Whest ps.30r

I think that the James' statement is true; any time you go through a switch, *some* amount of noise is likely to be introduced. My suspicion is that the actual amount of noise is rather small. As I recall reading in your blog thread, someone recommended that you should have your resistor selection "hard wired". This would probably be your lowest noise option. However, the sound of your phono stage is influenced by the resistance load selection, so I would say that the greater concern is to select the resistive load value that sounds the best to you. In general, if the resistive load value is too high, the sound can be somewhat bright and exaggerated but if the resistive load value is too low, the sound can be a bit dull. In my case, I am using a Lyra Delos cartridge for which the recommended resistor range is 390 ohms (preferred) to 200 ohms. So by putting the 470 ohm and 1.6k ohm resistors in parallel, I get about 363 ohms.

I now own a PS.30RDT SE and went from the 30RDT. The difference in audio in quite staggering. Why..I am not too sure and to be honest don't really care. The PS.30RDT outperformed the PH7 when I was looking around for a new stage and the 30RDT SE kills the 30RDT DEAD!!! That is not to say the 30RDT is poor in any way...it's a clear winner for the price. The 30RDT SE just is in another territory and was above anything that was in my price range and above.

WD40 works. It leaves no smudges. I've used this 'trick' for years before James told me. A machine shop I used to do business with told me WD40 applied to an anodised surface takes all the finger prints off and leaves it looking really clean. I've used this technique on all my anodised front panels for at least 10 years now.

The parallel resistor one is interesting. I think James talks about noise in a 'micro' view point. Whether you can actually hear it ???, but as an engineer he is aware that paralleling resistors HAS TO add noise. I certainly cannot detect any increase but I suppose as the manufacturer he is probably just covering his ass!

Dcarol:

I would say that it would be very useful if you would revisit your comments in a few months. Right now, there seems to be a lot of emotion in your comments (which is understandable with the excitement of a new component). But in a few months, after the excitement has waned, I would be interested in your comments at that time.

Hi all especially Paperw8

I thought I would follow up on your last posting as to what it all sounds like now the 'dust' and excitment has settled around the Whest PS.30RDT Special Edition.

I think I listen to more vinyl NOW than ever before. The Whest PS.30RDT SE has really opened up a 'door' for me which I didn't even know was closed. It is a very magical phonostage and a lot better than my original thoughts, when comparing it to the PS.30RDT.

The PS.30RDT is a great phonostage and MUCH better and quieter than most out there. A lot of people on audio forums tend to think all phonostages have to hiss and hum - 'par of the course', not with the Whest units. The PS.30RDT was the first I heard that ticked just about every single box for me. It is extremely quiet, musical, detailed with a lovely large soundstage and is very well focused. It sounds and punches way about it's price range and deserves all the medals it has recieved. A great piece of kit and an audio bargain I think.

The PS.30RDT SE on the other hand is a very different kettle of fish. To start with it sounds like you have just spent £5000 on a cartridge and £15000 on a turntable, YES the PS.30RDT SE is far superior in every single way! The soundstage is not just bigger but more realistic with instruments so stable and focused in their positions it borders on scary. You totally forget you are listening to vinyl as each track that goes past is another great performance. The frequency range or is that 'apparent' bandwidth seems wider if that is at all possible. There seems to be lower lows, richer and silkier mids and higher highs. There is a real sense that your turntable setup is free of any compression and I mean ANY compression. Things happen quickly, jump-out, jump-in, go left to right and the speed....WOW!

The dynamic range is also quite staggering, even at low volume levels and I mean low - 1am listening levels, the PS.30RDT SE retains every minuscule detail, the soundstage does not collapse and the lower frequencies are as intact, precise and as focused as they are at higher volumes. The mid-high frequencies are 'see-through' at all volume levels.

Is there any one standout point of the PS.30RDT SE? Yes, I would say every aspect of this phonostage. It takes vinyl to another level. I am now playing and buying LPs that I would never thought I would even touch, why?? because the PS.30RDT SE makes you want to listen to more and more music.

For instance, listening to Judee Sill's first LP. I know this LP really well but through the PS.30RDT SE it sounds like she is in the room. You can hear her playing the guitar as if she were right next to you and her vocals are projected in a manner that sounds so positively 'right'.
John Coltrane on Blue Train - all the instruments have a space, dynamic, life and soul which you can 'feel'. Joe Harriott on Indo Jazz Suite - 'forget about it' in true Donny Brasko meaning. The list goes on and on.

Don't think that the PS.30RDT SE is a big PS.30RDT because it ain't. The PS.30R and PS.30RDT have more in common with each other. The PS.30RDT SE has more in common with the MC REF and you can easily hear that. I loved the PS.30RDT but this new PS.30RDT Special Edition is more than a cut above - it's about 80 cuts above. It's a wonderful piece of equipment that I feel deserves to be heard in every system because if a piece of equipment makes you want to listen to more music, then it has to be something special.

Dcarol:

Thank you for the review. As you noted, the PS.30RDT is a pretty good phono stage, so your comments are quite interesting. Just out of curiosity, what gain level are you using?