Phasemation EA-550 Phono Amplifier
I love good mono records and I have a pretty solid collection. I reviewed and subsequently purchased a very good phono stage that covers my mono needs specifically; it has a rare mono switch which I use in conjunction with my superb reference mono cartridge, the Miyajima Labs Infinity Monaural Cartridge ($3375). I’m very fortunate to use a long term loan phono beauty for stereo records—the Allnic Audio H-7000 Phono Stage ($16,500), one of the world’s great tubed phono stages.
As a busy reviewer, I was looking for a world beating solid state phono stage that had a mono switch, or, even better, dedicated mono circuits with various curves in addition to stereo, so I could thin out my rack for a couple of months and report its performance to you. A jack of all trades and a master of them all. Tough ask. Even the moderately priced Graham Slee solid state phono stage I reviewed last year had upmarket and super useful mono curves. And I’ve been asking Allnic for yonks to add a mono switch on all their models. I’m not sure Allnic resident genius designer Kang Su Park is eager.
Ever since my introduction to Japan’s Phasemation by Canadian distributor Angie Lisi, I’ve been a bit of a fanboy. I’ve only heard their gorgeous looking tube amps/preamps at shows. They were gobsmackingly good and not anywhere near well enough represented in professional HiFi publications. My deeper introduction came via Audiophilia Phasemation cartridge reviews. First, the PP-300 (now on loan to our Jesús González-Monreal, who is using it for his Mark Levinson № 5105 Turntable review—publishing September 10th), and the becoming-legendary PP-2000 ($7000), which was so fantastic, I purchased the review unit. It’s been my reference ever since.
But, what caught my eye recently were Phasemation’s phono stages. They have 6 models (2 ‘entry level’ in silver and the 4 most expensive models in a beautiful Champagne finish). They call them ‘Phono Amplifiers’. Except for my Phasemation cartridge reviews (and Michael Fremer’s recent PP-2000 cartridge review in Stereophile), I’ve not found many reviews of Phasemation analog products. Let’s put that right.
My enquiry to Canadian distributor American Sound was answered quickly and before I could say ‘cartridge loading’, the EA-550 was on the way. So, a big thank you to Angie Lisi for shipping it to the island for extended review.
The EA-550 has two chassis (one per channel), is 4th of 6 (top of the line) in the phono amplifier series and the most expensive solid state Phasemation design. MSRP is $9600.
My Use
The EA-550 is a beautiful looking mono chassis, solid state design in Phasemation Champagne. The photos do not do them justice. They will fit in any decor, rack, and, as it happens, any topology you are connected to. I used the EA-550 with tube preamps, tube amps, and my solid state reference MBL N51 Integrated Amplifier ($17,600).
For the review, I used my Bergmann Audio Magne Turntable 10th Anniversary Edition ($13,900 incl. arm) for stereo, and, for mono, my reference Pure Fidelity Encore Turntable ($4500 incl. arm). The EA-550’s $9600 MSRP and performance was not intimidated by its exalted company. Cabling was by Allnic Audio and Audioquest.
Setting up was simple, but a double act because of the two chassis. Both are slim fit, so will sit in a standard rack side by side. I used Allnic’s ZL-3000 Power Cable ($1400) x2 for the units.
I did not use the very handy low cut filter or degauss setting.
Analog function heaven.
Features and Specifications
Phasemation describes the EA-550 as ‘a separate type phono amplifier (2 units), all discreet, all-stage symmetric non-feedback circuit’.
They continue (taken directly from the website, their translation)…’any small inexactness were eliminated as a compilation of semiconductor phono amplifiers, and the built-in MC transformer was newly designed with a special split winding structure that uses a high pure copper wire PC-TripleC as the secondary winding material.’
The build quality echoes the most expensive models with a 10mm aluminum front panel, a 1.6mm copper plated steel chassis base and a 1.6mm thick copper plated steel sheet cover. The feet use a heavy weight metal insulator that help to block vibrations.
Three input terminals are equipped and MM/MC switching is possible for each. In addition, inputs 1 and 2 support balanced inputs.
A 2nd order CR type low cut filter with non-feedback is equipped.
Plays warped phonograph records without any music deterioration and prevents the speakers (woofers) from shaking.Three types of playing curve changeover switches are equipped.
For the equalizer characteristics, along with the RIAA characteristics for the stereo, Mono1 (used on the DECCA label) and Mono2 (used on the Colombia label) are equipped as a particular characteristic for a monaural. This will allow higher fidelity playback than the DECCA and Columbia labels.A "degaussed" circuit is equipped.
By choosing “degauss” with the functions and playing the record for about 30 seconds, the MC cartridge with a metal core that was magnetized is degaussed and the sound quality becomes clear.
A 1% grade metal film resistance with marginal rated capacity parts such as a Micar capacitors using silvered Micar plates for dielectrics are used on the RIAA elements which have high influence on the phono amp's sound quality.
On the signals, ELNA’s SILMIC audio grade electrolytic capacitors and metal film resistance of a 1% grade are used.
The switching noises are few and adopts Rohm’s SiC diodes which have a reputation for high sound quality.
Large-volume electrolytic capacitor that is of highest rank in audio grades of metal plated terminals which uses Nichicon’s low resistance electrode foil on the commutating capacitor. In addition, the decoupling capacitor adopts ELNA’s SILMIC II.
Low noise Zener diodes are used combined with the adoption of shunt regulators that exclude the feedback circuit and this structures a fast and extremely low noise power circuit.
The power transformer uses a transformer of low leakage flux using an R-core particularly for each of the positive and negative power supplies, a total of 4. It eliminates negative effects due to the common impedance of the ground (earth) from each bridge rectification.
Input Type (Cartridge): MM Sensitivity 2.5 mV—MC Sensitivity 0.13 mV
Cartridge Output Impedance: MM 47 kΩ or less—MC 1.5 to 40Ω
Gain: MM 38 dB—MC 64 dB
Dimensions 211 (W) × 93 (H) ×360 (D)
Weight 5.5kg for each chassis
Much like the phono stages I reviewed from Icon Audio, loading is factory set internally. User hands off. The Icon MC at 100Ω, the EA-550 at 117.5Ω. Interestingly, when reviewing less expensive phonos from Rega, Sutherland Engineering and others, cartridge loading is managed by the user. If playing carts you feel need various loadings, then the EA-550 may not be for you. Or, maybe you simply prefer to experiment. If so, there are lots of good phonos from which to choose. As good as the EA-550? That’s another question.
Me? I’ve been lucky as all my carts in house love 100Ω, including Phasemation x3, Allnic Amber, Shelter 501 Mk III, and the mono Miyajima. However, I’ve been at workshops which demonstrated the benefits of changing loadings, and for the better. So, your choice.
Following is the email response for the record:
Dear Anthony Kershaw-san
Thank you very much for your kind of cooperation.
We imagine you want to know the input impedance of the MC input of phono
amplifier.
In case of EA-200 and EA-300, input impedance of MC input is 470ohms due to
the semiconductor amplifier.
For EA-350, EA-550 and EA-2000, input impedance is a 117.5ohms due to the MC
transformer.
Anyhow all of input impedance can't be changed.
Best Regards
Phasemation
As for gain, the 550’s MC 64dB was a perfect match for my low output carts. I rarely use more than 68dB if I have a choice.
Rear panel on one of the two mono chassis.
Sound
The units were fresh from the factory so I played umpteen LPs in stereo and both mono curves ‘till I felt enough time had passed. The EA-550 sounds crackerjack out of the box—you won’t have to be patient—but your ears may recognize some extra smoothness, width and depth to the presentation after a week or so. I’m finding manufacturers more and more are politely posting a few bench hours before shipping, which is very much appreciated.
As such, the break in period was chock-a-block with my list of audiophile testers including Waltz for Debby, The Power of the Orchestra, Songs of the Auvergne/Vanguard original, Reiner/Pictures, Reiner/Kijé, Reference/Arnold Overtures and Janis Ian’s Breaking Silence (45 RPM), and some of my mono favourites, all original pressing copies, including Theolonius Monk’s Brilliant Corners, Eroica/Furtwängler (Columbia) Yehudi Menuhin Beethoven Violin Sonatas (Columbia) and Elizabeth Schwarzkopf’s Schubert Song Recital (Columbia). Long time readers of Audiophilia will know my vinyl predilections and passionate audiophiles will have many of the albums in their collection.
After the break in list, I added lots to the daily playlist over the next few months. The units were turned on early morning and off late at night. External switches are so beautifully tactile, and the gentle relay ‘switch on’ sound is sexy (only an audiophile would think a relay switch sexy!).
In general, the stereo sound was very detailed, warm, and had a lot of the sophistication and headroom that only the very best phono stages provide. I feel many mainstream designs with manufacturers charging 5, 6 or 7 grand come up short in the timbral accuracy and often inexhaustible power that dynamic vinyl requires. Try ‘The Fair Field’ from Malcolm Arnold Overtures with a wannabe design. In fact, the entire Arnold album was wonderful on the 550—and scary! The Reference vinyl is a bottomless pit of bass and has the widest volume range on any recording I have in house. I’m usually at the ready with the volume knob preparing for soundstage implosion when auditioning phonos. And the reverb around the vast space of Watford Town Hall was captured to perfection. No bloat or phony fix-in-the-mix soundstage. All natural. Thus, the Phasemation took everything in stride. Headroom is endless and the background pitch black.
In addition to the Arnold, I love Side 2 of the Dorati/LSO/Mercury/Firebird for timbral accuracy, imaging and with power needs approaching those of the Reference Recordings Arnold. The 1960s superstars of the LSO, from Barry Tuckwell on horn to Dennis Wick on trombone to Gervase de Peyer on clarinet, all had unique sounds and were extraordinary musicians. Only the best phono stages such as my reference Allnic can unravel the vibrato and Boosey 10/10 clarinet sound of de Peyer, Tuckwell’s mournful horn channeling Prince Ivan (in the far right back of Kingsway) and the thunderous Wick in King Kastchei’s ‘Infernal Dance’. These players in this repertoire have never been equalled and neither has the Mercury recording. And like the Arnold and other demanding LPs, the Phasemation allowed this record’s unique legacy to shine and flourish. Thus, with the right collaborative gear on this Mercury, you’ll feel the immense presence of the brass.
Additionally, the wide and deep soundstage from the two Reiners mentioned was also very much present. The bass drum decay around the back of Chicago’s Symphony Hall in ‘Gnomus’ from Pictures was controlled to perfection as was the clarity of the oh-so-slight 2nd horn muted pp wobble later in the movement. If tonal accuracy, weight, power and unlimited headroom is what you’re after, Phasemation’s your man.
So, how was it with the voice and more gentle, intimate repertoire like chamber music and piano?
Well, spectacularly good.
The inner lines of the Ravel String Quartet (Philips/Quartetto Italiano) were delicate and all the strings sounded rosiny and tactile. And unlike many phono stage/cartridge combinations, the Phasemation siblings could ensure the difference between an up bow and down bow. Timbral truth. Of course, delicacy and pinpoint instrumental placement were heard. And the same for piano and its difficulties in the soundstage and power needs. So, Alfred Brendel (Philips) in Schubert Sonata in A minor, sounded ‘in the room’. A personal performance replete with exquisite pedalling, tone and macro dynamic bass.
No matter what stereo records I threw at the 550, it met and exceeded my needs. I don’t usually get into the technical weeds, but I’m a devil for the musical ones. The Phasemation never left me wanting more. So, a Japanese pressing of Steely Dan’s Gaucho was as the boys intended—every line a gem, every solo a keeper, and heard in perfect balance.
Where my tube Allnic phono excelled in stereo performance (at a premium of 7 grand) above the Phasemation was in taming an LP’s unintended brightness. The EA-550 controlled the super heated cut (Analogue Productions) of Martinon/LSO/LSC Dvořák’s Slavonic Dances beautifully (I think the first chord has some of the master tape’s distortion), but was bettered in balance and timbre by the Allnic design/topology. It’s just one of the remarkable attributes of the H-7000. Yet, that the Phasemation, a solid state design and much less expensive could come close to the exalted performance of the Allnic is quite an achievement. I’d love to hear Phasemation’s top tube design phono.
As far as the mono curves went, I literally threw myself on the mercy of the design court. Again, no weeds, just sound. Both Columbia and Decca curves sounded wonderful. I’m assuming the Phasemation engineers know what they’re doing and I played Deccas on Mono 1 and Columbias on Mono 2. Reissues and fancy buggers with no legacy allegiance, I used Mono 1. They all sounded wonderful. And I was so happy to be able to pick and choose curves for myself. And experiment. That was fun. I’ll do a shout out to a reissue, Abey Fonn’s Impex Records gorgeous reissue of Sing and Dance with Frank Sinatra which I played on Mono 1. What a record. And it never sounded as good as with the Phasemation, a considerable step up from my Icon Audio PS1 MkII’s mono performance (the EA-550 is over 4 times the price).
Conclusion
The Phasemation EA-550 is a spectacular solid state design. It looks gorgeous, it plays beautifully with all topologies, it’s a turn on and forget design, it’ll degauss your cartridge, the low filter will tame your wobbly woofer, and other than for cartridge loading choice enthusiasts, it is endlessly adaptable to any vinyl situation and playback you’ll ever need. A lifetime product. Sure, it’s going to set you back almost 10K, but it’s a BMW of a design, and they cost. And are worth saving for. If you are a confirmed vinylphile, and it’s in your price range now or in the future, you gotta hear it. Very highly recommended.
Further information: Phasemation
