Sunilda Phono

Sunilda Phono

3.490,00 4.650,00 

(1 Kundenrezension)

Ken Kessler by Hi-Fi News: “…the Sunilda pours forth the detail, the air, the sense of a 3-D space and the kind of control that’s hard to fault…”

Michael Fremer by Stereophile: “…Germany’s AudioValve is building some of the finest and affordable tubed products available today.

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Beschreibung

MARK II – Modell: 2020

 

Spektakuläre Class – A Phono MM & MC Vorstufe mit passivem RIAA Netzwerk

 Stereophile recomendend component

Wir haben aufgelaufene Updates in SUNILDA eingepflegt, aus diesem Grunde bekommen alle Lieferungen ab 2020 die erweiterete Modell Bezeichnung:

SUNILDA Mark II – 2020

Im einzelnen wurden Netzteil, div. Bauteile und marktkonforme Anpassungen durchgeführt. SUNILDA erfuhr dadurch eine weitere Anhebung insbesondere der musikalischen Qualitäten im MM und MC Betrieb.

GESCHICHTE

SUNILDA kann auf eine lange Tradition im Hause AudioValve zurück blicken. Dieses Phonoteil beruht auf Arbeiten, die bereits 1994 in Angriff wurden. Schon damals war es das Ziel, eine Phonovorstufe zu kreieren, die für lange Zeit Maßstäbe setzt. Bis heute erfüllt sie diese Anforderungen besser als wir das alle gedacht haben zum Zeitpunkt der Entwicklung. Warum das so ist ? Weil es in der zurück liegenden Zeit auf diesem Sektor kaum nennenswerte Fortschritte gab. Und somit erfüllt SUNILDA damals wie heute höchste Ansprüche an die Wiedergabe von Schallplatte.

 

STEREOPHILE REVIEW from Michael Fremer 12/2009


:: click on the picture ::

The AudioValve Sunilda is one of the most enjoyably tube-based phono preamps I’ve heard.” ( STEREOFILE )

SUNILDA ist natürlich raffiniert und gut durchdacht. Schon damals war uns klar, die Entzerrung kann nur Passiv sein, dann muss das Gerät auch rauschfrei und brummfrei und MC tauglich sein, außerdem soll SUNILDA zwei Tonarmbasen gleichzeitig bedienen und zu guter letzt muss die Selektion an diverse Impedanzen und Anpassungen widerstandsseitig und kapazitiv individuell sein, so das Anpassungen an alle erdenklichen Systeme möglich sind.

Es dauerte schon einige Zeit lang, bis all die Ideen praktisch realisiert wurden. Da war die Frage nach dem Netztrafo, wohin damit – ins Gerät ?? Kam nicht in Frage, auf solche “Abenteuer” wollten wir gern verzichten. Also kam der Netztrafo außerhalb in ein eigenes Gehäuse weitab von den empfindlichen Eingängen. Das wird etwas teurer, aber im nach hinein betrachtet, war diese Entscheidung unbedingt richtig. Alle Versuche der Wettbewerber, Netztrafos möglichst im Gerät zu integrieren, scheitern am Ende am Brumm, der sich auf das Signal moduliert, oder an den Kosten für einen super abgeschirmten Netztrafo.  Gerade wenn Sie die Absicht haben mit MC zu hören, stört natürlich jede magnetische EInstreuung, wie z.b. die, eines eingebauten Netztrafos. Sie müssen sich bitte vor Augen halten, dass der Phonoverstärker ein Tiefton Verstärker ist – d.h. je niedriger die Signalfrequenz ist   (im Bass z.B.) um so größer wird das verstärkte Signal – dazu gehört auch die Netzfrequenz mit 50Hz, wenn diese sich in der Nähe oder im Verstärker befindet haben sie wirklich ein Problem. Wer dem Theater aus dem Wege gehen möchte, muss wissen, auf was er sich einlässt, wenn er den Netztrafo in das Produkt Phonoverstärker setzt. Und sind wir doch mal ehrlich – was kann einem das Platte hören vermiesen ? Richtig BRUMMEN !!

Auf dem nachfolgenden Bild sind einige herausragende Charateristika von SUNILDA dargestellt. Es handelt sich dabei um den Klirrfaktor links im Bild und das Signal  – Rausch – Verhalten von SUNILDA, rechts im Bild – im MM Mode. Das Rest – Rauschen ist über jeden Zweifel mit -82 db erhaben und auch der Klirrfaktor ist für einen Röhren Amp super.

So, nun noch ein Paar grundsätzlich Dinge, die man im Rahmen einer solchen Konstruktion macht – bez. besser nicht macht. Sicher, man kann auch bei einer solchen Entwicklung den einfachen Weg gehen, aber das rächt sich am Ende, wenn es heißt, Klang und techn. Daten auf den Tisch. Wer sich auf solche Experimente einlässt, hat entweder keine Ahnung, oder verlässt sich auf sein Glück, dass ihn dann spätestens hier verlassen wird.

Im unteren Bild seht Ihr z.B. die ausgezeichnete Genauigkeit der  RIAA Schneidkennlinie von SUNILDA –  als Teil des passiven Netzwerkes. Dargestellt sind auf unserem ausgezeichneten Messpark die untere und obere Bandgrenze.

Übrigens sind alle im passiven Netztwerk der Sunilda befindlichen Bauteile auf unter 1% Toleranz handselektiert.

links im Bild mit 13,16 dB die Pegelzunahme nach RIAA bei 100 Hz ( nach RIAA – Standard 13,09 dB )
rechts im Bild mit -13,48 dB die Pegelabsenkung nach RIAA bei 10000 Hz ( nach RIAA – Standard -13.73 dB )

Wie dem auch sei, dieses Problem mit dem Netztrafo ist ja nicht die einzige Hürde, die es zu überwinden gilt. Da gibt es noch zig andere Belange, bei denen die gleiche Sorgfalt und gesicherte Erkenntnisse zugrunde gelegt werden müssen – soll das Projekt zum Erfolg werden. Wenn ich schon allein sehe, dass da von den rückseitigen Cinch oder XLR Buchsen Kabel gezogen werden, die das ganze Gerät füllen, möchte ich die “Kiste” mit Beton zukippen. Jede Leitung – gerade im Phonoverstärker – ist eine Leitung zu viel und bietet Angriffsflächen für vagabundierende magnetische Felder. Woher ich das alles weiss ? Weil ich es von der Pieke auf gelernt habe. Meine ersten Erfahrungen mit Röhren liegen über 50 Jahre zurück und dabei sammelt man einen Wissensschatz über Jahrzehnte, der so in keinem Buch nachzulesen ist. Wenn sich dann überlegt ein solches Produkt in ANgriff zu nehmen, hat man schon sehr genaue Vorstellungen von der Art und Weise der Realisierung. Ich stelle mir vor wie das werden soll, wenn unbedarfte an ein solches Projekt gehen – was soll denn da rauskommen ausser Mist ??!!

Aber auch der “muss” dann ja verkauft werden , um Profite zu erwirtschaften und das wird er auch. Bedauerlicheweise merkt der Kunde erst, wenn es zu spät ist, auf was er sich da eingelassen hat. Ich will also damit sagen – ziehen Sie nicht einfach los und lassen sich was aufquatschen – schauen Sie wer hinter der Entwicklung steht, welcher Kopf für das Produkt verantwortlich zeichnet, erst dann können Sie mit ruhigem Gewissen auf beste Resultate hoffen. Mich ärgert schon lange die Tatsache, das beim Verkauf nur nach dem Preis geschaut wird, viel wichtiger ist doch die Frage – aus wessen Hand stammt die Arbeit ? Von diesem Thema kann der Verkauf immer gut ablenken – früher und heute. Es sind doch am Ende die begnadeten Techniker, die ein Produkt über lange Zeit zum Erfolg werden lassen und nicht der Verkäufer – diese Lanze will ich hier mal für uns Techniker brechen.

Wir sind doch die genialen Köpfe, auf deren Basis erfolgreich verkaufen erst möglich wird – und wer zollt uns den Respekt für das Geschaffene  ? Niemand – man redet nicht mal über uns. Und da ist doch was verkehrt in unserer Welt. Erst das Internet hat es aendlich möglich gemacht, dass wir Techniker auf unsere Arbeiten aufmerksam machen konnten und so einer breiten Öffentlichkeit zugänglich wurde und diskutiert werden kann. Seit dem ist auch nicht mehr der Verkäufer derjenige der die Kaufentscheidung beeinflusst, sondern vielmehr die Zahl derer, die als User authentisch über Produkte und deren Vorzüge und Nachteile frei recherieren und debattieren können und auf diese Weise Kaufentscheidungen ins Auge fassen – ich finde das eine tolle Entwicklung.

Spice Simulationsmodell der Sunilda – Modell 2020 – Mark II. Besonders hervorzuheben sind der niedrige Klirrfaktor und die hohe Verstärkung im MC Mode. Mehr Info zu SPICE unter BALDUR 70. Der Ausgangswiderstand liegt bei ca. 470 Ohm und die beiden Band – Enden der passiven RIAA Entzerrung liegen im Bereich von ca. +/- 0,15 dB bei 100 / 10000 Hz.  2020 wird das ultimative Update – Jahr für die SUNILDA Mark II.

Bis vor Jahren war es noch undenkbar, mit dem Entwickler direkt zu kommunizieren, heute – sofern man den Usern die Adressen oder Entwickler anbietet, ist das überhaupt kein Problem mehr. Ok – Firmen wie Maranz oder Naim, etc. werden diese Kanäle nicht freiwillig zur Verfügung stellen – man möchte nämlich diesen Diskurs unterbinden, warum kann sich sicher jeder an seinen fünf Fingern abzählen.

Ich bin etwas vom Thema abgewichen – sorry, kommen wir zurück zur Sunilda. Man muss den Problemen rest gar keine Chance geben sie sich zu entwickeln, das bedeutet, direkt an den Eingängen – der Cinch oder XLR Buchsen die Bauteile für die Tonabnehmer – Konfiguration, sprich Lastwiderstand und Kapazität – unterzubringen. Praktisch setzt man dies um, indem man direkt an den Kontakten der Buchsen das Signal verarbeitet. Wir haben bei Sunilda für diesen Fall direkt an der Leiterplatte an denen die Eingangsbuchesen montiert sind, Drehschalter plaziert, um die Größen der Last des Tonabnehmers auf sehr kurzem Weg einzustellen. Die Kunststoff Achsen der Schalter führen zur Frontblende, damit der User die entsprechenden Einstellungen durchführen kann. Im gleichen Areal hinten an den Buchsen befinden sich auch die ersten aktiven Bauelemente zur Signalverstärkung – ein sog. JFet im Fußpunkt einer kaskodierten Doppeltriode vom Typ ECC88 / 6922. Im Anschluss daran folgt ein eng toleriertes passives RIAA Entzerrer Netzwerk aus ausgemessenen gematchten Widerständen und Kondensatoren. Den Schluss bildet eine weitere Verstärkerstufe aus ECC 83, die niederohmig und phasenrichtig das Signal am Ausgang zur Verfügung stellt. Ich muss an dieser Stelle sicher nicht expilizit auf die div. Versorgungsspannungen des Verstärkers eingehen, es versteht sich von selbst, dass alle erforderlichen Spannungen aus hochakuraten geregelten Netzteilen kommen müssen, dass betrifft sowohl die Heizspannung wie auch die Anodenspannung. 

Wenn man all diese Dinge gründlich in die Praxis umgesetzt hat, darf der Verstärker im Ergebnis nicht brummen. Sie können das mal an Ihrem Phonoverstärker testen, inden Sie Cinchsteckern eien Brücke verpassen – also die signalführende Mitte ans Gehäuse des selben Steckers löten und dann in den Cinch Eingang einstecken. Wenn Sie jetzt die Lautstärke aufdrehen, sollte es lediglich rauschen. Wenn es brummt – haben Sie ein Problem.

 Auf die spezielle elektrische Schaltung möchten wir hier aus “betrieblichen Gründen” nicht im Detail weiter eingehen. Soviel allerdings sollen Sie wissen. Die Gesamtverstärkung, die wir mit SUNILDA erzielen, reicht auch für “leise” MC Systeme, ohne das Rauschen oder Brummen in irgend einer Weise wahrzunehmen wäre. Denken Sie bitte daran, dass Sie SUNIDAL so aufstellen, dass jedwede Fremdeinwirkung durch magnetische Streufelder auf das Gerät ausgeschlossen werden kann.

Auf diesem Foto erkennen Sie die Einstellmöglichkeiten bei der Auswahl zweier Tonarmbasen an Ihrem Plattenspieler Am INPUT Schalter wählen Sie zwischen einem der beiden Eingänge einer Basis und im Anschluss daran, ob es sich um ein MM oder MC System handelt. Links daneben befinden sich die Drehschalter, mit deren Hilfe Sie nun die Empfehlung des Herstellers des Tonabnehmers einrichten können.  

Wie nun ist SUNILDA im Detail konzipiert ? Wir wollen Ihnen nun einige Einblicke in die technische Ausgestaltung des Gerätes geben, damit Sie als Kunde nachvollziehen können, warum SUNILDA so unbeschreiblich gut ist. SUNILDA basiert auf einer Kaskodenschaltung mit einem FET in der Kathode. Hier wird auch eingestellt, ob die Stufe im MM oder MC Mode arbeitet. Im Anschluss daran folgt exakt linear die Realisierung der RIAA Scheidkennlinie als passives RC Netzwerk. Die Bauteile die hier zum Einsatz kommen, werden auf Ihre tonale Balance zwischen den Kanälen ausgemessen und sehr eng toleriert. Im Anschluss daran folgt eine weitere Verstärkerstufe, gekoppelt mit einem  Puffer für einen niederohmigen Ausgang. Sie könnten nun meinen, dass sei nichts neues ?! In der Tat aber hat sich diesbezüglich in den letzten 20 Jahren am Prinzip wenig verändert. Wir aber haben eine praktische Variante konstruiert, auf deren Basis jedes Gerät wie das Andere von immer der gleichen Qualität ist. Dazu bedienen wir uns eines sog. Masterboards, einer Leiterplatte, die alle grundlegenden Merkmale des kompromisslosen Verstärkerbaues bis ins Detail berücksichtigt.

Innensansicht der Rückseite der Sunilda, die die Anschlussbuchsen beherbergt.

im unteren Bild sehen Sie was an Restwelligkeit und Restrauschen verbleibt – nichts – und das im MC Mode !!!….

SUNILDA ist nunmehr annähernd 20 Jahre am Markt – hat weltweit beste Tests und Auszeichnungen errungen – und wird nach wie vor gern gekauft. Es gibt eben zu wenig Alternativen, die auf diesem Niveau – preislich und musikalisch – besser spielen als  SUNlDA. Über die klanglichen Aspekte SUNILDA`S gibt es zahlreiche Berichterstattung aus der ganzen Welt – meist allerdings vorwiegend nur in englisch.

Techn. – Angaben:

Gain:  +40dB in MM mode, + 55 dB in MC mode
Input selectable LOAD resistors: 47 R,    100 R,    220 R,    470 R,    1 K,    47 K ( for MM only )
Input selectable LOAD capacitors:  0 p,    100 p,     220 p,    470p,    1000p,    0 p
Frequency Response: +/- 0.3dB from 20Hz to 20KHz
Subsonic filter roll-off: 20 Hz
Max output amplitude: 14V pk
RIAA accuracy max.: +/- 0,2 dB, R/C zero negative feedback type
Output imedance: 550 ohms
Bias operation: Pure class A

Distortion: MM 0,08 %, MC 0,05% (1Khz – 2V out)
S7N ratio: MM – 72 dB, MC – 82 dB
Circuit type: 3 stages SE concept, buffered ouputs
passive high accuracy RIAA network
Tubes: 2 x 6922,   2 x 12AX7
mode functions: Stand – by and mute
Power supplies:  high accuray solid state regulated
Power transformer: separate outside housed and shielded
Power requirements: 115/230 – 245 Ac – 50/60Hz
Powerconsumption: Watts: 50 VA
Dimensions:   cm, W x H x D :42 * 32 * 14 (same as Eklipse)
Weight:  Kg: 15 kg

 

Systemkonfiguration für die Sunilda …

Wenn Du Sunilda in Betrieb nimmst, versuche zunächst den MM Mode, egal ob du einen MM oder MC Tonabnehmer verwendest. Das hat folgenden Grund. Der Unterschied zwischen MM und MC ist in der Sunilda nur die zugrunde liegende Verstärkung, die ist nämlich bei MC höher als bei MM und damit wird auch der Geräuschpegel evtl. im MC Mode hörbar, wenn die Gesamtverstärkung Deines ganzen Setup`s zu groß wird. Probiere zunächst im Mode, ob Du eine moderate Lautstärke erzielst, Du kannst auch alle Bedienelemente für LOAD und CAP verwenden – unabhängig davon, ob Du im MM oder MC Mode Du hörst. Du musst es auch, wenn Du im MM Mode Deinen MC Tonabnehmer angeschlossen hast. In diesem Fall musst Du die für den Tobabnehmer empfohlenen Abschlusswiderstand mit dem LOAD Selector einstellen – auch die passende Kapazität dazu auch. Diese Einstellungen wirken immer, egal ob Du den MM oder MC Mode gewählt hast. Also vergiss nicht bei Verwendung eines MC Systems die Eingangskonfiguration einzustellen – hingegen hast Du bei Verwendung eines MM Sytems weniger Möglichkeiten, hier musst Du nämlich den LOAD Impdanzschalter unbedingt auf 47K Ohm stellen – und nur bei einem MM Tonabnehmer. Mit den einstellbaren Kapazitäten kannst Du experimentieren.
Verwende den MC Mode also nur, wenn dein Tonabnehmer zu leise spielt und Du mehr GAIN benötigst !

Beim Anschluss der Sunilda an unsere Eclipse, empfehlen wir die Verwendung eines empfindlichen Eingangs, z.B. Eingang 3, 6 oder 7. Diese Eingänge sind hochohmiger und belasten nicht den Tiefpass. Der Ausgang der SUNILDA sollte nicht mit Impedanzen unter 10 k Ohm belastet werden.


 

AudioValve Sunilda phono preamplifier review.

The AudioValve Sunilda ($4995), a tubed phono preamp from Germany, offers a lot of setup convenience and flexibility, all controlled from its front panel. There are two independently configurable single – ended inputs selectable for MM or MC and adjustable for resistive (47,100, 220, 470, 1k, and 47k ohms ) and five choices of capacitive loading.The out board transformer for the solid-state power supply connects to the main chassis via a computertype ribbon cable and multi pin connector. The dual-mono circuit uses pairs of 6922 and 12AX7 tubes in a three stage configuration, with passive RIAA equalization split between the first and second stages. Interestingly, while the manual specifies 20dB of gain with the MC stage switched in, total gain is not specified. The specifications page ofthe manual lists MM and MC gain“@1kHz” but neglects to give numbers, though it says elsewhere that the MC stage adds 20dB, so it’s a good bet the total gain is 55 or 60 dB.The Sunilda’s claimed RIAA accuracyis ±0.25dB, with noise 76dB below signal in MC mode, which is fairly typical for tubed phono preamps. High-quality parts are used through out, and the signal paths are kept short, all but eliminating any point-to-point wiring. While the rotary knobs for loading and capacitance have a rubbery feel dueto the long acrylic shafts that connect them to the switches mounted on the rear board, that’s a worthwhile sacrifice in the interest of frontpanel convenience and short signal paths. Use is straight forward and easy, but be sure to select Mute before changing inputs, or you’ll hear a loud pop. Otherwise, the Sunilda was glitch-free during thereview period.

Sound:

The AudioValve Sunilda was quiet, even with relatively low output MCs, and produced a sonic panorama with a rich, lush midband that definitely let me know that tubes were involved. But thanks to a well controlled bottom end and pleasing high-frequency extension, the sound never sank into the overly tubey mire. Though the Sunilda’s bass extensionwas only moderately deep (your system would need to plumb the 20Hz depths for you to hear what was missing), bass control was very good—a combination preferable to more extension and less control. While the better solid-state phono preamps will deliver more extension and more muscular control, tube fans will revel in the Sunilda’s palpable bass textures. Drum skins and plucked bass strings had a supple elasticity that solid – statephono preamps tend to gloss over,just as the Sunilda tended tosomewhat soften the visceral punchof the electric bass. Kick drums weremore about the skin reverberationand less about the transient attack, pianos were more about sounding boards and wood than about hammer strokes, and so on.When this balance goes overboard in one direction or the other, I hear either skeletal “runway model”sound, or the overstuffed kind thatsounds the way Midwesterners at astate fair look. The best solid-statedesigns avoid the former, while thebetter tube designs avoid the latter. And the Sunilda is a better tubedesign. Its pleasingly rich midrange and full bodied harmonic palette can be described as Dockers expansive rather than unpleasingly plump.Combine its midband generosity (which includes that special 12AX7 golden glow ) with clean, reasonably fast, grain-free, topend extension, nimble yet warm midand lower midbass, and reasonably decent bottom end extension, and you have a supremely listenable and enjoyable phono preamplifier.

Could you get more muscular bottom-end extension? Yes. Greater macrodynamic slam?  Yes. And probably blacker blacks, too, which usually leads to more low-level micro resolution, which you can also get elsewhere in solid-state designs. But there’s a particular magic to the all-tube experience, particularly in how tubes resolve and three dimensionalize certain instruments. I’m again playing Sundazed’s newreissue of Simon and Garfunkel’s Bridge Over Troubled Water, and the Sunilda’s rendering of “So Long,Frank Lloyd Wright” is truly special. The strings are feathery, the acoustic guitar a perfect blend of string and body, the flute juicy and airy, the bongos have lots of skin,and the whole picture floats a the really in three-dimensionalspace with great deliccy. As with the Benz-Micro LP Scartridge, if you mostly listen to modern electric rock, the Sunilda might not be for you—but wel recorded acoustic music of all genres, as well as early rock and folk, sounded vivid and convincingly real, tonally, texturally, and spatially. What the Sunilda might lack in that last bit of slam it more than made up for in well-saturated harmonic colors and three-dimensionality. Just don’t use it with a cartridge that’s already on the warm side, or you might end up with sound that’s too slow and thick to get out of its own way. I enjoyed many months of listening with the Sunilda, particularly with the more analytical Lyra Titan i and Ortofon MC A90 cartridges. If the sound I’ve described is your type of sound, you’ll love the Sunilda—and you can’t beat the convenience of two independently configurable inputs and front-panel control of loading. The AudioValve Sunilda is one of the most enjoyably balanced tube-basedphono preamps I’ve heard. It might not be the last word in any particular performance parameter, but taken as a whole, it’s one of those components that can be installed and enjoyed for a very long time without leaving you feeling you need or want more of anything.

One of audio’s best-kept secrets is the AudioValve Eklipse pre-amp. All-valve, remote controlled, built to standards that you’d expect of Germans and – above all – a true bargain at £2100, it lacks only one thing: a phono section. OK, so it’s toe-curlingly ugly with its black-and-gold, steam-punk-Jules-Verne-reject styling, but the sound is so good and the price so low that you can overlook the aesthetics. (Please, Herr Becker, hire an industrial designer!!!!) For those of you with a taste by-pass, the good news is that the Sunilda phono stage is built into the same chassis.

It is, therefore, physically impressive for a phono stage in terms of bulk and heft, more in keeping with the Audio Research PH5 and other ‘full size’ units than the typically cigarette-pack-sized offerings. Blessedly, it eschews minimalism because the Sunilda is clearly aimed at the vinyl addict, the sort of audiophile with more than one turntable and a herd/coven/school/flock of cartridges. For this alone, it raised the hairs on my neck. However much I worship the PH5, there are times when I find its lack of facilities limiting. (Then again, I’m a reviewer as well as vinyl addict, and I do change cartridges frequently.)

Additional Resources

Helmut Becker likes wireless assembly, so the guts of the Sunilda rest on a double-sided PC board, laid out in a dual-mono topology, all beautifully assembled. Becker doesn’t compromise on the components, and he indulges in hand-selection, so the see-through lid is no conceit: you’ll enjoy gazing at its innards. For hours.He describes the Sunilda as a ‘three-stage phono-preamplifier, based on 6922 or ECC88 and 12AX7 or ECC83 frame grid tubes.’ The Sunilda – named after the daughter of Siegfried and Brunhilde, so Valkyries can wallow in this one – accommodates both moving magnet and moving-coil cartridges. What inveterate fiddlers will love is that the Sunilda is two complete phono stages in one, with BOTH sets of inputs enjoying the full complement of settings, unlike some that offer either m-m or m-c for one or the other inputs. Where this might prove handy is for A/B’ing arms or turntables when you would need to use the same cartridges in both. And if you had two identical turntable/arm set-ups, you could use it to compare cartridges, including two of the same make and model. (Ask Decca-fiends about sample-to-sample variation…) And if you have two identical turntable/arm/cartridges, well, how about A/B’ing different LP pressings. Like 180g vs 200g or reissue vs original?

Thus, you have, independently for the two inputs, adjustable impedance and capacitive load, which you can do ‘on-the-fly’ while listening. Across the front, you have four rotaries and four toggle switches. The rotaries, two per input, set capacitance of 0, 100, 220 or 470pf and impedance of 47, 100, 220, 470, 1k and 47k ohms. Note that in moving magnet mode, the gain is 20dB lower than in m-c mode, at a fixed input-impedance of 47k.This means that users who like their m-cs at 47k ohms can employ that value with some added gain. Koetsu users: rejoice! As for the four toggles, accompanied by various coloured LEDs, they activate, left to right, mute/operate/standby, mm/mc select for input 1, input selector for input 1 or 3, and lastly mm/mc select for input 2. Around the back are the two sets of RCA phono inputs with separate earths, a single pair of RCA phono outputs and the socket for the power supply.

Sunilda’s RIAA de-emphasis is passive and split between the first and second stage. According to Becker, ‘Dividing the RIAA network over two amplification stages lowers the insertion losses of the passive network dramatically. Furthermore, the design has a total absence of feedback, thus increasing the overall dynamics.’ He also opted for solid-state regulated power supplies. ‘This is the best way to obtain low noise and a supply line with a very low impedance, to increase the performance in the lower frequency range.’ Other niceties include an outboard power supply, housed in a separate aluminium case and connecting to the main chassis with a computer-grade cable. The main case itself is laser-cut, 4mm thick steel, as mentioned before absolutely identical in size to the Eklipse line-level pre-amplifier. Beside offering the Sunilda in both silver and black, you can also specify silver or gilt knobs, again depending on your stomach for bling-bling. Alas, Sunilda sunglass are not supplied.

This unit arrived in the midst of my most overactive analogue phase in years. In addition to SME 10 and SME 30 turntables, I’ve recently added a Trio L-07D, and I have a fistful of cartridges to play with, and of every stripe: London Gold and Maroon (the latter mono), Koetsu Black Urushi, Shure V15 V, Lyra (mono) Dorian, Transfiguration Temper V and a few others. With this mix, I was able to assess most of the settings, comparing m-m vs m-c, assorted impedances and other characteristics. First, some observations:

 

Specs

Techn. – Angaben:

Gain: MM 41dB, MC 63dB ( 1Khz )
Input selectable LOAD resistors: 47 R,    100 R,    220 R,    470 R,    1 K,    47 K ( for MM only )
Input selectable LOAD capacitors:  0 p,    100 p,     220 p,    470p,    1000p,    0 p
Frequency Response: 20Hz to 65 KHz +/- 3 dB
Subsonic filter roll-off: 20 Hz
Max output amplitude: 14V pk
RIAA accuracy max.: +/- 0,18dB
Distortion: MM 0,24 %, MC 0,32% (1Khz – 2V out)
Noise: MM – 63dB, MC – 73dB
Circuit type: 3 stages single ended, buffered ouputs
RIAA network: passive
Tubes: 2 x 6922,   2 x 12AX7
mode functions: Stand – by and mute functions
Power supplies: high accuray solid state regulated
Power transformer: outside housed and shielded
Power requirements: 115/230 – 245 Ac – 50/60Hz
Powerconsumption: Watts: 50 VA
Dimensions:   cm, W x H x D :42 * 32 * 14 (same as Eklipse)
Weight:  Kg: 20 kg

Awards

Hifi magazines

Ken Kessler for Hi-Fi News:
“…the Sunilda pours forth the detail, the air, the sense of a 3-D space and the kind of control that’s hard to fault…”

“…as you can imagine, competition in this sector is tough: really tough. I recently bought the AR PH5, and – love it though I truly do – I have to admit that it’s shy of adjustability, and lacks the facility for a second turntable; this makes a pain in the arse if you like to fiddle about with cartridges and decks. Conversely, it’s the choice if you don’t fiddle around. EAR’s phono offerings are always magical, from the least expensive to the sublimely dear; Quad’s new valve phono amp is even more of a bargain than the Sunilda; Sutherland’s PhD is the quitest phono stage I’ve ever heard. AS any show-goer will tell you, there are countless other superb phono amps to consider as well. The Sunilda however is genuienly special. It manages the combine the best balance of all of the above phono amps’ virtues, sonically and practically, then doubles them up and sells them to you for a sane price….”

 

Michael Fremer of Stereophile:
“…Germany’s AudioValve is building some of the finest and affordable tubed products available today. The Sunilda is a great example. Loaded with features, beautiful sonics, and a price that makes this phono stage a veritable bargain in the context of its’ competition. The Sunilda uses 2 (two) 12AX7 and 6922 each making it a tube roller’s delight. Personally, I’ve used Telefunken, Siemens, Mullard, Amperex, and RCA among others. The many different combinations of tubes make for an unlimited number of possibilities you might find satisfying. I’ve been listening your Sunilda you’ll be hard pressed to buy more for its’ price and perhaps even a couple thousand more. Inputs for 2 MC or 2 MM cartridges at the same time; ideal for the enthusiast with a 2 tables or a table with dual tonearms. Front panel controls for loading and capacitance. External power supply for superior isolation and on and on. The Sunilda is one terrific value….”

“…the AudioValve Sunilda is one of the most enjoyably tube-based phono preamps I’ve heard…”

 

Helmut Becker likes wireless assembly, so the guts of the Sunilda rest on a double-sided PC board, laid out in a dual-mono topology, all beautifully assembled. Becker doesn’t compromise on the components, and he indulges in hand-selection, so the see-through lid is no conceit: you’ll enjoy gazing at its innards. For hours.

He describes the Sunilda as a ‘three-stage phono-preamplifier, based on 6922 or ECC88 and 12AX7 or ECC83 frame grid tubes.’ The Sunilda – named after the daughter of Siegfried and Brunhilde, so Valkyries can wallow in this one – accommodates both moving magnet and moving-coil cartridges. What inveterate fiddlers will love is that the Sunilda is two complete phono stages in one, with BOTH sets of inputs enjoying the full complement of settings, unlike some that offer either m-m or m-c for one or the other inputs. Where this might prove handy is for A/B’ing arms or turntables when you would need to use the same cartridges in both. And if you had two identical turntable/arm set-ups, you could use it to compare cartridges, including two of the same make and model. (Ask Decca-fiends about sample-to-sample variation…) And if you have two identical turntable/arm/cartridges, well, how about A/B’ing different LP pressings. Like 180g vs 200g or reissue vs original?

Thus, you have, independently for the two inputs, adjustable impedance and capacitive load, which you can do ‘on-the-fly’ while listening. Across the front, you have four rotaries and four toggle switches. The rotaries, two per input, set capacitance of 0, 100, 220 or 470pf and impedance of 47, 100, 220, 470, 1k and 47k ohms. Note that in moving magnet mode, the gain is 20dB lower than in m-c mode, at a fixed input-impedance of 47k.This means that users who like their m-cs at 47k ohms can employ that value with some added gain. Koetsu users: rejoice!

As for the four toggles, accompanied by various coloured LEDs, they activate, left to right, mute/operate/standby, mm/mc select for input 1, input selector for input 1 or 3, and lastly mm/mc select for input 2. Around the back are the two sets of RCA phono inputs with separate earths, a single pair of RCA phono outputs and the socket for the power supply.

Sunilda’s RIAA de-emphasis is passive and split between the first and second stage. According to Becker, ‘Dividing the RIAA network over two amplification stages lowers the insertion losses of the passive network dramatically. Furthermore, the design has a total absence of feedback, thus increasing the overall dynamics.’ He also opted for solid-state regulated power supplies. ‘This is the best way to obtain low noise and a supply line with a very low impedance, to increase the performance in the lower frequency range.’

Other niceties include an outboard power supply, housed in a separate aluminium case and connecting to the main chassis with a computer-grade cable. The main case itself is laser-cut, 4mm thick steel, as mentioned before absolutely identical in size to the Eklipse line-level pre-amplifier. Beside offering the Sunilda in both silver and black, you can also specify silver or gilt knobs, again depending on your stomach for bling-bling. Alas, Sunilda sunglass are not supplied.

This unit arrived in the midst of my most overactive analogue phase in years. In addition to SME 10 and SME 30 turntables, I’ve recently added a Trio L-07D, and I have a fistful of cartridges to play with, and of every stripe: London Gold and Maroon (the latter mono), Koetsu Black Urushi, Shure V15 V, Lyra (mono) Dorian, Transfiguration Temper V and a few others. With this mix, I was able to assess most of the settings, comparing m-m vs m-c, assorted impedances and other characteristics. First, some observations:

If you are using a complex system, and a couple of turntables, you must pay attention to earthing to avoid a loop. You may find yourself opening AC plugs to disconnect earths. Moreover, the Sunilda responds well to quality mains leads, a solid mounting surface and a good set of phono cables to the pre-amp, which in this case was a line input on the McIntosh C2200. I used Transparent Reference, and did not earth the Sunilda to the Mac. The rest of the system included the McIntosh MC2102 and Wilson WATT Puppy System 7.

What was common at all stages was a consistency that shows Becker favoured neither mm nor m-c: the Sunilda treats both equally. Where it shines is in its ability to let the user extract the most from either. I know, there are phono stages that provide even more settings, but AudioValve struck a nice balance. The only thing I would have added were oddball impedances for mm so I could tweak the Deccas, but then I’ve only ever found these on Tim De Paravicini’s magnificent solid-state EAR 324.

Provided you address the cabling properly, the Sunilda is eerily quiet, if not quite on a par with the Sutherland Phd. And yet you never forget that it’s all-valve, with a warmth that separates it from the EAR 324. The latter is hardly ‘cold’, but it is so precise and proper that it approaches ‘laboratory equipment’ in its presentation. The Sunilda is definitely fatter, more . Intriguingly, transparency is on a par with solid-state phono stages, so either Becker found some top-grade tubes, or – more likely – he extracted better performance from the glassware he used than is humanly possible, something he does with his power amps. (Actually, for Sunilda he’s using Electro-Harmonix tubes, which are mighty fine.)

Sunilda’s warmth was kept in check so that it didn’t overwhelm the listener with a hyper-analogue sound. It’s easy to dial in so much euphonic artifice that you can make any LP sound more inviting than most intrinsically harsh digital sources, but that means throwing away super-quick transients, or bass slap. Sunilda sacrifices nothing: it pours forth the detail, the air, the sense of a three-dimensional space and the kind of control that’s hard to fault. If, on the other hand, you need a vice-like grip over the entire affair, you simply have to turn to EAR. (Damn, that 324 is some kind of wonderful…)

What made me fall in love with the Sunilda were big band mono LPs, which possess a sheen and shimmer that exists nowhere else. Trust me: Billy May LPs have to be heard in true mono. With both the Decca Maroon and the Lyra Dorian, I was able to summon up room-filling, ear-caressing sounds that can only be described as ‘silky’. I hope that analogue’s leading warriors, Michaels Hobson and Fremer in the USA, get hold of Sunildas, because Sunilda will prove to be a positively Wagnerian ally. If you have any doubts about the worth of vinyl in 2005, this phono stage will help dispel them.

As you can imagine, competition in this sector is tough: really, really tough. I recently bought the Audio Research PH5, and – love it though I truly do – I have to admit that it’s shy of adjustability, and lacks the facility for a second turntable; this makes it a pain in the arse if you like to fiddle about with cartridges and decks. Conversely, it’s THE choice if you <DON’Tfiddle around. EAR’s phono offerings are always magical, from the least expensive to the sublimely dear; Quad’s new valve phono amp is even more of a bargain than the Sunilda; Sutherland’s Phd is the quietest phono stage I’ve ever heard (to be reviewed soon!). As any show-goer will tell you, there are countless other superb phono amps to consider as well. Sunilda, however, is something genuinely special: it combines the best balance of all of the above phono amps’ virtues, sonically and practically, then doubles them up and sells them to you for a sane price.

But take a tip from KK: order yours in silver rather than black.

Andrew, from RPM Audio – UK


AudioValve Sunilda phonopreamplifierThe AudioValve Sunilda ($4995), atubed phono preamp from Germany,offers a lot of setup convenienceand flexibility, all controlled from itsfront panel. There are twoindependently configurable single –ended inputs selectable for MM orMC and adjustable for resistive (47,100, 220, 470, 1k, and 47k ohms)and five choices of capacitiveloading.The outboard transformer for thesolid-state power supply connects tothe main chassis via a computer-type ribbon cable and multipinconnector. The dual-mono circuituses pairs of 6922 and 12AX7 tubesin a threestage configuration, withpassive RIAA equalization splitbetween the first and second stages.Interestingly, while the manualspecifies 20dB of gain with the MCstage switched in, total gain is notspecified. The specifications page ofthe manual lists MM and MC gain“@1kHz” but neglects to givenumbers, though it says elsewherethat the MC stage adds 20dB, so it’sa good bet the total gain is 55 or60dB.The Sunilda’s claimed RIAA accuracyis ±0.25dB, with noise 76dB belowsignal in MC mode, which is fairlytypical for tubed phono preamps.High-quality parts are usedthroughout, and the signal paths arekept short, all but eliminating anypoint-to-point wiring. Whiletherotary knobs for loading andcapacitance have a rubbery feel dueto the long acrylic shafts thatconnect them to the switchesmounted on the rear board, that’s aworthwhile sacrifice in the interest offrontpanel convenience and shortsignal paths. Use is straightforwardand easy, but be sure to select Mutebefore changing inputs, oryou’llhear a loudpop. Otherwise, theSunilda was glitch-free during thereview period.Sound:The AudioValve Sunilda wasquiet, even with relatively lowoutputMCs, and produced a sonicpanorama with a rich, lush midbandthat definitely let me know thattubes were involved. But thanks to awellcontrolled bottom end andpleasing high-frequency extension,the sound never sank into the overlytubey mire.Though the Sunilda’s bass extensionwas only moderately deep (yoursystem would need to plumb the20Hz depths for you to hear whatwas missing), bass control was verygood—a combination preferable tomore extension and less control.While the better solid-state phonopreamps will deliver more extensionand more muscular control, tubefans will revel in the Sunilda’spalpable bass textures. Drum skinsand plucked bass strings had asupple elasticity that solid – statephono preamps tend to gloss over,just as the Sunilda tended tosomewhat soften the visceral punchof the electric bass. Kick drums weremore about the skin reverberationand less about the transient attack,pianos were more about soundingboards and wood than abouthammer strokes, and so on.When this balance goes overboard inone direction or the other, I heareither skeletal “runway model”sound, or the overstuffed kind thatsounds the way Midwesterners at astate fair look. The best solid-statedesigns avoid the former, while thebetter tube designs avoid the latter.And the Sunilda is a better tubedesign.Its pleasingly rich midrange and full-bodied harmonic palette can bedescribed as Dockers expansiverather than unpleasingly plump.Combine its midband generosity(which includes that special 12AX7golden glow) with clean, reasonablyfast, grain-free, topend extension,nimble yet warm midandlowermidbass, and reasonably decentbottomend extension, and you havea supremely listenable andenjoyable phono preamplifier.Could you get more muscularbottom-end extension? Yes. Greatermacrodynamic slam? Yes. Andprobably blacker blacks, too, whichusually leads to more low-levelmicroresolution, which you can alsoget elsewhere in solid-state designs.But there’s a particular magic to theall-tube experience, particularly inhow tubes resolve and three-dimensionalize certain instruments.I’m again playing Sundazed’s newreissue of Simon andGarfunkel’sBridge Over Troubled Water, and theSunilda’s rendering of “So Long,Frank Lloyd Wright” is truly special.The strings are feathery, theacoustic guitar a perfect blend ofstring and body, the flute juicy andairy, the bongos have lots of skin,and the whole picture floatsethereally in three-dimensionalspace with great deliccy.As with the Benz-Micro LP Scartridge, if you mostly listen tomodern electric rock, the Sunildamight not be for you—but well-recorded acoustic music of allgenres, as well as early rock andfolk, sounded vivid and convincinglyreal, tonally, texturally, and spatially.What the Sunilda might lack in thatlast bit of slam it more than madeup for in well-saturated harmoniccolors and three-dimensionality. Justdon’t use it with a cartridge that’salready on the warm side, or youmight end up with sound that’s tooslow and thick to get out of its ownway. I enjoyed many months oflistening with the Sunilda,particularly with the more analyticalLyra Titaniand Ortofon MC A90cartridges. If the sound I’vedescribed is your type of sound,you’ll love the Sunilda—and youcan’t beat the convenience of twoindependently configurable inputsand front-panel control of loading.The AudioValve Sunilda is one of themost enjoyably balanced tube-basedphono preamps I’ve heard. It mightnot be the last word in anyparticular performance parameter,but taken as a whole, it’s one ofthose components that can beinstalled and enjoyed for a very longtime without leaving you feeling youneed or want more of anything.

AUDIO – ART magazine 2009 Taiwan, Audio Valve Sunilda Tube Phono Amplifier

————————————————– ——————————

Equipment comments / Liu Zhen
In recent years I have heard a number of Audio Valve amplifier. Whether the former level, single-ended amplifier, or push-pull amplifier, the German Hi End plant products won my heart. Called Sunilda singing of course, the whole vacuum tube head amplifier amplification, but also dual-mono design, two channels on the same piece of circuit board, using completely independent of the amplification circuit. For each channel using the one 6922,12 AX7, according to that the use of the three original amplification, while the RIAA curve compensation circuits were added to the first level and second-level amplification, the Audio Valve, according to a passive RIAA said it would split into two can be significantly reduced because the signal caused by the passive circuit losses. Sunilda provide MM amplification (40dB) and MC amplification (60dB) two kinds of gain, do not use negative feedback.

One capable of reaching the two with the
It can take two to sing the first! Must be people who say: What’s next two Phono remarkable? Many sing the first amplifier will do. However, Sunilda two inputs can be independently adjusted for the gain, resistance, capacitance value, so you have both equal to two Phono Amplifier! Why it can do so, others do not? You just look through the transparent roof puts inside will know: it is not fancy installed two sets of two groups of resistance and capacitance. Production costs in order to look at this is not the economy (in Germany, handmade, how many more welding so many parts, labor costs may be even higher than the parts cost), but it is a very practical approach. 2 input to relay switch, it will not produce any interference. Who used this function right? For the audio commentators like “Doo-disk” is very useful for audio fans.

External power supply to exclude interference
4 knobs for each of two groups, one used to adjust the impedance, the other is the capacitance; four lever switches were responsible for input, gain adjustment and mute, standby. Interface to operate it, Sunilda beautiful design is very reasonable, we can see Audio Valve boss Helmut Becker must be a logical concept-oriented person.

Audio Valve has always been inside the machine to maintain a high completion level of resistance and capacitance of the connecting rod is used to adjust the machine back office to adjust the signal path is very short. Having said that power supply section also in order to eliminate interference, in particular, chassis design, the two computers using the old kind of printer cable connections. The power supply is not easily to a chassis trouble, but with a real aluminum metal outer case fitted up.

Use of vacuum tubes, front-end of the ECC88 is the Tesla, NOS tubes, the output buffer stage of the 12AX7 is JV products. See Tesla, I would like to find fault with the tube for tube fans should have to give up the idea of a bar!

By the way, agents Code Audio Co., Ltd. Li stressed that Taiwan imported Audio Valve products are specifically requested to strengthen the German original power supply specifications and a variety of materials, are also gold-plated knobs, so the performance would have been better on the types of aircraft sold abroad, Some strong. Of course, you should also prepare to spend a little more price.
Machine a mute, I knew my fascination for the digital system was again an analog system to completely defeated. Why? Good Sibu Si, I have come to listen to vinyl records is the CD has been heard do not know how many times the “Cafe Blue”. I thought the music, all kinds of details have been gains a complete surprise, the analog system, sound, or like a new vista in general, always giving me a surprise! What surprises do? Than the details of the digital system to better performance, better than the digital system, live feeling better than the frequency of the digital system, at both ends of the performance of all I listened to a few minutes later, we can immediately feel the benefits.

Re-boxing countdown-bit systems
CD’s performance in the low frequency do not should be more prominent? To be honest, I have always think so, but in a few top-level analog hearing to listen to the experience of the source, I found: the low-frequency analog is indeed far better than the quality of digital. Of course, this has a premise that analog systems are very good. For example, this time using the analog system, if the amplifier can be considered to be the first to sing in, prices have more than any I have heard the CD discs at home, so there must also be a better sound performance is normal. From the Sunilda sent to the voice of not only more full, more low, the severity of the drum and the speed of response are also better than digital systems. This flexible and clear foot drum, it sounds really comfortable and extremely enjoyable.

Can reproduce the music subtle changes in complex
Analog system signal to noise ratio is far lower than the figures in the book Digital Systems (MC Phono amplified signal to noise ratio is usually only in the 70dB or so), reasonable to say that the sound should be a very fine digital systems prevail, but in listening to a sense of the simply not the case. No matter which track to listen to, I can immediately hear the CD (or SACD) is indeed a number of subtle changes “simplistic” the. In other words, subtle changes in the dynamics of ups and downs, the analog system, a clear upper hand. To reproduce the music more complex and subtle changes in the entire sound field seems to have been cleared of mine, have a better sense of transparency and direct sense.

Large full of water again
The most outstanding feature Sunilda surprisingly, it is also related to vacuum tubes, it is loose in the high-frequency performance of water there. This loose so that when the choir sing the ups and downs is more attractive, able to front of the space to completely filled, a myriad of audio and video distribution choir let Sunilda spacious sound field advantages into play. Woodwinds the place where the most touching in its Qiyun, while Sunilda let loose a spirit brightened up a bit Smart. Guitar is filled with the sound on the show Sunilda advantage, which is full of water, there is some flexibility in the nylon-string guitars with the full, playing the particles also very clear.

Careful look at the level of a sense of
In the orchestral performance, Sunilda at the level of the strength of strong resolve, they will be fully revealed by such beauty. It may be noted that each of the piano as if the sound field in the location of the analytical capacity proved Sunilda resolving power in a hierarchical sense and above all have a very high achievement. Of course, the string sound is also very United States, but also with a sleek shiny beauty.

IF full of emotion
Sunilda IF is very full, playing works by this passionate singing, can let me hear the songs, the others singing skills with the use of physical sense. Either copper or electric guitar, through the broadcast Sunilda have very correct ratio to reproduce, on behalf of the Taiwan Phono amplifier to create a sound field, audio-visual shape and so on have very outstanding performance.

Excellent low-frequency control
Dynamic, low frequency, the details are Sunilda great selling point, is more important is fidelity. Even the bass drum full of grainy and the degree of so I am satisfied that. Sunilda feeling in the low frequency does not deliberately highlight the fat swollen, but is a convergence of good, with flexibility and full low-frequency performance. Low-frequency from high school have the same amount of sense of balance.

Sunilda regeneration cymbal sound totally dragging its feet, can easily knock cymbals will be quick to reproduce the details of the others out of those waves will not occur quickly glossed over cymbal sound vague, saying that Taiwan Phono amplification temporary state to respond to very high caliber.

Sunilda on sexual expression in various sound very good, but I think the most important of all, it let me replay the whole level of the system to new heights. Through Sunilda play vinyl records, I was shocked to the original amplifier and speakers to my surprise, there are so many in the past I have not a good performance to explore the potential! Each album out on me a surprise, once again, so that the enjoyment of listening to music to become excellent. It seems that in return will be Sunilda agent, I will not and then the power turned on CD discs.

Doomed to a lonely analogy of no return
After this the Lyrics, I recognized the sound quality on the analog system can not be undone, and value. Relentless pursuit of audiophile sound recycling are two-way road: One of them is A Q point (which the Chinese do not Ah Q?), Completely regardless of the strong vinyl drum up support for fundamentalists, as the world has never appeared this kind of music media, you can live a very happy day. The second way is to seriously save money, get a good enough analogy replay system, careful adjustment, you will find that the expansion of their own machines, the original speakers can be so beautiful so well.

2 Road to the election which one? As Frost said: “The forest, two-way points, the way deserted rare; I selected this road alone, is the situation of differences.” Audio Valve Sunilda is that you choose “deserted dilute” the analogy of an excellent companion on the road, it let me make it clear to see the analog world, colorful Vientiane, more cruel to see a number of expressive power located in the sound quality is also still much to be desired Transformation . This sound obvious winner is no turning back, so I can not help heart, “I doubt from the future, the ability to switch to return,” sigh!

(English) user manual

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  1. Helmut Becker

    Helmut Becker (Shopbetreiber)

    Erster Eindruck von Verarbeitung und Bedienbarkeit, Super. Gute Anpassungsmöglichkeiten für nahezu alle Tonabnehmer. Ich habe mit einigen Tonabnehmern experimentiert. Sowohl MM wie MC von Hul Black Beauty über Lyra Paranasus, div. Audio Technica und ATR und nicht zu vergessen DECCA Systeme. Die Sunilda zeigt schön die Tonalen Unterschiede der Tonabnehmer. Raumabbildung, Detailauflösung, Klangfarben, Timing alles passt ganz toll. Mit dieser Phono kann man stundenlang stressfrei und entspannt Musik hören. Bestimmt eine der besten Phonostufen. Ich hatte die Möglichkeit mit einem Gerät der 30000,- € Preisklasse aus der Schweiz direkt zu vergleichen. Das um ein vielfaches teuere Gerät wirkte Steril und Blutleer ohne Herz und Seele. Alfred G.

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