$3695

PrimaLuna’s first standalone phonostage accepts both mm and low-output mc cartridges. Rather than use the conventional mc solution of either a step-up transformer or a solid-state stage for generating an additional 20dB or so of gain, PrimaLuna opted for a 6922 dual triode gain stage connected as a grounded grid circuit. Combined with the 40dB of gain generated by the mm stage, the total gain is 60dB—more than enough to satisfy any mc. It’s an absolutely fabulous tube extravaganza. Not only are both gain stages tube based, but add tube rectification and tube regulation via a pair of EL34 pentodes, and you have a unique circuit solution. The EVO 100 uses active inverse RIAA EQ based on feedback loops, emulating such classics as the Marantz 7 and Audio Research SP3a. System integration is super-easy via front-panel selectable mc input-impedance settings. For those of us addicted to tube sound, the EVO 100 is a godsend. It serves up a luscious midrange without losing sight of resolution, as well as the image focus and 3D soundstaging, that are tubes’ traditional strengths. This superlative phonostage elevates the vinyl playback experience to new heights. It has magnified DO’s enjoyment level to the point where he just can’t stop spinning vinyl. Truly a sonic masterpiece! (345)

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$76,000

More than a year after obtaining one for review and later purchasing it, I’ve heard no phono preamp that betters or comes close to the P10’s transparency, dynamic authority, background quiet, transient and timbral “rightness,” and ability to set up and maintain a “reach out and touch it” soundstage. Its four-input, remote-controlled versatility matches its sonics. I can’t remember, but if I gave the P10 a Golden Ear last year, it deserves another one this year.

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$2000

The Nova III is the third iteration of Mike Yee’s phono preamplifier and represents a new direction, battery power giving way to a sophisticated “DC-to-DC converter to turn the single-ended wall power supply (+24V) to an isolated split power-supply (to isolate the Nova III further from the power mains).” The result is that the almost peerless neutrality of previous Novas has been retained but with a new impression of body, solidity, and dimensionality, almost as if the reproduction is a bit more grounded, yet without losing any sense of quickness, agility, timing, and detail, plus a real increase in dynamic punch, kick, and drive. Unrivaled in its ability to match impedance or capacitance to any MC or MM pickup on the market, the III is at once intrinsically superb yet also an outstanding value. (222)

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$3599 stand alone ($4999 bundled with LPS)

European Audio Team (E.A.T.) has taken the ECC83 dual-triode tube and merged it with solid-state electronics to create the E-Glo S mm/mc phonostage. When it is coupled with the LPS external linear power supply, the E-Glo S’s performance improves, resulting in increased listening pleasure. Sonically, the E-Glo S/LPS combo produced a consistently easygoing sound that never ventured into aggression. While the E-Glo S/LPS isn’t the most resolving or dynamically agile phonostage reviewer Andre Jennings has heard, it is fine enough to capture the essence of the music and deliver it with sufficient information to allow many hours of listening pleasure. (298)

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$2499

It was only a matter of time before electronics design legend John Curl would author a phonostage for Parasound. Dubbed the JC 3+, it’s a dual-mono design. Each channel is housed in its own extruded aluminum enclosure, and further isolated from the power supply with thick, low-carbon-steel partitions. With top-quality parts throughout (Curl notes that the passive EQ parts’ values and quality are the same as in his renowned Vendetta Research SCP2B phono.) With every rotation from an LP collection, the JC 3+ conveys a heady mix of profound silence and kick-butt energy, a kiss of romance through the mids, and an ability to extract low-level information and define it within acoustic space. (245)

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$1599 ($1199, PSU-10)

The solid-state PH-10 (and matching optional PSU-10 power supply) is a half-width component, which makes for easy and flexible placement in, or on top of, a cabinet or rack. Fit and finish are excellent. All functions (EQ curves, impedance loading, gain) can be adjusted and confirmed via a front-panel TFT display on-the-fly while playing music, allowing specific individual settings to be made for every single record. Its overall presentation is transparent and neutral (with a slightly warm tone and a weighty midrange). Some phonostages pursue “absolute technical objectivity” as their goal. The PH-10 is not that kind of product. It’s all about the music. If you’re a “truth-seeker,” there are other products to choose from, but if you’re a “pleasure-seeker,” then the PH-10 is for you. (305)

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Parasound Halo JC 3+

$3199

Thoroughly upgraded, the JC 3+ not only adds loading adjustments to the (now-discontinued) JC 3 but improvements to signal-to-noise, tweaks to the mm/mc gain stages, a beefier power supply, and a larger power transformer. With every rotation from an LP collection the JC 3+ conveys a heady mix of profound silence and kick-butt energy, a kiss of romance through the mids, and an ability to extract low-level information and define it in acoustic space. NG, 245

EAT E-Glo S

$3599 ($4999 with EAT LPS Linear Power Supply)

European Audio Team (E.A.T.) has taken the ECC83 dual triode tube and married it with solid-state electronics to create the E-Glo S phono- stage. The input section is a hybrid that uses JFETs and ECC83 tubes to provide gain. Extensive gain and loading settings make the E-Glo S compatible with a wide range of cartridges. The LPS ($1295 if bought separately, $795 with the E-Glo S) is a dual-output power supply capable of powering two devices (e.g., the E-Glo S and select E.A.T. turntables). Used in conjunction with the E-Glo S, the LPS provides a more robust power supply than the one supplied with the E-Glo S alone. Many phonostages emphasize transients and focus on extracting the last measure of detail. The EAT isn’t one of them, favoring a gentler, more intimate sound. Pleasant and engaging are the words that best describe the E-Glo S. AJ, 300

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Schiit Audio Mani

$129

The Mani is one of the most cost-effective phono preamps on the market. It has four gain settings and two loading options via DIP switches on the bottom and works equally well with both moving-magnet and moving-coil cartridges. The Mani delivers wonderful soundstage depth while keeping the noise floor to a minimum. It handles even complex music with grace and toe-tapping fun. 

MoFi Electronics StudioPhono

$349 

Renowned recording and remastering experts Mobile Fidelity Sound Labs have taken the plunge into manufacturing analog hardware: two turntables and two companion phonostages, including the $349 StudioPhono. Tim de Paravicini lent a hand with designing the internal circuitry. Features include adjustable gain and loading for mm and mc cartridges, a mono setting, and a subsonic filter. Clean and compact, it complements ‘tables sonically and visually. 

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Hegel V10

$1500

Previously, Norwegian-based Hegel had shied away from making a phonostage, but has come out of the blocks with a Product-of-the-Year-worthy unit that is easy to use and easy on the budget. The initial design brief was to create a small, inexpensive starter box for the budding, cost-conscious LP enthusiast. As chief designer Bent Holter delved into the project, he realized that he could achieve much better performance with some higher-level engineering and some parts upgrades (Holter holds a Masters of Science degree in semiconductor physics from Trondheim University), without increasing costs dramatically. The V10 uses four, ultra-low-noise, discrete JFET transistors, connected in parallel to aid in reducing external noise, for the moving-magnet and moving-coil input sections. The sound is detailed, open, and full-bodied. Plenty of mm and mc cartridge loading and gain settings are offered (via piano switches—or in-chassis resistors for some settings). The V10 is a highly musical and “audiophile competent” component, to a degree that makes it an obvious POY selection and must-audition for anyone seeking a phonostage close to the $1500–$2000 range—and possibly higher. 

Coincident Speaker Technology Statement 

$6499

Israel Blume, the proprietor of the Canadian company Coincident Speaker Technology, likes to swing for the sonic fences. With his nifty new phonostage, he’s hit a home run. With point-to-point wiring and a hefty separate power supply capable of powering a 100-watt amplifier, the Statement offers a healthy 66dB of gain. This robust output means that the Statement packs a dynamic wallop that eclipses many of its immediate competitors. It also means that the unit provides quiet backgrounds. The look is definitely Old School, with steel cladding encasing the capacitors and wiring. But the payoff is big. Not only can the Coincident deliver powerful drum hits and orchestral crescendos, it also possesses an excellent sense of drive. Add a capacious soundstage, and you have a phonostage that allows a variety of cartridges to display their strengths. Two separate volume control knobs on the front panel also ensure that the Coincident can be deployed to bypass a preamplifier and run directly into an amplifier. To exceed the performance of the Coincident requires moving to much more elaborate phonostages that may never quite match its sheer zest and gusto.

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