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Welcome to Audiophilia. We publish honest and accurate reviews of high end audio equipment and music.
Welcome to Audiophilia. We publish honest and accurate reviews of high end audio equipment and music.
All in Analog
Blair Roger -- What makes the difference between a very good audio design and one that touches on greatness? I suggest that it is not merely the technical ability of the designer but rather, that, combined with experience, wisdom, taste, and a highly consistent sense of auditory discrimination. I mean to imply by the previous phrase that the designer is intimately acquainted with the sound of real musical instruments, and the effect that they have on the state of human consciousness.
I’m fascinated by phono stages, or, more accurately, ‘phono preamplifiers’. I commonly use the term ‘phonostage’, and will do so herein.
I can remember back, after a flirtation with the ingenue Compact Disc, I bought a cheap, 2nd hand Direct Drive Sony Turntable. I can’t remember what I used as a phonostage. But, I do remember the exact moment when listening to the Sony I knew I had been missing something compared to the early, heady days of the CD and my burgeoning audiophilia.
First on the Sony platter was a beaten up, unremarkable CBS pressing of Murray Perahia playing Mozart Piano Concerto K503. I’m not sure what ‘it’ was, but it was something. Something in the timbre, something in the music’s communication. The soul of the performance was present. Immediately, I was involved. I had musical skin in the game rather than listening to a CD, admiring from above the platform.
In 2016, after six years out of the SL-1200 turntable business, Japanese giant Technics retooled for a new, audiophile version of the popular turntable. Over the original’s 38 year life span, upwards of 3.5 million were sold. A remarkable HiFi story. A legendary product.
The old ‘table was more of a DJ ‘scratcher’ than purist product. The new ‘G’ turntable was aimed squarely at the audiophile market with an expected jump in price. Thus, in 2016, the $4000, SL-1200G turntable was born. To this day, it is usually snapped up as soon as it is in stores and is on constant back order. I’m surprised Technics took a six year hiatus from a real money maker.
UK based iFi audio has been on a roll lately, releasing a handful of critically acclaimed budget components under the ZEN moniker. Accolades for the ZEN DAC and ZEN CAN headphone amplifier set high expectations for the most recent addition, the ZEN Phono.
US consumers spent $232 million on vinyl records last year so iFi were wise to include some analog action in their entry level line. As with their other product lines, iFi has carefully considered the features included in the ZEN products to differentiate them from the ‘swiss army knife’ or minimalist approach of some competitors.
ZEN components are priced at under $200—high enough to offer a quality piece of hardware but low enough to have mainstream appeal. Can the ZEN Phono, priced at $150, stand up to expectations and hold its own in a competitive segment?
I’ve always had in mind a basic turntable setup for the beginner audiophile; the usual suspects: speakers, phono-stage and amplifier. They remain the building blocks for starting and developing better audio quality. To these components, I’ll add one more, and it’s the focus of this review: the cartridge/stylus. This needle is the connection to the grooves on the recording, the last external mechanism before it lowers and touches the LP of the music you love. But this review is not about any old cartridge, it’s a review for a monaural cart, the Ortofon 2M Mono ($356). A much needed tool in your turntable arsenal for those albums that carry so many memories.
There’s some history for me with mono albums. I remember being six years old and making the hour long drive with my mother to my grandfather’s home. As soon as I would get there, I knew I’d find a new ‘toy’ to play with. My grandfather sold used electronics, from TVs, to amplifiers, guitars, basses, to Casio watches and even turntables. The few times I visited him, listening was such a memorable experience; those memories are still with me.
The new Allnic Audio Amber MC Cartridge ($4500) was recently reviewed very favorably by Audiophilia where it was also mentioned that Amber had an equally new twin sister, the focus of my review here: the Rose MC Cartridge which retails at the significantly lower price of $2900.
Although not an identical twin of Amber—for it comes in a beautiful rose-colored Duralumin 5052 housing (versus amber-colored) with the name ‘Rose’ written elegantly in white on its right side—it is identical looking otherwise, almost identical in construction and, like the Amber, is handbuilt by master Allnic Audio designer Kang Su Park. As I discovered and will elaborate on in this review, the Rose is a true bargain, handily performing above its price point, so beautiful to look at and very easy to install.
The star products from South Korea’s Allnic Audio continue to arrive on the island for review. Usually, the delivery guy/gal is cussing me under his/her breath wrangling the massive boxes in which the Allnic tube amps and preamps arrive. This time, no grumbling. A tiny cartridge.
The new Allnic Audio Amber Moving Coil Cartridge, in fact, the more expensive sister to the equally new Rose MC Cartridge ($2900—now in Karl Sigman’s hands—review up late August). The MSRP of the Amber Moving Coil Cartridge is $4500.
Why does vinyl have such a strong hold on audiophiles? Perhaps it’s the ritual of the LP, the ‘warm’ sound of the grooves, the quality of the sound, that one can play around with cartridges, speakers, cables and preamps not to mention turntables. A little over two years ago, I started getting more serious about vinyl, wanting more from my music. Spending years collecting records was not just a hobby, but a way to experience sound. Collecting LPs of favorite composers and conductors as well as researching great recorded performances is a passionate activity for those of us who are immersed in music and its sound.
The listener or audiophile researches how to get the best sound out of their vinyl. Reading, watching videos, visiting chatrooms, all information about LPs pressings, labels, mono, stereo, types of grooves, cartridges, have but one goal—the clarity of sound and the experience of it. Having some experience with the LPs, I decided to start my journey into the oldest type of mass produced records, the 78rpm shellac. With a very introductory setup (Pro-Ject Debut Carbon Esprit SB Turntable, a Pro-Ject Phono Box MM preamp and Edifier R1280DB Loudspeakers) and acute curiosity, I dove head first into this new world of the 78rpm.
I noticed several things almost immediately when opening the box of the Graham Slee Accession MC Phono Preamp. Its diminutive size & weight and the four toggles/knob on the front fascia. More on these somewhat rare recording curve and playback options later.
Though small, it’s a handsome piece and is priced at $1949, including the upgraded PSU1 Enigma power supply. Knock off a couple of hundred bucks with the standard PSU1. My Accession was the moving coil version. Slee manufactures a moving magnet version with the standard power supply for $1299. It’s been my experience phono stage quality takes bucks, more than any other high end component. My only lengthy experience with one approaching the Accession’s price point was the excellent Rega Aria Phono Stage.
Back in 2019, I was very fortunate to get a first look at an extensive record collection from the estate sale of a grand lady of the Canadian diplomatic corps. As the refined collection of classical LPs were primarily monophonic, purchase of 100 of them was the perfect catalyst to dip my toes into the fabulous world of monophony.
First up was the need for a monophonic cartridge. I played many of the LPs with my reference stereo cartridge, the Phasemation PP-2000 MC Phono Pickup Cartridge ($6000). It did a very good job, if hampered a little by the specific geometry and physics required by the mono record groove. A cartridge wired and setup correctly for monaural with a mono switch on the phono stage lowers the noise floor considerably. But, that’s just the beginning of why a mono-specific cartridge can be so important to the vinyl collector.
UK-based Icon Audio is a maker of ‘Award Winning Valve Amplifiers’. Icon also manufactures valve preamplifiers and phono stages (FYI: ‘valve’ is Brit speak for ‘tube’).
I was contacted by a local Icon Audio dealer followed by the Canadian distributor to gauge interest for a review. I heard the subject of this review, the PS1 Mk. II All Valve Phono Stage, at last year’s Toronto Audio Show. It had impressed, prepping lots of varied vinyl repertoire under show conditions. Sweet. ‘Yes, I’d like one to review’.
van den Hul is a Dutch company, created in 1980 by renown A.J. (Aalt Jouk) van den Hul (VDH) that designs and manufactures high-end moving coil phono cartridges, audio cables and other audio electronics. (Bowers & Wilkins, for example, among others, are known to use van den Hul internal wiring in their speakers.)
On an early Autumn phone call from Mat Weisfeld, President of VPI Industries, I was informed that VPI had become the sole USA distributor for their phono cartridges and I was offered a chance to review van den Hul’s newest top-of-the-line moving coil cartridge: the Colibri Master Signature, entirely hand made and tuned by A.J.—now in his 80s—and with a retail price of $11,995. Now that I use a VPI Industries HW-40 Direct Drive turntable as reference, I thought this may be an intriguing match. Besides, it uses a high-density wood for its enclosure, and I happen to be a fan of that (my current reference cart is the Grado Labs Aeon). Last, but not least, I was attracted to the simple van den Hul philosophy of cart design in which they claim to provide ‘The link between technique and emotion’:
