I had the latest Steelhead and a PSA GCPH in my studio for several months. One gripe about the Steelhead is that MC cartridges sound a little sweeter with better high end definition though the MM inputs, but lose a little low end punch. I tried to get a combination of the MM input highs and the MC input lows but it didn't seem to be possible despite trying every setting on the unit. Routing the variable outputs back into the pre-amp inputs helped, but the low end was still slightly lacking. The PSA, although not quite as liquid as the Manley, sounded 98% as good in most instances and actually has more cohesive imaging, at least with my system. I sold the Manley and kept the PSA with no regrets.
Stand out phono stages
This topic has been started before by others and myself as well, maybe too many times, but it is worth revisiting since the source is so very important!
So far I have had the pleasure to enjoy two worthy phono stages: the EAR 834p and the JLTI.
I have to admit they are spectacular. Obviously the record and all the equipment downstream play a role in the sound heard. In some cases I prefer the JLTI and in other cases the EAR. But neither out do the other dramatically.
What phono preamps outshine others by a big margin, those that can be considered the last phono preamp ever needed.
So far I have had the pleasure to enjoy two worthy phono stages: the EAR 834p and the JLTI.
I have to admit they are spectacular. Obviously the record and all the equipment downstream play a role in the sound heard. In some cases I prefer the JLTI and in other cases the EAR. But neither out do the other dramatically.
What phono preamps outshine others by a big margin, those that can be considered the last phono preamp ever needed.