If boulder is tops what is second tier?


If we would assign A++ to boulder, what phono preamps rate as A+?
What would be considered just a notch below the boulder?
Would this include: the Manley steelhead, the Aesthetix IO signature, ASR Basis Exclusive mark II, the BAT VKP10SE super pack, the Einstein?
What others belong to this group or which of these doesn't?
pedrillo

Showing 3 responses by gregm

Raul sez:
you must to have a wider budget and if you don't have it a this time my advise is that you wait a little till you have a serious money for a serious phono...
I would generally agree; maybe a diy (if you're into that sort of thing) would be an interim and affordable solution for now. Or modding an existing unit --for example people have improved on the EAR.

Speaking of branded finished goods out there, I can mention certain units that were in the "superior" league (i.e. better than a "good phono" that has some magical strengths and a few weaknesses):
*FM acoustics: undoubtedly one of the best I've heard, and very versatile. The "cheap" offering must cost ~10-12k (?). It's "cheaper" because it's single-ended input (not balanced).
*Manley Steelhead; see above
*Clearaudio "reference" s/thing or other -- the one that comes as two mono boxes each with an external PS.
*A Goldmund stand alone from ~8yrs back. It was also included in certain pre's they sold back then (one being the Mimesis 7.1 or s/thing close).

Now, there are many I've heard and do not wish to go into here. There are also many I haven't heard and can mention two here: the latest Aesthetics, for example (see Albert above); the Dartzeel (see Mike, above).

It seems that the only way to have a great phono within financial reason is to diy; but, unless you're ready to research, you need an excellent schematic...
Coming to think of it, try Raul above -- send him a case of wine, maybe it'll work: he has built a good one:)
It seems that the only person who has not read carefully what Mr Maez wrote is Mr Maez: the interconnecting wire may affect the sonic result -- but it's not (or shouldn't be) affecting the operation of the circuit...

Well, of course it isn't, or shouldn't, for goodess sake. No one's complaining about that.
No one's complaining about the purported quality of Boulder products either.

Albertporter was not very happy about Boulder peoples' attitude -- not the design of the electronics power supplies.

The wire (and attachments thereof) seem to be affecting the signal transfer. That's what everyone's complaining about.

Raul notes:
a phonolinepreamp (...) output impedance remain at less or around 100 Ohms
Excellent point. In fact, try a max of 60 ohm, with the next stage at standard.
Rich Maez sez:
Any changes in sound are simply the losses, omissions, or distortions of that particular conductor's filter characteristics and should NOT be the result of a cable's electrical characteristics affecting the electrical operation of a piece of gear.
Goodness me, Mr Maez, *everyone* seems to have noticed that: i.e. a change in wire seems to affect the (sonic) end result... The causal reference you make is of little import isn't it?

Even IF you are referring to the power connection, the result seems to be the same. Whether this "(affects) the electrical operation of ... gear" is a moot point really unless you define what you see as "operation". You seem to be saying that a component's sonic result should not, on paper, be affected by the power chord variable IF that component's PS is implemented properly -- and, amazingly at the same time, that it does --

{BTW you obviously know that the connection to the wall socket is not always directly linked to the "operation" of the component (if that's what you mean by operation)... It is directly linked if by operation you mean switch on and remain on.}

Again, that's what most people are saying: that changing a wire often changes the sonic result. Uncanny, no?