Destination Audio 45 monoblock power amplifier

Destination Audio is the realization of company founder Sam Wisniewski’s dream of the sound of the directly heated 45 tube in triode mode. From the creation of the two-chassis 417A tube phono stage to the two-chassis 76 tube-based preamplifier, the 45 tube-based monoblock amplifiers and the Vista horn, the creative objective of all of Sam’s products was to convey the magic of the 45 tube.

Destination Audio is based in Poland. Sam is a self taught designer of speakers and amplifications with no academic background: ‘I have always been in love with the 45 tube and I wanted to create a loudspeaker which is efficient enough for 2 watts to play freely. The bass module was the biggest problem and that’s why I decided to develop a high-performance bass speaker. It was a process that lasted for several years until 2015 when the final version of DA Vista was presented at the Audio Show in Warsaw. As for the amplifiers based on the 50 tube, I had the idea in my head for two years. When I told Art Smuck [president of North American importer Arkamima, Denton, TX] about this idea, he immediately offered to fund it and thanks to that, it mobilized me to make these amplifiers. The effect was surprisingly great. Were it not for Art, these amps would not be present today. Art is in a sense my “driving force” for action.’

Sam has been visiting the states since he was 24, and his first exhibition at AXPONA in 2017 gained him notoriety when his buddy started calling him ‘Sam’ Wisniewski instead of the original Wlodzimierz. The name stuck ever since.

When asked for more specifics on his love for the 45 tube, Sam confessed not being very keen on stories of the 45 and 76 tube except that former was supposedly made by RCA for cinema use as the era of the silent films was coming to an end. Per Sam, ‘the 45 tube has something special in which you can fall in love. I did. People say 45 is the magic tube, and I’m sure they’re right.’

He also believes his lack of indoctrination allows him to break free of the traditional thinking and achieve something unique: ‘I love what I do and when I build something, I want to get a beautiful sounding product. The sound has to be mine and I have to love it. It turned out that I’m not alone.’

It is a fact that the 45 is considered by some to be the best sounding tube among directly-heated triodes; Sam adopted the Emission Labs edition. According to the EML website, ‘Best sound of the 45 is developed at the very sweet first Watt. The 45 will reward you with best sound when you are using high efficiency speaker systems, starting at 96..99dB. At the same time, here comes a drawback for the amplifier and the tubes as well. Such speaker systems of 100dB and above will make smallest imperfections audible, and the amplifier must produce as little hum and noise as can be. This is difficult. When you are thinking of 108db horn systems this stresses the design limits of tubes and amplifiers a lot.’

Amorphous-core transformers were adopted for the monoblock, as Sam preferred, again, the ‘unique, detailed’ sound of the amorphous core to other types of transformers, such as silicon and permalloy. Sam was of the opinion that ‘amorphics’ were able to convey something more than what was contained in music. Compared to other types of cores, however, amorphous transformers do not have as ‘abundant’ a bass as others as to be slightly light sounding. However, by adapting the transformer parameters to a specific tube, Sam believed he could get great results. Destination Audio transformers were made to order with exacting parameters to achieve the best performance out of the 45.

Destination Audio 76 preamplifier

A two-chassis 76 DHT linestage that served as a perfect companion to the 45 monoblock amplifier was included for this review. Sam chose the 76 tube for its tone, but it was rather susceptible to microphonics. The solution came in the form of ‘muted internal stands’ as in soften suspensions, which reduced the effect of microphone. The two-chassis design separated the tube power supply from the main, signal handling chassis. While the open top design of both chassis of the linestage made component stacking for space saving out of the question, I often obtained superior performance of the component by placing the PSU away from the main chassis anyway. A lone 5U4G tube rectified the power supply unit.

The front of the main chassis was adorned with two round, gold knobs, namely VOLUME and SOURCE. The volume control was a Japanese Alps potentiometer. Continuous in rotation and not stepped, it made for effortless volume adjustment and was completely silent in operation. I have experiences with preamplifiers equipped with expensive volume pots where the implementation lacked precision and consistency during turning, but the DA 76 linestage was rugged in construction and completely quiet in operation. The SOURCE knob provided selection of four pairs of RCA inputs. A costlier and more exotic option of amorphous TVC transformer coupled volume control was optional.

Destination Audio 417A phono stage main chassis

Destination Audio 417A phono stage power supply unit

Handling RIAA equalization was the 417A tube phono stage with a separate PSU. Flaunting three gain stages with two WE417A and not two but four 5687, the 417A phono stage was arguably the most brilliant star of the phono stage-linestage-power amplifier trio that was already devastatingly spectacular, utilizing LCR transformer to achieve RIAA equalization. Capable of high transconductance and hence low noise and widely adopted in microphone preamplifiers, Sam chose the 417A for both the resultant sound quality and suitability of the tube for use in a phono stage. The phono stage featured a pair of the NOS WE417A. Per a 1962 Western Electric Data Sheet, the WE417A was described to be ‘intended primarily for grounded-grid operation in the input stage of broad band amplifiers.’ The 5687 tubes were selected for the second and third stage for their sound quality as well. Again, a lone 5U4G governed the outboard power supply unit.

Between the WE417A tube and the second stage, an amorphous interstage transformer was used. While production units could be set for a load impedance of up to 200 Ohms, the review unit was set for 10-150 Ohm and 0.2-0.4mV of output. It is noteworthy that the 417A could also be set for a moving magnet load of up to 85k Ohms! Set to a gain of 72dB on the moving coil, the 417A was really designed for use with low compliance cartridges. The $9,995 Koetsu Jade Platinum with 80-1k Ohm impedance and 0.3mV output, $5,895 Kuzma CAR-50 moving coil cartridge with 100 Ohm impedance or less and 0.3mV output and the $4,499 Sumiko Palo Santo Presentation with 100-1k Ohm impedance and 0.5mV output were proven prime partners.

The Kuzma and Sumiko both exhibited beautiful textural compositions and massive tonal ranges, with the Kuzma with its 4N silver wired-coil and sapphire cantilever edging out on superior displays of nuance and low-level background instrumentations, such as a rhythm electric guitar amidst a group of players. The low impedance requirement of the Kuzma made it the star with natural balance of spectral presentation at the lowest price among the three. The Koetsu and Sumiko would normally sound slightly less brilliant at the top-end at such low impedance with lesser tube phono stages, especially with the Koetsu sounding a little less energetic in the upper midrange and up than I’d like; but in this case, it was nuanced, dynamically unimpeded and tonally spectacular.

This was my first time experiencing a WE417A phono stage in a 45-based single-ended triode amplification and horn system and the effects were more than subtle and utterly sublime. As of this writing, Tube Depot continued to carry the NOS WE417A at around $175 each. Time to stock up, tube aficionados.

And here comes the most visually striking member of the family, the Vista horn.

22 February, 2019: Louisville, Colorado – Boulder Amplifiers is pleased to announce the immediate release and shipment of the 2108 Phono Preamplifier. The 2108 is a part of the 2100 Series and is Boulder’s reference level phono preamplifier.

The 2100 Series is Boulder’s highest-performing product line in continuous production.

The 2108 features several substantial advancements in technology and performance over the previous generation 2000-level phono preamplifier. Vast improvements have been made in sound quality through the use of better ground paths and planes, revised circuit topology, and lowering of the static noise floor. Increased use of surface-mount PCB technology, manufactured on Boulder’s own SMD manufacturing machines and ovens has also yielded improvements in noise radiation, propagation delay, parasitic capacitance and the elimination of lead inductance in selected circuits. It also offers improvements in unit-to-unit quality and consistency with the added benefit of improved long-term reliability.

Features and improvements in the 2108 include:

• Multiple Equalization Curves. In addition to the standard RIAA EQ curve, the 2108 features three additional curves selectable via a front panel button: FFRR, Columbia, and EMI. These equalization curves enable correct and accurate playback of LP records made prior to 1954. An option on the 2008, these EQ curves are now included as standard on the 2108.

• Dual Chassis Design. All audio electronics and control functions are contained within a machined aluminum chassis and all power supply and standby circuitry is housed in separate casework to isolate noise and prevent noise or hum from the power supply from interfering with sensitive
high-gain audio circuitry.

• +10 dB Greater Gain for MC Cartridges. The reduction of the noise floor of the 2108 has allowed for an increase in gain for low output moving coil cartridges without an increase in the noise floor. The net result is substantially improved low-level resolution and dynamic or transient response.

• 995 Gain Stage. The 2108 uses Boulder’s own 995 gain stage, a modular, discretely implemented, initial gain stage for significantly reduced distortion and noise. This reduction results in substantial improvements in clarity and low-level information recovery. All 995 circuitry is potted in a proprietary epoxy resin for consistent thermal stability and increased reliability and then mounted in a precision-machined aluminum housing.

• MC Cartridge Demagnetizer Pass-through. A pair of RCA connections is included on the rear panel to allow the use of an external cartridge demagnetizer for certain MC cartridges.

• Fully Balanced, Dual Mono Construction. Inputs and outputs are high quality, full-balanced 3-pin XLR connections and all audio circuitry is executed in a dual-mono configuration for increased isolation of the left and right channels.

• Three Inputs and Two Outputs. Three inputs per channel are available for connecting multiple turntables or tonearms, each with customizable “Personality Cards” which can be tailored to meet the resistive and capacitive loading needs of specific phono cartridges. Dual outputs are included to feed both a main listening system and/or a recording system.

• Quiet Logic System for Switching and Controls. All functions and controls are actuated with a logic system to eliminate any internally radiated noise, such as that from a microprocessor.

• All Cartridge Loading and Gain Settings are Performed on Boulder’s Input Personality Cards. All cartridge loading is handled by a single high-precision resistor instead of any type of switched or remote controlled loading system. The tiny analog phono signal is never run through any sort
of switch or relay or multiple solder connections that would significantly increase loss and distortion.

• Additional Features: Other features include a selectable low cut filter with high-pass cut off points of 10 Hz, 20 Hz, or Out, selectable true mono mode for monaural recordings played on a stereo cartridge, and extensive damping and shielding for each of the main power transformers to eliminate hum pickup in the audio stages or audible chassis buzz.

Full specifications for the 2108 are as follows:
Balanced Inputs 3 x 3-pin XLR
Balanced Outputs 2 x 3-pin XLR
Input Impedance MC: maximum 1000Ω, MM: 47kΩ.
Resistive and capacitive loading adjustable on individual Personality Cards.
Output Impedance 100Ω Balanced
Phono Equalization RIAA, Columbia, EMI, FFRR (London/Decca)
Maximum Output Level 28 Vrms
Distortion, THD 0.005%
1 kHz Gain, RIAA MC: 70 or 60 dB, MM: 50 or 40 dB
Noise (EIN), MC 160 μV A-wtd, 275 μV flat, 20 Hz to 20 kHz
Frequency Response, 20 Hz to 20 kHz RIAA: ±0.10 dB
Crosstalk, L to R or R to L -100 dB or better, 20 Hz to 20 kHz
Power Requirements 90-120V / 200-240V, 50-60 Hz
Power Consumption 75W Max

Weights and Dimensions
2108 Phono Preamplifier 18” W x 15.3” D x 5.75” H (37 lbs.)
45.7 cm W x 38.9 cm D x 14.6 cm H (16.8 kg)
2100 Power Supply 18” W x 15.3” D x 5.75” H (48 lbs.)
45.7 cm W x 38.9 cm D x 14.6 cm H (21.8 kg)
2108 Shipping 24” W x 23” D x 16” H (51 lbs.)
61 cm W x 58.4 cm H x 40.6 cm H (23.2 kg)
2100 Shipping 24” W x 21” D x 12” H (69.5 lbs.)
61 cm W x 58.4 cm H x 40.6 cm H (31.6 kg)

All specifications measured at 240 VAC mains power

The suggested US retail price for the 2108 Phono Preamplifier is $52,000. Export retail pricing will vary by country due to applicable taxes and duties.

About Boulder Amplifiers, Inc.:

Boulder is the world’s premiere luxury and high-performance audio manufacturer and is based in Louisville, Colorado.

It is a member of the Consumer Technology Association and is the last remaining “high-end” electronics manufacturer in North America to engineer and produce all aspects of its products in-house. Boulder was founded in 1984 as a manufacturer of broadcast and recording studio equipment, transitioning later to fine home audio electronics.

Parasound maintains a relatively long history in Hi-Fi. The brand has been around for decades and while still going strong, reliably and dependably, it manages to do so without a great deal of fanfare. Workmanlike is a word that has been used to describe their products; rugged and sturdy, they soldier on. I joined the Parasound Owners Group on Facebook to learn that a good number of them are loath to part with their gear and, from the build and quality of the products, I can see why.

My decision to live/reside on both sides of the Atlantic means stocking two residences with the requisite gear. In the States, the Parasound brand is prevalent, whilst in the UK, not so much. It is making inroads, so here in Central Ohio, Columbus to be exact, I decided to make things easy at the start by setting my sights on a workhorse of an integrated amplifier, one that could do pretty-much anything, and purchased a Parasound Halo 2.1 (now superseded by their HINT 6). The Halo 2.1 covered all the bases and, fortunately for me, it sported a phono stage. I say fortunately because as I shipped over a turntable along with cartons of furnishings and clothes from the UK, I absent-mindedly forgot that voltages can make a difference and without a great deal of work and relative expensive cost, my turntable took an unnecessary transatlantic voyage.

Compared to the US, vinyl records can be expensive in the UK, especially when the goal is to fill up empty racks and shelves in my listening room(s). With that in mind I went turntable shopping. While auditioning tables at home I realized that, while the Halo 2.1’s phono stage was more than adequate, it was not terribly efficient logistically to have go to the rack and snake my arms around the back and start shifting cables blindly. Enter Parasound’s ZPhono: minus a wall-wart (YAY) and minus hum and RF interference (double YAY) for which I am truly grateful. I auditioned numerous sub-$300 phono stages and one of those, which costs half as much and whose brand name raises eyebrows would be my nemesis. I bought one, returned it for a replacement and returned that one for a refund. Shielding is ever so important, and from personal experience the absence of a wall-wart is one less item that can be blamed for audible noise from hum and interference. In contrast, the ZPhono and the ZPhono XRM are as quiet as church mice with all of the tables I auditioned.

Having finally decided on the phono stage and having fitted the Rega RP1 with the now-infamous Rega Carbon cartridge, I descended voraciously upon all the local independent records shops. As the shelves filled and I started fleshing out numerous systems at home, I began purchasing and acquiring more turntables. Let me say this right here and now: a fully automatic turntable can be a social drinker’s really good friend when one’s faculties are diminished and eyes grow heavy. A good number of these new models possess integrated phono stages, and while relegating them to hell , they’d find themselves a suitable home in purgatory.

Fast-forward nine months and my bookshelves and storage units are now to the gills with records, and I find myself with a bevy of turntables: a Pro-Ject RPM1, two Denon DP-300F’s, a vintage Denon DP-47F, a Rega RP6 and a VPI Prime Scout. As I unpacked gear from storage, I started building multiple systems in the living room, and then one in the office, and one in the guest room, as one would do. #insanity #obsession.

Through this all I had become enamored with Parasound as a brand. When I heard that they were releasing the JC3 Jr., a streamlined version of the much acclaimed JC3/JC3+, and the ZPhono XRM (an upgraded ZPhono), I got on the horn to Richard Schram, Parasound’s CEO, and inquired about the products, wanting to write about them. First the JC3 Jr. arrived and then the ZPhono XRM. Both were a breeze to set up. It really does help if you burn an image of their respective rears, the business ends, in your mind remembering to reverse the image when blindly making the connections from the front. It is a skill a lot of us don’t realize we’ve attained until we sit down and wonder what just happened.

The ZPhono XRM made a big difference if for nothing else than its features. I’m always curious about how different an MC cartridge could and would sound from an MM cartridge, but I didn’t have an easy way to switch between the two without it being tiresome. The XLR outputs are a nice touch, but I was more taken with the addition of adjustable loading and a mode switch for stereo/mono and an input switch for MM/MC, both switches being on the front of the unit. Flexibility is a good—no great—thing. If I’ve learned anything over the years in Hi-Fi it’s that matching components is everything.

Logic might dictate that coupling a higher quality, more feature laden phono stage would improve any lesser cost turntable, but then I must remind you that for all the wonders High-Definition television brought to sporting events, it did not do wonders for newscasters, whose every wrinkle and pock-mark became all the more evident. The entry-level turntables I have here at my disposal, including a Parasound LTD-900 model I picked up on eBay, which I keep around here as more of a conversation piece, did not improve appreciably with the addition of the XRM. Swapping the phono stages out at the moment made it clear to me that a basic turntable partners just fine with a basic phono stage.

It was a different story with the Pro-Ject RPM1, Denon DP-47F and VPI Prime Scout. As one would predict with the latter two, I was pleasantly surprised to hear a noticeable improvement with the Pro-Ject RPM1, a rather fancifully designed table, and the vintage Denon DP-47F. These two tables came alive, as if they were jump-started. Recordings I had played on them connected to the ZPhono now sounded richer, fuller, with much more detail played with the ZPhono XRM. Imagine you’re decanting a fine bottle of wine and having it breathe for anywhere from 30 minutes to a few hours. The result will be that you’re able to pick up more of the wine’s properties, its characteristics, and that’s what the XRM was able to accomplish with these turntables.

An Antenna No More!

This past year numerous readers and followers of mine on Twitter and Facebook continually asked me to recommend a budget phono stage, and to this end I had acquired the following phono stages:

1. Parasound ZPhono
2. Cambridge Audio Duo
3. NAD PP2e
4. Musical Fidelity V90-LPS
5. Rega Fono Mini
6. Pro-Ject Audio Phono Box DC

That’s a lot of budget phono stages and, with six turntables and five separate systems here, I am just the staffer at Dagogo to pull this off. So, what’s the first thing you see that’s missing? That’s right … the Schiit Mani. Why did it not make the list? Because it failed one of the very first tests, which shocked me as it is so well regarded internationally, so well reviewed, and so loved by its owners.

A bit about the Schiit Mani: it is small and physically unassuming, so small that it fits nicely in my larger-than-life hands. To look at it, this exercise in minimalist design, from the front with its lone white LED power light it could be just about anything. But its underside tells a different story with its array of load and gain switches, making for a permutational host of settings. One could hardly ask for more and, given its design, asking for less would be a real challenge.

So, what was this test it failed and how was it so noticeable? Well, apart from all the others connected to all the same systems, in the same physical location (my home), the Schiit Mani was the only one to generate noise, and I’m not talking about music.

When I shared my thoughts with folks online about the outcome of my personal shoot-out, a good number of them were disappointed when I could not sing the praises of the Schiit Mani. It was not for lack of trying, as I had acquired one and then had to return it to the company for them to replace it with another, which did not produce, (1) a noticeable hum and, (2) enough RF interference for me to pick up a local AM Hispanic talk radio station, which could be heard through the static. Even with all of the Mani’s worldwide acclaim and with so many satisfied customers singing the phono stage’s praises, I knew I could not be the only one experiencing these issues. And while others and I represent a rather small minority, I could not personally recommend the product since, on my test bed, in my home, it simply did not function as advertised. Under my personal circumstances it was simply unacceptable.

I maintain a very strict policy regarding recommendations and reviews. Upon joining Dagogo, I laid out set of conditions, one of which was that I would not be pressured by the publication, manufacturers and/or public opinion to write anything that I could not personally stand behind.

To my great satisfaction, I learned this past week that Schiit has applied a new RF filter that eradicates the issues I encountered. Just yesterday (Saturday, March 16^th) the updated Mani arrived in the post and I proceeded to run it through with all of my turntables and systems. It passed with flying colors. The sound of silence in the background is so welcome, and apart from Glenn Gould recordings, I can do without the hum.

Present Mani owners know how good the Mani can be, and for those who were put off by reports of the hum and RF interference, if you’re still in the market, I urge you to re-visit as I can, without equivocation, recommend the $129 Schiit Mani as an absolute bargain and able performer.

I am going to have to re-visit my shoot-out among the budget priced phono stages and see where the Schiit lands in the mix. The list at the beginning of this piece reflects the results in order of preference. I listened to all of them extensively, comfortable in the knowledge that the growing number of analogue audiophiles, who are just starting out are in good stead with the options at hand, are clearly not spoiled for choice. For our readers looking to eschew the pesky wall-wart, both the Parasound and Cambridge Audio units make use of internal power supplies and IEC power sockets.

Copy editor: Dan Rubin

The following is a press release from iFi

ZEN gets groovy with iFi’s new phono stage

Adjustable gain? Tick. Subsonic filter? Tick. Class-leading, ultra-low-noise performance? Tick. The iFi ZEN Phono is an entry-level phono stage to surpass all others

Southport, England –iFi continues to expand its multi-ward-winning ZEN Series of affordable, desktop-sized audio devices with the ZEN Phono – a phono stage (or phono preamplifier, if you prefer) with a peerless performance at just $149. U.S.

iFi’s pedigree in phono stage design is considerable. The company’s recently launched flagship model, the iPhono3 Black Label, delivers class-leading, ultra-low-noise performance at £999, while the PH-77 from iFi’s sister-company AMR is a $15,000 reference-class phono preamplifier. The ZEN Phono is the first sub-$200 phono stage iFi has made and in terms of sound-per-pound performance it is a truly remarkable device.

For anyone diving headlong into the vinyl revival, the ZEN Phono is the ideal companion for their chosen turntable. It delivers a specification and performance unparalleled at the price, able to match perfectly will all manner of phono cartridges, whether moving magnet or moving coil.

Take the stage

Every turntable needs a phono stage to amplify the low-level output from a phono cartridge to ‘line level’ and apply RIAA equalisation. Some integrated amps and preamps have phono stages built in, but these vary in quality and are rarely as good as a well-designed offboard phono stage placed in the signal chain between the turntable and a line-level input on the amp.

Designing a truly high-performance phono stage is not an easy thing to do. For one thing, it is difficult to amplify the delicate output from a phono cartridge without also amplifying noise. In addition, the wide variation in output from different cartridges means that many phono stages only work optimally with certain cartridge types. These issues are exacerbated at the entry-level end of the phono stage market, where basic circuit design using common off-the-shelf components often leads to a performance that is adequate at best – okay for entry level, but easily outclassed by spending more.

The ZEN Phono has been designed to push the boundaries of what can be achieved in an entry-level phono stage. Its circuit design is like nothing else at the price, with a range of precisely engineered settings that ensure genuine versatility. Whatever the turntable, whatever the cartridge, the ZEN Phono always delivers a class-leading performance.

A question of balance

The ZEN Phono’s circuitry is of balanced, symmetrical dual-mono design – a topology usually reserved for high-end audio products owing to complexity and cost. Balanced circuit design has the ability the reduce noise and crosstalk, thus increasing sonic clarity, and has long been championed by renowned high-end audio electronics engineer John Curl – a man whose analogue amp designs, including several landmark phono stages, have been lauded since the 1970s.

Curl, now a technical consultant for iFi, has worked with iFi’s in-house technical team, headed by Thorsten Loesch, to produce a circuit design of exceptional quality for such an affordable phono stage. A fully balanced, ultra-low-noise design of this kind is unprecedented at such a low price point.

Sum of the parts

The ZEN Phono’s balanced circuitry contains surface-mounted components of unusual quality in an entry-level design. For example, the capacitors used include TDK C0G and Murata multilayer ceramic types, as well as Panasonic ECPU polyphenylene sulphide film devices – none of these are cheap, but their class-leading ESL (Equivalent Series Resistance) and individual qualities such as high stability and low distortion pay great dividends in terms of sound quality and the accuracy of RIAA equalisation.

In common with many iFi audio products, the ZEN Phono incorporates a custom OV Series op-amp – in this case, the OVA2637. This also contributes greatly to the price-busting audio performance, thanks to ultra-low distortion (0.0001%).

Clean power

The best phono stages on the market create their own power supply off the mains, similar to a mains regenerator, in order to amplify the audio signal from the cartridge without adding noise. The ZEN Phono achieves this aim, but not in a conventional way; it creates a power supply with an oscillation frequency of 1.2MHz, which is 20,000 times that of mains electricity. In this circuit, a filtering capacitor with a 10uF rating is equivalent to 200,000uFat lower, audible frequencies – exceptional filtering power. The power supply circuitry is located on its own ‘island’ on the circuit board to ensure there is no contamination of the audio signal – just super-clean +/-12V DC.

High-end features, entry-level price

Phono cartridges vary greatly in their technical characteristics, but few sub-£200 phono stages handle moving coil (MC) cartridges in addition to moving magnet (MM)types, let alone offer further gain adjustment to make the most of whichever MC cartridge the user chooses to employ.

The ZEN Phono is the exception, delivering a range of gain settings from 36dB to 72dB –impressive even in a much more expensive phono stage. There are four gain settings in total: 36dB (MM), 48dB (high-output MC), 60dB (low-output MC) and 72dB (very-low-output MC). This enables the ZEN Phono to take even the more exotic MC cartridge types in its stride.

Another rarity at this price level is a subsonic filter, engaged via a front-panel button to tackle the large subsonic signal output caused by warped records. A feature of all iFi phono stages, this proprietary circuit ‘intelligently’ filters out the unwanted subsonic output without affecting any deep bass on the recording – an undesirable side effect of some warp filters.

This is how it works: vinyl cutting lathes incorporate a so-called ‘elliptical filter’, which means that low-level bass on an LP is invariably mono and creates only horizontal movement of the stylus. Therefore, any low-frequency vertical movement of the stylus as it tracks the LP can only be the result of record warp. iFi’s subsonic filter removes the effect of record warp from the vertical plane, doing its job efficiently without the common drawbacks of attenuating any low bass or adding group delay.

Ins and outs

As well as the usual stereo RCA inputs and outputs, gold-plated for optimal signal integrity, the ZEN Phono’s rear sports another phono stage rarity – a 4.4mm Pentaconn balanced output. This can be used to connect to an amp or active speakers equipped with a balanced input – either a Pentaconn 4.4mm input, such as the one found on the ZEN CAN analogue headphone amp, or XLR inputs via an adapter. This enables a fully balanced connection that makes the most of the ZEN Phono’s balanced circuitry – no other phono stage at this price level offers a balanced output option.

A grounding terminal is also provided; attach a turntable’s grounding wire to this to avoid ground loop issues that can cause an audible hum.Even the way the ZEN Phono switches between settings has been engineered to ensure sonic transparency, handled by a microcontroller that only ‘wakes up’ when a setting is changed to avoid any sonically deleterious electronic noise.

Find your ZEN

The ZEN Phono is the fourth product to join iFi’s ZEN Series – a range with a mission to make high-performance audio more accessible than ever. Just like the ZEN DAC, ZEN Blue and ZEN CAN, it delivers a level of specification and performance never before seen – or heard – at its price point.The iFi ZEN Phono is available from selected retailers from 4 September, priced at $149.

iFi is the sister-brand of Abbingdon Music Research (AMR) and is headquartered in Southport, UK. The two brands respectively design and manufacture portable, desktop and lifestyle audio products and high-end hi-fi components. Combined in-house hardware and software development teams and a ‘music first’ approach enable iFi and AMR to create advanced audio products that deliver new levels of design, functionality and performance at their respective price points. Since iFi’s formation in 2012, its products have earned many awards around the world, helping it to become one of the fastest-growing brands in its field.

www.ifi-audio.com

The following is a press release from Audio-Technica.

STOW, OH, October 20, 2020 — Audio-Technica today announced the introduction of its AT-PEQ30 phono equalizer, designed to add a phono stage to a turntable setup or to serve as an upgrade from a turntable’s built-in phono preamp. The AT-PEQ30 accommodates MM (moving magnet) and MC (moving coil) phono cartridges and is designed for superlative sound quality.

“Our new AT-PEQ30 is ideal for users who need a great-sounding phono stage for use with a turntable that doesn’t have a built-in phono preamp,” noted Bob Peet, Audio-Technica US Marketing Manager. “It’s also a high-value solution for listeners who want to upgrade from their turntable’s built-in phono preamp and enjoy improved sound quality from their record collections.”

The Audio-Technica AT-PEQ30 offers a selectable MM and MC input with a fixed gain of 35 dB (MM) or 59 dB (MC). Its input impedance is 47 kilo-ohms for MM and 120 ohms for MC, for compatibility with a wide range of phono cartridges. The AT-PEQ30 delivers a 250 mV line-level output for both MM and MC cartridges.

The AT-PEQ30 is built from premium-quality precision components, with a machined aluminum front panel, gold-plated input and output connectors and other refinements. Its FET inputs ensure low noise and precise RIAA equalization with a smooth, accurate tonal balance from 20 to 20,000 Hz. Measuring just 1.9 inches high by 7.8 inches wide by 4.9 inches deep for easy installation in any system, the AT-PEQ30’s all-metal construction provides superior isolation from outside electronic and radio frequency interference (EMI and RFI).

The Audio-Technica AT-PEQ30 phono equalizer is currently available at a suggested retail price of US$229.

Specifications:

Input impedance: 47 Kohms (MM), 120 Ohms (MC)
Input sensitivity: 4.5 mV (MM), 0.28 mV (MC)
Rated output: 250 mV (MM, MC)
Gain: 35 dB (MM), 59 dB (MC)
S/N ratio: 100 dB (MM), 74 dB (MC)
RIAA deviation (20 – 20 KHz): ±0.5 dB (MM, MC)
Power supply: DC 15 V, 1.2 A
Power consumption: 2.5 W
Dimensions: 1.85″ H x 7.78″ W x 4.94″ D
Weight: 31.4 oz
Accessories included: AC adapter

The following is a press release from Musical Surroundings, U.S. importer of DS Audio.

Introducing the Grand Master system: DS Audio’s flagship optical cartridge and phono stage/equalizer.

DS Audio, the pioneers of optical phono cartridges, elevates the sound of vinyl playback with their new Grand Master system. This pure analog playback system combines a new “dual mono” cartridge design featuring 50% lower weight moving parts and a massive 2 chassis phono stage weighing over 100 lbs.

DS Audio Grand Master System – $60,000 
The system includes an optical phono cartridge and a dual chassis phono stage/equalizer.

DS Audio Grand Master Cartridge – $15,000 
Optical phono cartridge only. This can be used with any DS Audio phono stage/equalizer.

DS Audio Grand Master Phono Stage/Equalizer – $45,000
Dual chassis phono stage/equalizer only. This can be used with any DS Audio optical phono cartridge.

DS Audio’s flagship optical phono cartridge, engineered to bring analog sound to another level.   

The new Grand Master optical cartridge is optimized by implementing a new independent (dual mono) LED and photo-detector arrangement for the left and right channels. The cartridge output voltage has greatly increased from 40 mV to 70 mV, significantly more than traditional phono cartridges. With this dramatic increase in output, DS Audio’s excellent signal to noise ratio has been furthered improved, resulting in an even lower noise floor and greater musical clarity. The new design of the Grand Master generator further reduces crosstalk, greatly improving left and right channel separation, specifically above 10 kHz.

Over 50% reduction in moving mass

With the implementation of dual mono LEDs, a new larger shading plate was engineered using 99.9% pure beryllium for optimal positioning and agility.

DS Audio succeeded in reducing the weight of this shading plate by more than 50%, from 1.56 mg to 0.74 mg. This is less than 1/10th of the moving mass compared to the former/coil assembly found in a typical MC (moving coil) cartridge.

This further improves key advantages of DS Audio’s optical cartridge technology, enhancing track-ability, reducing resonance, and minimizing record wear.

Diamond cantilever with Micro-ridge stylus, ultra-rigid body design, and improved internal wiring.

A first for DS Audio, the Grand Master cartridge combines a diamond cantilever with a micro-ridge stylus. The cartridge body has been structurally designed to promote maximum rigidity. The Grand Master utilizes new internal wiring, 1.6 times thicker than used in previous generation cartridges, for greater signal flow from the dual-mono generator.

Cartridge specifications:

Output: 70mV or greater (at cartridge output)
Channel separation: 27dB or greater
Tracking force: 2.0 – 2.2 grams (2.1 recommended)
Cantilever: Diamond
Stylus: Micro Ridge
Weight: 7.7 grams
Body material: Super Duralumin
Cantilever interface material: Stainless steel

DS Audio’s flagship 2 chassis optical phono stage/equalizer – it sounds like 100 lbs.

The DS Audio Grand Master phono stage features 2 massive chassis, weighing together over 100lbs. Separating the dual mono audio circuitry from the power supply chassis, which houses 3 independent supplies, provides unmatched dynamic realism.

The Grand Master audio chassis incorporates discrete design and meticulous layout, with both special film capacitors and non-induction winding resistors custom-built to DS Audio’s specifications. The phono stage/equalizer offers both single-ended RCA and balanced XLR outputs and a total of 6 selectable low-frequency cut-off points allowing the Grand Master to work seamlessly with any hi-fi system.

Inside the power supply chassis, large copper bus bars connect a total of three transformers, each with a capacity 1.5 times greater than found in our Master 1 equalizer. Independent transformers are dedicated to the left and right channels, with the third handling the power to the optical cartridge.

The significantly more robust power supply design includes a massive 2.34 million microfarads of electrolytic capacitance within the equalizer and 2.97 million microfarads within the power supply, enabling superior reproduction of ultralow frequencies and dynamic range.

DS Audio’s technology allows unmatched performance and flexibility

The Grand Master cartridge and phono stage are compatible with all DS Audio’s optical cartridges and equalizers providing many choices and upgrades for the ultimate in pure analog vinyl enjoyment.

My publisher, Constantine Soo, suggested I improve on my NAD PP-1 phono stage with a more updated unit. I have resisted the urge to make changes because, after years of experimenting with different components, I finally have my stereo system sounding the way I want. It is very natural and pleasing to me and this was accomplished without spending an excessive amount of money. My NAD PP-1 has no noise and complements the rest of my system, so “if it isn’t broken don’t fix it” is my motto. This probably violates a number of audiophile rules; however, it is my system and I listen to it every day, so as long as it makes me happy that is all that matters. (Hear, hear. –Pub.) I tend to keep my components for extended periods of time, especially if I enjoy the product. The few times I regretted a purchase, I immediately removed the component. This has only happened a few times in the past 50 years of buying audio components. (An Audio Innovations line stage was an example of buyer’s remorse.)

When Constantine asked me if I would like to review the iFi ZEN phono stage, which sells for a bargain price of $149, I felt this would be a good opportunity to expand my horizons. This unit fits my niche of inexpensive high-end products, so I could not pass it up.

According to their website, iFi has, since 2012, been overseeing the design, development and manufacture of over 30 products from their headquarters in Southport, UK. The ZEN series is their most-affordable product line. Even though the iFi ZEN is only $149, it does use quality components throughout the unit. The OV series operational amplifier used in the ZEN Phono is an example of a top-notch component used to get the best sound quality out of iFi Audio products. The OVA2637 op-amp has low noise density and low distortion (0.0001%) and performs on a much higher level sonically than the product price suggests. Each Panasonic ECPU capacitor in the ZEN Phono is constructed from some 3,500 layers of ultra-thin dielectrics less than 0.5μm thick. It offers class-leading Equivalent Series Resistance (ESR), low impedance, frequency stability, and astonishingly low distortion. Texas Instruments low-noise ICs offer great Unity-Gain Bandwidth, very low-noise, high output-drive capability, Common-Mode Rejection Ratio of 100 dB and maximum-output-swing bandwidth, low distortion and high slew rate. Class 1 ceramic TDK C0G capacitors offer high stability and low loss for resonant circuit applications. They are pricey but are a perfect addition to these iFi  products.

The ZEN Phono uses muRata control-type, low-ESR high-Q multi-layer capacitors. The ‘ESR control’ aspect of the muRata is something special. Their noise suppression abilities are impressive.

iFi products and their packaging are made from recyclable materials, including aluminum, paper and recycled plastics. There are no hazardous toxins in their components, and they ensure every product released meets environmental standards. iFi prides itself on being an eco-friendly company.

The iFi ZEN is a very lightweight and easy to use phono stage. There is one set of inputs and one set of single-ended outputs plus balanced outputs via a Pentaconn connector. The ZEN has four different gain settings, one for moving magnet cartridges and three for high to low output moving coil phono cartridges.

The aesthetics are also very pleasant with an almost art deco look. Obviously, some thought went into the industrial design. You will also notice the ground plug is conveniently placed next to the inputs. My NAD PP-1 lacks a ground terminal, so I have to unscrew part of the body and attach it there, otherwise hum can be a problem. I do notice and appreciate these little things.

I started this review with my AR “The AR turntable” with the Sumiko Premier MMT tonearm and the Hana EH phono cartridge. The rest of my equipment includes the Antique Sound Lab Line One tube line stage and my Quicksilver Mini Mite 25 watt tube power amplifiers using KT77 output tubes. The Acarian System Alon 1 speakers complete the system, along with my AudioQuest speaker cables and interconnects. My records are regularly cleaned with my Nitty Gritty vacuum record cleaning machine. I generally prefer tubes, however, the signal from the phono cartridge is so small that, when amplifying this signal, I prefer solid state at this early stage of the record playing chain.

I used the moving magnet setting, which is normal for most high output moving coil phono cartridges. This seemed a better fit in my system compared to the high output moving coil setting because the Antique Sound Lab line stage has higher gain than most preamplifiers. I preferred using the ZEN with the subsonic filter off — it just seemed to give me a more natural sound. One of the advantages of using tubes is three dimensional sound with pinpoint imaging. I have said in other reviews that when I sit back, I can visualize the musicians right in front of me. The ZEN did not limit this feature in my system in any way, even in my small room.

I listened to a lot of the same records as I have for my other reviews, including Copland, Beethoven, Mozart, Tchaikovsky, Handel and jazz such as Buddy Rich, Maynard Ferguson, and Billy Cobham. The ZEN phono stage has a similar sound to my NAD with maybe a hint of better resolution. My Hana EH sounded spectacular playing through the ZEN no matter what record I played. The bottom end was there and the midrange had a very natural sound with no harshness or forwardness. The highs had a sweetness with no tipped up sound. The ZEN let the virtues of the Hana EH come through without adding any colorations. The sound was warm and sweet sounding as opposed to crisp and harsh.