Phono Preamplifiers

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Ed Selley  |  Nov 16, 2011
A no-compromise design for those seeking the ultimate in vinyl replay. The Io Eclipse is for audiophiles seeking the ultimate in vinyl replay. Its two chassis are the size of most manufacturers’ power amplifiers, one the phono stage itself, the other the power supply. The Io Eclipse costs £14,000, or £16,700 with independent L/R volume controls – as reviewed here. (With this option you get a ‘bonus’ line level input.
Ken Kessler and Paul Miller  |  Oct 02, 2011
Active/passive - not behavioural therapy, but two of Air Tight's options for cartridge amplification: the ATH-2A step-up transformer and ATE-2005 phono equaliser . With at least three turntables active in my system at any time, I’ve learned to appreciate options. All of my preferred phono amplifiers accept at least two decks and can cope with both MM and MC cartridges of varying output levels.
Ed Selley  |  Jan 12, 2012
Some clever ideas but a little too laid back sonically. Established in 2003, Astin Trew is a British hi-fi company with a product portfolio that includes amps, CD players, cables and its first phono stage: the AT8000. Astin Trew’s philosophy is simple: ‘create very high quality mid-priced home audio products that convey the emotion and passion of real music as naturally as possible.
John Bamford & Paul Miller  |  Aug 06, 2009
It’s been almost two years since Hi-Fi News had the pleasure of auditioning a CD player and integrated amplifier from the Italian Audia company [see HFN September 2007]. With just a select range of amplifiers and a couple of CD players in its product portfolio, Audia may barely register as a blip on the radar of British audiophiles. On the European specialist audio scene, on the other hand, Audia has carved out a name for itself as a manufacturer to be taken most seriously in the high-end arena, its products regularly garnering accolades in French and German magazines as well as on its home turf in Italy, naturally. Talking of carving out a name, you just know that Audia’s products aren’t going to come without a fairly substantial price ticket attached to them when you see the build quality.
Richard Holliss  |  Nov 03, 2014
Despite using a tube that has been around since Methuselah was in short trousers, there’s nothing old hat about Audio Research’s new LP1 phono stage. It is a hybrid designed to mix the low noise of solid-state with the musicality that comes from glowing bottles. JFETs were chosen for their combination of low noise and excellent sonic performance, the company says. They provide a decent (claimed) 47dB of gain, enough for all MM and some higher output MC phono cartridges – and then comes the 6H30 tube buffer.
Review: Ken Kessler, Lab: Paul Miller  |  May 19, 2022
hfnoutstandingFans of the brand know that when Audio Research adds an 'SE' suffix, the changes go beyond the cosmetic. The latest to earn this upgrade is the Reference Phono 3

Let's talk about names. Audio Research's abiding Reference range has long been subject to shorthand – even the factory calls the models 'REF' for brevity – while updated (mk2) components are now defined by 'SE'. And that now applies to the £17,500 Reference Phono 3SE. In this case the revisions are retrofittable and, at £3500 and given my delight with every SE model I've tried, especially with the REF 6 and REF 75, I suspect most existing owners will want the upgrade. My optimism was fuelled by Audio Research's CEO Dave Gordon who told us, 'The SE changes incorporated in both the REF 6 and the REF Phono 3 are almost identical, involving many of the same passive component upgrades'.

Richard Holliss  |  Nov 03, 2014
After 28 years at Texas Instruments Shinobu Karaki is now designing phono stages. His new Vinyl Disk Amplifier (VIDA) joins a thriving market for analogue-related products in his homeland. Its late ’60s styling isn’t out of place next to, say, a similarly ‘period’ looking Leben tube amp. Yet peer inside its case and you’ll see circuitry that’s as modern as the latest Mitsubishi motor car.
Review: Ken Kessler, Lab: Paul Miller  |  Aug 18, 2022
hfncommendedAurorasound's VIDA (Vinyl Disk Amplifier), launched in 2011, has marked its first decade with a number of revisions to merit MkII status. How does it stack up in 2022?

Small Japanese specialist brands always fascinate me, due in part to my delight that they can co-exist with the Sony- and Panasonic-sized manufacturers. While every nation has its bijou marques, there's an uncanny aura to the likes of 47Lab, Shindo, Air Tight and Kondo, plus countless MC cartridge makers, that differentiates them from equally exotic producers from the UK, USA, Italy, Germany and beyond. Aurorasound could also only be Japanese, its VIDA MkII, an evolution of the VIDA [HFN Jul '13], ticking every box.

Review: Nick Tate, Lab: Paul Miller  |  May 28, 2019
hfncommendedThe most affordable product from one of Japan's renowned phono stage specialists, its quirky retro looks won't be to every Western taste – but its musical potential will

In Japan, long-playing vinyl records have never really gone away – they just went underground, becoming cool artefacts that sat defiantly away from the mainstream music market. As the country churned out millions of shiny new Compact Disc players in the 1980s and '90s, the humble LP stood its ground, cherished by record collectors who thought CD to be the replacement for pre-recorded Compact Cassette, rather than vinyl.

Steve Harris & Paul Miller  |  Aug 16, 2010
When someone as determined and perfectionist as Conrad Mas of Avid decides to enter a new product area, the result is likely to be something special. With the Pulsare Phono, the aim was to produce a phono stage that could do the same things for music that an Avid turntable did. It had to have ‘that certain something that makes the music sound and feel real. ’ Even a first glance tells you that this an overkill design in specification, construction and features.
Review: Ken Kessler, Lab: Paul Miller  |  Jun 01, 2018
hfncommended.pngCompact yet comprehensively-equipped, beautifully-made, with balanced outputs, MM/MC capability and a sane price, what’s not to like in Bel Canto’s e.One Phono?

Awash as we are with terrific phono stages, it takes a lot to stand out from the crowd. From sub-£50 units to £30,000-plus fantasy hardware, there are probably as many standalone phono stages on offer today as during the Original Vinyl Era. What Bel Canto offers with its e.One Phono, in its more cost-effective range, is a way to enjoy the adjustability demanded by perfectionists, at a sane price.

Review: Adam Smith, Lab: Paul Miller  |  Sep 19, 2019
hfncommendedThe inaugural product in Colorado-based Boulder's 500 series is this MM/MC phono preamp – fully balanced throughout, including the connection to your turntable

Modern phono stages seem to fall into one of two camps – those with multiple inputs, multiple gain options and a seemingly endless permutation of impedance and capacitance settings [see EAT E-Glo S, HFN Mar '17], and those, like the Boulder 508, that seek to minimise switching and variable gain in favour of one, potentially simpler, signal path.

Richard Holliss  |  Nov 03, 2014
You can’t help but be impressed by Canor’s house styling, distinctive yet unfussy with its black acrylic panel set into the fascia, within which various indicator lights and displays appear. And you can choose between the pleasingly sober charcoal finish seen here or go for the contrasting effect of a black band on brushed aluminium. Naturally, the TP306 VR+ has the simplest fascia, as the only front-panel control is the on/standby button in the centre. When connected to mains power, LEDs show standby mode, muting while warming up, then unmuting.
Ed Selley  |  Jan 12, 2012
This dimunitive design produces a very pleasing sonic performance. A quick glance at Clearaudio’s product range shows that the company prides itself on using quality materials to house its audio electronics, and the Nano Phono certainly continues in this vein. Its case is formed from a solid CNC-machined aluminium block which makes the Nano feel surprisingly heavy, despite its diminutive size.
Ed Selley  |  Jan 12, 2012
An ultra- sophisticated interface is paired with strong sonics to good effect. With over 15 years’ experience in stand-alone phono stage design, Creek Audio needs little introduction: its £185 OBH-18 model is a stalwart at entry level. The Wyndsor, a completely different beast, contains a level of user sophistication rarely seen in a phono stage.

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