Phono Preamplifiers

Let's get one thing clear from the outset. With the exception of (London) Decca cartridges, which are out there in their own space, the EVO 100 Tube Phono excels with moving-coils, as these are more simpatico with the overall nature of the unit. That said, if you find it too warm, moving-magnets from Ortofon and others add a touch of coolness or even restraint.

Having ascertained that the Ortofon MMs – three different colours of 2M – were sounding of their best and even benefitting from the very tubes that they corralled, I moved onto MCs, including an aged Tsurugi (which sired Lyra), the EAT Jo No8 [HFN Dec '19], and the reborn Kiseki [HFN Jul '18]. It was here that I began to appreciate the phono stage's two-pronged approach of matching gain and impedance. To my delight, none of the settings were best at the manufacturers' recommended values, the EVO 100 reinforcing my belief that you need to set your cartridges by ear.

Long Live The King!
It started on a personal note, because one of the first singles I ever owned was given to me by my sister, Elvis Presley's 'Can't Help Falling In Love' from Blue Hawaii. Of late, I had been revelling in the recent 2x45rpm LP from Mobile Fidelity [MFSL2-504], which had already revealed itself to be a must-own if you're a fan of the King. And if you love early RCA, you're gonna be delighted with the sound.

While that track is both my favourite on the album and the standout, as there's a bit too much 'novelty' on the rest of it, I was not prepared for the added richness to the vocals. The faultless realism, even with lesser systems, was upped by an even greater lack of artifice, especially an absence of sibilance.

As readers know I seem to judge everything by vocals, but it was something else entirely which cemented my admiration for the EVO 100. Pedal steel on a country album, or Hawaiian guitar as heard throughout, are like-sounding instruments which are unmatched for gauging what can only be described as 'liquidity' – a clarity which exposes unwanted edges or grain. Via the EVO 100 Phono, the notes slithered out of the loudspeakers, as fluid and seamless as I have ever heard at the price.

Pressing On
As ever, an audiophile pressing bestows an advantage on a system which 99.9% of pressings – normal releases, that is – do not share. So I dug out two terrible transfers, plus a vintage RCA to see if the warmth of Blue Hawaii was shared with Arthur Fiedler and the Boston Pops' Jalousie [RCA Living Stereo LSC-2661] from 1963. Admittedly, this orchestra playing Latin-flavoured material, such as 'La Sorella' and 'Zacatecas', was as far removed from the Blue Hawaii soundtrack, but with it came another revelation courtesy of PrimaLuna's phono stage.

I could swear there was a familial resemblance to the overall sound, across the pieces, including the scale of the portrayal. Okay, so orchestra-vs-studio creation is an apples/oranges scenario, but it was there and says as much about MoFi's skills with 60-year-old recordings as it does PrimaLuna's general prowess with soundstage and air.

For My Next Trick
It required the other extreme – two mediocre-sounding compilations – to find the EVO 100 also possessed that near-magical 'valve skill' of balancing detail, transparency and accuracy. Off The Record With The Move [Sierra FEDD1005] does that brilliant band no favours, while the hugely collectible The Most Collection Vol 1 [Music For Pleasure MFP50015], with a dozen Mickey Most masterpieces from The Yardbirds, Jeff Beck, Rod Stewart, The Animals and others, reminded me why MFP stood for 'Music For Pain'.

No, PrimaLuna's EVO 100 Tube Phono did not elevate either to the level of their original pressings. Instead, it exposed the gap between them. But the overall gentility of this phono amp? It rendered them listenable which, in this instance, is high praise indeed!

Hi-Fi News Verdict
PrimaLuna has, again, bridged the gap between mid-level and high-end with a superb, and – despite my two reservations – versatile phono stage which will be adored by those who prefer all-valve components. Not hybrid, not solid-state, but all-tube and with so much warmth and air that its sound can only be described as 'cosseting'. Fans of the brand – and I still use a Mk I ProLogue Two – are gonna love this.