What I have always wondered is where do Whest get their odd alphanumeric model names? In other words, what does "30RDT SE" mean in relation to "Two.2" or "Three Signature", for example. (Of course, I know many manufacturers use the suffix "SE" to indicate internally upgraded capacitors and resistors, etc., compared to a less expensive version of the same circuit.)
Whest Audio PS.30RDT Special Edition
My new phono stage has landed and it’s incredible!
How I arrived here…
In November of last year, after a two-year hiatus, I returned to analog and acquired a new VPI Prime X with Hana ML and a new Whest Two.2 phono from music direct. I liked the setup so much that I upgraded to Hana Umami Blue and sold my 100hr old ML.
I kept pushing the envelope and picked up a mint Lab12 Melto2 tube phono stage. However, after some tube rolling and living with the Melto2 for few weeks I kept coming back to my Whest. It just spoke to me the way Melto2 could not. So I sold the Lab12 and contacted James Henriot at Whest Audio about upgrading to Two.2 Discrete. But James gave me an offer I couldn’t refuse. I traded the Two.2 towards the brand new 30RDT SE.
I won’t lie. Couple of weeks leading to this day I was nervous. Did I make the right choice? Will the 30 be too much in my system with Umami Blue? Will it be too analytical, too digital sounding?
All my doubts vanished the moment I hooked up the new 30 and dropped the needle on Sonny Rollins “Saxophone Colossus”. Where is the surface noise? What’s going on here? Who said Sonny died? He’s in my room, standing there performing.
I have never thought, or imagined, that a solid state phono stage can combine the warmth, vividness and openness of tube sound with modern transparency and virtually nonexistent noise floor. Record after record…The Doors, Steely Dan, Etic Clapton…it stays composed..silky smooth delivery, airy, textured and rich tones, vocals are honey with zero artifacts or unnatural sibilance, presenting singers as they are performing live and unplugged. Such a natural liquid flow of music with huge soundstage and tremendous precision at any volume without any sort of fatigue. I’m just taken by a complete surprise here.
James says allow 3-5 days of just on time. It’s a full Class-A circuit. I have no plans to power it down. I need to work out a plan to not get sleep deprived!
Can’t imagine it can improve with more hours. I need to curb my enthusiasm but it’s hard to do. Hehehe
I am using XLRs on the Whest - smart folks at boulder decided not to include RCA inputs on the 866 integrated. Luckily Whest features XLR outs.
Kimber Carbon interconnects (phono and line), Kimber PK14 Ascent power cord
Just wanted to share my thoughts.
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- 19 posts total
@lewm I don’t know about the choice for model numbers. What I do know though is their phono stages are excellent
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I have had 30RDT SE for about 10 years, i never get what you mentioned. Offer microscopic SQ: yes. But sort of electronic, it lacks a charming character. On the one hand, it looks like it’s doing well, but on the other hand, it appears not. I found myself returning to CDP for some reason that was unable to explain and looked odd! Honestly, it confused me greatly, and I greatly regret buying it, in particular spending above $3000. I also came across other users using upper-top models. We share similarities. Everyone can perceive differently, but I have never heard that "too" wealthy details that you mentioned. I ended up returning to my previous project, and recently Petit 2. Correct sound! I highly suggest newbies to have a good listen to W before buying it. |
@mard a lot of variables including cartridge, loading and gain, associated equipment, room acoustics and perception…it all matters.
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. I already took it out of my system 4 months ago. I believe I will donate it to someone soon.- 19 posts total