Zanden 1200 Signature Phonostage

The 1200 Signature has a reflective, mirror-polished, stainless-steel cover on the main chassis. This main chassis is approximately 15.7″ wide, 4.1″ in height, and 13.9″ deep. The Zanden name/logo and “Signature” model designation are in the center of the front panel. From left to right, there are four rotary-switch controls named “Power,” “Phase,” “Equalizer,” and “MC-cartridge.” The “Power” selection of “Standby” or “On,” displayed by two labeled LEDs, indicate the unit’s status. The “Phase” switch allows the user to select “Normal” or “Reverse” absolute polarity denoted by LEDs. The “Equalizer” switch selects between the five EQ curves and indicates the selected curve by a labeled LED. Each press of the “Equalizer” rotary switch will cycle between the three time-constant selections and the choice is specified at the “T/C” LED by a change in color. The final “MC-cartridge” switch on the far-right side of the front panel selects between the low-impedance and high-impedance moving-coil transformer-coupled inputs located on the rear of the 1200 Signature.

The rear panel of the phonostage has a set of balanced XLR transformer-coupled moving-coil inputs labeled “High MC Cartridge” and “Low MC Cartridge,” with a ground terminal for the phono cables located between them (RCA inputs, in place of the XLR connectors, are an option). The next set of connectors on the rear are a pair of balanced XLR outputs and a pair of RCA outputs. Between these sets of outputs is a toggle switch to select which output is in use during operation. The final interface on the 1200 Signature’s main chassis is the multi-pin “Power” connector used to link the power supply to the unit.

The 1200 Signature’s external power has a reflective, mirror-polished, stainless-steel chassis that is approximately 6.2″ wide, 6.5″ in height, and 13.3″ deep. The front panel of this three-tubed (one 6922 and two 6CA4) unit contains the Zanden name/logo and a single green LED (that is illuminated when the supply is turned on). On the rear, there is an AC input connector (IEC), fuse holder, ground terminal, main AC power switch, and multi-pin power output connector that uses a custom interface cable to link to the main chassis of the 1200 Signature.

Setup and Sound

I evaluated the 1200 Signature with two turntables (Basis Debut Vacuum and TW Acustic Raven 2), three tonearms (Basis Vector IV, Graham 2.2, and Graham Phantom III), and five cartridges (Lyra Titan-i, Lyra Etna, Lyra Atlas, Hana SL, and Hana Umami Red). There was enough variability in sources to get a reasonably firm handle on the phonostage’s sonic characteristics when connected to different cartridges and supporting analog front ends.

In general, the Zanden 1200 Signature is a very smooth operator. The signal output of the phonostage never ventured into overt off-putting aggression with music playback. Vocals had that imaginatively human flesh-and-bones-type delivery, while instruments had flowing and inviting timbre more often than not. This same timbre of instruments, especially the first few harmonics, were very realistic sounding through this phonostage. When playing music with bite, the 1200 Signature delivered that same type of sound while, at the same time, remaining relaxed while doing so. Finally, above all else, this unit favors musicality over aggressive dynamics and hyper-detail.

RIAA Listening

When playing an 80s pop tune like Simply Red’s Picture Book (Elektra, 9 60452-1), the 1200 Signature produced a sound that was true to that time period’s style with less aggression, which tended to give way to a more inviting flair. The singer’s vocals appeared to have more tone color without popping as far out of the mix as much as they usually do. At the same time, his unique vocal peaking was still evident yet controlled. The sparse bass drum hit on “Sad Old Red” still packed a punch among the constant hi-hat and ride cymbals, with string bass, propelling the composition. Guitar licks, keyboards, and horns sounded as they should with the 1200 Signature in the playback chain.

Staying in the late 80s, a recently produced RTI-sourced 45rpm test pressing of Clair Marlo’s newly reissued Let It Go album (Brilliance Music & Studios, BMS-011-2) yielded similar results in terms of producing relaxed and inviting playback. On the bonus track “Meditation,” the use of synthesizer to create a flowing and musically foggy soundscape from which the remaining instruments emerge was delightful. Marlo’s vocal was overdubbed at times and nearly always dripping with studio processing to give it a reverb-enhanced sound. The 1200 Signature allowed the percussion and bass to progressively create the groove that moves the track steadily along.

Dexter Gordon’s One Flight Up (Blue Note/Tone Poet reissue, ST-84176) allowed the 1200 Signature to shine from the first few notes of “Tanya.” Starting with Art Taylor’s drums, the cymbals were silky smooth and rich sounding while revealing both the initial strike and decay. Throughout the entire composition, you could continuously hear Taylor’s artful drumming, including his delicate stick work during the featured-artist sessions, where Gordon or Donald Byrd would take off for minutes at a time showcasing their talents. Gordon’s tenor sax (left of center) and Byrd’s trumpet (right of center) sounded true to form with realistic transitions that easily progressed from soft pianissimos to fortes. With both, the sound never wavered from spot-on fundamentals and lower-harmonic richness. While much attention is rightfully given to both horns on this track, Kenny Drew’s piano playing during his featured section proved to be equally compelling and enjoyable. Niels-Henning Ørsted Pedersen’s double bass maintained steadfast timing throughout the session, as he patiently waited for a chance to display a smidge of his artistry during the final few minutes of the track, as the song continues to fade to its end. The 1200 Signature made this track a pleasure to listen to.

Sampling the Curves

Zanden supplies a 16-page EQ-curve-list booklet with the 1200 Signature. This booklet identifies suggested settings by record label including EQ curve, 4^th time-constant, and phase, with some remarks to further identify the record types within the label. It should be noted that Zanden mentions at the bottom of each page of the booklet that “you need to judge phase and EQ for exception by ear.” I take this to mean that there can be some discrepancy with the suggested selections and, furthermore, to use your ears as a final arbiter when choosing whether to implement the suggestions, alter them, or default to RIAA playback.

Let’s look at two red label UK mono London FFRR discs (Debussy La Boite A Joujoux Printemps, LL 1734; Ibert Divertissement for Chamber Orchestra/Chopin Les Sylphides, LL 884) and a mono U.S.-pressed Decca (Jesse Crawford The Song Is You, DL 8861) from the late 50s. According to the Zanden EQ selection booklet, the Decca setting along with reverse polarity and the mid-level (low for the Decca LP) time-constant were suggested. The sound from all three albums, using the suggested settings, lightened up the low bass and relaxed the energy into the presence range and upward. Because of this, the midrange was cleared to come to the forefront, thereby opening up much of the sound in that range while reducing bass percussion and low string tone as well as percussive shimmer. Depending on one’s perspective, desire, and system configuration, I can see the selection of Zanden-suggested EQ curve or the standard RIAA EQ setting being a subjective preference for the user. While these are late 50s pressings, I note the Decca and one of the London albums mentioned above have “RIAA Curve” stamped on the printed jacket. In the case of all three LPs, there was a subjective preference for using the standard RIAA setting, due to that setting yielding more favorable lower bass and perceived energy in the presence range and above.

An original 1958 mono pressing of Nat King Cole’s The Very Thought of You (Capitol Records, W-1084) was queued up and evaluated using two EQ curves. When first listened to with the RIAA setting, the sound was crisp with Nat’s voice having a bit of breathiness and the string pizzicato sounding transient-rich. Switching to the suggested EQ curve (EMI) and 4^th time-constant setting for this Capitol Records labeled gem was an interesting contrast. Most notably the presence range and above relaxed, while the lower midrange gained an ever-so-slight boost. The stringed instruments became perceptively a bit fuller, and Nat’s voice dropped a bit of sibilance along with much of its breathiness. Cymbals moved a bit further into the background but stayed listenable. Subjectively, one could choose either setting by selecting a tradeoff of breathiness and transient pizzicato for perceptively fuller strings and less sibilance. These contrasts can be conceived as subtle to significant depending on one’s preference.

Contrasting the original Nat King Cole album above, I played a modern stereo reissue of a different album titled Love Is The Thing (Acoustic Sounds/Capitol Records, SW824) to see how the suggested EQ curves fared. Given this LP is a modern pressing that was cut on a lathe with RIAA EQ from the reel-to-reel tape and pressed from newly produced 45rpm lacquers, there were some expectations as to how things would go. Bias (and facts) implies the RIAA curve is what should be used. Listening to the album yielded the same contrasting differences heard with the other Capitol Records LP using Zanden’s suggested EQ curve settings. The strings gave up some shimmer for a fuller presentation, and the vocals became less breathy and less sibilant. However, one thing did change, the “phase” sounded best in the “normal” vs. “reversed” setting. This may be due to the modern signal chain in the studio having proper absolute polarity throughout. What this suggests is the EQ curve settings are consistent and repeatable in application regardless of the source.

Wrapping Up

Use of the alternate EQ curves with vinyl albums recorded and/or produced well after the RIAA curve was established can strike up healthy debates among some in our hobby. Regardless of how I lean on the subject, the user should be aware of the following. I’ve mentioned Zanden communicates in the EQ-curve-list booklet that “you need to judge phase and EQ for exception by ear.” This communication should be at the forefront of your thoughts when making a selection, especially as you become familiar with what the different EQ curve settings contribute to the overall sound. One should also be aware that making a shift in EQ curve setting from RIAA will not only change the EQ itself but also slightly change the output level (relative to 1kHz) by roughly a dB (nearly 2dB for Columbia); for direct comparative purposes, the alternate EQ curves have relatively higher output than RIAA EQ.

Additionally, the “Phase” (absolute polarity) adjustment, whether on the 1200 Signature or your preamp, should be subjectively used, because there could be reasons to reverse (no pun intended) Zanden’s suggestion. One reason is that some stereo components invert polarity; others do not. Take note that many of the multi-driver loudspeakers with high-order crossovers may have one or more speaker drivers in the array polarity-inverted to achieve smoother frequency response. The result of these speaker-design choices can lead to phase rotation around the crossover point as well as opposite polarity for some vocal or instrumental harmonics that traverse the two drivers and crossover points. These situations can indicate the need for a subjective “Phase” (absolute polarity) selection when operating the phonostage or preamp. The issue of absolute polarity is generally applicable in all listening situations, regardless of music source, if one is audibly sensitive to this phenomenon.

Conclusion

The Zanden 1200 Signature, with its meticulously crafted low-noise balanced circuit design and two different impedance MC transformer inputs, is a sonically engaging RIAA phonostage. If one prefers to go pure RIAA, there is more than enough performance in this unit to keep those who love its sound satisfied for many hours of listening pleasure. I can certainly envision users purchasing the Zanden 1200 Signature for this core RIAA operation alone. Add the available set of 15 eq/time-constant curve combinations and absolute polarity selection, and the icing is available to put on the cake, if one chooses to do so. For those with the desire to explore different EQ curve offerings, the 1200 Signature can prove to be a win-win scenario.

If you have the opportunity to audition the 1200 Signature, I’d suggest familiarizing yourself with the unit’s core RIAA performance first. By doing so, you can better appreciate Zanden’s meticulous craftmanship and execution of design principles. The additional EQ curve features can only increase the appeal for those who want to explore that part of this smooth-operating phonostage.

Specs & Pricing

Type: Tube phonostage
Inputs: MC high and MC low, XLR (RCA optional)
Output: XLR or RCA, switch selectable
EQ curve positions: RIAA, Teldec, EMI, Columbia, Decca
Tube complement: 6x 6922 (main),1x 6922 and 2x 6CA4 (power supply)
RIAA gain (MC low): 63dB @1kHZ
RIAA gain (MC high): 59dB @1kHZ
Cartridge input impedance (MC low): 35 ohms
Cartridge input impedance (MC high): 480 ohms
Output impedance: 250 ohms
Dimensions main chassis: 15.7″ x 4.1″ x 13.9″ (398mm x 103mm x 354mm)
Dimensions power supply: 6.2″ x 6.5″ x 13.3″ (157mm x 165mm x 337mm)
Weight: 19.8 lbs. (main chassis), 17.6 lbs (power supply)
Price: $29,500

ZANDEN AUDIO NORTH AMERICA
Contact: Eric Pheils
eric@zanden-usa.com
zanden-usa.com

ZANDEN AUDIO SYSTEMS LTD.
1558-1 Amakadaki-cho
Kishiwada-city
Osaka, Japan
596-0845
zandenaudio.com

Associated Equipment:

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, 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
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, Lyra Atlas SL, Lyra Etna, Lyra Etna SL, Lyra Titan-i, van den Hul Colibri XGP, Hana SL, Hana Umami Red, Hana Umami Blue, Ortofon Verismo cartridges
Phonostage: The Raptor (Custom), Ayre P-5xe, Musical Surroundings Phonomena II+ w/Linear Charging Power Supply, Zanden 1200 Signature Phonostage
Digital source: Intel i7 10th generation processor-based music server hosting JRiver Media Center, Roon, Qobuz, and Tidal. Currently researching reference DACs
Preamp: Dual Placette Audio Active Linestage
Amp: Custom/Modified solid-state Monoblocks
Speaker: Vandersteen Model 3a Signature with dual 2Wq subwoofers and dual SUB THREE subwoofers using M5-HPB high-pass filter, Focal Stella Utopia EM EVO
Cables: Assortment of AudioQuest, Shunyata, Tara Labs, Acoustic Research, Cardas, and custom cables
Racks/Accessories: Minus-K BM-1, Neuance shelf, Maple wood shelf, Symposium Ultra, Aurios Pro, Pneuance Audio, Walker Audio, Klaudio RCM, Kirmuss RCM, VPI RCM, Clearaudio Double Matrix Professional Sonic RCM
Room: 18′ (W), 8′ (H), 43′ (L)