Sunilda Phono

Sunilda Phono

3.490,00 4.650,00 

(1 customer review)

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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Description

MARK II – Modell: 2020

 

A Spectacular Class A MM and MC Phono Line Stage Amplifier.
The only tube phono stage from the world reknown AudioValve
Germany products range.

 

Stereophile recommend component

We have added updates to SUNILDA, which is why all deliveries from 2020 will have the extended model name:


SUNILDA Mark II – 2020

In particular, the power supply, various components and market-conforming adjustments were carried out. SUNILDA experienced a further increase, particularly in the musical qualities in MM and MC operations.

 “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.”

STEREOPHILE REVIEW from
Michael Fremer 12/2009


:: click on the picture ::

Design Concept

The phono MM / MC pre-amplifier is designd as a hybrid cascode pre amplifier and work in pure Class-A with an passive high grade RIAA high network. All vacuum tubes designed with zero negative feedback circuit.

The complete illustration of the SUNILDA Phono Stage’s own frequency response characteristic range from 20Hz to 20,000Hz. Reference to RIAA standard the maximum error is less than +/-0.3dB (typical +/- 0.2dB). The circuit achieves this astonishing accuracy without the use of any negative feedback. Only the well design / implementation and pure class A circuit that we use.

A view of the compact and absolute wireless electronic – riaa modul from SUNILDA. There is no hum, bee or any noise – only music. The design on a double side pc board is constructed in double mono technology, use best and selected components and guarantee high stable and highend vinyl re – productions. Incidentally, all components in the Sunilda’s passive network are hand-selected to a tolerance of less than 1%.

 

Product Description

Sundila is a three stage phono-preamplifier, based on 6922 (ECC88) and  12AX7 (ECC83) frame grid tubes, suitable for two MM- and MC-cartridges at the same time. Independently for the two phono inputs, impedance and capacitive load can be set separately and ‘on-the -fly’ while listening. Thus the user can easily configure the unit to match the features of the cartridge by selecting the optimal input resistance and capacitance for each input separately!

Switches in front are found for: MM/MC mode for each input; input 1 or 2; selectors are used to select different resistor and capacitive input loads.

In MM mode the gain will be 23 dB lower than MC and at a fixed input-impedance of 47 K.

In MC mode the preamp will have 20 dB higher gain and switchable input resistors and condensers. The RIAA de-emphasis is passive and split between the first and second stage. Dividing the RIAA network over two amplification stages lowers the insertion losses of the passive network dramatically. Furthermore, the design holds a total absence of feedback, thus increasing the overall dynamics. Power supplies are solid state regulated. This is the best way to obtain a low noise and supply line with a very low impedance that will increase the performance in the lower frequency range. The power transformer is housed in a separate aluminum case. Sunilda comes in an lasercut, 3mm thick steel, chassis in black or silver finish and has a case similar to the Eklipse lineamplifier.

 

 

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.

 

 

Separate resistor – impedance and capacitive selector for every input

 

 

 

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.)

DIP switch for SUB – SONIC selection

 

 

 

With the beginning of Autumn we want to launch our new phono stage, the SUNILDA. Of course this SUNILDA is based on our well known and well accepted phono stage SUNILDA. Mr. Becker – the designer – had the desire to increase the musical and technical features with some realy interesting improvements almost into perfection. The complete layout has been re-designed and overworked with the following impovements :
First of all the 2 cupper sides – bottom and top – the layer thickness increased to 0,1mm on each side .
Thus, significantly reduces the resistance per unit area on the PC board and little ” power islands ” on the main PC board can`t built up any more. At all measured points on the PC board you will find a realistic potential of 0 Ohm. The total ground level of the PC board became more homogeneous, and so disruptive external influences will have no chance. But we wanted to have the cupper of the PC board even more thicker. To reach this we used a special technical feature, called the ” MULTI VIAS”. By the help of the ” MULI VIAS ” , which connects the top side with the bottom side , we doubled the thickness of the cupper again, almost as if the PC board would have been built out of one complete piece of cupper. Another positive feature of this new PC board is the simultaneous improvement of the shielding effect against any kind of disturbing electromacnetic fields. Also the s/n ratio is improved so that any electromagnetic interfernces or stray power supply currents will be completly absorbed. We are sure, that in the near future also our ” NEW” Sunilda will find its place in the TP Class of High End.

In the picture below you can see e.g. the excellent accuracy of the RIAA curve characteristic from SUNILDA – as part of the passive network. The lower and upper band limits are shown in our excellent measurement park.

on the left in the picture with 13.16 dB the level increase according to RIAA at 100 Hz (according to RIAA – standard 13.09 dB) on the right in the picture with -13.48 dB the level reduction according to RIAA at 10000 Hz (according to RIAA – standard -13.73 dB)

 

Spice simulation model of the Sunilda – Model 2020 – Mark II. Particularly noteworthy are the low distortion factor and the high gain in MC mode. More and detailed information about “SPICE” at BALDUR 70. The output resistance is approx. 470 Ohm and the two band ends of the passive RIAA equalization are in the range of approx. +/- 0.15 dB at 100/10000 Hz. 2020 will be the ultimate update Success model
for the SUNILDA Mark II.

Input stage with 6922 triode – double layer pcb technology and 70 um copper. Both sides its pcb guaranty the best result to shield provide all kinds of electric and magnetic interference.

 

SPECIFICATIONS
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:  max. +/- 0.3dB from 20Hz to 20KHz, typical +/. 0,2 dB
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 mutePower 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

System configuration for the Sunilda …

When you put Sunilda into operation, first try the MM mode, regardless of whether you are using an MM or MC cartridge. The reason is as follows. The difference between MM and MC in Sunilda is only the underlying gain, which is higher with MC than with MM and thus the noise level may also be audible in MC mode if the overall gain of your entire setup becomes too great. First try in fashion whether you can achieve a moderate volume, you can also use all controls for LOAD and CAP – regardless of whether you are listening in MM or MC mode. You also have to if you have connected your MC cartridge in MM mode. In this case you have to set the terminating resistor recommended for the Tobabnehmer with the LOAD Selector – also the appropriate capacity. These settings are always effective, regardless of whether you have selected MM or MC mode. So don’t forget to set the input configuration when using an MC system – on the other hand, you have fewer options when using an MM system, because you have to set the LOAD impedance switch to 47K Ohm – and only with an MM pickup. You can experiment with the adjustable capacities.
So only use MC Mode if your pickup is playing too quietly and you need more GAIN!

When connecting the Sunilda to our Eclipse, we recommend using a sensitive input, e.g. Input 3, 6 or 7. These inputs have a higher impedance and do not burden the low pass. The SUNILDA output should not be loaded with impedances below 10 k ohms.


 

When connecting the Sunilda to our Eclipse, we recommend using a sensitive input, e.g. Entrance 3, 6 or 7. These inputs are more resistive and do not burden the low pass.The following picture shows some outstanding characteristics of SUNILDA. It is the distortion factor on the left in the picture and the signal-to-noise behavior of SUNILDA, on the right in the picture – in MM mode. The rest of the noise is beyond doubt with -82 db and the distortion factor is great for a tube amp.

 

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.)

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.

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!

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  1. Helmut Becker

    Helmut Becker (store manager)

    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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