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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.
pedrillo
jtimothya
551 posts
 
I have a lot of early to mid-50s jazz LPs (including the sublime Ella and Louis recordings) that are not cut to RIAA specs, so adjustable compensation is very appealing as well.

Lately I've been using the ARC Ref Phono 2 with the MP-1. It is v quiet and lets you switch it between RIAA, Decca and Columbia curves. Definitely worth a listen if you can get a loaner.
karelfd
476 posts
 
Lewm, another machine that does what you are looking for is the AMR PH-77: 23 equalisation curves, 8 gain levels between 30dB and 72dB, 64 load options (here is the specs sheet: AMR PH-77). And it sounds heavenly.
lewm
6,770 posts
 
Thanks, guys. I am sure that both the ARC and the AMR are wonderful, based on a slew of favorable comments, but they are goddawful expensive, not within my budget for a secondary phono stage. I am trying to stay at or under $2500; way under that amount would be better.
downunder
1,328 posts
 
I have heard the AMR in a great shop and the ARC ref2 at home for a week.

IMO, the ARC ref2 is easily the better and the more musical sounding player. It really is superb, a really transparent and refined set of upper fruencies coupled with the best placement of instruments and effects that floats in a 3d soundstage I have ever heard.
lewm
6,770 posts
 
The AMR was designed and in part executed by Thorsten Loesch, a guru of tube DIY people. It has many highly desirable build features not found in most commercial products, e.g., a choke-loaded power supply, true dual mono, etc. Also it has that amazing adjustability for playback compensation, and for cap and resistor loading. I take your opinion seriously, Downunder. Too bad the AMR did not fare better in your opinion. But do you think the difference you heard might have been due to auditioning the AMR in an unfamiliar system, compared to your home system?
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