46dB of gain makes the LCR Phono well-suited for MM cartridges, or MC cartridges when paired with a step-up transformer such as the Treehaus Audiolab MC SUT. To fine-tune for specific cartridges, the LCR Phono offers variable cartridge loading on two of the inputs. A further convenience feature is the mute/stereo/mono mix switch on the front.

The LCR Phono is available in both of our industrial design styles: Kinsuido is influenced by 1970’s Japanese Hi-Fi and MCM aesthetics, while the A/Machines visually pays respects to early Western Electric and Klangfilm equipment. Custom finishes are available by request.

The LCR Phono is priced at $24,000 including vacuum tubes.

Visit us in Room 1420 to experience the LCR Phono and the full suite of Treehaus Audiolab speakers and amplification products. Special guests joining the room will our friends from Iconoclast Cables, SME Limited Precision Turntables and Tonearms, and DaVa Field Coil Cartridges.

The 312’s front panel features a 5″ x 2.25″ display (left of center) with incorporated IR receiver and a small power button just to the right of the display. On the rear of the unit are a left/right pair of speaker binding posts and balanced XLR inputs, with a switch to lift the input ground if necessary. In the center rear of the amplifier is an IEC power inlet connecter toward the bottom and a link-com plus firmware update connectors near the center-top.

326 Preamplifier

The 326 ($21,975) is a four input (two balanced XLR and two unbalanced RCA) preamp with two additional dedicated custom slots that can house an optional internal 60dB-gain phonostage (moving-coil only), and a D/A converter for the other slot. The optional D/A converter supports Network, USB, SPDIF, and AES/EBU inputs. Data rates up to 192kHz are available for PCM formats, with up to 24-bit/384kHz for USB and network playback, and DSD 1x or 2x are accepted. All input data is converted to DXD via an onboard DSP. The 326 preamp under review did not include either optional internal input (phono or DAC).

The 326 also uses switch-mode power supplies feeding DC-DC converters coupled to low-noise linear regulators. Like the 312, the same attention to separation of power supplies from audio signal boards and shielding is implemented in the 326. The volume control uses individual relay-switched resistor networks for each channel. Additionally, when adjusting output level, the 326 uses a chip-based programmable gain array (PGA) to ensure click-free volume adjustments. A second or two after volume adjustment, the precision relayed resistor network is activated, and the chip-based PGA is disabled. With very low 5-ohm (unbalanced) and 10-ohm (balanced) output impedance, the output stage of the 326 can deliver up to 200mA max current when called for. This ensures the preamp can drive long cables and/or lower impedance amplifier inputs, like those of Soulution’s own 312 amplifier, without concern.

The front panel of the 326 mirrors the front panel of the 312 amplifier with an additional pair of buttons horizontally in-line with the power button. Those two buttons are a mute button and a program button. The mute button is self-explanatory. The program button is used to enter program mode. Center-right on the front panel is an optically controlled rotary knob used for volume control and push-button input selection under normal operation, and option-navigation/selection in program mode. The rear of the 326 contains the two XLR and two RCA inputs mentioned above, plus a set of balanced XLR and unbalanced RCA outputs at the outer left and right edges. The left of center location has provisions for the optional internal DAC with the inputs mentioned above and the right of center area has a similar location reserved for the optional phonostage with unbalanced RCA input and phono cable/turntable ground terminal. The IEC input connector and link-com and firmware update ports are located in the center.

350 Phonostage

The 350 ($22,975) is a dedicated moving-coil phonostage with a single unbalanced input. The gain is fixed at 60dB with loading options of 20 ohms up to 1260 ohms in 20-ohm increments. Soulution says the phonostage has tight-tolerance passive components, wide bandwidth, and low noise two-stage amplification with ideal frequency and phase response.

The 350 follows the design feature of the 326 preamp mentioned above with switch-mode power supplies feeding DC-DC converters coupled to low-noise linear regulators. It also implements the same separation of power supplies from audio signal boards and added shielding as used in the 312/326. There is no volume-level control on the 350 phonostage. However, the output stage of the 350 also delivers 200mA max output current that ensures its ability to provide a robust signal to the connected preamplifier.

The 350 front-panel display, three-button control, and rotary knob are visually identical to that of the 326 preamp. The rear of the 350 phonostage has the L/R RCA input connectors on the upper left side with the arm/table ground terminal centered between. Directly below those inputs are the balanced XLR and unbalanced RCA outputs. The IEC input connector and link-com and firmware update ports are on the left rear of the 350.

Setup

Setup of each individual 3 Series component was straightforward and uneventful thanks to the comprehensive user manuals, which outline how to use the program modes, features, front-panel controls, and supplied remote control for each device. Once setup was completed, menu navigation and day-to-day use were a pleasant experience.

The 350 phonostage was fed music transcribed by the Lyra Atlas Lambda SL and the newly introduced, overachieving Hana SL MK II. Both cartridges were installed on a Graham Phantom 3 tonearm mounted to a TW Acoustic Raven Two turntable taking power from a Raven AC power supply. The 326 preamp’s four analog inputs were fully loaded up with one digital source and three analog sources (two vinyl including the 350 and Soulution’s flagship 757 deemphasis unit along with one additional 15/30ips reel-to-reel tape deck). The 312 amplifier was fed from the 326 or my reference preamp.

The 3 Series products were evaluated individually to help better gauge each of their characters and in combination. The final 3 Series configuration consisted of the full trio connected and feeding my reference main speakers or the DALI Epikore 11 that I reviewed in the previous issue.

The Sound of the 350 Phonostage

The 350 phonostage’s sound is enticing. The unit projects noticeable soundstage and soundscape width while maintaining realistic instrumental and vocal separation. Imaging is flawless, with realistic size and shape on instruments and voices. The bass and midrange are both nicely proportioned, providing first-rate bass and midband musical timbre. The 350 also maintains smooth upper-midrange and treble delivery without any hint of a tipped-up sound signature. The overall presentation was enjoyably resolute with a hint of fleshiness that brings out tone color and ensures the 350 is not a thin sounding phonostage.

The 350 showed its enticing attributes with all the system configurations used in this evaluation. On J.S. Bach’s Partita No. 2 for solo violin, BWV 1004, performed by Nathan Milstein on the DG label, the violin had an almost-visible musical unity of instrument and venue, assisted by the reflected energy bouncing off the venue walls. On something less high-fidelity-like, Maze featuring Frankie Beverly’s “Happy Feelin’s” from the group’s debut album, the 350 had no hint of the harshness or congestion often associated with mid-to-late 70s pop/soul/rock vinyl LPs. Both the Hana SL MK II and the Lyra Atlas Lambda SL met their excellent performance expectations when connected to the 350 phonostage under all conditions.

The Sound of the 326 Preamplifier

The 326 preamp was admirably transparent to the connected upstream components, whether it was receiving a digitally converted analog signal from a DAC/disc player or an analog-sourced signal from vinyl/tape. The preamp preserved a high percentage of the character (be it warm, neutral, or bright) of the source component in conjunction with the elements of the music as they were recorded. In short, the 326 was not a tone control, overlaying a sonic signature on the music. It was more of a clear conduit for musical and source-component character.

In my system, in any configuration, I was instantly aware of the level of transparency the 326 revealed. On digital, vinyl, and/or tape-sourced compilations of the same music, the 326 gave me an instant view of the differences between the source components and the music mastering. An example of this transparency was observable on the LP of Jerome Sabbagh’s Heart album, recorded directly to 2-track tape and mastered by Bernie Grundman, vis-à-vis the same album on R2R tape. The 326 clearly showed that the music was well recorded and mixed in real time. Both the vinyl and tape versions effortlessly revealed the musicianship of Sabbagh on sax, Joe Martin on bass, and the legendary Al Foster on drums, particularly his exceptional cymbal work. Where the 326 allowed the differences between LP and tape to be observed were in continuousness and micro- and macro-dynamics. The 326 showed that the tape breathed a bit more life into the music, even though the LP was very convincing sounding itself.

The Sound of the 312 Amplifier

The 312 amplifier is somewhat like an extension of the 326 preamp in terms of transparency and resolution. It gives the listener a stable soundscape with ample detail (if on the recording) and maintains the timing of music without ever sounding rhythmically sluggish or mushy. The amp sounded quick on its feet with the requisite speed of transient precision, clearly identifiable sustain, and enough (not embellished) decay.

Within its operating envelope, which is more than sufficient for most applications, the 312 provides excellent control over the speakers to which it sends musical signals. The words that come to mind are speed and grip. With both my reference main speakers and the DALI Epikore 11, the 312’s control over the loudspeakers was quickly realized. Everything was lively sounding, with a soundstage that moved elements previously heard as being deeper in the soundstage closer to the listener. The results gave a new clarity to those elements of the music, in addition to a clearer portrayal of closer-to-the-microphone or mix elements of the performance. For example: On the Sabbagh album, Joe Martin’s bass gives the perception of moving a few steps forward in the mix and gains a little more clarity as a result; on the Maze track, the background instruments stepped up to fill the soundstage more fully with the same level of clarity; on the Bach Partita, the space of the venue sounded closer, which was akin to moving from row ten to row two in the hall.

Using the Soulution trio together combined all the previously mentioned traits of each device to provide a complete 3 Series experience. The 350’s slight hint of fleshiness that veers away from any phonostage brightness, along with its stage width, imaging, instrumental/vocal timbre, balanced bass/midrange, and smooth mid/treble delivery mated well with the 326’s unmistakable transparency to sources (material and component). The 312 amplifier transferred that combo’s delivery to the speakers in a convincing manner that brought background information closer to the forefront, giving the impression of sitting closer to the event and hearing background detail more clearly.

A large-scale classical work such as Liszt’s Hungarian Rhapsody No. 2 showed the grand scale of a vinyl LP with a wide soundstage and rear instruments so clearly audible it was as if you were seated in the first few rows of the hall. Control of the loudspeakers was evident during the massive dynamic swings, in the midrange and bass as well as throughout the delicate wind, string, and brass passages. The trio of 350, 326, and 312 combined to give an uplifting and energetic Rhapsody the conduit it needs to thrill, impress, and, in the end, satisfy.

Conclusion

There is little doubt Soulution’s DNA is embedded in these 3 Series components. All one needs is to hear the devices installed in a capable system setup. If a listener wants the taste of the sound Soulution provides in its 7 Series flagship products or its mid-level 5 Series in a more affordable form or wants this level of sound quality in a smaller package because of space constraints, the 3 Series 350, 326, and 312 unquestionably fit the bill.   

Specs & Pricing

350 Phonostage
Type: MC phonostage
Analog inputs: One unbalanced moving coil
Analog outputs: One balanced (XLR); one unbalanced (RCA)
Input impedance: 20–1260 ohms
Gain: 60dB
Output impedance: 10 ohms balanced; 5 ohms unbalanced
Frequency response: DC–2MHz
Dimensions: 430mm x 142mm x 350mm
Weight: Approx. 10kg/22 lbs.
Price: $22,975

326 Preamplifier
Type: Preamplifier
Analog inputs: 2x XLR, 2x RCA, one phono mc (optional), one DAC (optional)
Digital inputs (DAC option): USB-B, SPDIF, AES/EBU, Network/LAN
Phono (optional): Impedance, 20–1260 ohms; gain, 60dB
Analog outputs: One balanced XLR, one unbalanced RCA
Output impedance: 10 ohms balanced; 5 ohms unbalanced
Frequency response: DC–2MHz
Dimensions: 430mm x 142mm x 350mm
Weight: approx. 10kg/22 lbs.
Price: $21,975 (optional mc phono module $4475, optional DAC module $7475)

312 Stereo Amplifier
Type: Power amplifier
Output power: 120Wpc into 8 ohms, 240Wpc into 4 ohms, 480Wpc into 2 ohms (5 seconds)
Analog inputs: One balanced XLR
Outputs: One set of loudspeaker binding posts per channel
Frequency response: DC–800kHz
Damping Factor: >5000
Dimensions: 430mm x 142mm x 490mm
Weight: Approx. 17kg/37.5 lbs.
Price: $28,975

AXISS AUDIO USA (U.S. Importer)
2190 Nolensville Pike, Suite C
Nashville, TN 37211
(866) 295-4133
axissaudio.com
sales@axissaudio.com

Reference System

Analog tape: Otari MTR-10 Studio Mastering (¼” 2-track) tape deck with custom Flux Magnetic Mastering Series repro head and secondary custom tube output stage, Studer A820 Studio Mastering (¼” 2-track) tape deck (x2), Studer A80VU MKII Studio Mastering (¼” 2-track) tape deck, ReVox A700 (¼” 2-track and ¼” 4-track heads) tape deck (x2), Stellavox SP7 (¼” 2-track) tape deck with ABR large reel adapter, Nagra IV-S tape deck with custom large reel adapter, ReVox G-36 (¼” 4-track) tape deck, 1950 Ampex 400A tape repro electronics, Soulution 757 Deemphasis unit
Analog vinyl: Basis Audio Debut Vacuum with Synchro-Wave Power Supply, Basis Audio 2800 Vacuum, TW Acustic Raven 2 tables; Basis Audio SuperArm 9, Basis Audio Vector IV (x2), Graham Phantom III, Graham 2.2 tonearms; Lyra Atlas Lambda, Lyra Atlas Lambda SL, Lyra Etna Lambda SL, Lyra Titan-i, van den Hul Colibri XGP, Hana SL, Hana SL Mk II, Hana Umami Red, Hana Umami Blue
Analog phonostage: The Raptor (Custom), Ayre P-5xe, Musical Surroundings Phonomena II+ w/Linear Power Supply, Solution 350
Digital source: Intel i7 10th generation processor-based music server hosting JRiver Media Center, Roon, and Qobuz
Preamplification: Dual Placette Audio Active linestage, Soulution 326
Amplification: Custom/Modified solid-state monoblocks, Soulution 312
Loudspeakers: Vandersteen Model 3a Signature with dual 2Wq subwoofers and dual SUB THREE subwoofers using M5-HPB high-pass filter, DALI Epikore 11
Cables: Assortment of AudioQuest, Shunyata, Tara Labs, Acoustic Research, Cardas, and custom cables
Support: Minus-K BM-1, Neuance shelf, maplewood shelf, Symposium Ultra
Acoustics: Walker Audio
Accessories: Aurios Pro, Pneuance Audio, Walker Audio, Klaudio KD-CLN-LP200, VPI 16.5, Clearaudio Double Matrix Professional Sonic.
Room: 18′ (W), 8′ (H), 43′ (L)

As I noted in that review, the improvements did not come at the expense of changing two fundamental constants of the design: one, Yee’s commitment to a wide variety of loading options for moving-coil pickups, capacitance options for moving magnets, and gain options for either; two, a sonic profile that places a high priority upon tonal neutrality. I characterized the sonic personality of earlier Phonomenas as “Apollonian, all classical grace, poise, and restraint,” while granting that the sound was “too neutral” for some listeners, including some reviewers, who crave more in the way of kick, slam, liveliness, or various sorts of ‘pleasing’ tonal balances.” The wonderful thing about the Nova III was that without sacrificing neutrality, it conveyed a significantly better “impression of body, solidity, and dimensionality that I didn’t hear to the same degree in the II, as if the reproduction was a bit more grounded yet without the loss of any sense of quickness, agility, timing, and detail. There was also a subtle impression of increased projection or presence—I do not mean this in the tonal-balance sense—or perhaps extraversion is a better word. And finally, there was a real increase in dynamic punch, kick, drive—choose your own metaphor—that was not there before.

This version might have remained unaltered for quite some time except that the pandemic came along and disrupted the availability of several key parts, including some of those used in the important front end of the circuit. In response, Yee managed to source better parts than those used in any prior Phonomena and equal to or better than what was being used in the Nova III. The result? This new Phonomena III, which replaces the now discontinued Nova III and is priced $300 less yet is superior in every way (see sidebar for details).

The new parts brought improvements to both the linearity and the noise floor of the circuit, which allowed Yee to increase the maximum gain to 66dB. While all Novas and Phonomenas were and are supplied with wall warts to allow audiophiles entry at a lower price point for the phono preamp alone, for several years now various external power supplies for improved performance have been offered as optional accessories. Retailing now at $1000, the Linear Power Supply costs $350 more than it did with the Nova III, reflecting cost increases following the pandemic and offsetting the price reduction in the Phonomena III. But I can’t imagine most consumers complaining, since the net $50 increase for phono preamp and LPS together results in improvements in dynamic range, noise, transparency, detail, and resolution. Now, inasmuch as the Nova III and even the Nova II were already at quite high levels of excellence in all these areas, most of these improvements are decidedly incremental. To put it another way, if you’re already invested in a Nova III and happy with it, the Phonomena III won’t transform your vinyl playback, but the improvements it does bring are observable under critical listening and will therefore matter to audiophiles for whom such differences are of the essence. The two areas where the improvements are most noticeable to me are dynamic range and lower noise.

Readers interested in following this history at a more detailed level are referred to my TAS reviews past iterations (Google “Seydor Nova or Phonomena TAS”). With each succeeding model, I was careful to use the same source material as before while also adding new recordings. Of the three new LPs in especially active rotation, Thelonious Monk’s Brilliant Corners, in Craft Recordings’ new one-step release, is a riot of instrumental colors, textures, and shapes. Through the Phonomena III/LPS, there’s a new richness, depth, and density to the presentation that I don’t recall being there to this extent in previous versions.

I am writing this within a few weeks of the passing of the great Italian pianist Maurizio Pollini, so I pulled out his celebrated late seventies set of the last five Beethoven sonatas on Deutsche Grammophon. DG was never known as a label that catered to audiophiles, and the piano sound of many of its recordings can be on the thin, even emaciated side. Pollini himself is regarded in several quarters as a cool, even cold player, long on thoughtfulness and intellect, short on passion and feeling. No matter, something special happened when these recordings were made. While no one would mistake this sound for that of, say, an Arrau or a Uchida, the reproduction is nevertheless full enough, with a solid lower register to offset the typically airier, brighter top-end bias of DG recordings. Mind you, it’s still the Pollini sound: a model of clarity, even to some degree analytical, but also very beautiful in a Yin-like way, and despite some brightness, astonishingly delicate of touch when required, alternatively forcible when that is required (e.g., the Hammerklavier in the same set), with a welcome dovetailing of detail and space.

I’m in the middle of Jan Swafford’s biography of Mozart, so I dug out Bernstein’s mid-sixties recording of the Linz symphony and the B-flat-major piano concerto (no. 15, K.450) with the Vienna Philharmonic on Decca. A Columbia exclusive at the time, Bernstein made only two recordings for Decca (the other a sublime Das Lied von der Erde) in exchange for the use of Decca’s facilities to record his celebrated Falstaff with the Vienna State Opera. These Deccas resulted in some of the very finest reproduction Bernstein ever received. Miked, I assume, with the famous “Decca tree,” the tonal balance of the orchestra could scarcely be bettered, strings both rich and brilliant, imaging and soundstaging, both laterally and front to back, as if from the best seat in a hall with wonderfully warm acoustics, orchestral textures luminous, ideally mediating blend and contrapuntal clarity. The vitality, commitment, and beauty of the playing leave no doubt that this recording dates from the beginning of what would be a quarter-century love affair between this orchestra and this conductor that ended only with his untimely passing in 1990.

Before wrapping up, I want to return to the matter of loading moving coils. With 256 different options for load and gain, there isn’t an mc or mm past or present on the planet that the Phonomena III can’t ideally accommodate for the most neutral frequency response of which the pickup by design is capable. This last point should not be misunderstood. Owing to the high-frequency resonances endemic to the technology, fairly few moving-coil pickups regardless of design or expense are capable of truly flat frequency response. But as I said of the Nova III, the Phonomena III can’t flatten them more than any particular design allows, but it will flatten them at least that much. Yee’s phono preamps always make me feel as if I’m hearing the pickups I review as they really sound in the tonal sense.

This flexibility brings with it a hidden benefit that should gladden the heart of all tweakers or those who wish to tailor the sound to their own liking. TAS founder Harry Pearson was adamant in his preference for not loading mc’s because he liked the more apparent dynamic range and airiness that resulted from not damping the high-frequency resonances. I have no problem with anyone in search of a tonal balance he or she likes, however much it deviates from neutrality. The Phonomena III allows experimentation along these lines with greater control. Let me recall an example I’ve cited before. One of my reference pickups is the original Ortofon Windfeld, which I like for its extraordinary speed, transparency, resolution, and neutrality, best realized when the pickup is loaded at 40 ohms. Load it at 30 and the sound is subtly less dynamic and lively and the top end fractionally less extended; load it at 60 (or even 50) and the sound becomes slightly brighter and livelier. Only at 40 does it sound just right—at least to me. Mind you, with neither of the other two loadings is the sound bad—on the contrary, either is perfectly acceptable, perfectly musical, even preferable depending on everything from the tonal profiles of your room, associated equipment, the music you prefer, of just because you like it that way. Vive la difference!  This is just one reason why the Phonomena III, like the Nova before it, remains for me an indispensable reviewing tool.

Yee has worked so many variations on this design that I wonder if it might be time to offer a version or two that address features and convenience rather than incremental improvements in measurements and sound. The vinyl renaissance has led to a renewed interest in monophonic recordings, the first consequence being the appearance of dedicated monophonic pickups. Since, as I pointed out in my forthcoming review of the Hana SL Mono pickup, most mono records sound better played back in mono, using a mono pickup and a preamplifier that allows for stereo to be switched to mono, it would be really useful if a future Phonomena were to incorporate such a switch, a particular necessity in our time when so many minimalist control units eliminate this function entirely.

Another variation Yee and Musical Surroundings might want to consider is a Phonomena that contains two complete phonostages in one chassis. The number of turntables that offer the capability of mounting two (or more) tonearms has increased noticeably these past 10 years or so, as has the number of vinyl enthusiasts who routinely have more than one complete record-playing setup. One reason is to have both a mono and a stereo setup immediately available. Another is for those who, like me, appreciate the relative, though sometimes differing advantages of moving coils and moving magnets. Two phonostages in one chassis, presumably needing only one Linear Power Supply, would also make, I imagine, for a substantial price reduction from two Phonomena IIIs.

Finally, it would be really nice if Yee could figure out some way of relocating the DIP switches for load, capacitance, and level on the front or the top of the chassis. (Yes, I know they’re on the back for sonic reasons—shortest possible path between the switches and the rest of the circuitry—still . . . .) Otherwise, a hearty welcome to this latest scion in the Phonomena/Nova line. The market is full of outboard phono preamps that are tens of thousands of dollars more expensive, but you won’t find another at any price that offers this degree of flexibility to match any pickup out there with a commensurate level of technical and sonic performance. It remains my reference.   

Specs & Pricing

Gain (dB): 40, 46, 49.5, 50, 52, 54, 55.5, 56, 57, 58, 60.5, 61.5, 63, 64, 66
Capacitance loading: 100pF, 200pF
Input loading (ohms): 30,40, 50, 59, 80, 100, 121, 150, 243, 280, 380, 475, 660, 1000, 2000, 47k, 100k
Dimensions: 8.5″ x 2″ x 6″
Weight: 3 lbs.
Price: $1200

Linear Power Supply
Dimensions: 8.5″ x 2″ x 6″
Weight: 3 lbs.
Price: $1000

MUSICAL SURROUNDINGS
musicalsurroundings.com

Setup was straightforward. It helps that the Quasar came with tonearm set and cartridge mounted, which takes care of the majority of the fiddling; those that opt to purchase the base unit sans cartridge and arm probably know what they’re doing already and are aware they are in for some extra steps. The deck came well-packed in multiple layers of Styrofoam and bubble wrap, and after a bit of finagling, it was as simple as attaching the spikes, placing the cups on my rack, and getting the turntable leveled. After that, I had to get the Condor and the Roadrunner working, which, again, was easy thanks to SOTA’s well-detailed instructions. I found this part of the table fascinating: The Condor is the speed box, and the Roadrunner is the tachometer, which detects platter speed using a tiny magnet on the underside of the platter and adjusts the Condor to get as close to 33.33 rpm as possible. The display on the Roadrunner shows a constantly fluctuating representation of how fast the music’s moving, usually within ±0.005rpm accuracy based on my very scientific “watching the numbers change” method of testing. Actually, I spent a lot of time staring at those numbers, wondering if I could hear the teeny-tiny changes in speed, wondering if that piano was out of tune or if the speed was simply off by some absurdly small order of magnitude, and after a while I tumbled into delirium. Fortunately, I saved myself by, you know, not looking at it anymore, because in reality, the Quasar’s about as rock-solid steady as it gets. More on that shortly.

All that said, with the Roadrunner and the Condor installed, I managed to get the Quasar spinning and spinning well. The motor has a soft-start function, which SOTA claims helps to increase belt longevity, which makes sense, though I won’t have this deck long enough to confirm. I can say that it gets to speed quickly, and once the Roadrunner dials everything into place, it stays locked in admirably well. I did notice that a record brush slows everything down considerably, which was a minor annoyance. Switching between 33 and 45 was simple, just a button-push, no belt-movements required. However, the little button on the Condor was very sticky; again, extremely minor, but I noticed. Like the Quasar, the Pyxi was very simple to set up, since the pre-installed cartridge was an mm and worked great on the defaults. I also tested the Pyxi with my normal system and with my typical Zu Denon-103 mc cartridge. My listening notes for the system as a whole apply to the Pyxi in general, but to spoil things, I’d agree with SOTA’s assessment. I found the Pyxi had a very low noise floor, an overall neutral tone, and felt it sounded as good or better than phonostages costing twice as much or more. In effect, the Pyxi disappeared and allowed everything else to shine.

All right, that stuff out of the way, down to the dirty business of actually listening to music. I started with Rudolph Johnson’s Spring Rain, part of the Black Jazz Records reissue series. Johnson has one of the most unusual and engaging tones out there, and I loved the way the Pyxi/Quasar system kept that strange combination of both silken smooth and slightly edgy sharpness in focus. There was nothing muddy or uncertain about the Quasar as it chugged along at an incredibly steady rate—according to the Roadrunner, anyway—and it felt like the deck was completely locked in. Nothing distracted from that tone, which was truly the star of the record. Meanwhile, drums were tight, the rhythm remained solid and plugged-in, which again is a testament to the Quasar’s fascinating set of technological improvements in the on-the-fly adjustments from the Roadrunner. Those little changes in speed were impossible to hear specifically; instead, they resulted in a rock-solid pace. Jazz flourishes under steady pacing, and the full band sounded tight with good layers of soundstage depth. That iron pacing was a huge pleasure throughout my time listening to the SOTA. I sifted through a ton of different jazz, throwing pretty much whatever came to hand at the deck, and it never once lost that fantastic stability.

Next up, I put a little Steely Dan on the deck. Katy Lied is my favorite of the Steelies, and the SOTA had me grooving from the start. Holy rhythm, I was completely hooked. Nothing like a bedrock-solid backbeat to get me completely engaged in the music. Especially on “Doctor Wu,” that bass and drum combo had me nodding along as the slow verse swelled into that big chorus. And it’s no small thing to note that “Doctor Wu” is crammed onto the inner grooves of the record. I noticed little to no distortion, a testament to the tracking ability of the tonearm and the cartridge, but also the stability of the deck itself. The sax solo, when it broke out like a stampede, soared, dipped, screamed, and sound fantastic—played by the immortal Phil Woods, by the way. Overall, the SOTA performed admirably, keeping everything in focus, tight and on-beat.

I decided to finish up with a genre I don’t write about a whole ton. Blind Guardian’s brand of fantasy-novel-inspired metal is my jam, and I wanted to see how the SOTA handled some sick shredding. The group’s concept-album Nightfall in Middle-Earth is one of those masterpieces I’ll always love, from the cheesy DND-style cover art to the messy battle noise that begins the record. The opening song “Into the Storm” slams those kicks so hard it feels like my office is in the middle of Mordor—but just like the jazz and the yacht rock, rhythm and pacing are key to bringing symphonic power metal to life. Grand scale defines everything on this track, from the shouted chorus that sounds like an entire choir’s belting the lyrics from an earthworks rampart to the synths droning over ripping guitar solos. The SOTA kept everything in focus and never let the sheer weight of all that music sounds too messy or overwrought. Later on, during my favorite track on the record, “Nightfall,” the layers of voices remain distinct from each other, creating a wave of sound which grows throughout until that first chorus hits hard. It’s probably obvious, but I had a lot of fun with this record, and the SOTA’s to blame—the neutral Pyxi allowing the music to shine, the deck keeping up that solid pacing, and even the great tracking from the tonearm/cartridge combo.

There was a lot to love about the Quasar. Its simplicity was the star here: Solid components on a beautiful base with a little touch of technological speed stability all added up to a deck that performed beautifully. This was the turntable I’d always wanted to try out from SOTA, and I’ll admit that the Quasar lived up to the hype. Any analog enthusiast looking for a first deck or a last deck—though don’t forget about SOTA’s trade-in program—should absolutely turn toward the Quasar.

Specs & Pricing

Drive system: Eclipse Condor PSU with Roadrunner
Speeds: 33.3, 45, 78rpm  (available in PSU)
Wow and flutter: 0.05
Dimensions: 18.25″ x 2.375″ x 4.25”
Weight: 24 lbs.
Price: Quasar Base Price: $2995 (as reviewed: Rega 330 tonearm, AT-0C9XSL cartridge +$1424 to base price); SOTA Pyxi Phonostage: $300

SOTA SOUND INVENTIONS
1436 Mound Rd.
Delavan, WI 53115 USA
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When I first reviewed “The Grail” I assumed that it was not designed by Mr. A.J. van den Hul, who to the best of my knowledge is not an electrical engineer. That proved correct when I heard from German engineer Jürgen Ultee who told me in an email that he was the “hired hand” designer of The Grail as well as of many other products badged with familiar brand names, though for obvious reasons he would not name them.

There’s absolutely nothing wrong with this arrangement for van den Hul or for any other company that contracts with Mr. Ultee or any other similarly situated “for hire” designer. Having reviewed three The Grail iterations designed by Mr. Ultee, clearly he is a seriously talented man!

Introduced last August (2023) the new van den Hul The Grail SX is a sleeker-looking all metal chassis, satin aluminum finished design featuring a single umbilical connected external power supply and no wooden side “cheeks”. It costs $28,995 or $5000 more than The Grail SE+.

The new Grail SX features a “redesigned” circuit board, which van den Hul claims significantly improves sound quality, providing enhanced sound staging and “airiness”. The new board also provides for “mixed-mode operation” meaning when using a balanced XLR input the signal is available at both balanced XLR and single-ended outputs and both can be simultaneously used. The same is true of the single-ended inputs, for which both the single-ended and balanced outputs are available and can both be simultaneously used.

Here’s The Grail SX feature list found in the useful PDF manual:

Feature list:

1. a specific designed Phonograph preamplifier section, unique in the world
2. balanced design for inputs and outputs
3. inputs: three Phonograph inputs, two balanced for MC cartridges, one for MM (unbalanced)
4. Phonograph RIAA – equalization with coils only, no sound impairing capacitors in filters
5. special printed circuit board material with gold conducting paths
6. special equipment foot made of selected wood avoids mechanical energy storage
7. low noise moving coil input stage, less annoying noise even with low-output cartridges
8. automatic adapting MC input stage for moving coil cartridges, no matching resistors needed
9. possibility to compensate phonograph cartridge sensivity (level adjustment)
10. strictly separated amplifier sections and circuit layout deliver a very natural soundstage
11. power supply with Gyrators for each amplifier stage delivers very high noise cancellation
12. the external power supply works with 120V and 240V mains voltage (reversible inside)

Though it doesn’t specifically say so, The Grail SX’s MC inputs, as with previous “The Grails”, feature current source, not voltage-based amplification circuitry, designed to maximize the capabilities of low-output, low-internal-impedance MC cartridges. Once-esoteric, this feature is no longer “unique in the world”, though it’s possible the instructions refer to something else.

van den Hul claims the circuit is appropriate for low output MC cartridges with internal impedances ranging from 10 to 400 ohms. As with the original Grail, this one features capacitor-free, L-R (inductor-resistor) RIAA filters.

The Grail SE+’s dual chassis outboard power supplies are replaced here by a single one; the SE+’s internally mounted DIPswitches allowing settings for 56, 64, 70 and 73dBs of gain, have been replaced with a dual switch (one per channel), that gives you the choice of 52, 60 and 66.5dBs of MC gain (20dB less into the MM input). Those handy with a soldering iron can change the MM input’s impedance from the standard 47kOhms or add capacitive loading if need be.

Setting Up and Operating The Grail SX

I connected The Grail SX to my preamp using its balanced outputs and used both its single-ended and balanced MC inputs. The default gain setting is 60dB and that proved more than sufficient for the lowest output moving coil cartridges I used with it.

A clean back panel makes connecting everything easy unless your tonearm connecting cables are of the “narrow Y” variety like the set below, in which case they will not be useable due to the back panel’s dual mono layout that places the left and right channel inputs a good distance apart.

Three buttons on the front panel control everything. The center button turns the unit on and off. The button to the right selects MM or MC, while the one to the left selects MC1 or MC2. Simple! And since there are no loading options, The Grail SX is essentially “plug and play”. The only caution: mute your preamp before switching between inputs or you might experience a loud “pop”.

Compare that to my description of using SE+ : “The back panel is very busy, with 12 jacks, two umbilical connectors, and a pair of toggle switches (one for MM/MC and the other for choosing which of the two MC inputs is active) placed in close proximity to one another…If you have two MC-cartridge–fitted arms connected, you’ll reach behind, find the toggle switch, and throw it to select between them. If you have a third arm fitted with an MM cartridge, you’ll throw the other toggle switch. If you use the single-ended inputs, you must use the single-ended outputs.” In other words, big operating system upgrade!

The Sound: Black as Night, Black as Coal

How can I compare the previously reviewed SE+ with the new SX? I cannot. It was much easier to compare the original single-ended The Grail with the far more ambitious, costly and fully balanced SE+. While it wasn’t fair comparing the original The Grail to the far more costly CH Precision P1/X1 combo, that did highlight The Grail’s lesser dynamic “slam” and its looser less extended lower octaves and its comparative overall lax musical grip.

The SE+ produced obviously greater macrodynamic slam that rivaled that of the P1/X1 combo and its bottom octaves were bold, deep and well-defined. The SE+’s midrange clarity and “see into the stage” transparency was likewise more similar to that of the CH Precision and its ability to cleanly delineate instruments in three-dimensional space without adding unnatural edge definition.

At this point based on my experience with them, I think that low output, low internal impedance cartridge enthusiasts need to at least experience a trans-impedance phono preamplifier in their own systems even if it’s one of the least costly. All of them, regardless of price, produce background quiet that only the best voltage-based phono preamps manage. There’s another attractive quality all that I’ve heard also share, and that’s a surprisingly sophisticated delivery of high frequency transients—never edgy and overly defined or “antiseptic” as many voltage based ones produce, nor soft and ill-defined as lesser tube-based phono preamps produce.

On the other hand, unlike with voltage-based phono preamps where you can change loading and sometimes affect top end balance, with transimpedance-based phono preamps you are stuck for better of worse with what you get. What I’ve gotten from all of them regardless of price is an almost tube-like “just right” transient liquidity and overall transparency. The better ones do it better and The Grail SX is up there with the better ones.

Macro-dynamic performance here is powerful, and effortless and image three-dimensionality and sound staging both leave little to be desired. Right now I’m playing a gatefold copy of Basie Jam #2 (Pablo 2310-786) recorded May 6th, 1976 at RCA studios, Los Angeles. These are fun, mid-size band jam sessions featuring great players: Basie, Louis Bellson and John Heard rhythm section plusBenny Carter, Eddie Lockjaw Davis, Clark Terry, Al Grey and Joe Pass. Can’t go wrong with that group, though they are all past their youthful prime.

I’m listening to “Doggin’ Around”: Joe Pass hanging in 3D to the right of the left speaker, Clark Terry on the other side and Bellson way back stage center. It’s silly how “in the room” Terry is, doing a long, deft circuitous solo with Basie laying low behind him and Heard dealing nimble bass notes. Everyone’s having fun jamming, they’re all and it’s as close to being there as it gets. Images are filled in and not at all skeletal, transients are well-defined and not edgy, instrumental harmonics are rich and believable and when Bellson does a solo towards the end of the track the hits stay where they are in the confined space in which he’s been placed to avoid leakage—and you can clearly hear that too.

Completely shifting gears, moving on to chamber music, I played a few sides of an 8 LP ERC mono box set of Mozart Sonatas for Piano and Violin performed by the Lili Kraus and Willi Boskovsky recorded some time in the 1950s for the French label Les Discophiles Francais (Boskovsky was also the Concertmaster of the Vienna Philharmonic from 1939-1971 and sort of a Guy Lombardo sophisticate who conducted New Year’s Eve concerts with the orchestra, mostly playing Strauss waltzes, released on British Decca).

The delicacy of the violin and piano recording is a test of both The Grail SX’s timbral accuracy and its presentation of microdynamics. Here was the main area where the $76.000 CH P10 was clearly better but at quite a cost. While The Grail SX pleasingly delivered both piano and violin textures and timbres, the CH produced greater “see through” transparency, more vibrant string textures and a more convincing piano sound, with attack delicacy, much improved sustain and decay.

Microdynamic deficiency for whatever reason or reasons is the only overall criticism I can offer about The Grail SX’s sonic performance. It “gives up the ghost” at the bottom of the dynamic scale. It’s something you don’t hear as much as you sense as a “delicacy loss” and it’s not related to the noise floor so don’t ask me what it is, or that unless you listen to the CH P10 or another phono preamp at that performance and price level you’re going to hear it. But going between The Grail and the P10 makes it obvious.

It was easy to hear on the reissue of Yusef Lateef’s Eastern Sounds (previously reissued as a “Small Batch” one-step and now as a less costly OJC CR00615). On the opener, “Plum Blossom”, there’s a percussive tapping produced by an unidentified instrument. The attack and sustain of tap sound produced by the two different preamps made clear the microdynamic difference and now I’ll stop going on about it because it’s only an issue if the rest of your front end and system resolves everything.

Otherwise, The Grail SX is one of those rare and most attractive “gets out of the way and lets your transducer of choice do its thing” phono preamplifier. If you want yours to add a “touch of warmth” or “a bit of sparkle”, The Grail SX might not be for you. it’s as neutral an arbiter of timber, texture and transient attack as you’re going to hear from a MC phono preamplifier. Its rhythmic authority produces the desired toe taps. When I plugged various cartridges into the very fine phono input of my darTzeel NHB-18NS preamplifier, the overall sound got somewhat more supple and soft and some might prefer that to The Grail SX. On some records I did as well. It’s a very good “built in” phono preamp but for rhythmic drive, and tightly sprung drive, The Grail SX was the clear winner.

Conclusion

$29,995 is a lot to pay for a phono preamplifier. The Grail SX give you a lot: three inputs—two single-ended and balanced trans-impedance MC inputs and one single-ended voltage gain-based MM input. It doesn’t include a subsonic filter or a “mono” switch so despite the cost it’s very “basic”, but the sonic performance is “get out of the way” neutral timbrally and it features controlled, full bottom end slam that if your cartridge and the rest of your system can deliver it, bass performance you’ll fully appreciate with every record you play that you expect good things from on bottom.

The Grail SX never sounds thin, or antiseptic or “clinical”. We’ve all heard those and the usual “work around” is a warm-ish cartridge. I never felt the need to insert one of those though I have a few. Still, if you are a tube person, The Grail SX might not be what you’re looking for unless you are thinking about what a great solid state phono preamp might bring to your system. If you mostly listen to rock or jazz, you’ll really appreciate what The Grail SX will deliver. But it does an equally credible job on classical music. Enough for the “warmth” folks? Perhaps.

The Grail will bring to the picture quiet, black backgrounds, rhythmic organization, macrodynamic “slam” and solidity, sophisticated textural performance, solid, three-dimensional imaging, generously wide and deep sound staging and very little if any of a sonic personality of its own. That’s what most of us are looking for. Or at least we say we are. If you can find a way to audition The Grail SX at home and you’re comfortable at the price, give it a listen!