Solid State Phono Stages

That's a fine kettle of photons.

@lewm just this very moment i am working on a quad paired photon vinyil replay system… for stereo…. I’m at an impasse getting the ears to see the light…

I believe Jeff Lynne was on to this…late 1971

Bliss is a very good guy, but I have to agree with the SR critics, as noted. I am an MD/ molecular biologist with 40+ years experience at the lab bench. Had some wonderful physics teaching in college but have no advanced degree in the field. However, I build and repair my own audio gear and have been studying various aspects of electronics since my retirement 6 years ago and in my spare time for at least an additional 25 years. . Some of the ideas promulgated in the audio world, especially ones that invoke quantum mechanics or a quantum effect, are as laughably wrong or impossible as the speeches of certain politicians.

 I consider SR to be one of the worst of the snake oil companies which are a blight on this hobby. Regarding their explanations for their products, they are nonsensical BS

Couldn't agree more. Would never consider SR based on their BS

Lol, I have an electrical.engineering degree from MIT. So, I don’t need an education in EMI. I consider SR to be one of the worst of the snake oil companies which are a blight on this hobby. Regarding their explanations for their products, they are nonsensical BS. They consistency appropriate and misuse terms that have actual meanings in other context. Ted Denney has absolutely zero engineering background aside from his role at SR...

I’m not repeating a non-sensical explanation, rather trying to simplify a complex topic. If it isn’t helpful or making sense for you, then you should either learn how to be curious and inquire for more explanation or do some investigation on your own rather than being a troll. There are multitudes of resources on how EMI affects electronics, let alone audio equipment. There are even discussions on other past threads on this forum on the theory, benefits, and implementations of faraday cages, which I believe the SR Tranquility Bases are based on. This thread’s purpose is not about explaining the nature of EMI and how to eliminate it, but rather a documentation of my journey to find a phono stage (which I did), by soliciting guidance from the community, which has largely been quite helpful, and sharing my learnings back.

It is your comments that are not helpful at all, and your responses which are not helping your case, so just stop and let the thread stay its course without you taking it down in flames.

My comment stands.  Repeating SR's nonsensical explanation for their products doesn't help your case.  If you hear a difference, that all that matters I suppose.  Hopefully, the difference is positive.

Current reference is my Audio Flight FL

Also, not to make this thread about SR, but to provide you with further understanding of the functionality of the Tranquility Base Carbon - it does not block or absorb EMI, but it does generate a magnetic field designed to surround the component. This field drives uniformity in electromagnetism rather than blocking or absorbing it, but it is redirecting it. 

Rather than getting into debate about this further and detracting from this thread’s topic, I’m happy to take this into a separate thread if there are inquiries, or converse over PM. 

@lewm - I wasn’t calling you out, my apologies. I was more just referring to the previous replier saying that it’s sad that the thread ends with SR. That is a very closed-minded statement that is quite baseless. I had no issues with what you personally shared and appreciate you providing more context.

That’s not quite a fair summation of my comment. I only pointed out that the stated mechanism of the base is at best questionable, because there are many reasons why it cannot possibly block or absorb EMI from the component. I then did acknowledge that it may nevertheless be beneficial in some way, but not by blocking or absorbing EMI. I am not a physicist, so if there is a flaw in my reasoning, I am happy to learn and would admit to an error, if I made one. Likewise, SR make some other questionable claims regarding some of their tweak-y products, like the PHT, which is referred to by SR as a "transducer". That word has a specific meaning, and although I have never seen a straightforward explanation of how the PHT works, I don’t see how it can be called a transducer, at least in common audiophile parlance where a transducer either converts mechanical energy into electrical energy (cartridge) or vice-versa (speaker). In the early years of SR, there were other problematic claims regarding their ICs. None of this is to say or prove that the products don’t sound good or improve SQ.

@gwgjr31 What I think is sad is that people take this tone with a brand when often they have no experience with it. The fact that I found value in an accessory that made a significantly positive improvement on my phono stage of choice is nothing but a positive thing. The fact that others try to negate it without having experienced it is what is sad. If anything, people should be happy about learning about the finding, considering that the BMC with one of the Tranquility Base Carbons still outperforms the Simaudio Moon 810LP, a very highly regarded phono stage, at half the retail price. Of course, my outcome won’t work for everyone as the BMC phono stage’s performance will depend on the synergy of the phono cartridge that is used (low-impedance MC cartridges are required), but I am absolutely ecstatic with the level of performance I am getting. In fact I just purchased a second BMC MCCI Signature ULN for a second turntable (that I am custom-building). 
 

Synergistic Research...... a sad ending to this thread.

A friend who has produced a range of electronic designs for audio usage, that have at the debut demo's been thoroughly impressive, makes it known if the extremely expensive EMI protection material they have access to as off cuts in used in the circuit to protect choice components. 

I would like to think their own build experiences has shown just how valuable a local EMI protection being utilised is beneficial to the end sonic.

All members of the local HiFi group have been gifted sample pieces of this EMI Protection material to find their own ideal place for it, if they choose to do so. 

@lewm Fair point that even as a dealer I may not fully understand what is happening scientifically to address the sonic impact from the Tranquility Base Carbon, but I will say this. It is an ACTIVE platform, not a vibration isolation platform. It is not hooked up to the signal path, and when enabled, makes a very audible sonic difference in the qualities I mentioned above. It is very easy to A/B, and anyone I’ve demoed it for in the last two months who has their eyes closed has been able to tell when it is on or not. It’s that obvious. If it is not combating EMI, I’m not sure what it’s doing, but I would believe it has something to do with electromagnetism.

I re-read this thread. I thought I must have put in a plug for the Essential 3160 Phonolinepreamp, but apparently I did not, maybe because there are not that many in existence and because the 3160 is out of production. Anyway, this is the first solid state phono stage and linestage that makes me forget what it is made of. It’s every bit as pure and authentic sounding as any tube phono stage in my experience, in fact better than any, with the qualification that I also love my tweaked Atma-sphere MP1. Raul and Jose are back in production now with a new model, the 3180, which is said to be upgraded from the 3160. Not cheap but something to think about.

Bruce, if you do a little reading on electromagnetic fields (EMI), you will see that there is no theory to support the notion that a shelf that emits EMI could possibly cancel the EMI from a nearby component. To begin with, EMI is not only radiation into the air around an electromagnetic component, it is also put back into the circuit, both forward and backward on the wiring. No external source of EMI can cancel that. Second, one field might cancel another if the two are exactly out of phase with each other, but that is nearly impossible to arrange, and since there are several potential sources inside any component, all fields are unlikely to be precisely out of phase. The way to prevent radiated EMI from having an effect on nearby components is with shielding, and it’s well done inside any well built audio component, particularly in the BMC MCCI. The very fact that good equipment is shielded, at least between an internal PS and the audio circuitry, would also interdict any effect of an outside source of EM radiation. Synergistic Research is a frequent source of misleading or incorrect info about its products. This is not to say that the shelf itself might not be a good sounding shelf. I just hate to see their BS go unquestioned.

It’s been a long time, and I’ve reverted my decision on my phono stage of choice and thought to update this thread in case anyone has interest or finds the information valuable.

The last step I wrote about was selling my BMC MCCI Signature ULN phono stage after evaluating it against the Simaudio Moon 810LP. In stock mode, there are tradeoffs between each phono stage, where the Moon is more liquid and refined, and the BMC had the upper end in realism, delivering more presence and a lower noise floor, but at times sounding overly technical and less graceful.

Well, after a year of having owned the Moon and living without the BMC, I found myself missing the presence the BMC brought. I tried upgrading cables and fuses inside the 810LP, but it did not get me closer to what the BMC brought. I ended up purchasing a different BMC MCCI Signature ULN on the used market. This time, I employed one of Synergistic Research’s Tranquility Base Carbon platforms underneath, which generates an electromagnetic field around a component to combat surrounding and internal EMI. What a difference it made! The BMC became ever more present, while any etched nature it may have brought has been wiped away. It sounds purely realistic and natural. I’ve now had the BMC and Tranquility Base Carbon in place for at least six months, and I can honestly say I have no desire to move from this. I can back that up by also sharing that I bought a second BMC phono stage for a second turntable I am building.

The BMC is here to stay. I’m glad to have sold the 810LP to a happy owner and make my money back. But also for anyone reading, if you haven’t tried a Tranquility Base Carbon under your phono stage, I highly recommend it!

Please keep in mind I am a dealer for Synergistic Research, so take this info how you will. I have no affiliation with BMC aside from being a very happy owner, but I am proud to call it my reference stage.

My last few listening experiences have been all about the 300b.

I have been introduced to a P-P 300b produced in the 90's, with an overview of the pre production design carried out by Tim De Paravicini, the Tranx's Winding are certainly being described as TDP Legacy.

I have been demo'd this on three occasions over the past weeks.

Once in the owners system and compared to their VAC Integrated Amp, that the 300b is seemly superseding.

The Second, in the same system but used to present the demo' of recent changes to a Tonearm nearly at its final finish as a design.

The most recent being in another system and compared to the resident Power Amp in this system. The 300b had undergone scrutinization of the circuit and components, and had undergone changes made to the circuit prior to this latest demo'.

Not at any time has it presented a sonic that can be described as unattractive in any way. When driving the Klipsch Jubilees, the experience was something quite special, I was feeling very blessed at the opportunity to be present.

During the last demonstration, the modified 300b Klipsch Horns, was eventually  used in conjunction with my Prototype Pre-Amp being built. I feel confident in claiming the experience was underpinned in a way that was unimaginable.

This Month there is a demo' being arranged in another system using SET 300b Monoblocks.

My 845 Designer/Builder has last year completed a 300b build for a customer with a long term relationship as per mine. The Designer/Builder is keen for me to make an arrangement to meet with this customer and experience this 300b Amp' in use.

I'm a little stretched at present and can't fit it all in.

I still have not arranged to visit the Verismo Owner who kindly offered a demo, or the builder of the DML Panel Speakers I supplied a material sample to for trialing purposes, which went down rather well, and further supplies are being requested. 

Along with this, there is the need for me to be available for supporting the recent decision to invest in to a SS Phon'.

The Trials agreed that can be undertaken, on this design, that is already very attractive in use. Will allow for me to supply components of my choice to be added, with the intention to tweak the design to my unique preference.

The too and from the EE, Will absorb at least Four visits, adding up to approx' 1000 miles in round trips. 

I would really enjoy the opportunity to receive a demo' of the Verismo through this Phon'.  

I’m just questioning the semantics. If a hook is a design element that leads to exceptional neutrality, then it ought not to be analogized to a guitar amplifier, which is deliberately designed not to be neutral. If I were designing a tube amp for exceptional neutrality, the first thing I would do is not use the 300B output tube. This is not to say I categorically dislike 300B amps, but they do have their inherently non-neutral character at frequency extremes while also capable of a heavenly midrange when paired with the right speaker.

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.

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

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.        

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?

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.

Not too long ago, I have made it known, I am a Valve Phon' individual who has come to this place after being a user of SS Phon's.

I do admit the change to a Phon' with a Tube Input/Output, took one to be Bespoke Produced for myself.

Over the past few years, I have been an invited guest to offer a assessment on a SS Phon' Design that has been undergoing R&D as a Prototype.

During this span of time, I have also been invited to be auditioned / demo'd a selection of Phon's, mainly SS, of which some are DIY Builds and one other being the being the Phasemation EA-350.

It was not until I was demo'd the Phasemation, that I could even suggest I was hearing a Phon' had a remote comparison to the Prototype Phon' I have been familiarised with. Without both Phon's side by side compared, my thoughts are only that, merely recollections of two produced sonics with quite some time between each of the experiences encountered.

More recently something happened as a result of having my first demo' of my Pre-Amp' that is being built for me.

The outcome being that I have now developed a curiosity similar to the Threads OP, where I am very curious, to learn how a SS Phon' will present in my system, when supported by my new pre-amp's.

For myself this is quite a profound shift, as I thought I was limiting myself to discovering how a few SUT's from the same designer/Brand were to perform as a home demo'.

The SS Phon' curiosity has evolved in recent days further.

I have discussed with the EE/ Designer and in my case Builder (This Phon' is already available to be purchased a Commercial Sale Item)  a Bespoke end Build for this design of Phon'.

lt will be initially unique from the off set, in keeping with my Pre Amps, as the cases will be produced from Densified Wood.

Where the Bespoke will come, is that I will be suggesting a selection of Components to be used, that I have come to learn as being very valuable when added to a circuit. (I have yet to attain permission from the designer of these hooks for components to be able to use them). The end product will be attuned to my own preference using the design that has already thoroughly impressed as the measure for the changes to the sonic be put in place.

I though I was spent with Vinyl as a Source, where I had a arrived at a place where  my only concern is for the care/preservation of the Source Material and the careful looking after of a Cartridge.

Hey Ho, no more rolled up trouser legs having a paddle, it is back in the water and  having a swim, fortunately in trusted water.  

Ayre is releasing their brand new phono pre in Q3. That should be on anyone’s list.

@lewm Yes, I absolutely meant 2-3 hours, thanks for the correction, as well as shining some light on capacitance. Your wisdom is always appreciated.

In my last paragraph above, replace “amplifier “ with “preamplifier”.

Capacitance alone doesn’t tell you much. Depends also on the B+ voltage developed in the supply. Tube devices develop high voltages, e.g., 250V and higher and require less filter capacitor. SS devices usually operate at or below 100V, but 100V would need less filtering than say 25V. Also Class A devices place different demands on the PS, compared to Class AB or B. That can be ignored since preamplifiers are nearly all Class A.

But manufacturers commonly tout massive capacitance as an unalloyed virtue and offer “upgrades” where adequate filter capacitance is replaced by even more than adequate capacitance. This can help in a Class AB amplifier but I’m skeptical how much it helps SQ of a preamp, providing the original filtering was adequate.

Bliss, I assume 203 hours means 2-3 hours. I keep the PS of my SS amplifier on standby at all times. Then when in active use it takes 30 to 45 minutes to bloom. (This is not about the BMC, which I keep on at all times.)

I guess I have updates as well, which fit with @lewm's statement above. I used some funds from selling the BMC MCCI Signature ULN to acquire a Simaudio Moon 810LP. It is a very different beast from the Audionet PAM G2 / EPS which I documented through this thread, but also different from the BMC. In some ways, it falls between these two units, and part of me is still longing for just a little bit more. This is where I need to ride it out with break in.

I previously described the Audionet as balancing soul, body, and detail, but it surely does not have the snap and immediacy of the BMC. The BMC, on the other hand, I found to have unparalleled clarity and separation, but at times at the expense of the music gelling and flowing, and I found myself listening more analytically vs enjoying the music as a whole.

The Simaudio Moon 810LP definitely has more clarity and separation than that of the Audionet, but it is not as pronounced as my experiences with the BMC. The 810LPs tone is very natural, and the pacing and presentation is just wonderful and holographic. It is still just a tad bit dry for my tastes, but I would probably think differently if the bass and midbass filled in a little bit more. And here's where I hit the snag. For some reason, the bass and midbass is just weak, and it makes the unit sound thinner and more dry. I bought the unit as a distributor demo, but it never really had any use. What I've heard is that it takes up to 500 hours to fully break in and settle, and I'm only on about 60-75 of those hours. I may also need to play with the loading, which is a bit frustrating because it is under the unit and requires me to disconnect cables to adjust. What's worse, as Lew mentions above, it takes about 203 hours after powering the unit on before it fully warms up and sounds great again, so many have advised me to leave the unit on at all times.

The unit has only 40,000uF of capacitance reservoir, which is still quite high, but nowhere near the 100,000uF of the BMC or the 250,000uF of the Audionet. Perhaps the 820s power supply could help me achieve what I feel is missing, but overall the 810LP is a very admirable unit, and I'm betting the break in period will be revelatory.

If anyone else has an 810LP (hint @rauliruegas), I would appreciate if you weigh in on your break in experience if you had to endure it!

Kucharsk, I have no opinion as to your ARC vs the Boulder phono, but if you truly gave it only a 5 minute listen, you never really heard it in your system. As Pindac notes , solid state gear needs to warm up (literally) to sound its best. In my experience with a different SS phono section, this can take as much as an hour and might take longer after being transported to your home from a dealer. My particular SS phono can take longer to warm up than my all tube phono.

From my experience of having listened to New Devices be it a Home Built Design or a New Off the Shelf design, the ones regularly encountered usually takes about 100+ Hours to deliver close to their best.

Additionally, with a Phonostage, especially a valve, but I do know this extends to some degree to Valve Hybrid and Solid State a period of pre warm up, is without doubt beneficial to the SQ that is to become available.   

To allow a minimum pre use time for an assessment on a Phonostage, is limiting to the experience that can be encountered.

A Valve Hybrid, I have as an alternate design of Phon', was quite ungathered in the lower registers for a few weeks before I got a hint of what was to come, later down the line the Bass is as enjoyable as the other owned Phon' even if a little different in the overall presentation.    

Kind of late to the thread, but I will just say I have an ARC Ref 2 SE Phono and demoed a Boulder 508.

It took less than five minutes of listening to the 508 before I had it unplugged and ready to go back to the dealer because though it was very good for a solid state phono stage, it clearly (to me) came nowhere near the ARC in a variety of different ways.

The best summary is it sounded rather “solid state.”

I’ve been trying to audition a Boulder 1108 for a few years now but my dealer could never get Boulder’s demo sent to them, even during COVID.

Try and source a Vendetta SCP2A - or derivatives - and don’t worry about a phono stage again. 
I personally am not a fan of tubes although I haven’t tried enough to give an ipso facto critique. That said if you want a musical phono stage both those from Tron and the EAR834p are worth a listen

@vonhelmholtz I decided to let the BMC unit go. I have to say it is impressive in every way for its price point, and while it may have done some things technically better, the Audionet PAM G2 with the EPS power supply just delivered greater musical satisfaction and helped me to feel and fall in love with the music more. The Audionet has greater control settings for impedance, conductance, etc, allowing me to better tailor the tone and frequency response, and it does an excellent job of balancing soul, body, and detail.

The BMC does demonstrate greater separation of instruments and delineation overall, but for me it was to the point where it started sounding like the instruments were playing individually and not towards a shared goal. This is absolutely a personal experience and not an objective one. Should the rest of my chain have been less resolving or introduced a bit more bloom, I would likely have settled on it in a heartbeat. The well-known Agoner that I ended up selling the unit to is quite critical in his equipment and sonics seems to be very pleased with the unit.

I guess I should say that the evaluation is not over. @overthemoon and others who have encouraged my itch for the Simaudio Moon 810 LP, I am finalizing a trade deal for one and hope to have it in possession next month. I would like to demo that against the Audionet and will again keep whichever I prefer and sell the other. Should I enjoy the 810LP, I will not hesitate to purchase the 820S power supply to improve upon it further.

I have a Moon 390P and it has an internal phono stage using some of the technology in the 810P and it's a shocking good phono stage.   

I used to have a McIntosh C2600 and evaluated the 390 as a DAC/Streamer as an upgrade to the Node 2i and it ended up replacing them both because I was impressed with the phono preamp and it let me consolidate boxes.  

I'd also encourage you to consider Moon's 610P and the entry Boulder phono preamp.

Did the OP come to a final decision?  Reading this thread has me curious?

@thiefoflight 

Thanks for the update.  Honestly, your experience with both phono stages is a classic audiophile conundrum - what do I like better on any given day with any given recording?  Apples and oranges as they say.  Good luck!

I have on regular occasions been in in a position to experience two phonostages.

I have had the option to use different Tonearms and Cartridges, but experiencing these does not in my experiences, impact on the presentation in the same manner as changing the signal path via the Phonostage.

To work with the impressions that can be made, I have a few resident SUT's but have had the loans of other SUT's and Head Amp's.

There is something about the differences a Phonostage can have on a replay, and the want to learn much about this has led me to be party to numerous demonstrations of devices.

I have come to learn there is a small selection of Phonostages I would be happy to be with, would I like to have them all at home and select one that supersedes all.  No I would not, I like the memory, the recollection and the want to get out and encounter such wonderment once more.

It is very satisfying to be in the company of a device that makes such a positive impression and creates a real feel good factor, but for all these strengths, is not enough to tempt one of their much enjoyed owned devices. The experience of being able to gauge where a system is and know that any alterations will be a change only, but mot a change for the better is a comfortable place to be.

The differences recognised between the devices, and the alternate usage of each device, is almost a selection to suit a mood, and ones mood is usually dictating the Genre selected to be replayed, the alternate usage is certainly not an attempt to improve the system. I am suspecting this is where the OP is finding they have arrived at with their options for the two devices available at present.

@thiefoflight the VIDA replaced a Lamm LP2.1 Deluxe. The VIDA matches the Lamm in terms of resolution but is much more quiet. 

@jeff1225 Thanks for the clarification. While I likely won’t purchase it anytime soon, I am still curious about it. What phono stage did you own prior, and what were the notable differences that the Vida brought?

@thiefoflight I got the name wrong and the system wouldn't let me edit. I have the VIDA MKII and I'm very pleased. It's dead quiet but still extremely engaging.  

@jeff1225 Did you mean the Aurorasound Vida MkII or a Viva Fono? The Viva Aurora is a massive set of 845 monoblocks. I’ve owned a Viva Linea preamp, and it was beautiful but somewhat obscuring. I did have curiosity about the Aurorasound Vida before.

That said @palasr and others -  I’m now quite happy with the two stages I have and am still evaluating which I will keep for the main rig. The BMC MCCI has really come to fruition the last two weeks, but it does have a very different presentation from the Audionet. I relate the BMC to an OTL amp. It is incredibly clear, like nothing is held back in terms of presence and resolution. But the forwardness of the presentation inhibits soul from being at the core of the music. Not much, and I likely would not be picky if I didn’t have the Audionet as well… but I do. The BMC continues to be more forward, and over time feels slightly more fatiguing. The Audionet on the other hand is a bit more refined and confident sounding, like it’s not trying to prove anything. It just delivers music and has an incredible flow with incredible resolution.

I would say that the BMC does let me hear things that I wish the Audionet could do. The imaging at most times is incredibly holographic. The sense of space and separation between instruments is stunning. But sometimes, it makes it feel like a number of musicians playing separately and the gel factor doesn’t hit me like it does with the Audionet. The moment I put on the Audionet, I miss some of the presence from the BMC and it takes a while to get used to, but I feel the music more, and it most times gives me a stronger and more fulfilling emotional response.

I am still playing with the settings of both units. The capacitance and resistance settings of the Audionet do effectively fine tune tonal balance and presentation. The  BMC has different types of settings for providing a warmer sound and standard RIAA vs Neumann RIAA curves. That combinations of the two do make notable differences in the presentation, and I need to sit with both units more. 

but to be clear, while I love them both equally, it is not to say that they are anywhere close in their overall presentation to each other. They are completely different beasts, both whom deserve to be loved. 

More to come in a week or two. 

I have purchased a Viva Aurora MkII and think it's absolutely fantastic. It replaced a Lamm LP2.1 Deluxe. 

OP...Try a Sutherland phono stage at your price point. Give Ron a call, he's easy to contact and very friendly and informative. He won't try to sell you something that does not meet your needs/preferences. He's got plenty of customers to keep him busy. For my ears Sutherland gear sounds like music, simple concept that too often gets lost in the specs/wild-arse opinions of this crazy analog world. 

Thank you for the update.  I'm curious as to your final assessment.  

@hifi59 I’m glad to hear you are enjoying the PH9.0X. It truly is one of the best purchases I ever made, and I still feel that way even if I’ve moved past it. I have endless respect for what Dan was able to achieve with it given the price point.

About three weeks in now with the Audionet PAM G2 and EPC combo, and has been performing admirably. The heavier weight in the delivery opened up a bit, and the bass performance has gotten tighter without losing intensity. It truly is an incredibly liquid sounding unit, incredibly involving and detailed. I simply can’t believe it is not a tube-based unit considering the beautiful harmonics and bloom, but the ultra-low noise and detail retrieval make it obvious it surpasses the performance of most if not all tube units on the market. So far no regrets purchasing it.

But now, enter the BMC MCCI Signature ULN, which arrived this past Friday. It is a gorgeous unit inside and out. The craftsmanship is impeccable. From an engineering perspective, it seems to be on an opposite side of the spectrum as it operates in the current injection / transimpedance paradigm. I want to give the unit the benefit of the doubt as it’s absolutely not broken in with probably 10 hours of play time on it max, so we’ll have to see how it plays out, but I’ll say my first impression with it doesn’t win me over the way the Audionet does. The tonal balance is tipped a bit higher and though with some records the BMC’s snappiness actually images incredibly with holography, other albums can sound too forward and almost fatiguing. Soundstage is also not nearly as wide and large as the Audionet, with more of the imaging happening between the speakers vs disappearing beyond

Again, I’m attributing any shortcomings to it not being broken in… from what I’ve read and heard from others, it takes quite a while I can break in. My plan is to keep spinning records using thus stage for the next 2-3 weeks and switch back to the Audionet at the end of the month for an initial comparison.

SPL Phonos.