Phono Stage upgrade to complement Dohmann Helix One Mk 2


Thanks to the recommendations from many users on this Audiogon blog, I think I was able to make a more informed purchase of a turntable, the Dohmann Helix One Mk 2.  I've really been enjoying the turntable for the past month!  

The next phase of my system now needs attention:  the phono stage.  Currently, I'm using a Manley Steelhead v2 running into an Ypsilon PST-100 Mk2 SE pre-amplifier (into Ypsilon Hyperion monoblocks, into Sound Lab M745PX electrostatic speakers). 

I've been told that I could really improve my system by upgrading the phono stage from the Manley Steelhead (although I've also been told that the Manley Steelhead is one of the best phono stages ever made).  
Interestingly, two of the top phono stages that I'm considering require a step-up transformer (SUT).  I'm not fully informed about any inherent advantages or disadvantages of using an SUT versus connecting directly to the phono stage itself.  

I suppose my current top two considerations for a phono stage are the Ypsilon VPS-100 and the EM/IA  LR Phono Corrector, both of which utilize an SUT.  I don't have a particular price range, but I find it hard to spend $100k on stereo components, so I'm probably looking in the $15k - $70k price range. 
Thanks. 

drbond

Dear @drbond  : Whatever be your phono stage decision you have to think that with stand alone phono stage units as the FMA the next stage where the signal must goes is a line preamps and you need at least the same quality design levels for that signal been quality preserved.

 

In the other side and is only an opinion and knowing very well your speakers it's a must to change your amplifiers for those Soundlabs great speakers really shines as never before.

 

You don't need to buy a boutique amplifiers, my recomendation is to go for the JC1+ monobloks. I listened Soundlabs/JC1s and are outstanding mate and the JC1+ set you back almost ten times lower price that your today monoblocks:

 

https://parasound.com/jc1+.php

R.

lewm

... If you read the history of phono equalization, you find that the original tolerance for meeting the RIAA curve was +/-2db.

That is not at all how the curve was specified by RIAA or any of the standards organizations. It’s possible that some manufacturers allowed this tolerance, but it would have been a pretty sloppy tolerance, even then.

That was probably the margin for error of necessity, based on the microphones and the recording equipment up to and including the lathes available in the late 1950s.

None of that has anything to do with the RIAA curve, which is applied pretty much at the end of the chain, just before cutting the disc. Any errors in microphones or recording equipment would be corrected as needed in the mixdown and mastering, before the RIAA curve is applied.

I did not mean to imply that +/-2 db was the actual permissible margin for error back in the late 1950s. But I did search for that sort of information, and in the course of that search this is the only number I could come up with. In my last two posts I tried to make it clear that I was not claiming that the error was precisely that wide which I agree is unlikely to be the case. My only point is that when you are arguing over hundredths of decibels with respect to RIAA, in comparing one phono stage to another, eventually you get to the point where tiny differences could make no audible difference, and I still maintain that LPs from the early era and maybe up till now from different manufacturers will themselves exhibit different levels of adherence to the RIAA curve. And I would posit that such differences exceed +/-0.1db, which I think is probably as good as you ever need in a phono stage.

Thanks for everyone's contribution to this thread.  I'm finding the discussion rather informative.  

It appears that most on this forum seem to advocate for a SS type phono stage, as opposed to a tube type phono stage.  I'm not certain of my preference at this point.  
While some point out that an excellent sound system should reproduce music, regardless of the type of music played through the system, I'm not convinced of that either, as the musical instruments in classical music behave entirely differently than the modern synthesized music, which has little complexity, and no harmonics to the instruments by comparison.  

@rauliruegas : what type of music do you listen to in your system and what type of live music do you listen to?  
Thanks. 

Hello drbond,

Another suggestion for your consideration would be the Wavestream Kinetics Deluxe Reference Level 5.1.


It is an all tube design currently using (2 x 12AX7, 4 x 6DJ8); with extremely low noise ( I believe with the external power supply, noise is below 1uV (one-millionth of a volt ) competing with the best of the solid state phonos; providing 3 front panel selectable inputs providing 62 dB of gain (without the use of SUT’s or FETS) with a useful cartridge range of 0.2mV to 1mV. Having both Balanced and RCA inputs and outputs; adjustable loading available on the back panel via custom loading plugs; and an essentially flat RIAA EQ curve within one tenth of a dB (.1dB) from 3 Hz to 40 Khz.


Naturally, with any tubed phono high gain phono stage you will want to use selected low noise tubes, but I can say when using my NOS Mullards in this phono stage, it is dead quiet with my ears up against the speakers with my Dunlavy Signature SCIV's 91 dB sensitivity.

I love not having to use a step up transformer with this phono stage; not having to worry about the SUT coloring the audio signal, worrying about possible hum issues, and having to use extra interconnects and connections, etc.  

The Wavestream Kinetics gives me the pure, high gain, low noise sound that I love. It is incredibly dynamic in both the micro and macro sense, has the "meat on the bones" which many crave, brings the human voice to life, showcases the resonance of the body of cellos and acoustic bass, has the finesse for brushes on cymbals, etc. The music sounds pure and organic.  It is not syrupy or tubby or loose in the bass.  It truly is an incredible phono stage built by Scott Frankland who offers incredible customer service and support, which is the icing on the cake.

Best wishes,
Don