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
the phono stage in the convergent is fantastic .
I always found the " ultimate" name a bit cheap sounding but it left me with no more desire in the end .
I even stopped posting on forums , lol
I just bought a Musical Fidelity's kW Phono to use with my DL-S1. This is an outstanding phono stage, dynamic, open, controlled and highly adjustable. Highly recommended!!!!
To answer to the above, I just think that all component that are good, are good objectively and we all just use them as tone controls. I'll give an example now that I have the ASR Basis Exclusive: My speakers are Quad ESL57 and they are incredible at what they are incredible at, tonal realism, tactile sound, elbow room around instruments, airy presentation but for all time, people have been trying to get a little more sparkle out of the top end and a little less mushy bass. I've been able to help this by using a higher powered tube amp than is traditionally suggested (using protection boards) and after years of using an Art Audio phono stage, I've found that the ASR Basis gives me all that tube midrange and realism but I'm able to squeeze more top end sparkly out of the Quads by using it. People I know who own to the very best phono stages tell me that once you get into the ASRs and the other units in that price range and above, the difference between tubes and solid state is not really the issue anymore. I've found that to be true with my experiences since my initial post. And it's not like I can just change speakers because I'm not going to find what I love in the Quads in any other speakers.
I purchased a Silvaweld SWH550 phono stage (the top phono in that now extinct line of product) about 6 months ago, to use as a dedicated MM phono stage. Found it on eBay for surprisingly low cost, probably because few people have ever heard of Silvaweld, let alone do they know that Silvaweld products were designed by the same guy who now designs for Allnic. Brad Morricab gave rave reviews to the lesser SWH450 version, in Positive Feedback and on the internet. The 550 is pretty cool, uses tube rectification, choke-input filter, and separate tube-based voltage regulators for R and L channels. Each tube in the circuit also has its own decoupling capacitors located near the plate pins. However, unlike the top Allnic phono stages, the SWH550 does not use LCR RIAA filtering. I've been enjoying it, but not insanely so. The other day, I replaced the suspect output coupling caps with a pair of Mundorf Silver/Oil caps that I broke in before installation. Holy cow! This simple upgrade vaulted the Silvaweld into the stratosphere. The SWH550 feeds my MP1. I use the built-in MP1 phono stage for MC cartridges. I have not heard a huge variety of very expensive phono stages, but suffice to say that the Silvaweld is terrific, as is of course the MP1. The Silvaweld has MC capability; the needed extra gain is added at the input via the use of what appear to be battery-biased JFETs, rather than the more typical SUTs. Have not auditioned the MC circuit. This should remind us that brand names are secondary; the meat of the matter is the circuit design and the parts implementation.