#Subsonic filter phonp preamp plus

The corresponding figures for MC are +62, +66 and +70dB (unbalanced) and +68, +72 and +76dB (balanced), all of which are pretty accurate in practice.

#Subsonic filter phonp preamp plus

Three switch positions give the options of +36, +40 and +44dB through the unbalanced outputs, plus +42, +46 and +50dB from the balanced XLRs, for MM. A row of toggle switches selects MC or MC operation, a subsonic filter and the gain of the preamp circuitry. The unit reverts to standby after 20 minutes of no input signal being detected, but this function can be defeated if required.Īt the rear, the unit has unbalanced inputs and outputs on RCAs, plus a set of balanced XLR outputs. The front panel is blank apart from the Primare logo, the centre of which doubles as an on/standby switch and also contains an operation LED.

The R35 is presented in a beautifully styled and finished enclosure weighing in at an impressive 9.5kg and available in titanium or black. Clearly, although Primare is making waves with its Prisma network player technology, it is still taking the LP very seriously, which is good to see.Īs a result, the R35 should be able to wrestle the optimum performance from any cartridge you care to use, even some of the oddball designs with absurdly low outputs or peculiar loading requirements. This is a vast increase on its predecessor, the R32, which only offered seven impedance settings and three gain options. The new phono preamps offered by Sweden's Primare look to be both flexible without being daunting – the £900 R15 model has 18 gain and loading steps across its MM and MC inputs, while the £1350 R35 model here has no fewer than 29. On the other hand I can appreciate the popularity of designs where the complexity extends to nothing more than an MM/MC switch! So there's a great deal to be said for a flexible phono stage that offers numerous adjustments. Some MMs and MCs can be quite particular about the load resistance and capacitance that they 'see', just as most phono stages will have a 'sweet spot' gain setting that varies from pick-up to pick-up. Until I figure out the method to kick the habit, I need to rely on your money.Primare's 'Prisma push' may have focused resources into network-enabling its amplifiers and CD players, but its new flagship phono pre proves its love of vinyl has not wanedĮven the most ardent vinyl enthusiasts will admit that they can get bamboozled by the whole process of cartridge loading and gain matching. Well, it didn't last but a few hours before I went on Amazon and bought something!!! Can't help it. I thought I see if I can shake off the habit and stop buying things cold turkey. You all know how addicted I am to money and shopping. To the extent you do, the Pro-ject Box S2 scratches that itch well and looks adorable to boot!Īs always, questions, comments, recommendations, etc. distortion is below audibility) or obscure detail due to higher distortion. When I have listened to them in the past, they either do nothing (i.e. Personally I have no use for a tube audio product. The Pro-Ject Tube Box S2 seems to have been designed well to do what people expect a tube to do: produce a gradual rise in distortion with level. It is as if they think stuffing the tube in there is all they need to do, performance to be damned. Most of the time when a tube is put in some audio product the result is a disaster. For the most sensitive part of our hearing (2 to 5 kHz), it is the lowest at -70 dB. It gets a bit upset at 20 Hz and rises a bit at highest frequencies.