Graham Slee Reflex M review

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 altogether 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.

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