2. analog
  3. 176006-33969

Solid State Phono Stages

I used to be an all-tube guy, but I’ve now ventured into the realm of high-end solid state with T+A and no longer have any itch to go back heavily into tubes. Now, the only tubes I have left in my system are in my Modwright PH9.0X phono, and from what I’ve demoed against it, it seems to be a giant killer. I do love it, but I’m curious to try a higher end solid state phono stage to see what more noise and more music might sound like. Unfortunately T+A does not have a standalone phono stage, so I’m looking at other manufacturers and open to other opinions.

I currently have a Clearaudio Innovation Wood table and Air Tight PC-1s cartridge. i listen to a wide range of music, from Zeppelin to Vivaldi to Beck to Coltrane to Yello. The stage would ideally have between 65-74db of gain, maybe adjustable to 60db at minimum, and have variable impedance values. A balanced output stage would be ideal. I don’t ever really plan to have a second arm, but most stages that retail over $7K tend to have multiple inputs anyways.

My budget would be at tops ~$8K for a used unit. The unit that is sticking out to me from what I’m reading about is the Simaudio Moon 810LP. Another high on the list is the Esoteric E-02. I’ve also come across the Pass XP-27, the Gold Note PH-1000.

I’m looking for a stage with some personality in its character, not one that is overly refined. I’d love for it to be dynamic and bold when it should be, and also gentle and refined when it should be.

The only solid state stages I’ve ever owned and tried were the Pass Labs Xono, which was clean sounding but a little noisy and brittle sounding compared to a PS Audio Stellar Phono. I’ve liked all my tube phono stages better than both of those units.

I’ve also considered going further up the tube stage route, looking at Doshi 3.0, Aesthetix IO Eclipse, but I’m hesitant unless I can hear those in place. 

What solid stage phono stages have you loved, and what have you compared them to?

128x128Ag insider logo xs@2xblisshifi
wspohn's avatar
wspohn
607 posts
 

I use three different phono stages in my systems, two solid state and one tube.

We did a shoot out on my main system recently - my Vendetta SCP2-D against a Herron that had been updated to Herron VTPH-2.

Signal came from a Koetsu Urushi/SME V/ VPI TNT V.

It was a stand off with the exception of the Herron being slightly better in the higher frequencies. I adjusted the cartridge loading and they were a dead tie.

lewm
13,110 posts
 

Pindac, Please forgive me for my ignorance, but in at least two posts on this thread you have referred to "hooks".  What's a hook?

pindac's avatar
pindac
2,864 posts
 

It is a term used by Guitarists to describe their insights to produce a uniqueness to the sound they are capable of creating.

BB King once stated something like, " If a very well known Guitarist is Front Row  at a show, turn your back on them, as they are there to steal your 'hooks'. "

Jeff Beck is renowned for being the Guitarist who has had most 'hooks' plagiarised.

EE's who I discuss things with use 'hook', it is this terminology that suggests there is experiences being used to produce a sonic, that is manifesting from the creation of a unique circuitry/topology or component treatments that are instrumental in creating a unique sonic signature.

This is where Bespoke Design/Built is difficult to describe, it is not something readily available to be heard in use. Assessments made are for the best, if an experience has been encountered, the impression being made on a listener is then much better understood.        

lewm
13,110 posts
 

So a hook is a characteristic coloration that pleases the listener(?) Because electric guitars are deliberately distorted at the source.

pindac's avatar
pindac
2,864 posts
 

If that is your understanding at this point, then I will leave it there.

I am much more comfortable with and would prefer to suggest, that in relation to an Audio Device, the Hook is the method used by the very experienced EE, to remove/minimise the perception of a colouration being present in the produced sonic.  

Maybe it will be better identified, if a visit to the last few pages of the Thread covering the recent released design for a 300b.

The Engineers offering descriptions are in my view, whilst also being careful in how they reveal information relating to a Hook or Design founded through their own experiences and specifically utilised for the Circuit/Topology of the 300b Design under discussion. 

I 100% support the protective nature/ring of steel, that an EE's can request to be in place relating to their work.

It is my sensitivity toward these requests and my proven track record for 'keeping mum',  that has been instrumental in my being invited to experience a selection of Prototype Designs being produced over the past years.

From the EE's perspective a set of ears without ulterior motives is surely something valuable to have at hand.

More to discover