, as the designers of this filter intended. The introduction of the filter means the frequency response is a little high between 30Hz and 100Hz but we’re only talking about a lift of mostly less than 1dB, so it’s not significant. 

Channel separation was spectacularly good, with Newport Test Labs measuring it as 98dB at 1kHz. Channel balance at this same frequency was equally spectacular, at 0.074dB. Inter-channel phase was merely ‘very good’, at 0.02° at 1kHz. 

All these figures are several orders of magnitude more than will ever be required to bring out the best in any phono cartridge, most of which, for example, have difficulty delivering channel separation of even 30dB at 1kHz and it usually diminishes to around 10dB at the frequency extremes. Likewise, few cartridges manage a channel balance of any better than 1dB between left and right channels, putting the M3x Vinyl’s 0.074dB result firmly into ‘overkill’ territory. 

Graph 3 shows the Musical Fidelity M3xVinyl’s THD+N for a 5mV 1kHz test signal, with gain set for 0dB, which results in an output voltage of 500mV. 

You can see there’s a tiny second harmonic distortion component at –112dB (0.00025%) and an even-tinier third harmonic component at –115dB (0.00017%). The noise floor is dominated by mains frequency noise (the peak visible at the extreme left of the graph, at around –72dB) but most of the circuit noise is more than 100dB down out to 4kHz, then more than 120dB down for higher frequencies. This is an exceptionally quiet phono stage. 

Graph 4 shows the result when Newport Test Labs input the same test signal but switched the M3x Vinyl to its +6dB gain setting. Mains noise has decreased a little, the second harmonic distortion has dropped below the noise floor which is at a level of –116dB at that frequency, and the 3rd harmonic remains at practically the same level it was for the 0dB gain setting. 

Graph 5 shows CCIF-IMD for 0dB gain. You can see there are sidebands either side of the two test signals, but they’re both more than 100dB down (0.001%). There is an unwanted difference signal generated down at 1kHz, sitting at around –73dB (0.02238%). 

Graph 6 again shows CCIF-IMD, but this time with the M3xVinyl’s gain set to +6dB. This time, there’s more of a difference between the two gain settings, as you can see. The level of the 18kHz and 20kHz sidebands has increased to –86dB (0.00501%) and –89dB (0.00354%) respectively and there are two further sidebands at 17kHz and 21kHz, both of which are sitting down at around –117dB (0.00014%). The level of the 1kHz difference signal has increased to –58dB (0.12589%). 

All the distortion results mentioned so far are excellent results, but if you were thinking that one or two might be a touch high, remember that even the very best phono cartridges produce second harmonic distortion levels of around –30dB (3.1%) and third harmonic levels of around –40dB (1.0%) so these would completely swamp any distortion introduced by the M3xVinyl. Overall THD+N for the Musical Fidelity M3x Vinyl was measured by Newport Test Labs at 0.07%, as shown in the tabulated test result chart below. 

As you can see from the chart showing the results of the measurements made by Newport Test Labs, the M3x Vinyl’s signal-to-noise ratio was measured as 85dB A-weighted for a 500mV output for the moving-magnet input, and 75dB A-weighted for the same output level for the moving-coil input. These are both rather less than claimed by Musical Fidelity, which was likely referencing its specifications to a higher output level. 

Input sensitivities and gain were exactly as per Musical Fidelity’s specification, with 5mV required in order to deliver 500mV at the output for the moving-magnet input, and 0.5mV for the same output voltage when using the moving-coil input when using the M3x Vinyl’s 0dB gain setting. 

Newport Test Labs measured the Musical Fidelity M3x Vinyl’s maximum output voltage (before clipping) at 10.5 volts, slightly higher than claimed by Musical Fidelity. 

Musical Fidelity’s M3xVinyl phono stage performed perfectly on Newport Test Labs’ test bench. It delivered superior results across all parameters that were measured, delivering performance far higher than will ever be required for any application for which it might be employed. 

This plain-looking box turns out to be a carefully considered product with a wide range of settings that ensure compatibility with most price compatible cartridges.

Vertere Acoustics’ Phono-1 MkII may not look anything special, but if you’re after a phono stage at anywhere near the grand mark, it simply has to be heard.

Build

That clean front with its solo power switch isn’t the panel to focus on. With its initially dizzying collection of dipswitches, the underside of the case is far more interesting.

Take a careful look and it all starts to make sense with adjustments for gain – from 45.4 to 61.4dB in 12 steps – as well as a multitude of settings for capacitance and resistance.

Get these adjustments right (check your cartridge’s technical specifications for the values required, but feel free to experiment) and we think you’ll be able to optimise the Vertere’s performance for most cartridges on the market.

Features

Take a look at the back panel and it’s all pretty straightforward. There’s the input and output in standard stereo RCA form and a grounding terminal with a generously sized nut with which to clamp down.

Unusually, there’s also a Ground switch with three positions, to give the user options should hum be an issue with their particular set-up. We found this useful with our reference Technics SL-1000R record player, which hummed until we tried a different Grounding switch setting.

There’s no point in having a phono stage of this level if the rest of your system isn’t suitably talented. We use our reference record player, the Technics SL-1000R (using a Kiseki Purpleheart MC cartridge) along with Vertere’s MG-1 MkII/SG-1 MkII turntable/arm package with the in-house Mystic moving coil cartridge fitted. 

The rest of the system is made up of Burmester’s 088/911 MkIII pre/power and ATC’s SCM 50 speakers.

Sound

It says much about the performance of the Phono-1 MkII that it sounds right at home in such capable and high-priced company. This is an upfront and lively performer, one that certainly sounds more enthusiastic and exciting than the Cyrus Phono Signature – our current favourite phono stage at this level.

We play Nirvana’s Nevermind and love the Vertere’s drive and attack. It preserves so much of the recording’s energy and delivers it with confidence. This disc shows off the Phono-1’s surefooted timing and its ability to render complex rhythms in a composed and entertaining way. 

Tonally it’s certainly brighter than our reference Cyrus, but this won’t spill into being an issue unless the rest of your system already suffers from excess aggression. Regardless of deck used we get a balanced sound and excellent resolution.

This Vertere is a highly detailed performer, but its real strength is that all that information is organised into a musically cohesive whole. By the end of our listening sessions, we forget about analysing its performance and end up simply enjoying the music. We can’t ask for more than that.

That rings true no matter what music we play. Orff’s Carmina Burana comes through with its fierce dynamic swings and manic energy intact. We have no issue with the way the Vertere lays out the large-scale sound stage, nor its precision in locating sounds. It’s all nicely expansive and convincingly layered.

Equally, the likes of Bruce Springsteen's Born To Run shows that the Phono-1 MkII has no trouble rocking out when required either. The album’s production isn’t the cleanest around, but there’s still enough in the way of insight and excitement to leave us satisfied.

Verdict

There’s no doubt that the Phono-1 MkII is a terrific performer for the money. Supply it with a suitably capable deck and you’ll get a sound that will have you listening well into the night. It’s insightful and reveals far more than most alternatives, but the Vertere’s real strength is that it never trades musical enjoyment for analysis. That’s a surprisingly rare trait in premium hi-fi.

SCORES

• Sound 5
• Features 5
• Build 4

MORE:

Want more recommendations? Here are the best phono preamps you can buy

Read our Cyrus Phono Signature/PSX-R2 review

There is always room for improvement; though sometimes that margin is so fractional it can be difficult to comprehend just how.

Take the Rega Fono MM as an example of such a conundrum. Since the MK2 version received a What Hi-Fi? Award it has had plenty of competition, but none sufficient to relieve it of its crown.

Even now, that incarnation remains one of the finest phono stages available for the money.

Yet Rega now has the third generation of its phono amplifier for moving magnet cartridges, and has also managed to wring out another few drops of performance from an already superlative product.

Build

The main motivation appears to have been aesthetic, to bring the Fono MM’s design into line with its moving coil stable mate.

It would be difficult to exaggerate just what a difference those kind of alterations to an amplifier’s chassis, regardless of incentive, can make to the eventual performance.

Inside, though, modifications are minimal, Rega wisely taking an “If it ain’t broke…” approach, and making only minor tweaks to the board in order to reduce noise levels.

Given our only minor qualm with its predecessor was that some competitors offered a little more in the way of absolute detail – though none performing so charmingly across the board – in theory, the Fono MM has now boarded up the only remaining possible weakness in the defence of its title.

The MK3 is certainly noticeably sleeker than its nearest ancestor, but the genius in its simplicity remains. There is just one button, for power, and to its rear one set of phono inputs with earthing peg and the AC socket.

It is worth noting that Rega advises you only to use the Fono MM MK3 with its supplied PS1 mains plug - a replacement will set you back around £20.

Sound

Placing the Fono MM MK3 between a Clearaudio Concept deck and our reference amplifier, we play Frightened Rabbit’s Painting Of A Panic Attack, and our testing could have been over before the closing bars of the opening track.

Rega has once again succeeded in all it set out to do. That Award-winning sound of the MK2 oozes through our speakers, yet with the lowered noise floor offering more clarity and expanding the horizons of its dynamic range.

We could have stopped there, taken it to the photography studio and written this review.

But why would we when we could continue to bask in its bold, powerful strokes, tempered by that confident yet delicate handling of timing and dynamics Rega has for so long mastered in its turntables and amplifiers.

A wide-open soundstage has been another of the company’s trademarks over recent years, and again you might need binoculars to search for its boundaries.

Texturally sparse arrangements such as The Wreck benefit immensely from the space offered to each line, allowing a sea of reverb to lap against the shore, while a taut but generous serving of bottom end offers solidity to Scott Hutchison’s vocal even in falsetto.

Meanwhile more energetic offerings are dealt with that similarly trademark Rega punch and enthusiasm, showing off a fine sense of rhythm and a confidence to be precise but non-regimental, letting dynamics drive the percussion as much as having a firm grip on timing.

Verdict

Difficult as it was to see just how Rega could eke out more from the Fono MM, with the MK3, it has essentially succeeded.

It’s just like the MK2, only with less noise to disturb its class-leading performance.

MORE: 

The best phono preamps you can buy

12 of the best vinyl test records

How to set up your turntable

If you use a high-quality phono cartridge, a high-quality external phono stage is essential if you’re to extract the best performance from it. The phono stages built into even the best high-end pre-amplifiers and integrated amplifiers simply won’t do it justice, most particularly if you’re using a moving-coil cartridge.

Although there are many high-quality phono stages available, most of them are difficult and inconvenient to use, and don’t offer the wide range of load, gain and filter options I’d expect to find in 2021.

 You kind of have to choose one that best-matches the cartridge you’re using, so if you subsequently change to a different cartridge, your phono stage might not provide the correct load or gain for it, which would mean buying a whole new phono stage or sticking with a phono cartridge you’ve decided is not the best for you.

Which makes Gold Note’s latest and greatest phono stage, the PH-1000, an absolute breath of fresh air. It has every phono load and gain adjustment you will ever need in order to correctly match any cartridge ever developed – or will be developed in the future– plus it has selectable – and adjustable! – LP equalisation curves, so you can correctly play back any LP ever pressed. It has loads of other features as well, almost too many to detail in this review, in fact!

Finally, unlike most phono stages, the PH-1000 looks beautiful, particularly when it’s powered-up so you can see its fabulously informative bright TFT multi-coloured control panel.

• The best phono pre-amps on the market

Equipment

Perhaps it is not so surprising that the Gold Note is beautiful, because it is designed and built in Italy, a country whose citizens have a track record of making beautiful objects, from the Mona Lisa to the Ferrari 488 Pista.

Italy also has a track record for functionality, and the Gold Note PH-1000 is certainly that, because despite its flexibility and the number of options available, absolutely everything is controlled with just that single solitary rotary control you can see to the right of the TFT display. 

Gold Note calls it an ‘SKC’, which is short for Single Knob Control. It not only turns, but can be pushed inwards, which is the secret to its ability to multi-task. SKC might not be the most elegant of acronyms, but it describes the control perfectly.

It is essential to set the gain of any phono stage correctly in order to get the ideal signal-to-noise ratio from moving-coil and moving-magnet cartridges while at the same time not driving the phono stage into overload, and for this purpose you can adjust the otherwise fixed gain of the PH-1000 (which is 65dB on the moving-coil setting and 40dB on the moving-magnet setting) through six different gain levels: –9dB, –6dB –3dB, +3dB, +6dB, +9dB.

High-output cartridges would likely perform best at the –3dB setting, while low-output cartridges would most likely perform best at the +6dB setting, but it’s nice to have that 3dB of extra gain available as an option in the form of the +9dB position. And of course there’s also the 0dB setting, should the default gains of 40dB and 65dB be ‘just right’ for your particular set-up.

After properly matching the gain of a phono stage to best-suit your cartridge, the next most-important task of any phono stage is to ensure that it offers the correct impedance loading for the cartridge. At least it is for moving-coil cartridges – moving-magnet cartridges require exactly 47kΩ.

The Gold Note PH-1000 offers twelve load impedances: 10Ω, 22Ω, 47Ω, 100Ω, 220Ω, 470Ω, 1kΩ, 22kΩ, 33kΩ, 47kΩ and 100kΩ. This list is notable for offering two low impedances that aren’t usually available (10Ω and 22Ω) and also for offering three more than were available on the Gold Note PH-10 (which, at a mere A$2,690, now becomes Gold Note’s entry-level phono stage).

However, this isn’t the end of the Gold Note’s cartridge loading possibilities because you can use two of the PH-1000’s line inputs to fit loading plugs, rather than use them as line inputs. This means that you can provide the exact loading for any phono cartridge ever developed.

When you are using a moving-magnet cartridge, it’s more important to match capacitance, and the PH-1000 offers you the choice of six pre-set capacitance values – 100pF, 150pF, 220pF, 330pF, 470pF, and 1000pF but, as noted in the previous paragraph, you can extend this by using your own load plug.

But although correct electrical matching is essential, the actual purpose of any phono stage – its raison d’etre, if you like – is to ‘correct’ the frequency response of the signal your phono cartridge’s stylus is extracting from the LP’s groove. 

This comes about because in order to ‘store’ music on an LP the cutting engineer has to pre-attenuate the levels of the low frequencies, and pre-boost the level of the high frequencies. At the midway point (1kHz) there is no boost or cut. This is the 0dB point. 

As the music being recorded on the LP gets progressively lower in frequency, its level is progressively reduced until at 20Hz it is 19.3dB lower than the 0dB reference at 1kHz. The opposite happens with frequencies above 1kHz. The higher the frequency of the music being recorded, the more the audio signal is boosted until, at 20kHz, it’s boosted to +19.6dB. 

Because the levels of boost and cut applied are different for every different frequency, the overall effect is described as an ‘equalisation curve’ and the most common of these is the RIAA phono equalisation curve, so-called because it was developed by the Record Industry Association of America.

So in order to ensure the correct response is sent to your main amplifier and then to your speakers, a phono stage must provide an ‘inverse’ curve to restore all the frequencies to their correct levels, for example boosting the bass at 20Hz by 19.3dB and cutting the treble at 20kHz by 19.6dB.

Before the RIAA introduced its equalisation curve, there were dozens of different curves in common use; indeed almost every different record label had its own unique curve. This meant consumers had to have a stash of compensatory ‘curve plugs’ and plug in the one specific to the LP they were playing, which meant lots of plug-changing. 

It was to stop all this confusion that the RIAA introduced its own equalisation standard in 1954, and required all industry members to use it. (The RIAA changed its own curve in the ‘70s to an ‘enhanced’ version, so there are actually two different versions of it, eRIAA and RIAA.)

If you buy a PH-1000 you’ll be able to correctly play back every LP in existence, because in addition to providing both the RIAA equalisation curves, it offers more than forty-four other equalisation options, including Capitol, Columbia/CBS, Deutche Grammophon, Decca London, Epic, Mercury, RCA/Victor, Philips, Elektra, Parlophone, and L’Oliseau-Lyre plus the ability to custom-tune any or all of them and/or create your own. 

I can’t think of any other phono stage in the world that offers so many equalisation curves, and I can’t think of a single one that offers owners the ability to ‘tweak’ the curve. This truly makes the Gold Note PH-1000 unique.

Rumble (unwanted low-frequency noise) used to be a huge problem when playing LPs, because of the poor tolerances of old platter bearings (and noisy drive motors) but modern turntables suffer much less from either issue. That said, unwanted low-frequency sounds are often found on LPs themselves. Decca’s London studio was so close to an underground train line that many of its recordings contain railway noise.

Gold Note provides a solution to this problem in the form of a Rumble/Subsonic filter. (Infrasonic would be a more correct description than Subsonic!) This filter has a 3dB down-point at 10Hz, with a 36dB/octave slope. 

Unlike the Rumble filter on the PH-10, the one on the PH-1000 is switchable, as it should be. So, if neither your turntable nor LP have any low frequency noises you’d like to remove, you should leave the filter in the ‘Off’ position.

If you have a noisy LP you should also be able to reduce noise level by taking advantage of the Gold Note PH-1000’s ability to be switched for mono operation, which will often reduce not only surface noise, but also the volume of any ‘ticks’ and ‘pops’ on it. 

In fact, not only can you switch the PH-1000 to mono, you can also invert channel phase (mono or stereo) or even swap left and right channels around. I am not entirely certain why you would want to do this last, but if you want to do it for reasons of your own, you can!

If you have more than one turntable, or your turntable has two or more tonearms, you’re going to love Gold Note’s PH-1000, because it has three phono inputs (two via RCA connectors, and one via an XLR connector) and two line-level inputs (one via RCA, the other via XLR). 

If you don’t use one or both of these line-level inputs for additional cartridge loading, it means that you could plug in one or two line-level sources, which would enable the PH-1000 to be a pre-amplifier and/or headphone amplifier as well as a phono stage thanks to it having both a volume control and a headphone output. (And if you’d prefer to control volume somewhere else in your system, the PH-1000’s volume control can be bypassed.)

In many cultures, there’s a belief that nothing made by humans should be perfect (because only God is perfect), for which reason tiny yet deliberate imperfections can be found in cathedrals around the world, across all religions. This could be the reason the PH-1000 does not have a high-cut filter...

Or not. But it’s easily fixed by a firmware upgrade. I’d also question the provision of an old-fashioned Mini-B connector for uploading firmware upgrades. I personally would have preferred a Type-C connector, but this is no biggie.

• The best record players for every budget

Listening

I have to admit to being quite excited by the Gold Note PH-1000 before I even played my first LP, because it’s the very first time I have been able to provide absolutely exact load and gain settings for both my moving-magnet and moving-coil cartridges, and one of the very few times I have been able to have both cartridges connected simultaneously, to allow me to perform A–B comparisons on different versions of the same album and/or compare one phono cartridge to another. 

And, thanks to the PH-1000’s headphone output, I could also listen to LPs via the shortest path possible, for maximum sound quality.

During the set-up process and whilst familiarising myself with the myriad options provided, I rather gained the opinion that although the SKC is good, it’s actually faster to use the remote control than the SKC itself in many situations. This being the case, it would have been a good idea if the remote had rated a mention in the Owners’ Manual, because operation via the remote is not covered at all.

Also, because Gold Note uses exactly the same remote for other of its products, many of the buttons do nothing when it comes to controlling the PH-1000.

One thing it did take me a long time to get used to is that the SKC seems to move more or less randomly from one function to another. If there is some logical order to the switching sequence, I certainly couldn’t fathom what it was. There’s a similar lack of order when it comes to switching between the various equalisation curves. I would have expected them to be arranged in alphabetical order but they’re not.

Because of the number of adjustments you can make with the PH-1000, it would also have been nice to have had a ‘Factory Reset’ button or function. There may well be one, but I couldn’t find it. The Owners’ Manual could also be improved. The one I was supplied was rather amateurish, and although it was 24 pages long, only 15 of them contained any relevant information.

When I finally did get around to playing my first LP, I became even more excited, because the sound quality was everything I could have hoped for, and more. If you want to extract the ultimate performance from all the albums in your collection, be they 45s, LPs, 78s – stereo or mono – the Gold Note PH-1000 is the perfect tool for the job. It’s exactly what you need.

Bass is incredibly depthy and solid. My standard go-to album for evaluating this has for many years been, and no doubt will continue to be into the future, Telarc’s version of Tchaikovsky’s 1812 Overture with Erich Kunzel and the Cincinnati Symphony Orchestra. The sound of cannon-fire on this recording is – if replayed properly – absolutely amazing. It’s no wonder that Telarc includes warnings that playing it too loudly could cause component damage. 

Just in case you didn’t know, the cannons were recorded separately and mixed in at the appropriate spots, as were the bells, which is one of the reasons for the insanely good sound and for the perfect balance against the orchestra. Played back via the PH-1000, the sound was so realistically reproduced in my listening room that I involuntarily flinched when the first cannon fired even though I was expecting it.

To test the deepest bass out on something more musical than cannon-fire I switched to another favourite ‘warhorse’ in the shape of Don Dorsey’s Bachbusters on which he uses a wide array of synthesizers to play some of J.S. Bach’s most popular works, all of which have deep bass. Again, the PH-1000 responded perfectly, allowing me to hear the various tonal qualities of the different synthesizers and settings he uses. 

For real authenticity, (as in a real pipe organ) I took advantage of the PH-1000’s mono setting to play one of my favourite recordings – Clarence Watters playing three of Cesar Franck’s Chorales on the organ of Trinity College, which was recorded and pressed in mono. It’s a beautiful-sounding instrument and the beauty of its sound was realised perfectly by the Gold Note PH-1000, most so in its mono setting.

I am a huge Brian Eno fan, so the appearance of a Miles Showell 45-rpm half-speed mastered version of Music For Films was a must-buy event and it has been entrancing me for some time, so when I listened using the PH-1000, and found the subtleties of the improvements to the dynamics and the detailing were more clearly revealed than I’d ever heard before, so it was money well spent. Buy this album and it will be money well spent for you, too.

For evaluating voice I could not do better than play my Rhino version of Joni Mitchell’s Blue. I also have this in formats other than LP (lucky, because otherwise the vinyl would be worn paper-thin!) but I think it always sounds more authentic on vinyl than it does in any other format, and when I heard it via the PH-1000 the reproduction was so masterfully authentic that I took the opportunity to re-record a FLAC capture of it to replace my existing capture. And not just Blue.

During my review process I did new rips of every single one of the LPs I played, and I hope to get through even more before Absolute Hi End (the Australian distributor) requests that the Gold Note be returned. The sound it delivers is just that gorgeous.

The high frequencies I tested with a wide range of recordings, but I kept coming back to Lubomyr Melnyk’s Fallen Trees with its hypnotic piano lines, its ethereal voices and its harmonic echoes. Curiously, my favourite track (Barcarole) is one of the only two tracks that don’t have the word ‘Tree’ in their title. 

I also kept coming back to the 2LP Joni 75 album that captures the 75th birthday tribute concert to Joni Mitchell by Diana Krall, Glen Hansard, Norah Jones, Rufus Wainwright, James Taylor and others. (If you buy this album, I’d recommend skipping past Kris Kristofferson’s cover of A Case of You and also playing Krall’s cover of Amelia over and over.)

Final verdict

If you have been holding off on buying a phono stage to see if something incredible comes onto the market, you’ve hit the jackpot, because Gold Note’s new PH-1000 is everything you’ve been waiting for and more. It is a truly incredible phono stage. I can still barely believe such an achievement was possible. 

This stunningly-good phono stage sounds wonderful and has every feature and facility you’re ever going to need, plus it’s also an extraordinary pre-amplifier and an extraordinary headphone amplifier into the bargain. 

And if all this weren’t enough, it is also completely upgradeable in terms of firmware and also hardware (two additional power supplies and two additional output stages are already available for it), plus I hear there are several firmware upgrades in the wings. 

So what else can I say but ‘simply superb’.

In-depth lab test results

In Graph 1 (below) Newport Test Labs has measured the frequency response of the Gold Note PH-1000’s line input. 

You can see that it’s very flat, being just 0.1dB down at 20Hz and 0.25dB down at 20kHz, giving a normalised response of 20Hz to 20kHz ±0.125dB. At the low end, the response rolls off to be 0.5dB down at 9Hz then 1dB down at 6Hz and 3dB down at 3Hz.

At the upper end of the audio spectrum, the response continues to roll off from being 0.25dB down at 20kHz to be 1dB down at 41kHz and 3dB down at 75kHz.Channel separation was excellent, with Newport Test Labs measuring it as being 95dB at both 20Hz and 20kHz and 113dB at 1kHz. 

Graph 2 shows the total harmonic distortion measured by Newport Test Labs with a 1kHz test signal and a 2V output. You can see that noise is exceptionally low across the audio band, virtually hugging the –120dB graphing line and that there’s just a single harmonic distortion component at 3kHz, which is around 108dB down, or around 0.0003% THD. The laboratory’s wideband measurement of distortion was 0.006%, as per the figure tabulated in the test results. 

Graph 3 shows CCIF-IMD for a two-volt output. You can see the test signals (at 19kHz and 20kHz) are flanked by IMD products at 18kHz and 21kHz that are 90dB down (0.0031%) and a further two outside them with the 17kHz signal being 117dB down (0.00014%) and the 22kHz signal 103dB down (0.0007%). 

Surprisingly, down at 1kHz, where I would normally have expected to see at least a small difference signal, there’s absolutely nothing visible above the noise floor. This is an excellent result for the Gold Note.

Graph 4 shows the unequalised phono responses for the RIAA filter (black trace), the DGGTeldec filter (blue trace), the London LP filter (green trace) and the Philips filter (red trace). 

Although these are measurements, representations of these curves are shown on the PH-1000’s front panel display. The displayed curves are remarkably accurate, though of course the PH-1000’s display is too coarse to be able to show them exactly.

You can see that below 1kHz, the RIAA and DGGTeldec filters are almost identical, whereas above 1kHz the RIAA filter rolls off a little more steeply, and it is the DGGTeldec and London LP filter slopes that are almost identical. 

Graph 5 shows that the Columbia LP (red trace) and NAB (green trace) curves are almost identical above 200Hz, but diverge significantly below 1kHz so that there’s almost a 5dB difference at 20Hz. Once again, an RIAA curve (black trace) has been included for comparison purposes. 

Graph 6 shows the differences between the RIAA and RIAA Enhanced equalisation curves and also the effect of the rumble (high-pass) filter (red trace). The rumble filter is spectacularly effective at its job, such that it’s 65dB down at 5Hz yet has no effect at all at 40Hz and attenuates the response at 20Hz by only a few dB.

You should note that the rumble filter operates only on the phono stage, it has no effect at all on the line inputs.  

Newport Test Labs measured the overall wideband signal-to-noise ratio of the Gold Note PH-1000 Phono Stage at 90dB unweighted, a figure that improved to 95dB with IHF-A weighting. 

This is an outstanding result for a phono stage. Gold Note’s PH-1000 drew 2.61-watts in its ‘stand-by’ mode which isn’t a lot and means you could leave it in this mode, but I’d prefer to see a result of 0.5-watts or less for this test. As you can see from the tabulated results, it draws less than 19-watts when operational. 

Overall, the Gold Note PH-1000 returned exceptionally good performance for all tested parameters.

• The best high-end turntables available

The world of hi-fi is no different to any other industry in that quality costs. However, after spending some considerable time with Nagra’s Classic Phono, we wish it didn’t cost quite so much. 

Not that the product’s sound doesn’t match that hefty price tag, more that it puts this glorious piece of kit beyond the reach of many people who would appreciate it.

Build

Nagra’s products are rarely ostentatious, so it comes as no surprise to find that this phono stage presents a pretty understated face to the world. That trademark signal meter, which shows the Classic Phono’s output level, is the only visual flourish of note. The rest of the fascia is as clean and uncluttered as we’ve come to expect from the Swiss manufacturer, but that certainly doesn’t mean that this phono stage is some stripped-out minimalist design.

We’re pleased to note that Nagra offers a range of equalisation curves. There’s the standard RIAA option found on every other phono stage on the market, but you’ll also find settings for Teldec and Columbia LP. While these options won’t matter for most people, those with records from before the mid-1950s can hear them with the correct tonal balance.

There’s also a mono switch, which is handy, and a toggle for adjusting gain. The Classic Phono comes with two phono modules, one for moving magnet cartridges and the other for moving coils. That gain switch takes the base 37.7dB gain of the MM circuit and adds 10dB when switched to the high setting. Similarly, the moving coil input’s 53.9dB gain goes up to 63.9dB. That should be enough for all but the lowest output cartridges on the market.

Anyone who likes to take a look inside hi-fi equipment is in for a treat with this Nagra. As with the exterior, the inside is immaculately made and the circuit is packed with top-quality components. At the heart of the Classic Phono is a set of valves made up of a pair of E88CC/6922s, a single ECC81/B739 and an ECC83/B759. There’s also a pair of in-house transformers to provide extra gain for the moving coil section. Nagra takes great pride in making its own transformers as doing so ensures quality.

Many high-end phono stages make adjusting cartridge loading a breeze. It’s usually a case of either manually setting a series of dip switches on the back panel (or base), or electronically through some front panel controls. Things aren’t so convenient here, as the Nagra method is more hands-on.

The appropriate loading components have to be manually fitted. This involves taking off the Classic Phono’s lid – pausing to admire the lovely innards, of course – and then removing a small circuit board before fitting the relevant component to it. The whole process takes around ten minutes. Nagra supplies a range of the most common loading options in the box.

It’s not a difficult operation and the user manual is nice and clear, but even so, this is something your dealer should be happy to do. If you have a particularly unusual cartridge, Nagra will provide the appropriate loading components free of charge for a limited time after your purchase.

Features

Connectivity is good for a phono stage. There are two inputs – as standard, these are configured as moving magnet and moving coil, though it’s possible to swap either if desired. There are the usual single-ended RCA and XLR analogue outputs, though it should be noted that the XLRs don’t carry a balanced signal.

There’s no point in buying a phono stage at this level if the rest of your set-up, particularly the turntable, isn’t out of the top drawer too. We make use of our usual reference Technics SL-1000R/Kiseki Purpleheart MC record player, and even that only qualifies as the bare minimum the Nagra deserves. The rest of our system is Burmester’s 088/911 Mk3 amplifier and ATC’s SCM50 speakers.

Given a few days of use, the Nagra’s sound gains notably in terms of clarity and transparency. Once things settle, the Classic Phono delivers glorious results.

Sound

If you are expecting the easy-going, golden glow presentation of a typical valve phono stage, you’re looking in the wrong place. This product, like others we’ve heard from this manufacturer, simply doesn’t have such a signature. It sounds clean and neutral, and ever so detailed. Just like the best transistor-based designs but with more in the way of finesse. Even the noise levels are low, with us having to put our ears close to the ATC’s tweeter to hear anything much in the way of hiss.

That detail isn’t highlighted by harder drawn edges or a touch of additional brilliance in the treble either but rather presented in a wonderfully natural and unforced manner. Voices and acoustic instruments sound authentic and richly textured.

Listen to a natural acoustic recording such as Kind Of Blue by Miles Davis and it’s hard to imagine anything sounding better than this Nagra. The presentation is fluid and superbly expressive. Each instrument is rendered with skill – the edges of notes crisply defined and carefully shaded with convincing harmonic richness.

This Nagra’s sound has some bite too. Shifts of intensity are communicated with poise and there’s no shortage of attack when the music demands. We’re pleased with the Nagra’s musical cohesion.

It’s a superbly insightful performer that’s analytical enough to let us follow any musical strand we wish, yet still manages to present the music as a satisfying whole. A good sense of rhythmic drive helps this unified approach, and this aspect comes to the fore when we play Michael Jackson’s Thriller set.

Here, the Classic Phono shines, displaying the kind of punch and drive valve designs rarely have, coupled with the naturalness, finesse and refinement they usually do. Jackson’s voice on Billie Jean comes through with passion intact. Basslines thump home with power and punch, but there is also a tunefulness that gets our feet tapping. This is an excellent performance, full of drama and verve.

The Nagra’s crisp stereo imaging is highlighted in the opening of the album’s title track, where the creepy sound effects transport us to those early black and white Dracula films. The sound is carefully layered, precisely focused left-to-right, and spacious with it.

We listen to a wide range of music from Nirvana’s Nevermind to Beethoven’s Fifth Symphony, and the Nagra excels regardless. It has attitude and authority when the music demands and shifts effortlessly to intimacy where it doesn’t.

This is not a presentation that lends itself to being dissected. Put simply, the Nagra Classic Phono just sounds right. Feed it a good enough signal and within moments of the music starting, you’ll stop focusing on the mechanics of the hi-fi system and simply get lost in the music.

Verdict

The only real issue with the Nagra Classic Phono is its price – something that leaves you with little change from £20k is way out of reach for the vast majority of us. However, whether it represents value for money is a more personal judgment and that usually comes down to your priorities. 

The Nagra is so desirable, so well made and so sonically capable that most alternatives are left floundering in its wake. If we had the money, we would definitely buy one.

SCORES

• Sound 5
• Features 5
• Build 5

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Pro-Ject has launched a phono preamp, and on paper it appears to be a doozy of a flexible friend. The Phono Box RS2 is compatible with both moving magnet (MM) and moving coil (MC) cartridges, helping it fit seamlessly into almost any turntable setup.

It has a fully balanced, true dual-mono design with fully passive RIAA and DECCA equalisation. It also has plenty of connections, including balanced XLR and unbalanced RCA inputs and outputs.

And it should be able to suit your system perfectly, thanks to the continuously variable input impedance loading and channel balance controls. It will even continue to adjust in real-time while the system is playing.

It comes in silver or black and costs $1999.

But that's not the only new product Pro-Ject has announced. The Phono Box Ultra 500 is a discrete MM/MC phono preamplifier that comes in a chrome-on-copper chassis. It's an exclusive run, limited to 500 pieces, built to celebrate the 500,000th Phono Box that Pro-Ject shipped in early 2018. It features audiophile-grade polystyrene capacitors, precise RIAA equalisation, and a switchable subsonic filter to -18dB at 20Hz. It costs $399.

And there's more. The Phono Box S2 Ultra is another discrete new MM/MC phono preamplifier, with a very similar spec to the Ultra 500. But it doesn't have the same exclusive finish, nor the limited run. It's yours for $349.

Lastly, Pro-Ject has launched two devices that clean your records: the Sweep It E and Sweep It S2 record brooms. At $99, the E is the cheaper of the two, while the S2 ($129) is magnetically stabilized, and was made in collaboration with Klaus Mick and his patented technology. Both are designed to clean your vinyl while it's playing. Neat.

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At What HI-Fi?, we often recommend investing in a decent entry-level phono stage to complement the growing market of budget record players, or as an upgrade to the phono stage built into the main amplifier. However, in doing so, we might be guilty of making it appear there are more out there than is actually true.

The arrival of the iFi Zen Phono has swollen the ranks of decent entry-level phono stages. You certainly won’t find one with a better spec sheet, or that is better built, but most importantly you’ll also struggle to find anything at this price that’ll make your records sound cleaner.

Build and Features

iFi is a company known for its ambition, determined to create entry-level products able to stack up against the best many times the price, and it almost encourages the listener to be as ambitious with them.

The Zen Phono not only caters for moving magnet cartridges, as you’d expect from a product such as this, but it can handle moving coil too, offering a range of gain in steps from 36dB up to 72dB. It also features a balanced circuit design to reduce noise and crosstalk, a feature even less common at this end of the market.

The company has even dedicated considerable attention to creating its own low-noise power supply, as you might find in a flagship phono stage. Everything used, from the Panasonic and TDK capacitors to the Texas Instruments ICs, is geared towards low distortion and crystal clarity.

We often mention hi-fi components offering headroom for upgrades, so they continue to perform when the components around them step up a level. But rarely do we come across those that stop just shy of begging you to explore a world of opportunity, firmly nudging to try new things.

A good-sounding MC cartridge alone costs around double the price of the Zen Phono, so an entry-level do-all phono stage won’t keep up for long – but if iFi gets you to imagine a system beyond your own, then it has served a purpose.

Sound

In the meantime, the iFi Zen Phono sounds good. There is no mistaking where the company's focus has been – the presentation is immaculately clean. There will be components costing two or maybe even three times the price that will struggle to dig out this amount of information and deliver it with this level of clarity.

That isn’t to say the Zen Phono is overly clinical – it will embrace the warmth and character it is offered from your turntable – but it isn’t adding anything to the sound, merely polishing each note to the best of its ability.

Unsurprisingly, the balance is spot on, too. The iFi is willing to reach as high or low as your turntable asks it to, and treat each frequency with that same sympathy to tone and texture.

There is a compromise here, though. With all this focus on clarity and detail, the iFi loses a little of the rhythmic and dynamic sense we’d expect from a five-star product. While the texture and timbre of an instrument is interesting in itself, it needs timing and expression to be music.

The Zen Phono is not bereft entirely of these talents, but it doesn’t snap in time or throw lines at us with the energy some deserve. We’re not exactly bored or left confused by the iFi’s performance, but we’d certainly trade some of that cleanliness for a little more feeling. Using the balanced output makes the presentation bigger and bolder, but doesn't change the phono stage's fundamental sonic character.

It’s the kind of thing at which Rega excels, and it offers products that sandwich the Zen Phono in price. The Fono Mini A2D isn’t in the same league when it comes to features or build quality and doesn’t match the Zen Phono for detail, but its sound is overall more musical and engaging for two-thirds of the price.

And if you are willing to spend a little more, the What Hi-Fi? Award-winning Rega Fono MM MK3 matches that kind of hi-fi nous with a knack for finding a groove and contouring low-level dynamic shifts. 

They are basic affairs, though, so while we might question just how necessary it is to have a budget phono stage that can handle MC cartridges and has a balanced output, the iFi stands head and shoulders above its rivals in terms of features before even getting started.

Verdict

The iFi Zen Phono’s clarity is bound to give it plenty of suitors. Its slight lack of enthusiasm means we can’t quite give it the full five stars, but it should certainly be on your shortlist for a test drive nonetheless.

SCORES

• Sound 4
• Features 5
• Build 5

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If you're looking to upgrade either your amp's built-in phono stage or an existing external one, Pro-Ject would no doubt urge you to consider its new flagship model.

The Phono Box RS2 (£1299) is a fully balanced and discrete phono preamp that is nothing if not versatile – plenty of knobs, dials and buttons offer adjustments to help this “no expense spared” phono stage slip nicely into any turntable system.

Pro-Ject's top-line model features fully balanced circuitry, meaning the '+' and '-' signals are handled individually in the name of signal integrity. The Austrian audio brand has also split passive equalisation for both of the RS2's RIAA and DECCA curves, too, to allow for more accurate EQ curve representation and improved impedance matching.

On that matter, load impedance can be manually adjusted between 10ohms to 1000ohms according to your cartridge. There are also eight gain settings (ranging from 40dB all the way up to 70dB), eight capacitance options (allowing for better cartridge matching with MM systems) and a balance dial that promises to correct the small imbalances (in 2dB increments) that can occur between the left and right channels.

While the Phono Box RS2 is supplied with an external 20V power supply, next year will see the introduction of a new 20V linear power supply upgrade, which will feature a "purpose-designed transformer and circuitry" as well as an extra 15V output for direct connection to a compatible Pro-Ject turntable.

The Pro-Ject Phono Box RS2 will be available in black or silver finishes from January, priced £1299.

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Given that famous amplifier designer John Curl does so much work for Parasound, we mistakenly assumed he must have been responsible for the company’s latest phono preamplifier, the Zphono XRM. We were wrong. 

The new Zphono XRM phono preamp is a co-design that involved Parasound’s owner and founder, Richard Schram, and two other engineers he’s worked with for some years. 

John Curl did have some involvement however, because Schram told us during our fact-checking process that “While John Curl didn’t design the XRM, he did offer me some useful suggestions that take it up a notch from ordinary phono stages.’”

As for the reason for adding yet another phono preamplifier to the Parasound product portfolio, Schram says it was the result of a thought exercise. “I was thinking what would a vinyl lover without a large budget appreciate and perhaps salivate over?” he said. 

He wanted the XRM to offer versatility and convenience and thought that the design should be informed by viewing it through the eyes of a vinyl enthusiast rather than an engineer. “This exercise led to the design heading off in some directions I hadn’t considered,” he said. 

“One such being the inclusion of completely independent preamps for MM and MC cartridges… an approach that enabled us to optimise sound quality specifically for each input individually, rather than having to make a compromise to satisfy to competing requirements within a single preamp. Obviously, this approach also meant we could accommodate two turntables or a turntable with two tonearms.” 

It’s likely that another reason for the introduction of the Zphono XRM was to plug the yawning gap in the Parasound’s product line-up between its entry-level Zphono phono preamplifier and its award-winning Halo JC 3 Jr phono preamp.

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Equipment

Parasound’s Zphono XRM is physically quite small, at 260mm deep, 218mm wide and 50mm high, yet it has a power supply built in, rather than being powered externally. The built-in power supply is pretty good, too, with a shielded power transformer, a high-quality bridge diode and filter capacitors. 

But its small size means there’s not a lot of real-estate available to fit connectors, so the rear panel is pretty busy. But we’ll get to that in a moment. Let’s look first at the front panel. 

As you can see from the photograph of it, the Zphono XRM has a push-button power switch with a green LED alongside it at the left of the front panel. At the right are three miniature toggle switches which are for (from left to right) mono/stereo switching, rumble filter switching, and input selection (MM or MC).

Mono/stereo switching is something that’s often left off phono preamplifiers, but is absolutely essential if you play mono LPs – though in this case we’d also recommend you use a mono phono cartridge. However the switch can be used when you play stereo LPs because although the sound will end up mono, it can help reduce surface noise and, weirdly enough, eliminate the weird ‘phasing’ effects that can sometimes occur when you’re playing well-worn LPs.

As for that rumble filter, it’s probably mis-named, because in 2020, We’d sincerely hope that no self-respecting audiophile would be using a turntable that produced any audible ‘rumble’. We personally would have labelled it a ‘high-pass’ filter and suggested that it might be useful if your home is close to a busy road or highway – or railway line – in which case low-frequency vibrations might be causing your stylus to generate sub-audible signals that could adversely affect sound quality.

Then there’s the fact that many LPs contain sub-audible – or in the case of many London Decca LPs, audible! – frequencies that should be removed because they weren’t ever supposed to be there in the first place.

Going around to that busy back panel, we find completely separate moving-coil (MC) and moving-magnet inputs, both with gold-plated RCA input sockets. The gain of the moving-coil input can be switched between 50 and 60dB, and that of the moving-magnet input between 40 and 50dB, both via miniature toggle switches.

Thanks to the use of a rotary potentiometer, the impedance of the moving-coil input is continuously variable between 50Ω and 1050Ω with each 100Ω increment identified by labels, and each 20Ω increment by a small line.

Why a rotary control rather than DIP switches, as many other phono amplifier manufacturers do? It’s a question we put to Schram, who told us: “phono stages designed by engineers without consideration of real-world end users often use DIP switches on the bottom or inside the chassis because it’s easier and cheaper. DIP switches aren’t always desirable for passing audio signals and these locations make it a real nuisance for users. I think one should be able to make adjustments “on the fly” without turning off the phono preamp. Life is already hard enough, so why make it harder with inconvenient switches, right?’

With all due respect to Schram, we can’t quite see what’s so hard about extracting four screws, removing a lid, setting a DIP switch (or two) and then replacing both lid and screws, because for most audiophiles, this would be a one-time only process, so once it was done, it would stay done and never need to be done again.

We guess Schram’s approach has merit if you’re one of those audiophiles who constantly swaps phono cartridges in and out, but even if you are, it’s still only around 5 minutes out of your life each time you swap, which is hardly the end of the world.

The Zphono XRM provides both unbalanced (via gold-plated RCA sockets) and balanced (via gold-plated XLRs) outputs. We would recommend you use the balanced outputs if possible, but if you have to use the unbalanced outputs, be warned that the MM input’s RCA terminals are so close to the RCA output terminals that there may not be room for them to co-exist if the plugs on the RCA leads are unusually bulky.

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Listening

As it happens, we regularly use two completely different turntables. The ‘best’ turntable is fitted with an Ortofon Cadenza Blue moving-coil cartridge (which does not have a removable stylus) while the ‘second-best’ is fitted with a middling-quality Audio-Technica moving-magnet cartridge (which does). 

This is only a fairly recent set-up which came about when we discovered the huge number of great LPs that is available for sale at garage sales. Hunting these down has now become a major Saturday pastime. 

The problem with garage-sale LP ‘bargains’ is that they aren’t always bargains because we don’t get to hear them before buying them, and many are damaged. So, after first cleaning each LP after purchase, it gets its first playing on our second-best turntable, so that if it’s too scratched, or the groove too worn, it’s only a fairly low-cost, easily replaceable stylus that is bearing the brunt of the damage. 

If the LP turns out to be playable, it then goes straight to our best turntable so we can transfer the sound to digital for a final clean-up as well as for permanent storage and casual replay. 

You’d think that setting the load impedance for the Ortofon would have been easy, because all we’d have to do would be to dial in the load recommended by Ortofon. Not so fast! 

Rather frustratingly, Ortofon’s load impedance recommendation is disappointingly wide, at ‘50-200Ω’. We suspect that Ortofon is being deliberately vague so that audiophiles whose phono preamps have either a fixed load impedance – or only a limited range of load impedances to apply – will have at least one setting that falls within this range. 

If Ortofon had been specific and recommended a load impedance of, say, 63Ω, anyone whose phono pre-amp did not offer this exact value might seriously consider not buying the cartridge. If Ortofon had specified  a value of 63Ω, this would not have been a problem if you owned a Zphono XRM, because you could have dialled in this exact value using the rear panel load impedance selector! 

Since the Zphono XRM allowed us to select any impedance across the range recommended by Ortofon (or any impedance up to 1050Ω if we so chose), what setting would be best? 

A primary consideration with any low-output moving-coil cartridge is to maximise its output voltage. To do this, the load impedance must be 10 times the cartridge’s internal d.c. resistance. 

In the case of the Ortofon Cadenza, its internal d.c. resistance is 5Ω. (By the way, DO NOT attempt to measure the d.c. resistance of any phono cartridge with any type of multimeter… you will destroy the cartridge.) 

This means that the minimum load impedance for the Cadenza has to be 50Ω. No problems, the Parasound Zphono XRM can provide this. But will this load result in the best sound quality? Probably not. 

Best sound quality is usually achieved with twice the minimum load impedance, which in this case would be 100Ω. But one problem with this setting is that it assumes there is zero radio-frequency interference, which is rarely the case if you live in a city. 

Increasing load impedance tends to decrease the level of r.f. interference, which means that depending on your physical location, increasing the impedance even further may result in an improvement in sound quality. 

The good news is that you can do all this with the Parasound Zphono XRM. 

Just in case you own an Ortofon Cadenza Blue and you’re looking for a load recommendation, we thought ours sounded best with the Zphono XRM’s input impedance knob set to just a tad over 150Ω. (Remember, however, that your tonearm/turntable leads will also affect the so-called ‘best’ setting of this control.) 

As luck would have it, we also had problems choosing which gain setting we should use – 50dB or 60dB – because the Ortofon Cadenza Blue’s output (which the specifications say is 0.5mV at 1kHz at a recorded velocity of 5 cm/sec) is right on the cusp of choices… at least it is according to Parasound, which recommends that you use the 60dB setting ‘for low output moving coil cartridges whose output is less than 0.5mV’ and the 50dB setting ‘for high output moving coil cartridges.’ 

We ended up mostly using the 50dB setting because we thought the Zphono XRM was slightly quieter using this one, rather than the 60dB setting. There wasn’t too much difference though, so we agonised throughout the review, and ended up switching back and forth quite often and, with some LPs, actually preferred the 60dB setting. 

Because of this, we would have found it slightly more convenient if the gain switch had been on the front panel rather than on the rear. We assume it’s at the rear to keep signal paths as short as possible, so it’s hard to be critical about something that’s giving you better sound at the expense of a modicum of inconvenience. 

And of course if your cartridge falls firmly into one or the other of the ‘high output’ or ‘low output’ camps, you won’t need to give this issue a second thought. 

But if there’s one thing for which we are eternally grateful, it’s that Parasound decided to put the switch for the high-pass filter – OK, OK, the ‘Rumble’ filter – on the front panel, because that got a lot of use.

The arrival of the Parasound Zphono XRM allows me to write that we have been using it to listen to Heart To Mouth by LP on LP for the first time.

Although we have been a Laura Pergolizzi fan for some time now, we have previously listened to her only via CDs (they being somewhat less expensive), but we decided to bite the bullet with the arrival of Heart to Mouth, because we think it’s her best full album of work yet (though some individual songs on her earlier albums are stronger, the most obvious one being Lost on You from her album of the same name) and we thought the more introspective, meditative sound of Heart To Mouth would work better on LP than on CD.

Parasound’s Zphono XRM certainly wrought its magic throughout this album and the more we listened the more impressed we became. For a start, it’s quiet, so the lovely fade-in intro to Dreamcatcher, along with the crisp picking, was revealed perfectly.

Then, as the effects pile on as the track progresses, the artificial was kept in a separate acoustic space from the real. It also revealed the delicate sound of the ukulele on the intro to One Night in the Sun. Then, later on, those hand-claps sounded so real via the Zphono XRM.

Then there’s the way it handled the driving bass on Girls Go Wild, once again compartmentalising the various instruments while at the same time not separating them out from the mix, but integrating them into the whole. Nice. Very nice.

All the way through the album, the Zphono XRM stayed a constant at revealing the complex timbres of LP’s unique voice and kept up with the different vocal stylings she uses from cut to cut. (And why is it that so many singers with unusual voices seem to gravitate to the uke? (It’s a mystery.)

Next up we just had to hear how the Zphono XRM reproduced the sound of the sangari, a stringed instrument whose sound is famously difficult to reproduce, not least because it resembles the sound of the human singing voice.

If you’ve heard of it, you probably also know that the best-known exponent of it, at least in the Western world, is Suhail Yusuf Khan, who’s been in a trio with guitarist James Yorkston and double-bass player Jon Thorne for some years.

The album we played (Everything Sacred) is a few years old now, but we still think it’s one of their best. Listen to Knochentanz and you’ll hear first the sangari, but after some time (OK, after long time… it’s a long track) Khan himself starts singing and the effect, which is totally eerie, was delivered astoundingly well by the Parasound.

Possibly the weirdest track on this album – and maybe the weirdest song we’ve ever heard – is their cover of Little Black Buzzer (Ivor Cutler), but it’s a smorgasbord of sound, helped out by Lisa O’Neill and by what I can only imagine is Khan scatting in Indian. But the glory of the track was the insane clarity the Zphono XRM afforded this sonic smorgasbord. Amazing performances by all concerned.

But of all the songs on Everything Sacred, it’s probably Sufi Song that we like the best. Thorne’s continuo bass playing is like a warm reassurance that all is right with the world, while the interplay between Yorkston’s guitar and Khan’s vocals is aurally mesmerising.

But could the Parasound Zphono XRM handle total sonic mayhem? It didn’t take very long with Massive Attack’s classic Mezzanine to prove that it could. This is a difficult album to reproduce because of the sheer dynamics, not to mention incredible low-end that’s counterpointed by the percussion on the one hand and the ethereal voice of Elizabeth Fraser on the other.

Heartbeat-like bass lines mean you’re on edge for most of the album, with your senses primed to stun. Turn it up loud! And if MA is a bit too house for you, play what I followed up with… anything by Coldplay… or, preferably, everything by Coldplay.

And when you’re listening to the tracks recorded live in concert, listen especially to the accuracy with which the Zphono XRM delivers the sound of the audiences cheering, clapping and singing along.

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Verdict

The Parasound Zphono XRM does everything you could possibly want a phono preamplifier to do – both sonically and electronically – magnificently well. Highly recommended.

Laboratory tests

The RIAA-corrected frequency response of the Parasound Zphono XRM, as measured by Newport Test Labs, is shown in Graph 1 below.

On this graph, the black trace is the response without the infrasonic filter and the red trace is the response with the infrasonic filter deployed. 

You can see that the filter’s response starts deviating from that of the main response at around 400Hz, but there’s no disparity until 200Hz, after which it’s 5dB down at 38Hz, 10dB down at 28Hz and 20dB down at 18Hz. 

Effectively, this means that it will effectively cut out rumble and other low frequency noises without having any significant effect on the music being played.

Graph 2 shows the same response as Graph 1, but with a magnified vertical graph scale, so you can see the frequency response of the Zphono XRM in more detail (though we lose the response of the filter because of the scale magnification). 

The extra detail allows us to hang some dB variation figures on the response, and you can see that the Parasound Zphono XRM is 0.25dB down at 20Hz, 0.5dB down at 10Hz and 1.3Hz down at 5Hz. (The small glitches in the response at 50Hz and 150Hz are due to some mains hum creeping into the measurement and should be ignored.) 

At high frequencies, you can see the response of the Zphono XRM rises to be +0.5dB at 13kHz, then +0.65dB at 20kHz and +0.75dB at 30kHz. This puts the audio band frequency response at 20Hz to 20kHz ±0.45dB, which is excellent. 

Channel separation at 1kHz was measured by Newport Test Labs as being 85.4dB, which is an outstanding result for a phono preamplifier. At the same time, channel balance was an equally outstanding 0.013dB at this same frequency. Interchannel phase errors, as you can see from the tabulated results, were also low across the audio band. 

Newport Test Labs measured the signal-to-noise ratios of the Zphono XRM using that input voltage which resulted in a 2V output on the highest gain settings for both MM and MC inputs and, as you can see, the Zphono delivered outstanding S/N results of 95dB A-weighted for its MM input and 81dB A-weighted for its MC input. 

The result for the MM input bested Parasound’s own specification of 94dB, while Newport Test Labs’ measurement for the MC input was only a single dB below Parasound’s specification of 82dB. To re-state the obvious, both these are outstanding results for a phono preamplifier. 

Distortion, as measured by Newport Test Labs, is shown in Graph 3 for a 1kHz test signal. You can see that if there is any second harmonic distortion, it’s buried down in the noise floor at -100dB (0.001% THD), and the same goes for any third harmonic component (-110dB/0.0003%) or fourth (-115dB/0.0001%). There is some noise at low frequencies, but it’s mostly more than 60dB down. A good result.

The Parasound Zphono XRM provides ample gain for both moving-magnet and moving-coil cartridges, as you can see for yourself from the tabulated results. A 10mV input at the MM input will result in a healthy 1-volt output using the 50dB gain setting and 3-volts using the 60dB setting.

These voltages (which we’ve rounded for use here in the text) were measured at the unbalanced outputs – the voltages at the balanced outputs were 2-volts and 6-volts respectively (again rounded). A 2mV input at the MC input, using the 60dB gain setting, results in 1.5V at the unbalanced output (3V at the balanced output). These results make the Parasound Zphono XRM completely compatible with any MM or MC cartridge we’ve ever heard of.

The actual gains through the Parasound Zphono XRM didn’t quite match up with the values stated on the switch settings, but were close enough as makes zero practical difference in operation, and the minuscule differences could be due to slight differences in loading during the measurements, or to production variances.

But for the record, Newport Test Labs measured the 40dB setting as delivering 40.19dB, the 50dB setting as delivering 49.72dB and the 60dB setting as delivering 57.5dB.

It is interesting that the Parasound Zphono XRM does not have a standby power feature, but on this device it would have added quite a bit of cost and increased circuit noise, plus made it difficult to meet the regulatory requirements of the different countries in which it would be sold, so I can understand why Parasound chose not to include one.

And because the Zphono XRM draws only 7.2-watts during operation, it’s not going to impact on your utility bill if you leave it on all the time, though we would still recommend you switch if off when you’re not using it. It runs quite warm when it is running, so it will come up to a stable operating temperature almost immediately after you switch it on.

Overall, the Parasound Zphono XRM performed outstandingly well on the test bench, returning a flat, extended frequency response, excellent channel separation, ultra-low distortion and vanishingly low noise.

iFi's just taken its Zen total to four – and we're not talking about Block Puzzle. 

The all-new Zen Phono is, as its name overtly suggests, a phono stage, and it's the first sub-£200 phono stage the firm has ever made. (For reference, the company’s recently launched flagship model, the iPhono3 Black Label, will set you back a cool £999/$999/AU$1699.)

The company's first Zen Series products – the Zen Blue and Zen DAC – both gained resounding five-star reviews from this publication, and there's also an analogue headphone amp called the Zen Can on the books, too. Zen Series products from iFi are typically desktop-sized and affordable, and this Zen newbie is no different.

iFi says that the Zen Phono's circuit design is like nothing else at the price, with a range of precisely engineered settings that ensure genuine versatility. Whatever the turntable, whatever the cartridge, iFi promises that the Zen Phono always delivers. 

Drilling down into its circuitry to assess those claims, the Zen Phono features a balanced, symmetrical dual-mono design. Reduced noise and crosstalk is the aim, and it's a method that has long been championed by engineer John Curl – a man whose analogue amp designs and phono stages have been lauded since the 1970s (interested? Have a look at the Halo JC 1+ and Curl's 16-year tenure at Parasound).

Curl is now a technical consultant for iFi and worked with iFi’s in-house technical team on the product.

In common with many iFi audio products, the Zen Phono incorporates a custom OV Series op-amp – in this case, the OVA2637. And it creates its own power supply off the mains in order to amplify the audio signal from the cartridge without adding noise, but it doesn't do it in a conventional way. The power supply circuitry is located on its own ‘island’ on the circuit board to ensure there is no contamination of the audio signal, too.

iFi says the Zen Phono is able to handle both moving coil (MC) and moving magnet (MM) type cartridges with ease. It offers a range of four gain settings, along with an LED panel to indicate your selection, from 36dB to 72dB: 36dB (MM), 48dB (high-output MC), 60dB (low-output MC) and 72dB (very-low-output MC), meaning that the Zen Phono should take even the more exotic MC cartridges in its stride.

Another rarity at the price-point is a subsonic filter, engaged via a front-panel button, to tackle the large subsonic signal output caused by warped records. A feature of all iFi phono stages, this proprietary circuit promises to filter out the unwanted subsonic output without affecting any deep bass on the recording – an undesirable side effect of some warp filters.

In terms of ins and outs, as well as the usual stereo RCA inputs and outputs (gold-plated for optimal signal integrity), the Zen Phono’s rear sports a 4.4mm Pentaconn balanced output, which can be used to connect to an amp or active speakers equipped with a balanced input – either a Pentaconn 4.4mm input (such as the one found on the Zen Can analogue headphone amp) or XLR inputs via an adapter.

According to iFi, even the way the Zen Phono switches between settings has been engineered to ensure sonic transparency. It's handled by a microcontroller that only ‘wakes up’ when a setting is changed to avoid any sonically deleterious electronic noise.

The iFi Zen Phono is available now, priced at £149 ($149 / AU$239).

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A phono stage is about as necessary to a turntable as sunlight is to photosynthesis – it is, after all, what amplifies a turntable cartridge’s very low output signal to an audible one. Some phono stages are built into turntables, while they can also be found in stereo amplifiers. Not got either, or simply want to upgrade? A standalone unit, such as the all-new iFi iPhono3 Black Label (£999 / AU$1,699) could be a solution.

Every iFi product we have so far tested – all DACs of some sort – has been feature-packed, and this MM/MC-compatible phono stage is no different.

A series of switches on the underside enable gain and load adjustment: gain can be set between 36dB and 72dB, while there are eight and five load values to choose from for MC and MM cartridges respectively. iFi has created an online ‘cartridge calculator’ to assist with matching up the phono stage to your turntable’s cartridge.

Got a wide variety of records? A toggle to switch between RIAA, Columbia and Decca EQ curves means you can tailor the sound to match specific records in your collection.

While it’s generally assumed that LPs produced from 1980 were made using RIAA equalisation, records released beforehand might differ and could sound better with the Columbia or Decca EQ curve engaged.

Of course, iFi has great confidence in the sonic performance of its iPhono3 Black Label too. It uses technology derived from the £12,000 PH-77 phono preamplifier from its sister company, AMR.

Its circuitry is direct-coupled, meaning there is no coupling capacitor from cartridge to output. A proprietary DC Infinity circuit is able to boost DC gain and, once the feedback loop is closed, cancel offset voltages while cleverly keeping gain and AC behaviour stable to prevent distortion creeping in.

iFi’s third-generation TubeState circuitry has been designed to enhance its solid-state design with the warmth and naturalness attributed to valve circuits, too.

With such engineering and versatility in mind, iFi no doubt looks to dethrone the Rega Aria, which has recently entered its third generation. We look forward to hearing if it can.

The iFi iPhono3 Black Label, which comes with iFi’s new 15V iPower X AC/DC power supply (£99 / AU$165 when purchased separately), is on sale now for £999 / AU$1,699.

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First previewed at the Bristol Hi-Fi Show back in February alongside the Rega System One, the third-generation Aria phono stage is now available to order for £899.

Essentially a "face-lift model", the British brand's latest phono stage features the same internals found in the second-generation variant but encases them in a new design that matches the latest Rega electronics, including the Planar 10 power supply unit and Aethos amplifier. 

It sits between the Fono and Aura Reference models in the company's line-up.

The Aria MK3 is compatible with moving magnet and moving coil cartridges, with stages for each having their own power supplies, input sockets and pre-amplifier circuitry. This has allowed Rega to design bespoke circuitry for each, run off their own sub-power supply. 

The MC section has resistive input loading between 70ohms and 400ohms and capacitive loading between 1000pF and 4200pF. The Aria MK3's MC settings will be factory preset for all Rega MC cartridges.

The Rega Aria is a What Hi-Fi? Award winner of yore, so we look forward to hearing the updated model.

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Just in case you've not been introduced (though in all likelihood, you have), German firm Clearaudio has been manufacturing quality cartridges, turntables and hi-fi separates since 1978 – a quick glance at the Award-winning Clearaudio Concept and its younger brother the Clearaudio Concept Active with phono preamp should put you right in the picture. 

Now, the company has updated two of its popular mid-priced phono stages, namely the Balance Plus and Basic Plus. 

The new Balance V2 (main picture) combines three key devices in one: preamplifier, phono stage and headphone amplifier, so there are options here for every type of vinyl spinner. The new V2 advances the technologies of the previous Balance Plus, while retaining the latter’s options for adjusting and fine-tuning to your particular system and preferences, moving between modes at the flick of a switch.

The Balance V2 features a fully balanced circuit design with independent circuitry for left and right channels, promising excellent stereo separation and a realistic soundstage.

Its volume control allows the unit to be connected directly to a power amp or to an active loudspeaker system. As well as the usual RCA outputs, the Balance V2 features balanced XLR outputs and a 6.3mm plug headphone output. A simple switch allows you to choose between moving magnet and moving coil mode, too. From there, the Balance V2 promises to automatically harmonise with almost any high-end phono cartridge without the need for further adjustments.

High precision RIAA equalisation boasts an accuracy of within 0.1dB, while an optional subsonic filter should deal with any unwanted low frequency noise. A separate power supply in its own sleek, resonance-shielding aluminium casing also promises to keep any potential interference at bay.

On to the second upgraded model, and Clearaudio is quick to tell everyone there's actually nothing ‘basic’ about the Basic V2 phono stage (pictured, above). Furthermore, we are not to be fooled by its cool, minimalist design. Within that sleek aluminium casing (available in silver or black anodized finish) lies, says the company, an inner world of highly refined features.

On the outside, there’s just one visible control: a single power switch on the upper surface. On the underside you can switch between moving coil and moving magnet mode. Like the Balance V2, Clearaudio promises that the Basic V2 is compatible with almost any high-end phono cartridge without making any further adjustments, but of course you can choose to fine-tune its parameters from a range of settings, if you want. An optional subsonic filter, for example, should attenuate any unwanted low frequency noise, while RIAA equalisation accuracy is again within a claimed 0.1dB.

The Basic V2 is billed as the perfect all-rounder for both audiophiles and music lovers. We haven't yet had the pleasure, but there's plenty to like on paper...

The Balance V2 and Basic V2 are available now, priced at £2,510/$3500 and £990/$1500 respectively (inclusive of VAT). More information and a list of dealerships worldwide can be found at Clearaudio.

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Audio Research is continuing its 50th anniversary celebrations with the launch of the Reference Phono 3SE phono preamplifier ($17,000), an update to its highest-performance phono stage, the Reference Phono 3.

The special edition product follows the recent launch of the Reference 6SE Line-Stage preamplifier, which kick-started the anniversary product line.

Aesthetically, the only difference between the REF Phono 3SE ($17,000) and its predecessor is that its back panel will bear its name, but internally key internal upgrades have been made. The new phono preamp is a result of the knowledge Audio Research gained in making its Reference 160-Series amplifier, and brings component and wiring upgrades onboard.

The first production units will ship in March, and will be available to current REF Phono 3 owners in May for $3000. Authorised service centres in the rest of the world will be able to install the SE update kits in their respective countries.

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It's pretty hard to find any new hi-fi at CES nowadays but in one corner of what's left of the high-end audio area we did spot a new TEAC phono preamplifier, the PE-505.

Due on sale this spring, for an as yet unspecified but probably not cheap amount, it's a dual mono phono stage that supports balanced (MC) and unbalanced (MM/MC) inputs from your turntable. The TEAC PE-505 uses differential amplifier circuitry throughout, whether fed a balanced or unbalanced signal.

The phono stage has a knob for selecting the RIAA correction circuit, as well as old EQ curves reportedly used on Decca and Columbia classic vinyl releases, effectively adjusting the tone of the amplifier in line to best suit certain records. There's also a control for adjusting load impedance and capacity to suit your cartridge, and a mono output function.

A compact design, there's an analogue gauge in the centre of the front aluminium fascia and a set of unbalanced and balanced inputs and outputs around the back. Available in black and silver, the TEAC PE-505 is due on sale in spring 2020.

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Anyone with even a passing interest in premium hi-fi can’t have failed to notice that Chord makes brilliant digital-to-analogue converters. Indeed, the company has truly dominated the quality DAC sector in recent years, producing a string of class-leading products from the portable Mojo (£399) to the high-end DAVE (£8500) that have left the competition floundering. 

Amid all that fuss, it’s easy to forget that Chord still makes analogue amplification, and has done so for the past 30 years.

Build

To help celebrate that significant anniversary, the company has launched the Huei phono stage. The Huei is built into one of Chord’s distinctive compact cases – similar to that used on the Qutest, our current DAC Product Of The Year – and it looks very smart too.

The casework has a luxury feel normally lacking in products of this type and is small enough to be tucked away unobtrusively on a shelf. There’s only one finish option and that’s black.

Around the back, there are the usual single-ended stereo RCA connections for input and output as well as a balanced XLR out option. Be careful when using heavy cables though, as the Huei is light enough to be dragged around by their weight.

While the Huei’s control layout looks simple, it suffers from Chord’s usual use of buttons that turn a different colour to indicate the setting chosen. Some sort of proper display would be more intuitive to use.

Features

The options for moving magnet and moving coil are simple enough, with the relevant button turning either red or blue respectively, but when it comes to gain there are eight colours, one for each step from 21-42dB for moving magnet cartridges and the same again for moving coils (49-70dB). But that’s modest compared to the 12 different shades that are shown by the impedance button to indicate cartridge loading values.

We’re happy that Chord has offered such a wide range of adjustment, but it’s hard to manage the settings without the manual. Still, this is something that’s usually done once on initial set-up and then only when you change cartridge, so it’s something we can live with. 

It only makes sense to spend this much money on a phono stage if your record player is suitably talented. We use our reference Technics SL-1000R with Kiseki’s Purpleheart moving coil cartridge for much of this test and then swap cartridges to Goldring’s still excellent 2400 to test the Chord’s performance with moving magnets. Vertere’s extremely talented MG-1MkII turntable/SG-1 MkII arm/Mystic MC cartridge package is also pressed into service.

Those expecting the Huei to dispense with all-comers in the manner of the company’s DACs are in for a disappointment. This phono stage is a useful performer, but it doesn’t set new standards for the price in the way the company’s digital products do.

Sound

We start with Orff’s Carmina Burana, and are pleased to find that the Huei delivers a nicely even sound – nothing sticks out, nothing grabs our attention, other than the music. There’s a good level of insight here, certainly enough to follow subtle instrumental strands within the complex musical score. There are some savage dynamic swings in this piece and the Huei handles them with composure and control. It never sounds rushed or fazed when things get demanding and keeps a firm hand on things throughout.

There’s plenty to like about the stereo imaging, which is open and stable. Instruments and sounds are confidently placed in the decently sized soundstage and don’t wander as the music becomes more demanding. There’s a pleasing lack of hardness and edge to the sound, which makes it easy to sit in front of for hours on end. 

Yet, compared to class leaders, such as the similarly priced Vertere Acoustics Phono-1 MkII (£1000) and the more upmarket Cyrus Phono Signature (£1495) there are things lacking. The Chord isn’t as dynamically expressive as these fine performers, nor does it sound as open or exciting.

We play Laurie Anderson’s My Right Eye, but the Huei doesn’t capture the track’s hard charging rhythm with as much skill or conviction as the best. It lacks a little punch and definition in bass frequencies and that leaves it sounding a touch rounded and soft in comparison.

It’s not all bad news though. Anderson’s voice is clear and nuanced. It’s rendered with convincing natural warmth and is nicely textured. The presentation’s level of clarity is pleasing as is the amount of detail the Chord reveals. We also note the phono stage’s ability to deal with complex music without confusion and like the way it informs without being clinical.

Verdict

The Huei is well built, compact and decently equipped. It may not top the class for sonic ability, but it is a solid performer that delivers enough in the way of insight and composure to be taken seriously.

SCORES

• Sound 4
• Features 5
• Build 5

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If we had to pick one highlight of the multi-Award-winning Clearaudio Concept turntable, it'd be its excellent all-round sonic performance, natch. But subsequent praise would soon regard the ease of use of its 'plug and play' design, with its moving-magnet Concept cartridge fitted and weighted straight out of the box.

But how much easier would it be to be able to plug the turntable straight into a preamp, integrated or power amp – or even a pair of active speakers – as opposed to needing to a separate phono stage, or an amp with one built in? How much neater would it be if you could plug headphones straight into the deck? Well, such questions have been considered and answered by Clearaudio with its latest product.

The new Concept Active, Clearaudio says, "takes high-end simplicity to a whole new level", integrating a phono stage, preamplifier and headphone amplifier into the original Concept's design. So if owners of the deck want to listen to their records through headphones, a pair is all they need. And through loudspeakers? The Concept Active can be plugged straight into a power or integrated amp, or a pair of active speakers. 

On paper, Clearaudio has taken the Concept's 'plug and plug' design and made it even more complete.

The Clearaudio Concept Active is available now, priced from £2000 to £2910 depending on finish (black, black and silver, wood birch finishes) and cartridge (Concept V2 MM or Concept MC).

Today, Clearaudio has also released a power supply upgrade from its Concept and Performance DC turntables. The Smart Power 12V (£630) is a battery-based DC power supply that, the company says, combines intelligent circuit technology with long-lasting nickel-metal rechargeable batteries and a minimal output impedance to deliver 12 volts of steady, noise-free power.

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Chord Electronics has unleashed its 30th-anniversary phono stage to the world. The Huei was first unveiled back in May at the Munich High End Show  and it marks the first time the British company has added an ultra-low-noise microprocessor controller for controlling its main features.

The Huei shares its form-factor ethos with the 2019 What Hi-Fi? Award-winning Chord Qutest DAC. Its space-saving chassis is milled from a solid block of aircraft-grade aluminium and includes Chord's top-mounted viewing bubble where you can admire the illuminated custom electronics.

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Naturally, there's also Chord's polychromatic control spheres to cheer things up and bring quick access to the seven-stage switchable gain, rumble filter and impedance settings.

Chord promises compatibility with a huge range of cartridges including those with both moving coil and moving magnet functionality thanks to its impedance-matching and switchable rumble filters. There are also both balanced RCA and unbalanced XLR outputs, and RCA inputs. A 12V power supply is included in price.

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The idea of a phono stage from Rega Research costing nearly £4000 is still surprising. It’s not that the company can’t make products at this level – it has done so for many years – but with the heart of the brand so clearly at more affordable levels, it makes the Aura stand out.

Rega is ever mindful of value, and so has been careful to avoid the current fashion for outlandish prices, even for its most premium products. The limited edition hand-built Naiad record player (£30,000) aside, all are pitched at the first step of high-end hi-fi, with the Isis CD player and Osiris integrated coming in at around £6,500. Surprisingly, the current series production range-topping turntable, the RP10, tops out at a relatively modest £3149 without cartridge. 

Until now the company’s most ambitious phono stage was the Aria. This £839 MM/MC unit remains one of the most capable performers below the grand mark, delivering a sense of musical cohesion and energy that’s hard to better at its level. But the huge price jump to the Aura has us wondering whether Rega can actually produce something good enough to justify that sizeable chasm.

Build

Taking the Aura out of its packaging is enough to convince us that it’s a rather different proposition to the cheaper sibling. At 13kg, it weighs as much as a typical premium integrated amplifier and its casework exudes a rigidity that inspires confidence.

The Aura’s build quality is impeccable, with a superb fit and finish and an impressively precise feel to its controls. This phono stage is designed for use with moving coils only, which is fine considering the vast majority of cartridges used in this part of the market are of this type. 

If you’re the kind of person who routinely swaps between high-end moving coil and moving magnet cartridges this Rega isn’t for you. Instead, we would point you towards the likes of Luxman’s terrific £5,000 EQ-500.

Round the back, there are standard single-ended sockets to connect your record player and a choice of both single-ended or balanced XLR outputs. That’s all most will need, though at this level it isn’t unusual to have more than one turntable or a deck with more than one arm, so multiple inputs would have been nice.

Features

Phono stages, particularly those that focus on just one type of cartridge, don’t tend to have much in the way of features, and the Rega doesn't buck the trend. Aside from power, there’s a gain switch that changes the level from 63.5dB to 69.5dB – enough to cope with most moving coil cartridges on the market – mute and a mono option. Electrical loading is adjustable, with resistances from 50-400ohms and capacitance options between 100-5700pF. These are sensibly chosen values that will suit most partners.

Some top end rivals offer a choice of equalisation curves. It’s a niche thing, but so is a phono stage of this price. While the industry standard RIAA curve incorporated here is optimal for recordings from around the mid-1950s onwards, those with older discs won’t get the best out of them using the Aura. Whether this matters to you is down to the age of your collection, though the Rega will still produce a fine sound, even if it’s not optimal. 

Look inside the Aura and you’ll see a three-stage symmetrical FET (Field Effect Transistor)-based main circuit board packed with good quality components and driven by a generously specified power supply. The design is based around a clean, uncluttered signal path to maximise performance and keep the musical integrity of the cartridge’s signal intact.

Any phono stage at this level demands a high-quality source and partnering equipment. We use our reference Technics SL-1000R record player (with a Kiseki Purple heart moving coil cartridge) to good effect. The rest of the system is made up of our usual Gamut D3i/D200i pre/power and ATC SCM50 speakers.

Sound

It doesn’t take the Aura long to impress. Within minutes of powering up we’re noticing clear improvements in resolution and precision over our normal reference, the Cyrus Phono Signature/PSX-R2 (£2,290). Of course, given the difference in price between the two products we’d expect better sound, but even so, the Cyrus combo has stood up to pricier alternatives with ease.

The Aura’s character is clean, crisp and articulate. It takes a complex recording such as Radiohead’s 15 Step and presents it in a wholly organic way. We’re impressed with its ability to track the leading and trailing edges of notes with precision, but most of all by the way it resolves so much information and assembles it in such a musical and organised manner. 

The Rega is an exciting listen, squeezing every last drop of energy from the signal. But, it doesn’t ignore the subtleties either. There’s nuance to Thom Yorke’s vocal and we revel in its passion.

Moving to Kind Of Blue by Miles Davis shows off the Aura’s even, open tonal balance. It’s got more sparkle at the top-end than most alternatives we’ve heard, but this isn’t an issue unless the rest of your partnering system is bright or aggressive. That sparkle gives the Aura’s presentation plenty of immediacy, which just draws us into the music.

The Aura’s clarity is class leading, as is the way it renders the dynamic envelope of instruments. It’s a bold, upfront presentation that makes up in entertainment what it loses in image depth, refinement or outright spaciousness.

Alternatives such as the Luxman are more laid-back in their approach, offering greater sonic smoothness and a more expansive sound stage, regardless of the recording. The EQ-500 is also far more flexible, offering moving magnet compatibility and a range of other useful functionality the Aura can’t match. Also, the Rega has a more demanding nature, and will highlight shortcomings in the record player and source material more readily.

The Aura has the upper hand when it comes to rhythmic drive and sounds more dynamically expressive. They’re both fine products, and the choice depends on taste and partnering system as much anything else.

Verdict

We really rate the Aura. Its combination of agility, dynamic expression and rhythmic coherence is deeply impressive. If you have a system that can make the most of a phono stage of this level, dive right in. You won’t be disappointed.

SCORES

• Sound 5
• Features 3
• Build 5

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The original Quad Vena integrated amplifier arrived on the compact-amp scene in 2014 as one of the more fruitfully-featured amplifiers of its then-£600 price, with hi-res support, Bluetooth and USB, optical and coaxial inputs. That was one of the reasons we awarded it a glowing four-star review. 

Naturally, such compatibility and connectivity has become more ubiquitous at this price point over the years. More pressure has been put on manufacturers to cater for the vinyl revival by including built-in phono stages, too.

The new successor to the Quad Vena, the fittingly-named Vena II, brings an MM phono input onboard, then, in addition to DSD (up to DSD256) and expanded PCM (up to 32-bit/384kHz) file support and numerous internal developments.

On the latter, the Vena II keeps the Class AB-type power amp but features an upgraded power supply.

The new inclusion of the Sabre32 Reference ES9018K2M DAC introduces ESS Technology’s 32-bit HyperStream architecture and Time Domain Jitter Eliminator technologies, and Quad says op-amps in the post-DAC active filter’s circuitry have been specifically chosen for their synergy with the DAC. 

Rather than connect the headphone output to the amp’s main output stage, as the Vena did, the Vena II now incorporates a dedicated headphone amp, too, which should improve the sound quality you get through cans.

In addition to four digital inputs (two optical, one coaxial and one asynchronous USB), three S/PDIF sockets (one coaxial and two optical) and three RCA inputs (two line-level, one MM phono), there are single optical and digital outputs, as well as pre-outs for adding an external power amplifier.

The 31cm-wide chassis is familiarly characterised by a row of source-selection buttons and a large volume control, and is available as standard in ‘Lancaster Grey’ (£649) or in premium ‘Sapele Mahogany’, ‘Gloss Black’ or ‘Gloss White’ finishes (£749).

The Quad Vena II will be available imminently - and can be bought with a pair of five-star Quad S-1 standmounts for a special price of £999, offering a saving of £150.

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