iFi ZEN Phono
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?
Interesting Features
The press materials for the ZEN Phono are a mile long but there are a few features that stand out: fully balanced circuitry with a 4.4mm Pentaconn output, carefully designed subsonic (rumble) filter and optional power supply upgrades. The balanced circuitry, most unique among entry level phono stages, is intended to minimize noise and create an extremely quiet listening experience. The subsonic filter is nice to see and could prove essential for a small portion of users. Now, the ability to upgrade the power supply is dangerously appealing. For tweak skeptics like myself, this is a rare chance to explore how power supplies can affect the listening experience with minimal investment.
This is actually a tough review because this unit looks recommendable on features and specs alone. If this were a college term paper, I’d just make sure the unit doesn’t catch fire then give it a glowing review. If only it were that easy. The ZEN Phono is a generously spec’d product but of course it’s the sound that matters most.
Industrial Design
We cannot dive into the music without first addressing the striking design of the ZEN Phono. The mid century inspired face wrapped in a seamless deep blue anodized case brings a new level of quality to this price bracket. It feels rock solid and the connections and metal buttons inspire confidence. By comparison the Schiit Mani is easy on the eyes but the casework and switchgear are not in the same league as the ZEN Phono. The Parasound Zphono is perhaps more substantially constructed but also much more utilitarian in appearance.
Now, time for some obligatory gripes with the physical product. First, the included interconnect cable and wall wart power supply cable are both annoyingly short. I understand the point of the 12 inch interconnect is to maintain a short run for the low level signal from the turntable. If the phono stage is to sit right next to the ‘table then the power cable needs to be longer than a meter. Additionally, I would expect iFi to offer a 4.4mm pentaconn to stereo XLR cable adapter (for separate sale) but I did not see one in their selection of cables and adaptors. An oversight considering their use of this relatively new connection on multiple products.
Review System
The analog front end consisted of the ubiquitous Pro-Ject Debut Carbon and Ortofon 2M Red cartridge. Amplification was handle by my trusty Parasound P/LD-1100 and HCA-750 combo. Speakers were Wharfedale Diamond 10.2 and Usher Audio SD-500 (review forthcoming). As I hinted earlier, I had on hand two direct competitors of the ZEN Phono: the Schiit Mani and Parasound Zphono.
iFi recommends 100 hours of break in time. Extensive break in of analog components is tough for real people with day jobs—I gave the ZEN a solid 10 hours before doing any serious listening. I installed the ZEN Phono into my system as soon as I received it and prior to critical listening I switched back to the Parasound Zphono to revisit some favorite demo LPs. The Schiit Mani was loaned to me by a friend for comparison towards the end of the review period.
The Sound
The first decidedly unscientific experiment I did (who doesn’t do this?) was to crank the volume with the tone arm in the resting position. The ZEN Phono was noticeably quieter than the other two units. I also did some casual playing around with the subsonic filter. I did not notice any effects, good or bad, but this is likely because my system bottoms out around 45Hz.
On to the music. One of the hottest new records in my collection is the Tone Poet reissue of Jimmy Smith’s Prayer Meetin’ (Blue Note). This remaster quickly confirmed some early impressions of the ZEN and some of my long tolerated weaknesses of the Zphono. The ZEN contributed a wide soundstage with awesome instrument separation. Detail retrieval from this record was astonishing considering my modest system. Smith’s organ was solid in the center of the mix with Stanley Turrentine’s saxophone emanating from deep to the left, about chest high in the room. The ZEN’s rendering of Turrentine’s breath on the reed enhanced the realism. While the Parasound added some more meat to the sound, the familiar harshness of my 2M Red distracted from the listening experience slightly.
A well loved original mono Today! by Mississippi John Hurt (Vanguard) sounded different but equally interesting through the ZEN and the Parasound. The Parasound presented a vocal image dead center and out in front of the speakers, even revealing Hurt’s movement relative to the microphone. Through the ZEN, vocals didn’t quite have the goosebump factor but Mississippi John Hurt’s unique finger picking technique was on full display with natural attack and decay of each note. This record also proved useful for comparing surface imperfections through each phono stage. Clicks and pops were sharpest and most distinct through the ZEN which made them less distracting.
On symphonic recordings the presentation from each phono stage remained consistent with the rest of my listening. Rich tone with nice substance characterized the presentation of the Schiit Mani while the Parasound produced bold dynamics with occasionally edgy treble. Only the ZEN Phono was consistently able to dig out enough detail to give the impression of distinct sections of an orchestra.
Just to make sure I wasn’t becoming too seduced by the ZEN with ‘easy’ recordings I pulled out my 10th anniversary deluxe reissue of Black Mountain’s 2005 classic stoner rock debut Black Mountain (Jagjaguwar). Their engaging if slightly derivative sound is full of trippy vocals, droning guitars and plenty of organ for good measure. The ZEN’s predilection for detail didn’t clash. Instead it just spread the music out into three dimensions and reminded me that Black Mountain is a damn fun band. I was inspired to revisit the rest of their discography which I hadn’t listened to in years. With this record the Schiit and Parasound again proved slightly more full bodied than the ZEN with some warmth coming from the Mani in particular. Neither unit got me into the music like ZEN Phono, though.
It’s tough to distill a weeks-long three way comparison into a couple thoughts but some themes did emerge in my notes. The ZEN Phono and the Schiit Mani were consistent in their presentation across a variety of genres and recordings. The ZEN delivered the largest soundstage and most detailed ‘view’ into the music. The Schiit offered a substantial body with an agreeable warm tone. The Parasound certainly had its moments of glory but it’s ability to impress depended unpredictably on the recording.
Conclusion
After spending time with the ZEN Phono my lasting impression is one of acoustic (and physical) refinement. A bona fide audiophile component for the price of a few premium LPs, a ridiculous value.
I consider a phono stage to be a solution rather than a component to build a system around. In that context the ZEN Phono is easy to recommend for a wide variety of listeners without any caveats. Placed in between a quality turntable and quality amplifier it will serve the music well. I suspect it would take a true high end system to reveal any substantial weaknesses in the ZEN Phono.
The vast majority of these units will be purchased online without a demo. New audiophiles looking for a first standalone phono stage can be confident the ZEN Phono is a safe buy, even in a competitive segment. Some experienced vinyl junkies with particular requirements will find the carefully implemented subsonic filter and fully balanced circuitry make this slam dunk in the price range. Jaded audiophiles longing for simplicity may find the ZEN makes an elegant and livable long term solution, perhaps a remedy for upgraditis (this statement has not been evaluated by the FDA . . . ).
The iFi ZEN Phono has given me a deeper and wider view into my recordings, a powerful and necessary upgrade to my system and one I don't want to give up as I continue to review for Audiophilia. In fact, in addition to the $150 unit, I plan to order the optional power supply to squeeze even more resolution from this magnificent little component.
Further information: iFi Audio
