In an ideal world, I'd have every phono section I've reviewed in the past 16 years on hand to compare with these three and with all that arrive in the future. But because I have a life, I don't, and I wouldn't even if I could, though some readers (and one retailer) have insisted that that's the only way that I could possibly be of any use to them. Ha! And for those who are concerned that I've neglected the Manley Steelhead, not so! It's still my reference.
Not that many years ago, it seems, every sound crew in Hollywood and around the world recorded production sound using a compact, open-reel analog tape recorder made by Nagra. The first iteration of the Swiss-made machine appeared in the early 1950s. Shortly thereafter, with the addition of an inaudible recorded tone that allowed easy syncing to picture, the Nagra recorder became the industry standard, and remained so through the 1980s. To this day, Nagra's line of audio products retains the look of those early recorders.
The German company AQVOX Audio Devices has produced an innovative moving-coil/moving-magnet solid-state phono preamplifier, the Phono 2Ci, that's as intriguing for its technology and performance as it is for its relatively low price: $1400. The zero-feedback, op-ampfree circuit uses a compact switch-mode power supply that's built into the chassis and features conventional voltage gain for moving-magnet cartridges via its RCA jacks, and current gain for moving-coil cartridges through the balanced XLR inputs. Rear-panel switches select between RCA or XLR inputs and offer a convenient ground lift. Either the single-ended or the balanced outputs can be used with either input. Unfortunately, the tight spacing of the RCA input and output jacks, which are mounted on the circuit board, will somewhat limit your choice of cables: Pairs of thick-barreled plugs will have difficulty fitting.
Simaudio's Moon LP5.3 MM/MC phono preamplifier ($1400) is silly good! It has single-ended RCA inputs and both single-ended and true balanced-differential outputs. It also offers a wide range of adjustments for gain (54, 60, and 66dB), resistive loading (10, 100, 470, 1k, and 47k ohms), and capacitive loading (0, 100, and 470pF), all accomplished via a series of internally mounted jumper banks. You can even choose RIAA or IEC equalization. Removing the top plate to get to the adjustments reveals boards filled with high-quality parts for the well-isolated power-supply and signal-handling circuits.
At a hi-fi show in Germany a few years ago, an audio club had set up a room filled with a dozen well-known turntable/tonearm combos. I recall seeing the Clearaudio/Souther, Immedia RPM-2 and arm, VPI TNT Mk.IV/JMW Memorial, Basis 2500/Graham 2.0, Oracle/Graham, Linn LP12/Ittok, SME Model 20/SME V, and some others I can't remember, including a few not exported from Germany.
This is an era in which products and websites are "launched," but in the past two years Herron Audio has sort of oozed its way into the public ear. With little visible promotion or splashy advertising, Herron is now spoken of within an ever-widening audiophile circle.
It's not every Consumer Electronics Show that someone introduces a $29,000 solid-state phono preamplifier—and I miss it. The 2002 CES was one. My show report in the April issue made it seem as if I'd found out about it there, but the fact is, someone clued me in after I'd returned home. I needed to come clean on that.
Audio Research's long-promised "final statement" phono preamplifier has finally arrived, and its price is $3500 less than the originally rumored $10,000. That's a pleasant deviation from the audiophile norm, but at $6495, the Reference phono still boasts a steep ticket. That's more than twice the price of the $2495 PH3 SE, AR's previous best—a class sonic act itself.
The $3000 moving-coil (MC) PhD, available from Chad Kassem's Acoustic Sounds operation, is a monumental achievement that, for me, sets new standards for the cleanness and transparency possible in a phono preamp—and I've had a lot of experience with phono preamps.