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What phono stage candidates should I consider?

I will be taking delivery of a new linestage, the Emotive Audio Epifania (tube-based), which will be replacing a Mark Levinson Ref. No. 32 that has a built-in phono stage. I am therefore in the market for a new phono stage. My cartridge is a Lyra Titan, which is mounted on a Basis Vector arm/Basis Debut (vacuum) table combination.

I can, realistically, only review a small number of candidate linestages in my own system, so I need to determine which stages to consider. If I find one that I like, I will go with it and I do not plan on driving myself crazy chasing after the "best."

Some of the relevant details about the Titan are as follows: It is rated at .5mV output and has an internal impedance of 5.5 ohms. Lyra specifies loading of 10 ohms to 47k ohm (they recommend the higher end of the range, i.e, unloaded). If mated to a step up transformer, they recommend 4-6 ohms, not exceeding 10 ohms.

One of the candidates I am looking at is the Artemis PL-1 phono stage. It is a tube-base unit that utilizes a transformer to step up the voltage. I don't know which model of transformer they use, but the brand is a Sowter (my guess is the 1:20 model specified for cartridges with a 3-15 internal impedance).

I can also get in for audition a Ray Samuels Emmeline. I will also be borrowing a friend's phono stage that is made locally, in the Washington D.C. area, by Deja Vu Audio (tube based/Jensen transformer or a more expensive model with Audionote trannies).

I am looking for any comments as to which candidates to consider and any helpful detail of experience mating the Titan with a good phono stage. I do hope to keep cost under $8,000 or so, if that is possible.

Thanks.
larryi
tmij
6 posts
 
David, the Seven blew me away last night!! I borrowed the demo unit, not knowing much about it except this version is too high gain to use with my MC1BmkIIz, so I promised to use it only with the XV1s. The past couple weeks I was happy using the P75 in DrT mode, transitioning my system from the Steelhead+Janus to this passive.

I knew I had to get another phono eventually but the P75 was getting the job done so at the back of my mind I was getting ready to tell Jeff, "sorry man, I'm happy where I am, price isn't justified," blah, whatever kind of excuse.

It didn't help I hardly know the specs and when I picked it up it felt relatively light. So I was really not prepped. Using the Skipjack, the switcheroo from P75 to Tron 7 isn't difficult. It didn't take a couple minutes before my heart started racing and I called Jeff blabbering like an idiot, ordering one immediately. I've heard a lot, owned a few, but honestly I've never felt this excited with a phono... oh, Jesus, what this will do with the Allaerts...

Check out this bad boy--
http://66.48.80.139/~idemonor/ws/mar06/t701.jpg
rjwood
14 posts
 
I too have auditioned the Tron 7 and, whilst it is extremely quiet (for a tube design) and creates a voluminous soundstage, it just didn't make music in my system. In fact, the music produced by the much cheaper Lector Phonoamp (also a zero feedback valve design) was FAR more engaging in my setup.
larryi OP
3,737 posts
 
I wonder if the difference in experience noted above for the Tron is an issue of compatibility. Anyone care to say what cartridge they were using for their auditions?
ozzy62's avatar
ozzy62
2,845 posts
 
If you are shopping in the 4000.00 price range, you should put the K&K phono stage on your list. You just might be able to keep 2K in your pocket for records.

Oz

www.kandkaudio.com
rjwood
14 posts
 
Hi Larryi,
For the record (sorry), I use a MusicMaker moving-iron cartridge.
The dealer to whom I returned the Tron preamp suggested that some sort of system incompatibility was to blame for my dislike of the Seven. To me, that's just hogwash - the degree to which a component gets out of the way of the music is my only measure of its worth and this nebulous quality ultimately relies on its being competently 'voiced'. Test bench results only give you half the story and, unfortunately, I suspect that most audio engineers are engineers first, music lovers second (or seventh).
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