Vorstellung der Marke "Phasemation": Tonabnehmer, Übertrager, Phonovorstufen, Pres & Amps

  • In den folgenden Beiträgen (bis Beitrag 49) zitiere ich englisch sprachige Testberichte von Phasemation Geräten, wer dazu keine Lust hat, ab Beitrag 49 werde ich mit meinen persönlichen Erfahrungen weiter machen!





    Mit etwas suchen findet man im Netz auch einen Bericht zu den weniger bekannten Vor- und Endstufen von Phasemation. Da ich diese Produkte sehr schön finde, mag ich diesen Artikel hier gerne teilen, allerdings in English (aus dem polnischen)

    Phasemation CA 1000 (UVP ca 33.500,- eur)
    Vorverstärker

    Phasemation MA 1000 (UVP 21.500,- eur)
    MonoEndstufen,
    kürzlich zu MA 1500 aufgewertet worden


    photo-1.pngphoto-2.png


    "Nothyuki Suzuki-san is a vinyl lover. His most important products so far have been phono cartridges, with the flagship PP-1000 at the fore, as well as step-up transformers. The entire history of the company began with the latter. It was created out of the love of an audiophile-engineer with a thriving company Kyodo Denshi Engineering Co. Ltd., which produces precision measuring devices for the preparation of step-up transformers in the OEM system for several leading Japanese companies. However, he quickly decided to present products signed with his own name. This is how PHASE-TECH was born. After an initial period in which it was known only to a few well-informed audiophiles in Japan, it also appeared in the USA and Europe. However, since the name 'Phase-Tech' was previously reserved in Europe, Mr. Suzuki-san decided to change it in markets outside of his country to PHASEMATION.


    '1000' series

    The number of '1000' appeared at the very beginning not by accident. It is used by this company to mark the top, uncompromising series of products. It was opened, obviously, by a phono cartridge, which was soon joined by a split, three-section EA-1000 phono preamplifier, followed by a CM-1000 tonearm and two versions of a balanced phono interconnect terminated with XLR plugs, models CC-1000D and CC-1000R . The culmination of this project is a split amplifier, which consists of the CA-1000 line preamplifier and the MA-1000 monophonic power amplifiers. These are unusual devices, although knowing his previous designs and knowing that he was only interested in the best, it was to be expected from Mr. Suzuki-san. Suffice it to recall that the main source of the signal in his system is His Magnificence, the TechDAS Air Force One turntable. When designing the EA-1000 phono preamplifier, which was to work with it, he assumed that with such delicate signals the device must be divided into several elements. A three-section preamplifier was created, with separate enclosures for the left gain channel, for the right one and a common power supply for both. Apparently, however, it turned out that the division needs to be deepened, because recently the PP-1000 power supply was released, which we are upgrading the system with, becoming the owner of a four-section phono preamplifier.


    CA-1000

    The design of the line preamplifier went in a similar direction. CA-1000 is a tube linear preamp with an external power supply; the whole consists of three housings - the larger one, with the width of the front panel of a classic "rack", and two smaller ones, the front panel of which is half that wide. Our intuition tells us, audiophiles, trained by producers, that the main device, which includes the volume knob, display, input selector, channel balance and mute buttons, as well as gain switches (+6, +12 and +18 dB) and activating outputs is a module with an amplification circuit. However, when we look at the rear panel, it turns out that in the section we took as the main one, there are only four multi-pin sockets, and all inputs and outputs are in smaller housings. The CA-1000 is divided in such a way that in a large housing with keypads, which we place so that we can conveniently operate them, there is a power supply and control systems, together with a microprocessor. In smaller enclosures, we have amplification circuits, separated into left and right channels - just like in the EA-1000. This is where we connect the signal sources and from there we go to the power amplifier.


    The CA-1000 is therefore a three-module split preamplifier. The amplification circuit is based on the ECC803 (12AX7) tubes operating in the SRPP (Serial Regulated Pull-Push) system, with the output buffer on 6922 (6DJ8) tubes. They all work without feedback. As the manufacturer writes, which I agree with, the most important element of any audio preamplifier is the volume control. The CA-1000 uses a hybrid system with relays connecting taps of matching transformers (exactly the same as in the Spheris III). It gives 46 steps and is characterized by high input impedance and low output, without the need for additional buffers."



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    Edited once, last by shakti ().

  • "MA-1000

    Taking into account everything that we wrote about the CA-1000, the MA-1000 monoblocks seem - on paper - boring. These are single-ended, triode amplifiers with the 2A3 output tube, driven by the ECC803 (12AX7) double triode. Both are in front, behind the glass, next to the third lamp, a 5R4GA full-wave rectifier. They all bear the Phasemation logo, but it is known that they come from the JJ company - 2A3 is here in the 2A3-40 version, stronger than the standard version. The manufacturer states that it can achieve as much as 10 W. That's true, but with a distortion of 10%! Keeping the 3% that is assumed for tube devices, we will get no more than about 5-6 W. However, this dry description does not reflect the beauty of the entire system. Bartek Łuczak, who composed "High Fidelity", also took photos of Phasemation, which you are looking at - they perfectly reflect the beauty and quality of these devices. Aluminum housings in a champagne finish (anode), wooden anti-vibration plates under the preamplifier modules, an ingeniously solved case of securing the tubes against damage (and burns), an amazing remote control with a touch module - all this screams: "MADE IN JAPAN"! The system will be the pride of any, even ultra-high-end system.


    The Phasemation system consists of five elements. The preamplifier was placed on the Finite Elemente Pagode Edition shelf, while the monoblocks were placed on the Acoustic Revive RST-38H platforms, on the floor. The preamplifier amplification modules were placed on the pneumatic Acoustic Revive RAF-48H platform. The power amps were placed in the same place as other tube amps, the Triode TRX-M300 Reference Edition monoblocks, used to be. The preamplifier was powered by the Crystal Cable Absolute Dream power cord, and the ends by two Acrolink Mexcel 7N-PC9500 cables. In this combination the source was the Ancient Audio Lektor AIR V-edition player with the Harmonix X-DC20SM Million Maestro power cable. The signal from the player was led through Siltech Triple Crown interconnects, and from the preamplifier to the Siltech Double Crown power amplifiers - all RCA. The CA-1000 preamplifier can work in two modes - active and passive. In my system, the active system sounded best, with a gain of +12 dB, i.e. with the 'Gain' switch in the '0' position. I tested the Phasemation as a system, comparing it with a reference system - the Ayon Audio Spheris III preamplifier and the Soulution 710 power amplifier (discontinued, its successor is the 711 model). Both systems had a comparable price. The listening sessions took place via the Harbeth M40.1 speakers placed on custom-made Acoustic Revive stands.


    The Phasemation system is one of the best I have heard in my home. In some respects, it surpasses my own system, consisting of a minimalist tube preamplifier (there is one gain stage in the circuit, a capacitor and a transformer to change the output voltage) and an equally minimalist power amplifier (only three gain stages and an ultra-short signal path). At the same time, however, it is completely universal, so to speak. My system plays with everything - both hardware and software - in an equally fantastic way, trying to get as much "goodness" out of every single device and disc. On the other hand, the Phasemation system always sounds beautiful, but at the same time differentiates recordings better. And it requires very specific columns.


    I wanted it to fall right at the beginning ("The Phasemation System is one of the best I have heard in my home"), because the artificial maintenance of "tension" is exciting at best for the test writer, most often it causes boredom or even irritation in the reader. It is much more important to me how the Japanese system shapes the sound and interprets the signal than playing cat and mouse with the reader. The universal nature of Phasemation lies in the fact that the 10 W supplied by the manufacturer is a dream sphere. We will achieve this with 10% distortion, which, even in the case of a tube device with moderate feedback, means big changes in the sound, unacceptable changes. However, even when we match the right loudspeakers, i.e. with a reasonable efficiency - 90 dB should be enough - and stable, quite high impedance (over 6 Ω), we will want to listen to a certain, specific type of disc with it. It is mainly about jazz, vocal, classical music in small ensembles, maybe even rock, but without any stadium inclinations. The issue is the aforementioned differentiation. The amplifier sounds incredibly smooth and sensual. It has enough power - which sounds unbelievable even to me when I write this, but it's worth checking it out for yourself - to pull loudspeakers like the M40.1 Harbeth. On paper they are easy to drive, but they are not. Like most JBL designs, they also like high power. If we listen as I do, i.e. in the semi-near field, the power of Phasemation with most discs will be completely sufficient. We will not wake up the neighbor, we will not shake the lid of the garbage can in front of the block, but we will recreate most of our recordings in a tasteful way, listening to music in delight."

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  • "The amplifier, however, shows the differences in the production and release of discs in a very precise way. He does it by shaping the dynamics in an appropriate way - weak dynamics = boring playing. But also shading the timbre better than my system, and also any other solid state system I have heard. Badly captured color depth = regret for "lost". Of course, this is not the only amplifier that clearly differentiates recordings - even devices for PLN 1000 do it, although at a completely different level. Contrary to all of them, the "1000" system will label even the worst examples of releases with "imprimatur", ie it will make us listen to them anyway. However, if we hear how it plays with a different version, as with another album by the same artist from a similar period, we will have a desire to look for better, i.e. expensive and very expensive releases. Take Lee Konitz's Subconscious-Lee CD with recordings from 1949 and 1950, for example. A few of them were originally released on 78 rpm records, but all 12 songs were shown on the 1955 Long Play album. It seems that the original master tapes have been lost because the owner of the rights to them, Universal Music, as part of the prestigious series "Jazz The Best Legendary 100", released a CD in Japan, onto which vinyl material was recorded. This old recording, not from the master tape, but from Phasemation, sounded outstanding. It has never been so well saturated. The deficiencies, such as a cut bandwidth, were obvious but not at all, which did not bother me at all. Crackling? Sure, they were, but they could be treated like the crackles from LP - they were next to the music, not in front of it.


    In turn, with good material, released even better, i.e. with Chet Baker from 1955, published in 2008 by EMI Japan as HQCD, the sound had an insane depth, tangibility and vividness. It was a real visual, not suggested by cutting the bandwidth and filtering out some information. Baker's voice was big, deep, but it also changed from recording to recording, not always as big and equally deep. The timbre relationship between the voice and the instruments had something very real about it. It was a pity when I played my favorite album of this artist, released three years later, It could happen to you, remastered by Original Jazz Classic. It should be good, it's a Super Bit Mapping remaster, but the timbre is pathetically shallow. It sounds quite clearly with most differentiating amplifiers, except the best ones - this is how they manifest the ability to "recognize" small changes in timbre. Phasemation raised the center of gravity, but didn't destroy the presentation. Nevertheless, a moment later I was on eBay, where I found what I was interested in - the release on XRCD (unfortunately for almost $ 150) and SHM-CD ($ 38). I am waiting for a shipment with the latter. By this I mean that the Japanese differentiation system shows more than my own. Everything is bigger and denser with me. The MA-1000 monoblocks profile instruments and voices better and more precisely, and are softer at the same time. Listening to them for the first time in my system, I felt what did not bother me before (but only with me), i.e. light, delicate as a hair, but changing the structure of sound, thickening of the sound by solid-state amplifiers, especially those working in push -pullu. This was the case with the A-200 and A-70 Accuphase, it was with the amplifiers from Vitus, Soulution, Abyssound, an otherwise excellent device, with Elins Audio, also a fantastic system, and others. It's a paradox, but Mark Robinson drew attention to it in his column on Japan - a better soundstage is usually a bit narrower than the one that seems wider (see HERE). Extension is usually artifact, it results from the lack of well-defined bodies and their boundaries. And it's not about cutting from the background, it's an aberration - avoid such devices and systems! It's a disease! It's a definition that allows you to clearly "see" an instrument that is always in some context - acoustics, other instruments, effects, etc. The bold I am talking about is similar. It is a subtle addition of something in the lower midrange, which makes the sound more effective, bigger, more pleasant, but also less defined, a bit "made". This contradicts audiophile intuition, which says that tube amplifiers are more full, but we're not in kindergarten, audio is much more complex than warm-cold play. The Phasemation system loves to recreate human voices. However, it shows the playing of electric guitars, Hammond and bass guitar equally well. Please listen to the 2014 Remaster of Czesław Niemen's album Niemen (the so-called "red"). Italiam, Ialiam and immediately after that Enigmatic impressions sounded unbelievably good. Although I knew about it before, I had to bow once again to Mrs. Atalay and Mr. Gawłowski, who prepared this re-edition. I hope I was able to outline the framework in which we are moving while listening to Mr. Nobuyuki Suzuki's system. A short description for those who would like to know something quickly could be as follows: a warm, dense, flowing sound with incredible resolution and extremely careful showing of elements on the sound stage. The scene doesn't feel very deep and wide, but it's an illusion. The thing is that the amplifier does not suggest anything - either there is something on the disc, or it is not. There is no "third alternative". Limiting the bandwidth from the top and bottom is obvious - this is how almost all amplifiers of this type I know sound like, except one - Ancient Audio Silver Grand Mono. We are listening to the system from Soulution and it is immediately clear. We listen to Phasemation right after, and it's still clear but irrelevant. It is a complete and finished sound.

    Summary

    As Richard Mak writes in his review of the PP-1000 cartridge in "TONEAudio", "Suzuki-san clearly said that the main goal of Phasemation is to accurately portray acoustics, with a strong emphasis on the positioning of voices and instruments in this space" (see HERE) . I think it is clear from the Phasemation system test that he is a master at it. It shows the colors of instruments and voices just as well, with most discs. It does not enlarge them because it does not have to. It shades the dynamics, as to say, although the high-power solid-state amplifiers seem more muscular. Lovers of heavy rock varieties will not be satisfied, because even with high-efficiency loudspeakers they will get a sound without gibberish and attack - this system does not do that. And I think that's the only drawback that can be attributed to him. But I have already mentioned this - it is an absolutely universal system of the highest quality."


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  • "CA-1000

    The device consists of three modules: a power supply with a control circuit and two channels with an amplifying section. It is housed in separate aluminum housings with a 20 mm front wall, a 2 mm copper-clad steel plate at the bottom and a 3 mm top wall. This gives a rigid, strong structure. Each of the channels has its own housing, and both are powered from an external power supply. An additional element that damps vibrations is a wooden plate on the bottom. A similar one is used by SPEC (see HERE), but in Phasemation the feet on which the device stands are screwed deeper into the metal structure, passing through holes in the wood. At the front of the module with control, we pay attention to a large, easy-to-use volume knob. On its right side we have a row of LEDs and two buttons - they are used to control the balance. When we are in position "0", a single blue LED is lit. When we move the balance in one direction, one of the amber-colored LEDs lights up. On the other side of the knob there is a large, legible display on LED modules, on which we can read the volume. Below there is a small switch that changes the gain and the other one, which activates one of the two, or only one, preamplifier output. Use small buttons with blue LEDs to select the active input. And there is also a power switch. The power supply / driver module is connected to the preamplifier modules with two multi-core cables (per channel). The individual voltages are transmitted with the thicker ones, and the control signals with the thinner ones. There is only a small LED on the front of the amplifiers. On the back there are sophisticated connections - RCA sockets from WBT and XLRs from Neutrik. We have three unbalanced and three balanced inputs at our disposal. There are three outputs - two active (RCA and XLR) and one passive, bypassing amplifiers. There is also a ground socket, which is connected with a short cable (supplied) to the same socket in the other channel. The device has an unbalanced structure. The inputs and outputs are preceded by matching transformers, which are also voltage regulating circuits - they have many taps, switched with relays. The amplification circuit is based on the ECC803 (12AX7) tubes operating in the SRPP circuit, with the output buffer on 6922 (6DJ8) tubes. The lamps work without feedback. Changing the volume is the most important section of any preamplifier. The CA-1000 uses a circuit that gives 46 steps in the hybrid silencer (patent) in question. It is a transformer with 46 taps, switched in relays. High impedance input and low impedance output are achieved without the need for additional active components. To protect the delicate analog paths of the preamplifier, the control circuit (CPU) has been moved to the housing with the power supply. The control of the relays, based on I2C (Inter-Integrated Circuit) systems, also helps in this. To minimize noise, the controls are only activated when the inputs and volume are changed, and then "put to sleep". The specialized power supply uses a high-class system with an R-core transformer with a power much greater than needed. The voltage is rectified in the 5U4G tube, thus avoiding the noise generated by switching diodes in the rectifier. To separate the channels, separate chokes are used for the left and right channels. To further reduce noise in the lamp's glow system, a filtered DC voltage was used.


    MA-1000

    MA-1000 is a monophonic power amplifier - for a stereo system you will need two such monoblocks. They are not very big, but they are fantastically made - the housing is made of copper-plated steel, aluminum and copper plates. The issue of securing the lamps has been resolved very nicely - they are hidden in a "cage" with a thick glass front. This is one of the few cases where the amplifier looks better when the tube protection is in place. These are fully tube devices, with an amplifier circuit based on JJ 2A3-40 (triode) and ECC803S tubes and a power supply with a powerful 5R4GA rectifier tube. The first two come from the current production of the Slovak factory JJ Electronics, and the last one is a NOS tube with an octal base, Philips ECG JAN (i.e. from military supplies). Right behind it there is a potentiometer that can reduce the hum. Ceramic sockets have gold plated pins. On the back of the amplifiers there is only an IEC socket, a pair of speaker outputs and an RCA input. The amplifiers are ordered with 4 or 8 Ω taps. I have seen very similar sockets in Luxman amplifiers.


    It turns out that the amplifier can also look like a classic tube device from the 1960s. You just need to remove the tube cover and unscrew the transformer cover. These are nicely screened and painted black. Hasimoto made them. Next to it there are two chokes - for the output tube and driver tube - and two capacitors, identical to those used by Audio Tekne. All the walls of the cover on this part are covered with a material that damps vibrations and protects against EMI radiation. The electrical system is extremely simple, but it has excellent components. These are precise, metallized resistors (also the high-power ones) and a condenser coupling the driver and output lamp - Japanese Amtrans with copper cladding flooded with oil. The resistors also seem to come from this manufacturer. The signal from the input to the control grid of the first triode is a good Mogami interconnect. The amplifier stands on four feet behind aluminum in the shape of an inverted cone, directed towards the device."



    Mir hat der Testbericht viel Spass gemacht, da er klanglich ganz gut meine ersten Erfahrungen mit der Marke Phasemation wiederspiegelt, gleichzeitig aber auch einen Ausblick auf die noch nicht von mir persönlich ausprobierten Röhrengeräte von Phasemation gibt.

    Gruss
    Juergen

    ps
    hier der link zum Bericht in Polnisch:


    http://highfidelity.pl/@main-2476&lang=

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  • und für alle , die noch nicht genug von Testberichten in Englisch haben, hier ist ein weiterer:


    "Phasemation

    CA-1000 + MA-1000


    The Phasemation company, thanks to its excellent cartridges and phono preamplifiers, is known primarily to vinyl fans. This time we are testing a unique set consisting of a preamplifier and tube monoblocks of this brand


    Several products of the Japanese brand Phasemation, called Phase-Tech in my home country, have already passed through my system. Among them was the PP-1000 cartridge or phono preamplifiers - the relatively inexpensive EA-300 and the top EA-1000. Each of these products turned out to be unique in terms of both the class of sound, workmanship and attention to even the smallest details characteristic of virtually all high-class audio products from the Land of the Rising Sun. Until recently, it was the "1000" series that included the top achievements of the Japanese brand (currently the "200" series are ranked highest). Its supplement, or perhaps a natural continuation, are the CA-1000 preamplifier and MA-1000 monoblocks supplied for the test. The already mentioned EA-1000 phonostage was quite an unusual device. The entire system is divided between three separate housings. One has a power supply with a tube rectifier, and the other two have separate signal amplification and correction circuits for the right and left channels. Separating the circuits which, after all, deal with a very low signal provided by the cartridge, from the power supply is a procedure often found in high-end phonostages. Complete separation of both channels, eliminating interferences between them, is very rare. However, it shows an uncompromising approach to the sound quality of the head of Phasemation, Mr. Nobuyuki Suzuki.

    The split amplifier, until recently the flagship of this Japanese brand (a new amplifier model was introduced a few months ago - MA-2000), was created just as uncompromisingly. While monoblocks are more normal than unusual in the high-end, a preamplifier divided into three separate enclosures is a very rare solution. Separation of power supply from other systems, in a word, two-piece preamplifiers do not surprise anyone, but three-piece preamplifiers appear so rarely that they must be surprising, and when you get acquainted with the concept, also respect. Mr. Suzuki approached the topic quite original and the person who has contact with CA-1000 for the first time will probably be surprised. Here we get one heavy device of a standard size with buttons, a large knob and a small display, and two smaller ones with only one LED on the front and no manipulators. So the matter seems simple - the larger housing is the preamplifier circuit, and the smaller ones probably have power supplies, two, probably separate for each channel. Meanwhile, when you look at the rear panels of these devices, it becomes clear that the division must be different. The line inputs and outputs are located in two smaller housings, while the larger one is equipped only with an IEC socket and two (larger and smaller) multi-pin sockets. The preamplifier circuit, separated into the right and left channels, consists of two smaller housings, the larger one houses the power supply and control circuits. The latter are a source of distortions and may have a negative impact on the sound quality. This problem is eliminated by placing them in a separate housing. Two thicker cables coming from the larger device provide current separately for each channel, and two smaller ones control them.


    Building Let's take a closer look at both elements of the tested split amplifier. The CA-1000 is housed in three separate housings, largely made of aluminum. The manufacturer took care of their proper solidity and stiffness by applying 20 mm front plates, 3 mm thick covers, and on the bottom using a 2 mm steel plate covered with a copper layer. The latter has good shielding properties and, additionally, it dampens vibrations well. Each enclosure is placed on a plate made of wood, whose task is to dampen vibrations and isolate from those coming from the outside. I don't think I need to convince anyone of the aesthetic value of wood. A similar solution is used by another Japanese brand - SPEC, which I have tested several devices for you. Wood is always selected so that the properties of a specific type best fulfill its role in a given application. Smaller modules with preamplifier circuits on the front do not have any manipulators, but only a blue LED that indicates power on. On the back, in addition to the already mentioned multi-pin sockets, which supply power and control from the large module, there are three RCA inputs (with WBT sockets) and three XLR (Neutriki), three outputs, two of which are active (one RCA and one XLR) but also a passive one that skips amplifiers. An additional element is the ground clamp - the set includes a cable to connect both channels. The device has an unbalanced structure. Matching transformers work on the inputs and outputs. The CA-1000 is a tube preamp with the ECC803 (12AX7) triodes in the SRPP circuit without feedback. On the other hand, 6922 (6DJ8) tubes were used in the output buffer. In the volume control section, which is key to the class of each preamplifier, the Japanese used a patented hybrid attenuator - a transformer with 46 taps switched in relays. On the front of the power supply and control module there are a number of buttons, one large knob and two small knobs. Use the button to turn on the device, then select one of the 6 inputs, mute the outputs, or control the balance between the channels. Two buttons are responsible for the latter function, and above there is a row of 7 blue LEDs that show the current setting. A large knob is responsible for volume control, and next to it there is a small display with yellow numbers showing the current level. The left small knob selects the active output, and the right one, the output signal level - in the middle position it is 0dB, and we can choose from -6 and 6dB, if the output level needs to be lowered or raised (respectively). The power supply uses a high-class circuit with an oversized R-core transformer and a 5U4G tube rectifier. The device can be controlled with the original remote control. It is made of metal, and instead of physical buttons there is a touch panel that allows you to control the volume, balance between channels and mute the output partially (ATT) or completely (Mute). The MA-1000 tube monoblocks do not require such an extensive description, because they are definitely more traditional designs. These are not so large devices with a 25cm wide front, but over 40cm deep. Their weight, for tube devices, is also not shocking - each piece weighs 15.5 kg. These are SET (Single Ended Triode) amplifiers based on a slightly stronger version of the iconic 2A3 - 2A3-40 triode produced by the Slovak company JJ Electronic. It is interesting because the lamps of this brand do not enjoy any great esteem in our company, and apparently the Japanese have a different opinion about them, because not only Phasemation, but also, for example, Wavac uses lamps of this company. 2A3-40 (one per channel) are driven by ECC803S tubes (of the same brand), and the power supply includes a 5R4GA rectifier (NOS Philips ECG JAN). The housings of these amplifiers are ... beautiful! As with the MA-1000, they are made of aluminum, copper-clad steel and only copper. They are finished in what is usually called champagne color, with small golden elements (switches and logo on the front). Lamps in ceramic sockets with gold-plated contacts are hidden under covers mounted on bolts, whose front walls are made of thick, transparent glass, and the sides and top are made of metal plates with numerous vents, finished in the same way as the rest of the housing. In this way, beautifully glowing lamps can be clearly seen. Removing these covers gives the user access to small potentiometers, which may come in handy if there is a hum when connected. Transformers and chokes located behind the lamp section are hidden under a metal housing. On the back, apart from the IEC socket, there is only the RCA input and loudspeaker outputs, which as a company (which should be remembered when ordering) are connected to the 8Ω or 4Ω tap output transformers. The whole is placed on four small aluminum feet that do their job well

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  • "Sound quality

    At first glance, it seems that the amplifier based on (even if a bit more powerful version) 2A3 requires very easy-to-drive loudspeakers. The manufacturer gives a power of 10W, but honestly also gives a high value of harmonic distortion (10%) for this value. The usable power is therefore simply less. As I do not have very easy loudspeakers at the moment, the distributor, Nautilus, provided me with the DeVore Fidelity Orangutan 96 speakers tested in one of the previous issues. . However, hearing how easily Phasemation dealt with these speakers, I thought it worth trying to pair it with my Ubiq Audio Model One Duelund Edition (88dB, 6Ω). The ease with which the MA-1000 managed to drive these loudspeakers was absolutely surprising, because these are three-way designs in closed housings, not so easy to drive. However, since it sounded so well, I decided to perform the main part of the listening sessions in this combination with the Lampizator Golden Atlantic and the J. Sikora Basic turntable and the Grandinote Celio Mk IV phono as sources.

    During long sessions, the Phasemation set surprised me with its possibilities many times. However, a few things were clear literally from the very first minutes of listening. Before about them, just one more issue - similarly to most tube devices, this system also needs some time to settle down and warm up, in a word, I recommend starting critical listening sessions no earlier than an hour after switching on. After just a few minutes, the Japanese devices probably present 80% of their capabilities, i.e. they sound great, but after an hour they reach the heights of their capabilities and the real magic begins. As I suggested earlier, with the Ubiqs, I heard the momentum and scale of the presentation from the very beginning, which are associated with strong, solid-state power amps, not a few watts from the SET. One of the first discs was the soundtrack from "Awakening the Force", with the opening fanfares known to all "Star Wars" fans. The lowest tones in this recording can be shown in a slightly more compact, contoured way, but the MA-1000, although they sounded a bit softer, did not lose control and defined them quite well. The weighting was excellent, the speed and energy of the lowest sounds was also beyond complaint.

    Another striking element from the very beginning was the incredible purity of the sound - for example the wind instruments playing an important role in John Williams' music. However, lamps usually smooth them a bit, do not let them shine with full shine, which sometimes even slightly stings the ears. Only a few of the best devices of this type, such as the Kondo Souga or Kagura, the top AudioTekne system or the latest (hybrid, i.e. partially tube) integrated amplifier Thöress offer a saturated, smooth, but also extremely transparent, sophisticated sound full of information that reflects the true nature of the trumpet, trombone, saxophone etc. Phasemation did exactly the same, showing it an apparently contradictory but natural combination of smoothness and clarity / sonority, and occasionally even (controlled) sharpness. Probably the overwhelming association with the movie saga also did its job, but it does not change the fact that I listened to the mentioned soundtrack with weights wandering on my back.

    Patricia Barber's album "Verse", played from DSD files, sounded amazing, signaling an absolute mastery in the presentation of vocals, but also acoustic music (but not only). The double bass that started the album was that huge, three-dimensional box supporting the plucked strings, adding to any sound the mass it is when listened to live. To be precise, he was not only powerful, but also fast, lively, which is what I like, although he does not always sound like that in real life. The attack was well marked (every strike of the string), but the long decays were also insanely natural. Patricia's vocal was only in a few cases as deep and palpable, and at the same time full of subtlety, as this time, it had such a natural timbre and so precisely, and at the same time casually shown texture. It was one of those not so many presentations of this disc, during which the drums and percussion instruments also sounded great - yes (!) The drums, cymbals and distractions rocked like a hardly any transistor. It was again a matter of the immediate attack, excellent decay, elasticity of the drum membranes, hardness and response to the hits of cymbal sticks, or the outstanding differentiation of the multitude of percussion instruments, which always play a large role on her albums.


    I also played purely electric - Lee Ritenour's album "6 String Theory" is a piece of quite strong guitar playing, with a lot of electric bass and well-recorded drums. It sounded as it should - dense, strong, with guitars playing with the right drive in the foreground, bass marking the pulse of each track and drums hidden a bit deeper, but with a strong, springy kickstand and nice weighted, resonant cymbals. These (in practice) a few-watt tube amplifiers carried the pace and rhythm like a pure, several-hundred-watt transistor. The bass guitar on this disc, as well as on the Marcus Miller performances I listened to later, was able to come down very low, with the right weight - no dragging, no loss of control - just perfect! Even with the madness of AC / DC, and these are not audiophile productions, the Japanese system handled surprisingly well. He was able to convey what is most important in this music - energy, flow, dynamics, that is, everything that is mixed together gives a person a greater kick than a triple espresso. And I will not remind you again how a small output power is enough for this. Yes, with more powerful amplifiers there is even more energy in this music, but it is the quantity, not the intensity - the latter was absolutely not lacking in Phasemation. The disc of Steven Taylor (the vocalist of Aerosmith), not fully audiophile, also sounded great, mainly thanks to the fantastically shown charismatic vocal and backing vocals, but the acoustic guitar also amazed with its naturalness and purity of sound (and the latter feature cannot be attributed to the entire recording). A great version of "Janie's Got a Gun" or perhaps not very revealing, but still a sensational cover of "Piece of My Heart" captivated me with freshness, vitality and feeling, which (in the case of the second track, of course) would not be ashamed of Janis Joplin herself.



    During the auditions, there were also some classics. This one in small ensembles sounded outstanding. For example, "La Stravaganza" by Vivaldi performed by Rachel Podger and the Polish Baroque orchestra (playing period instruments) Arte Dei Suonatori. The double disc is probably known to most fans of such music - the brilliantly played and recorded Vivaldi violin concertos in the Phasemation system sounded in an extremely refined and precise way. The Japanese devices showed all their strengths - high resolution, the ability to convey a huge amount of information, including the tiniest ones, but complexed into a larger, colorful, intriguing whole. They added very good differentiation both in terms of dynamics (also, and maybe even mainly in the micro) and timbre, incredible plasticity and tangibility of the presentation, naturalness and even organicity of the sound, and that unique fluidity that I have heard only from the best lamps already mentioned. Listening to this disc on the tested system was a real, unique experience.

    On the turntable plate landed, among others fantastically realized album "The Power of Orchestra" with Mussorgsky's music. There is everything on this album - panache, scale, the orchestra's eponymous power, and the amazing atmosphere of "Nocy na Łysej Góra". Provided the system can show it. The atmosphere of night turmoil, witches' coven, blowing winds, etc. MA-1000 and CA-1000 built simply phenomenal! The intensity of the presented events resulted in extraordinary impressions and involvement in what was happening on the stage. This, in turn, was enough to completely ignore the slightly smaller momentum and maybe not as much freedom of action as with my Ubiqs the amplifiers with much higher power show. Cold judging, and yes, I was able to say that the Phasemation set lacked a bit of steam to convey 100% of the orchestra's title power, but since they played the music in such an engaging, intense way, it didn't matter. The tested system showed itself equally well during the audition of "The Marriage of Figaro" under Currentzis. The Japanese amplifier impressed with its resolution, separation and differentiation, building a large, well-organized image of an orchestra assisting the wonderfully rendered voices of the singers. Just as he brilliantly created a gloomy image of a coven of witches before, now he has built the light, cheerful mood of a comedy piece by Wolfgang Amadeus. And he did it without effort, as if casually, proving that he could create a unique spectacle regardless of the nature of the recording, as long as it received a high-class signal. So it is enough to take care of high-class sources, good music material, and the effects will be phenomenal!

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  • Summary

    It was hard to expect that a product for such money, from such an excellent Japanese manufacturer, will sound poorly. So I had to put the highest demands on him from the start, and he met them effortlessly. It is an incredibly resolving, but also dense, smooth and spacious set that creates a phenomenal atmosphere of recordings, engages, draws you for long hours and never, never gets boring. Despite its low power, it is not particularly demanding in relation to the speakers it has to drive. It sounded great with the highly effective 96 Orangutans, but was also comfortable with my Ubiq Audio Model One Duelund Edition. The loudspeakers must present the appropriate class, do not have any major drops in impedance, a high-class source must be added to the set and this way a dream system will be created. Expensive, but reaching the heights of what any audio system is able to offer. With vocals, acoustic music, but also rock (maybe except for the heaviest varieties) it's pure magic! Fantastic, addictive, expressive playing - with the right music of shivers down your back, Italian standing on end, etc. guaranteed!"




    Gruss

    Juergen


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  • nun habe ich mich näher mit dem


    Phasemation T-1000 (UVP 3300,- eur)

    Übertrager beschäftigt.


    photo-3.png


    rear.png


    Beim Zweitgrössten Übertrager in der Phasemation Hierarchie erreicht man hausinternen Bereich der kanal getrennten Gehäuse.


    Diese Gehäuse wirken wunderbar wertig und entwickeln beim anfassen fast Handschmeichler Qualitäten. Wer die über Jahre konstante Qualität von Accuphase Gehäusen kennt, weiss, was ich meine.


    Zum Lieferumfang des T-1000 gehört ein separates Erdungskabel, mit dem man die beiden separaten Übertrager Einheiten gemeinsam erden kann.


    Sollte man eine Kanalgetrennte Phonovorstufe haben (zB die Phasemation EA 550) , hat man an dieser Stelle Raum zum experimentieren, zB kanalgetrennte Erdungskabel zu verwenden.

    In diesem thread über den Lyra Übertrager kann man ein paar interessante Beiträge vom Lyra Chef Jonathan Carr lesen:

    https://www.whatsbestforum.com…s/lyra-erodion-sut.25010/


    Selbstkritisch betrachte ich seit diesem thread meine Kabellängen, die zwischen step up und PhonoPre zumeist 1,5m betragen, da ich ansonsten keine fliegende Verkabelung mit schnellem umstecken realisieren kann. Da die von mir verwendeten Kabel aber recht niederkapazitiv sind, sollte dies noch ganz gut funktionieren.

    Ausprobiert habe ich den Phasemation T-1000 Übertrager zuerst an der Allnic H7000v Phonovorstufe und später an der Phasemation EA-550 Phonovorstufe.


    Das Ergebnis vorweg nehmend kann man sagen, dass man beide PhonoVorstufen mit dem T-1000 klanglich verbessern kann. Der eingebaute Übertrager in der Allnic ist zwar bereits ein recht guter, aber der T-1000 bringt sowohl Details, als auch einen tieferen Raum in die Wiedergabe. Ähnlich gross war der Sprung bei der hauseigenen EA-550 PhonoVorstufe.

    Da der T-1000 aber einen Verkaufspreis von ca 50% des Neupreises der EA-550 hat, darf man diesen qualitativen Sprung durchaus erwarten, bei der Allnic hat mich dieser eher verwundert. Es ist auf jeden Fall ein Kompliment für den T-1000, mit dem man offensichtlich auf qualitativ hochwertige Phonovorstufen noch ein Stück besser machen kann.


    Ich habe zum Vergleich hören wieder ein niederohmiges System (dieses mal das Phasemation PP-200) und ein hochohmiges System (Koetsu Blue NS) verwendet.

    Der T-1000 ist tonal ein typischer Phasemation Übertrager, durchaus vergleichbar mit dem T-300. Im direkten Vergleich erscheint mir der T-550 vielleicht ein winziges Stückchen wärmer abgestimmt. Man kann den T-1000 ganz gut mit dem Adjektiv "klar" beschreiben, bin in die Frequenzenden hinein leuchtet der T-1000 das musikalische Geschehen aus und stellt dieses räumlich präzise da. Man hat den Eindruck, der T-1000 nimmt sich hinsichtlich eigenem Charakter komplett aus der Verstärkung hinaus, was ich in der nutzbaren Bandbreite von 1,5ohm bis 40ohm DC Widerstand bei den anschließbaren Tonabnehmern enorm finde.

    Von den kleineren Brüdern T-300 und T-550 kann sich der T-1000 insbesondere bei percussiven Instrumenten oder auch bei Forte Stellen absetzen. Der T-1000 wirkt im direkten Vergleich dynamischer und mit mehr Energie spielend. Wenn die folgenden Komponenten auch die Frequenzenden mit Energie durchreichen/wiedergeben können, wird der Unterschied entsprechend grösser ausfallen. Man kann sich nach dem hören mit dem T-1000 kaum noch vorstellen, was da noch mehr kommen kann.

    Insbesondere die später gehörte Kombination mit dem Etsuro Urushi Cobalt Blue Tonabnehmer war für mich "made in heaven" . Mit dieser Kombination habe ich in den letzten Tagen manchen Abend ausklingen lassen.

    Wie bereits beim T-550 geschrieben, auch der T-1000 profitiert von einer symmetrischen Ansteuerung, diese kann durch ein passend konfektioniertes Cinchkabel oder eben mit einem auf XLR konfektionieren Phonokabel geschehen. Aber auch mit einem "normalen" Cinch Phonokabel weiss der T-1000 zu überzeugen. Der Unterschied im Anschluss ist zwar wahrnehmbar, aber verändert nicht den Charakter des T-1000.

    In meinem Set Up ist der Phasemation T-1000 nun zusammen mit dem EA-550 fest in mein Phonorack mit dem TechDAS AF V premium gewandert, der nun auch passend mit 3 Tonarmen ausgestattet ist.

    Gruss

    Juergen

    IMG_5220.jpgIMG_5259-1.jpg

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  • Da sich der


    Phasemation EA-550 (UVP 6.900,- eur)


    IMG_5368.jpg

    rear.png




    doch mit dem einspielen immer weiter verbessert hat, habe ich das intensive hören etwas vertagt. Nun habe ich den EA-550 im Artesania Rack stehen und mit Sorane SA-1.2 Tonarm und dem Etsuro Cobalt Blue Tonabnehmer verbunden.
    Als Tonarmkabel verwende ich ein JPS Superconductur.


    Die Daten lesen sich wie folgt:


    Product Specification

    Form

    V-I/I-V conversion type all-stage symmetric non-feedback equalizing amplifier

    Input Type (Cartridge)

    MM

    MC

    Input Sensitivity

    2.5 mV

    0.13 mV

    Suitable Cartridge Output Impedance

    47 kΩ or less

    1.5 to 40Ω

    Gain

    38 dB

    64 dB

    Input Equivalent S/N Ratio

    –120dBV

    –140dBV

    Rated Output Voltage

    200 mV (1kHz)

    Rear Curve Tolerance

    ± 0.5 dB (20Hz to 20kHz)

    Power Consumption

    10W (100VAC 50 - 60Hz) for each Ch

    Dimensions

    211 (W) × 93 (H) ×360 (D)

    Weight

    5.5kg for each Ch


    In den ersten Tagen habe ich den Phasemation EA- 550 am ehesten mit den Attributen

    klar, sauber, lebendig, mitreissend beschrieben, entwickelte der EA-550 mit den Spielstunden immer mehr Gefallen daran , den Raum tiefer auszuleuchten und im Tiefbassbereich an Kontur und Energie zuzulegen.

    Stimmen und Instrumente klingen somit nochmals freier und realistischer.

    Realismus in der Wiedergabe ist überhaupt eine Assoziation, die einem bei Phasemation Geräten immer häufiger überkommt. Der EA-550 ist da keine Ausgabe. Auf der Suche nach einer neuen Phonovorstufe für mein privates Vergnügen habe ich im Moment immer wieder die Möglichkeit, mir ein Gerät genauer anzuhören, dies mache ich dann zumeist zusammen mit demjenigen, der mir das Gerät zur Verfügung stellt.

    So haben in der letzten Zeit viele Phonovorstufen bei mir gespielt, die mit in Teilbereichen extrem gut gefallen haben, doch die meisten Zuhörer empfinden dann ein zurück auf die Phasemation EA-550 als einen Schritt, der einen wieder zurück in die Realität bringt. Bemerkungen, wie "so muss das" "so ist richtig" sind bei der EA- 550 nicht ungewöhnlich.


    Gleichzeitig vermag die EA-550 durch ihre sehr vitale und lebendige Wiedergabe den Zuhörer immer wieder in Bann der Musik zu ziehen.


    Mir fällt im Moment, unabhängig vom Preis, keine so wohl balancierte Phonovorstufe ein, die gleichzeitig technisch so unkompliziert in die Kette zu integrieren ist.

    In meiner Kette sind aktuell ca 8m Cinchkabel bis zum Vorverstärker zu überwinden, was der EA-550 keinerlei Probleme bereitet, die Ausgangsstufe scheint entsprechend stark ausgelegt zu sein.

    Mit den 3 verfügbaren Kennlinien habe ich auch schon rumgespielt und sogar Mono LP's in meinem Fundus gefunden, die mit einer anderen Entzerrung besser klingen.

    Erwähnen kann man noch, dass die 3 Eingänge sowohl MM , als auch MC können, was viele Tonabnehmer Flexibilität mit sich bringt.

    Die integrierte "Degauss" Funktion habe ich mit Erfolg an einem alten Ortofon MC System ausprobiert, immer wieder verblüffend, was dies bringt. Ein Netter Luxus, dass dies bei der Phasemation EA-550 direkt integriert ist.

    Nun werde ich entspannt weiter Musik hören, gerade eben ist eine neue Platte aus der Tone Poet Reihe angeliefert worden :-)

    Gruss
    Juergen

    ps
    hier noch ein Bild ins innere eines Phasemation mono PhonoPres

    (alle Abschirmbleche wurden entfernt.
    (Vorgänger EA-500)


    Phasemation-EA-500-phono-amp-inner.jpg



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  • Sieht alles sehr ausgereift aus, gefällt mir sehr gut, ob da wohl eine gute Röhre mithält Dirk;)


    gruß

    volkmar

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    Röhren Endstufen- Röhren Vorvorstärker - Röhren Kopfhörerverstärker- Röhren Phonovorstufen -Laufwerke Thorens TD-2001 RDC + DIY- Masterbandmaschine Teac X-2000M- Systeme Audio Technica AT-160ML + AT-ML180


  • Sieht alles sehr ausgereift aus, gefällt mir sehr gut, ob da wohl eine gute Röhre mithält ....


    gruß

    volkmar

    wenn man die richtige Röhre hat, zB die


    Phasemation EA-1000

    oder

    Phasemation EA-2000


    PhonoVorstufe, kann ich mir das schon vorstellen,

    Aber in Ihrer Preisklasse stellt die EA-550 schon eine sehr gute Klasse da, bei der es schwer wird „besser“ zu spielen, egal ob Transistor oder Röhre.

    „anders“ kann ich mir da eher vorstellen.


    Gruss

    Juergen

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  • Letzte Woche habe ich mich intensiv mit dem


    Phasemation PP-2000 (UVP 4400,- eur)

    Tonabnehmer beschäftigt.


    Was mir als erstes aufgefallen war, ist das schöne Gehäuse.

    In diesem Bereich bin ich von japanischen Tonabnehmern sehr verwöhnt und dank des beschäftigens mit den verschiedenen Varianten der My Sonic Lab Tonabnehmer


    Shakti beschäftigt sich mit My Sonic Lab Tonabnehmern, zB dem MSL Signature Platinum


    habe ich eine Vorstellung davon, wie sich unterschiedliche Metalle und Beschichtungen auf den Klang eines Tonabnehmers auswirken können.

    Aus dem Hause MSL hat mir das Sumile sehr gut gefallen, welches ein hart beschichtetes Duraluminium Gehäuse und eine Solid Steel Basisplatte besaß.

    Insofern erfreute es mich zu lesen, dass das Phasemation PP-2000 eben so aufgebaut ist, dh einen Systemkörper aus Duraluminium und eine Stahl Basisplatte.

    https://www.phasemation.com/product/pp-2000.html



    Das System insgesamt bekommt dann eine DLC Beschichtung, die sich wie folgt beschreibt:

    DLC (Diamond Like Carbon) ist ein generischer Name für einen Kohlenstofffilm, der mit Dampfphasensynthese unter Verwendung von Ionenverarbeitung hergestellt wird und die hohe Steifigkeit und hohe elektrische Isolierung ähnlich einem Diamanten erreicht.

    Diese Beschichtung führt nebenbei zu einer sehr schön anzuschauenden Oberfläche,

    die sich auch sehr wertig und angenehm anfühlt.

    photo.png

    Ganz japanisch klassisch kommt das PP-2000 ohne Gewindebohrungen daher, was etwas mehr Aufwand beim montieren bedeutet. Auch japanisch klassisch sind ein Systemkörper mit klaren rechtwinkligen Kanten, was die Justage vereinfacht.

    Die technischen Daten lesen sich recht normal:

    Product Specification

    Power Generation Method

    Moving Coil Type

    Impedance

    4 Ohm

    Applicable Stylus Force

    1.7 to 2.0g

    Output Voltage

    0.3mV(horizontal direction of 1kHz 50mm/s)

    Compliance

    8.0X10(e-6)cm/dyne

    Playing Frequency Range

    10Hz to 30kHz

    Separation

    30dB or more (1kHz)

    Channel Balance

    Within 1dB (1kHz)

    Range of Recommended Temperature

    20℃ to 26℃

    Tare

    14.3g

    Stylus Chip

    Diamond(line contact / curvature 0.03×0.003mm)

    Cantilever

    Pure Boron φ0.26

    Magnet

    Samarium Cobalt Magnet

    Magnetic Circuit Composition Material

    Permendur

    Base

    Stainless(Diamond Like Carbon processing)

    Body

    Duralumin(Diamond Like Carbon processing)


    Entsprechend habe ich das System mal mit 30ohm, 40ohm, 100ohm und einem Übertrager angeschlossen. Der optimale Abschluss ist sicherlich PhonoPre Abhängig,

    mir gefällt es an Übertragern am besten, aber dies Eigenschaft höre ich bei fast allen MC System so.

    Klanglich hat sich das System bei mir mit 2 anderen Systemen der 4000,- eur Klasse messen dürfen, dem


    Kiseki Blackheart (UVP 4000,-)


    und dem


    Etsuro Cobalt Blue (UVP 4000,-)

    Alle drei Systeme spielen bei mir auf einem vergleichbar hohen level, alle auf der eher etwas wärmeren Seite von "neutral". Das Kiseki System mag es, auch kleine Informationen zu extrahieren, das Etsuro spielt sehr filigran und zart, das PP-2000 kann in grob dynamischen Passagen auch mal hinlangen.

    Das Phasemation PP-2000 gewinnt nochmals deutlich an Qualitaet, wenn es am passenden Phasemation Übertrager spielt, ähnlich zum Etsuro System am hauseigenen Übertrager.



    Ich habe in der letzten Zeit viel mit Systemen der 1000,- eur Klasse Musik gehört,

    diese Systeme spielen heutzutage bereits auf einem level, dass man eigentlich glaubt, nicht mehr zu brauchen. Wechselt man dann aber auf zB das PP-2000 ist der Unterschied so krass gross (in meinem set up), dass man alle Schallplatten der letzten Wochen nochmal hören möchte, weil einem bewusst wird, wieviel mehr an Informationen sich auf diesen verbirgt.

    Mit dem PP-2000 habe ich auch viel Klassik gehört, da mich die Wucht eines Orchesters fasziniert, weil mich die Härte und Präzision von Klavieranschlägen begeistert und die Tiefe des Raumes in die Musik eintauchen lässt.

    Wechselt man dann in den Bereich des Jazz und lässt sich zB von der Stimme Melanie de Basios verführen, erwischt man sich, dass man mal eben drei Schallplatten von ihr durchgehört hat. Das PP-2000 kann einem magische Momente verschaffen.

    Und spielt in vielen Bereichen durchaus oberhalb seiner Preisklasse.

    Die letzten Tage haben gezeigt, dass die Kombination aus


    Phasemation PP-2000 Tonabnehmer
    Phasemation T-2000 Übertrager
    Glanz MH-124s Tonarm


    zu meiner am meisten spielenden Kombination geworden ist,

    Verstehe nun, warum diese Kombination sowohl bei Ammonite in England ,
    als auch bei Anamighty in Frankreich zu den beliebtesten gehört.

    Gruss

    Juergen

    IMG_5384.jpgIMG_5385.jpgIMG_5386.jpgIMG_5387.jpgIMG_5388.jpg

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    Edited once, last by shakti ().

  • An dieser Stelle noch ein Test aus den USA:


    "Das Phasemation PP-2000 MC System:

    Phasemation, ein Produkt der in Japan ansässigen Kyodo Denshi Engineering Company, war in Amerika trotz der "analogen Wiederbelebung" bis jetzt nicht verfügbar. Ich habe ihre Tonabnehmer in München und anderswo gesehen, aber ich kann mich nicht erinnern, sie zuvor in Amerika gesehen zu haben. Neben Tonabnehmern bietet Phasemation auch eine umfangreiche Reihe von Aufwärtstransformatoren und Phono-Vorverstärkern an.

    Der nordamerikanische Distributor American Sound aus Toronto (Kanada) (auch bekannt als Angie's Corner Audio) lieferte das Testgerät. Auf der Website wird Finest Fidelity mit Sitz in South Carolina als einziger amerikanischer Händler aufgeführt.


    Der PP-2000 für 6999 US-Dollar ist die erstklassige Patrone von Phasemation. Die Verpackung ist bekannt: japanisch elegant der alten Schule, ein Look, der mir von damals bekannt war, als ich mir ein solches Produkt nicht leisten konnte. Ich mag die Präsentation.


    Abgesehen von der ebenfalls "alten Schule" -Montage mit Schrauben und aus irgendeinem Grund runden Muttern, die es schwierig macht, eine dichte Headshell-Verbindung herzustellen, handelt es sich bei der Schaltung um ein Standard-MC mit niedriger Ausgangsleistung: Die interne Impedanz beträgt 4 Ohm, die Ausgangsleistung beträgt 0,3 mV (oder mehr), die Compliance beträgt 8 µm / mN, die empfohlene Auflagekraft beträgt 1,7 bis 2,0 g, die Kanaltrennung beträgt 30 dB oder mehr und die Anpassung liegt innerhalb von 1 dB.


    Weitere Merkmale sind ein Samarium-Kobalt-Magnet und ein Permendur-Spulenkern (Eisen-Kobalt). Ein vertrauter Ogura-Linienkontaktstift (0,03 × 0,003 mm) und ein Borausleger vervollständigen die internen Konstruktionsdetails. Das Gehäuse besteht aus Duraluminium, das an einer Montagebasis aus Edelstahl befestigt ist. Beide verfügen über eine mit DLC (Diamond-Like Carbon) behandelte Beschichtung, die einen attraktiven, spiegelartigen, seidigen Glanz erzeugt, der sich so gut anfühlt, wie er aussieht.


    Obwohl der Cantilever etwas unter dem Körper versteckt ist (was ihn weniger anfällig für "oops" -Momente macht), ragt er ausreichend nach vorne, um die Ausrichtung relativ einfach zu machen. Die Konstruktion des PP-2000 war beispielhaft: 92 ° –93 ° SRA wurde mit dem Arm parallel zur Aufzeichnungsoberfläche erreicht, und eine maximale Kanaltrennung von 30 dB und ein Zwischenkanalgleichgewicht innerhalb von 1 dB wurde mit dem Systemkörper parallel zur LPoberfläche und dem Ausleger erreicht senkrecht dazu. So sollte jedes teure System eingerichtet und gemessen werden können.


    Intensives Hören:
    Das Hören spiegelte die einfache Einrichtung wider. Bereits vor dem Einspielen erzeugte der PP-2000 eine expansive Klangbühne und eine gleichmäßige spektrale Balance, die frei von offensichtlichen Fehlern oder leicht zu hörenden Einschränkungen war. Die üppige Qualität war nicht das Ergebnis eines Timbral-Tricks oder einer Färbung, sondern vielmehr die Großzügigkeit des Sustain: Noten und musikalische Ereignisse schwebten im Raum, bevor sie sanft zu Schwarz verfielen. "Großzügig und plüschig", sagten meine Notizen.


    Der instrumentelle Angriff war nicht übermäßig scharf, aber auch nicht weich. Es gibt so viele Blue Note Tone Poet-Veröffentlichungen, die es wert sind, gekauft zu werden. Kein Wunder, dass viele Leser die Mentalität haben, sie alle zu kaufen. Bobby Hutchersons The Kicker (Blue Note BST 21437 / B0031654-01) ist empfehlenswert; Es demonstrierte die ausgefeilte Übertragunsgleistung des PP-2000. Der Angriff von Hutchersons Stimmung war befriedigend; Schlagzeug Anschläge waren weder unnatürlich hart und spröde noch weich - nur angenehm rund und glaubwürdig. (Es gibt nichts Schlimmeres als spröde oder matschige Stimmung.) Das glockenfarbene Sustain war süchtig machend üppig und körperlich rund. Im Rahmen dieser Aufnahme klang jedes musikalische Element, einschließlich Klavier, Bass und Schlagzeug, richtig. Die Präsentation ähnelte der der neuesten Generation von Lyra Lambdas, allerdings mit etwas weniger dynamischer Autorität. Die Phasemation kostet mehr als 5000 US-Dollar weniger als zB die Lyra Lambda SL.


    Aufgrund der ausgewogenen Abstimmung aller Systemparameter können Sie mit dem PP-2000 jedes Musikgenre genießen - zumindest habe ich das getan, obwohl die entspannte Persönlichkeit der Kassette besser für akustische als für elektrische Musik geeignet ist. Das süchtig machende obere Ende erstreckt sich glatt, luftig und ohne Maserung oder Ätzung, scheinbar bis in die Everest-Höhe.


    Ich habe Bowie's Station to Station kürzlich in einem Testbericht verwendet, also habe ich mir den PP-2000 angehört und festgestellt, dass die Gesamtpräsentation zufriedenstellend war. Hier jedoch produziert der teurere Ortofon Anna D das fehlende Low-End- "Grunzen" und fährt ebenso wie der ebenso teure Lyra Atlas Lambda SL. Das bekommen Sie für das zusätzliche Geld.


    Mit dem Phasemation-System hat die spektakulär klingende Direkt-zu-Disc-Produktion von Má vlast (Accentus Music B088GDGQ7F) unter der Leitung der Bamberger Symphonie durch Jakub Hruša eine deutlich breitere, tiefere und dramatischere Klangbühne geschaffen als die Ortofon Anna D. obwohl die Anna D eine größere Bildspezifität, Solidität und "Griffigkeit" erzeugte, die die PP-2000 leicht geglättet hat. Die Anna D war etwas trockener und weniger timbral reich. Der PP-2000 produzierte massierte Saiten, die seidig und klangvoll waren, aber nicht übermäßig glatt. Hörner hatten viel Biss, ohne weh zu tuen.


    Ich würde gerne weitermachen, aber es gibt noch mehr zu besprechen, und Sie erhalten das Klangbild: Die Phasemation PP-2000 ist weich, klanglich raffiniert, reichhaltig und klingt großzügig. Die dynamische Leistung an beiden Enden der Skala war in Ordnung. Es gab makrodynamischen Knall - ein plötzlicher Hornschlag in Má vlasts bekanntem Die Moldau ließ mich springen - und auch mikrodynamische Subtilität.


    Die Niederfrequenzleistung des PP-2000 war zwar strukturell nicht episch - der E-Bass war leicht weich -, aber alles war gut genug, um Klassikern und Jazzliebhabern eine begeisterte Empfehlung zu geben.


    Wenn Sie ein Liebhaber klassischer Musik sind und das Glück hatten, über die Phasemation PP-2000 die Neuauflage von The Complete Orchestral Works von Maurice Ravel durch die neue Electric Recording Company zu hören, unter der Leitung von André Cluytens das Paris Conservatoire Orchestra (ERC 061 / SAX 2479-9), würden Sie wahrscheinlich ausrufen: "Ich werde es kaufen!" Dieses System also. Es ist verfügbar. Die Platte ist wahrscheinlich bereits wenige Tage nach Veröffentlichung ausverkauft.


    Auf dem heutigen teuren Tonabnehmermarkt macht die Kombination aus hochentwickelter Klangqualität und hervorragender Verarbeitungsqualität des PP-2000 das System zu einer attraktiven Wahl"



    Gruss

    Juergen

    gewerblicher & privater Veranstalter musikalischer Events
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  • ja natürlich! Noch etwas früh heute, der Rotwein war aber gestern auch lecker...

    Trotzdem wohl eine üble Fummelei. So was dann besser ohne Rotwein...

    Lg

    Ih

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