PS Audio Stellar phono preamp. Custom setting allows easy setting to exactly 470 ohms or whatever you need up to 1000 ohms. No brainer to me. BTW, Michael Fremer feels the same about it.
Is a separate phono pre really necessary?
I have an upgraded Rega P3 that is now essentially a P6 (groove tracer subplatter and counter weight, Rega Neo ps) that has a Soundsmith Zephyr MIMC star mounted on it. It is then connected to a Park Audio Budgie Ten SUT and then to a Rogue Audio RP-5 preamp.
This question is about the phono stage in the RP-5. Would upgrading to a separate phone preamp of around $1,000 to $2,000 be a worthwhile upgrade from the internal phone preamp in the RP-5? And if so which phone pre do you guys recommend (notwithstanding all the caveats about subjectivity). I'm thinking of the soundsmith mcp-2, PS audio stellar phono, parasound jc3 jr., maybe a Manley Chinook if I can find a good deal.
The wrinkle is the loading requirements for the zephyr mimic star: >= 470 ohms. This makes a lot of phone preamps really not suitable for this cartridge (hence premaps with adjustable loading via a pot) because of the static loading options are mostly well below 470 ohms on most phono preamps
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I looked up your Preamp review on Absolute Sound. Great collection of remote controlled features, including balance in very small steps. Take any reviewer as you will, he gave High praise, except the phono stage, excerpt: "Turning to the phonostage performance, overall imaging was stable and transients retained their spontaneity. There was solid underlying continuousness across the soundstage, as well. However, I heard a lighter energy and cooler cast in familiar recordings. The sound wasn’t quite as richly varnished compared with other sources I’d input through the RP-5. One instance would be the new Impex LP remastering of Jennifer Warnes’ Famous Blue Raincoat. During “Song For Bernadette,” Warnes’ vocals seemed a little less rich and colorful, and the airy buoyancy of her head-tone was a dash drier. I have to confess the phonostage was a little bit disappointing given the overwhelmingly positive nature of the experience up until that point. However, to be fair, I was running the phono at maximum gain for the benefit of the Palo Santos Celebration moving coil (0.5mV), and though it was reasonably quiet for this class the RP-5 phono section couldn’t match the seriously quiet Parasound JC3+, proving once again that I’m spoiled, and that it’s hard to beat a premium outboard phonostage for isolation. For a built-in phono with this level of optimization, it still represents good value."
................................................... 1st: are you certain you have the 3 configurable internal settings correct for your cartridge? Your preamp has Separate internal switches for capacitance; resistance; gain settings, that’s awesome, IF correctly set. 2nd: currently, are your LP’s involving, better than CD or streaming, .? If yes, stay happy. If not, then yes, a separate phono stage is needed, not a SUT, a full phono stage to go thru a line level input. I would advise having full return option and try/return/keep a separate one until you find one you love. It ain’t easy.
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I agree with @retiredfarmer When I had a Schiit Freya+ I needed a separate phono stage and bought a Tavish Adagio. It sounded great with my VPI table. Once I upgraded to my current McIntosh preamp the built in phono stage sounded better to me so I sold the Tavish. I would buy your separate phono stage and A/B test it against your built-in phono stage over a few sessions. Then as others have suggested, let your ears decide. Happy listening! |
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