Phono Stage - The great analog tragedy

Love my Audia Flight FL Phono.

As a 2 1/2 decade owner of a modded Marsntz 7C (following personal guidance from Saul Marantz for the modding!), and a greater than four decade owner of an Audio Research SP6B with lots of experience tube rolling in both, I am intimately knowledgeable of their sound.

That said, the performance of modern separate phono preamps and line stage preamps together far exceeds the performance of both models as either line stages ir phono preamps. I began to understand this when for kicks, I subbed my little Schiit Saga preamp (with a Sylvania “Bad Boy” 6SN7) for my SP6B and heard more resolution. Shocked me- the “palpability” of instruments, the air around them, wasn’t quite as well produced but it did better pretty much everywhere else. 
I don’t have the best phono preamp- it’s a Hegel V10- but it’s ability to easily change loading (as opposed to in the SP6B only be able to change a resistor by soldering with the cover off, along with the inability to change loading capacitance, and only a one step gain switch that in high gain didn’t provide enough gain to support anything but high output moving coils) made the Hegel a far better match to modern phono cartridge design. It elicits far more information from the record grooves, partially due to better phono cartridge loading flexibility.

I truly loved those Marantz7c and SP6B preamps, but my Hegel/Cary SLP05 combo is on another level. Now I just need to replace my Grace 707 tonearm with something friendlier to medium and low compliance cartridges!

I have heard the McCormack phono drive (not the modsquad deluxe phono designed by him). It is good. But it still sounds like a well done $1000 phono of today. An EAR 834p kills it in the same system. 

Subjective Assessment ( Evaluation or judgment that is based on personal feelings, opinions, and experiences rather than objective facts or data).

Subjective Assessment used by myself when encountering a 834p as a EAR Design or a Variant Clone Design has never been an experience where I feel compelled to make an inquiry about how the Model is produced and learn how to acquire a model. In my assessment, there is not a end sound produced that generates an attraction to myself, that is wanted to be pursued for being available as readily at hand to be used.  

Does the 834p fill a room with Sound that is able to be listened to and not wanted to be avoided? Answer is Yes.

The subject of Phonostages and only giving the designs credit as a result of subjective assessment, is going to produce a mass amount of models to be suggested. 

Objective Assessment (A method of evaluation where the questions or tasks have a single, clearly defined correct answer. These assessments are fact-based, unbiased, and measurable, minimizing subjective interpretation. They are often used to gauge knowledge, skills, and understanding of specific facts and concepts).  

As stated by myself in an earlier Post and now with a edit:

" It seems those with a Proper Understanding of the Math will be best placed to give the best advice as to what a Phon' can aspire to be today as a finished design. In relation to the measurements values that can be taken from a modern design and measurement values that was not possible to be taken when produced during eras 20-50 Years in the past."

I Think many so called "audiophile" integrated and standalone phono stages have flattered to decieve and done a disservice to what can still be achieved in the vinyl playback world.

One such design I can vouch for, is to be found within the truly great pre-amplifier designed by the late genius Tim De Pavaracini. One of his legacy products EAR 912 has an extraordinarily capable  phonostage.

Concieved in the late 90’s but brought to the maket in the mid 2000’s The 912 sports Transformer-Coupled Inputs for moving coil cartridges, it uses his custom step-up transformers, which preserve signal integrity and reduce noise as no active gain stage is needed at that point.

RIAA Equalization is achieved without relying on op-amps or digital correction, instead it uses hand-wound inductors for RIAA EQ,

It results in delivering a more natural, analog sound with huge headroom and low-frequency stability.

Dual Phono Inputs are provided so two arms can be plugged in at the same time and MM and MC inputs are fully supported, with switchable gain and impedance settings. That means you can fine tune on the fly to match your cartridge and sound.

Five PCC88 (7DJ8) Valves as used, three soley dedicated to the phono stage, these tubes are known for low noise and long life, contributing to my  EAR 912’s lush, detailed sound.

I love the Studio-Grade VU Meters not just for show, these let you visually monitor levels and optimize gain settings, especially useful when dealing with over-compressed or dynamic recordings.

I like that his design offers Balanced and Unbalanced Outputs, Transformer-coupled line stage ensures signal purity whether you’re running XLR or RCA.

There is something magical about my EAR 912 that  I believe comes from Tims deeper immersion into the recorded music world via his renown and respected innovation founded in studio environments. I always get the ferling I am having my music revealed to me as opposed to it being reproduced to me.

It isnt everyones elxir in the looks department but I have yet to hear a phonostage be it a standalone or integrated that bests the one inside this hugely capable pre amp.