Cambridge Audio Solo Phono Preamplifier Review

[anmpr1]

@amirm I'm shopping for a phono pre....I love 'realism' so wondering if your tests are applicable to that. Like maybe as distortion lowers the fine details are revealed???

I am not trying to be a crank. So don't think that. But the word 'realism' in the context of phono reproduction is generally a strained relationship.

That said, there has been discussion on how certain record playing distortions are certainly appealing to certain people, and how that is taken for 'realism'. What those distortions are, and how they are quantified is not something I can't pinpoint absolutely. There are so many forms of distortion in the phono chain that the combinations can approach anarchy.

 

[SPOautos]

I am not trying to be a crank. So don't think that. But the word 'realism' in the context of phono reproduction is generally a strained relationship.

That said, there has been discussion on how certain record playing distortions are certainly appealing to certain people, and how that is taken for 'realism'. What those distortions are, and how they are quantified is not something I can't pinpoint absolutely. There are so many forms of distortion in the phono chain that the combinations can approach anarchy.

Being a crank is fine! LOL.....

Let me ask you about something....When they analyze the sound how can you tell if its distortion from the equipment vs something actually recorded? Do you test with a generic signal and compare input vs output and then see the difference and know that the same difference is also going to be affecting the music you would be listening too?

I've heard phono that had amazing detail. When I say realistic I'm refering to fine detail like a bass guitar sounding like an actual stringed instrument with the vibration and such versus just a bass 'sound'. I dont really have the equipment for it yet, but trying to get as close as possible with a small budget.

 

[anmpr1]

Let me ask you about something....When they analyze the sound how can you tell if its distortion from the equipment vs something actually recorded?

That's a good question. Ink has been spilled over it. I mean from the get-go, problems with cutter-head distortion (Ortofon v Scully v whatever). Cutting levels, attempts to overcome mastering limitations (DMM, Dynagroove) and so on. I posted here somewhere about Sao Win's measurements of distortion differences among the commonly used test records. Stuff cut into the groove. Once you get past the official RIAA curve, nothing much seems to be standardized.

As a record fan (don't ask me how many record players I own now, and have in the past) I've pretty much given up on trying to work it out. Some records sound good, a few great, most below average. At this late stage of the game I simply overlook the problems. Align the cart as best I can, set tracking force and anti-skating, and then forget it. It's the only way that works for my ears and wallet. Let others worry and lust after five and six figure record player/cartridges. That's Michael Fremer's bag. Not mine.

 

[SPOautos]

That's a good question. Ink has been spilled over it. I mean from the get-go, problems with cutter-head distortion (Ortofon v Scully v whatever). Cutting levels, attempts to overcome mastering limitations (DMM, Dynagroove) and so on. I posted here somewhere about Sao Win's measurements of distortion differences among the commonly used test records. Stuff cut into the groove. Once you get past the official RIAA curve, nothing much seems to be standardized.

As a record fan (don't ask me how many record players I own now, and have in the past) I've pretty much given up on trying to work it out. Some records sound good, a few great, most below average. At this late stage of the game I simply overlook the problems. Align the cart as best I can, set tracking force and anti-skating, and then forget it. It's the only way that works for my ears and wallet. Let others worry and lust after five and six figure record player/cartridges. That's Michael Fremer's bag. Not mine.

I hear ya! I cant spend that kind of money even if I wanted too.....I'm just trying to find the equipment thatll be most likely to be clear and detailed on a budget. Typically buying nice used equipment.

 

[LTig]

I'm shopping for a phono pre....I love 'realism' so wondering if your tests are applicable to that. Like maybe as distortion lowers the fine details are revealed???

In principal yes, but the distortion of vinyl itsself is much higher than any decent preamp creates.

On your chart is there a place where they all sound the same because the difference is in audible? If so where would that be?

Correctness of RIAA demmphasis is important - but the frequency response (FR) of many pickups isn't flat either. And then there is the match of pickup and preamp (see below) which influences FR (for MM). Other parameters depend on the type of pickup:

• For MC (moving coil) noise may be the biggest distraction, so look for a high SNR.
• For MM (moving coil) the load capacitance has the biggest impact on frequency response. Since the load capacitance is the sum of the cable capacitance and the input cpacitance of the preamp you should look for a preamp with very low input capacitance (it easy to add some more, but impossible to reduce).

If two have the same results on your chart can they still sound different?? For instance the Schiit Mani and Klipsch Powergate both have 81....does that mean they will sound identical if A/B'ed in the same system??

Not necessarily. The SINAD value is the sum of distortion and noise suppression. As I wrote above noise is more important so for the same SINAD value I'd take the one with better noise suppression and higher distortion.

 

[LTig]

I hear ya! I cant spend that kind of money even if I wanted too.....I'm just trying to find the equipment thatll be most likely to be clear and detailed on a budget. Typically buying nice used equipment.

A Pioneer PLX1000 (€ 600 here @ rockshop.de) may be all you need, or the cheaper PLX500 (€ 300). I think both are a much better choice compared to any Hifi breadboard player (like Project) in this price range. The PLX1000 even got a raving review at stereophile (2015) - don't believe the listening rave but the rave about build quality is a good read.

 

[SPOautos]

In principal yes, but the distortion of vinyl itsself is much higher than any decent preamp creates.

Correctness of RIAA demmphasis is important - but the frequency response (FR) of many pickups isn't flat either. And then there is the match of pickup and preamp (see below) which influences FR (for MM). Other parameters depend on the type of pickup:

• For MC (moving coil) noise may be the biggest distraction, so look for a high SNR.
• For MM (moving coil) the load capacitance has the biggest impact on frequency response. Since the load capacitance is the sum of the cable capacitance and the input cpacitance of the preamp you should look for a preamp with very low input capacitance (it easy to add some more, but impossible to reduce).

Not necessarily. The SINAD value is the sum of distortion and noise suppression. As I wrote above noise is more important so for the same SINAD value I'd take the one with better noise suppression and higher distortion.

Would the distortion of the preamp just add on top of the distortion of the vinyl setup? A compounding effect so it's still worthwhile to get equipment with as much clarity as possible? Or is my thinking off on that?

 

[LTig]

Would the distortion of the preamp just add on top of the distortion of the vinyl setup? A compounding effect so it's still worthwhile to get equipment with as much clarity as possible? Or is my thinking off on that?

 

[LTig]

Would the distortion of the preamp just add on top of the distortion of the vinyl setup? A compounding effect so it's still worthwhile to get equipment with as much clarity as possible? Or is my thinking off on that?

It adds up, but if the distortions of the preamp is just 1/10th of those of the vinyl you won't hear it.

 

[SPOautos]

I'm still not really sure how to translate these tests into sound differences. If one of these has higher distortion what does the distortion sound like? Is there a place in the chart of all the tested phono pre's where its inaudible? Also I'm not sure if this means they actually sound good.....in my mind if theres no distortion then it should reproduce the source perfectly.... but how does tone play into it? How some equipment handles bass, mid, highs differently and favoring certain aspects. If a bass guitar is boomy instead or detailed, is it because the details are muffled out by distortion?

I suppose I dont really understand what "distortion" encapsulates.

 

[Angsty]

A Pioneer PLX1000 (€ 600 here @ rockshop.de) may be all you need, or the cheaper PLX500 (€ 300). I think both are a much better choice compared to any Hifi breadboard player (like Project) in this price range. The PLX1000 even got a raving review at stereophile (2015) - don't believe the listening rave but the rave about build quality is a good read.

I bought a PLX1000 last year; I love it. It does have high build quality and is all the turntable 99% of people will ever need. I also have another quality belt-driven turntable and I find that sometimes I prefer the PLX for its unerring speed accuracy. I purchased it specifically to compare a direct-drive to a belt-driven.

 

[Angsty]

I do wonder how long the vinyl resurgence will last, once people realise those "vinyls" deteriorate over time, require careful looking after, a new stylus every couple of hundred hours etc.

My suspicion is that in 5 - 10 years time, apart from a band of dedicated enthusiasts, vinyl record replay will once again be consigned to the annals of history.

Perhaps. I got into vinyl about 10 years ago because I inherited a collection. I moved away from digital sources and expanded the analog collection. I enjoyed the analog experience and found several analog recordings that I preferred to my digital versions.

But after a lot of investment in analog equipment, I realized I let my digital system age and newer digital equipment was capable of more enjoyable sound than the older stuff.

Ultimately, I don’t have to abandon either media. I can enjoy both, depending on what mood I’m in. The thing I think will kill off analog, more than the physical or audible aspects, is that the cost for new vinyl is much greater than it is for new digital. Disposable income will take a dive in the near term. This relegates many analog buffs to the used market, which can be flaky.

 

[anmpr1]

Correctness of RIAA demmphasis is important - but the frequency response (FR) of many pickups isn't flat either.

FR of a phono cartridge changes with environment factors, also. I've read (no studies I know of) that an ideal temperature is in the low to mid '70s. In winter some audiofools have been known to keep a small incandescent lamp next to their record player in order to add some heat. At what point this helps or is even audible, and at what point this is simply the well known mental condition audio nervosa I can't say. Maybe that's why the latest and greatest Mac record player sports green tubes--to keep the cartridge warm. LOL

 

[SPOautos]

I'm using a Kenwood KD-550 turntable and Vandersteen 2C speakers. I've been using a Sansui 5000a but an fixing to purchase a Yamaha mx600u amp and need either a good preamp, phono pre, or both. I really only use it for vinyl so since the amp has level controls on front I suppose I could just hook the phono pre right into the amp and have as little equipment in the way as possible.

I'm not going fanatic....I just want to find pieces that are as good as I can find on a very limited budget. I never spend more than $300 on something. When I say as good as can be, I love LIVE jazz, blues, etc and I just dont want my equipment to be in the way, i want to get as much realism as possible, to hear the fine details you can hear in person when listening to music in a small intimate setting.

I'll check out some of these that you guys have mentioned.

 

[sergeauckland]

FR of a phono cartridge changes with environment factors, also. I've read (no studies I know of) that an ideal temperature is in the low to mid '70s. In winter some audiofools have been known to keep a small incandescent lamp next to their record player in order to add some heat. At what point this helps or is even audible, and at what point this is simply the well known mental condition audio nervosa I can't say. Maybe that's why the latest and greatest Mac record player sports green tubes--to keep the cartridge warm. LOL

How much is audionervosa I can't comment, but there is evidence I've seen from Shure, published many years ago about the effect of temperature, and to a smaller extent, humidity, on phono cartridge compliance. Shure rated their cartridges at a temperature of 25° C (77° F) which is warmer than most European homes, and one technical reviewer in the 1970s (they had them then!) commented on that being a factor why they couldn't get the same performance as Shure claimed for their V15. I have heard anecdotal evidence, that some manufacturers used different damper rubber formulations depending on the market the cartridge was destined for, softer for colder climates and harder for warmer, so that the performance was comparable in both. How much truth there was in this I have no idea, and I would be very surprised if that happened today, given how markets are global and volumes so much lower than in the 1970s.

Nevertheless, keeping a cartridge warm isn't such a crazy idea, although whether audible, who knows?

S.

 

[Soniclife]

I'm still not really sure how to translate these tests into sound differences. If one of these has higher distortion what does the distortion sound like? Is there a place in the chart of all the tested phono pre's where its inaudible? Also I'm not sure if this means they actually sound good.....in my mind if theres no distortion then it should reproduce the source perfectly.... but how does tone play into it? How some equipment handles bass, mid, highs differently and favoring certain aspects. If a bass guitar is boomy instead or detailed, is it because the details are muffled out by distortion?

I suppose I dont really understand what "distortion" encapsulates.

In short, you probably don't hear it when playing vinyl unless the designer really wanted you to hear it and deliberately engineered lots of distortion in.
If you want to explore what distortion sounds like play with the following tool
https://distortaudio.org/

In phono stages frequency response (RIAA correction), noise and clipping behaviour dominate how they sound.

 

[sergeauckland]

In short, you probably don't hear it when playing vinyl unless the designer really wanted you to hear it and deliberately engineered lots of distortion in.
If you want to explore what distortion sounds like play with the following tool
https://distortaudio.org/

In phono stages frequency response (RIAA correction), noise and clipping behaviour dominate how they sound.

Exactly this.
Frequency response, i.e. RIAA accuracy combined with the cartridge's frequency response is the biggest arbiter of LP sound. Noise can be, but fortunately these days, preamp noise is sufficiently below vinyl noise that it really isn't much of an issue, but clipping behaviour definitely is. From the numbers I've seen, a lot of modern phono stages maximise low noise at the expense of overload performance. It's all very well to have a S/N ratio of 75dB, but if the overload point is only 10dB above 5cm/sec, then many LPs will clip the phono stage and sound pretty unpleasant. In the Good Old Days, phono stages were designed with at least 20dB of overload , a fair few well over that, and if the S/N ratio was only somewhat over 60dB, relative to 5cm/sec, that was quite good enough.
Shure had a paper out that showed that commercial LPs were often cut with recorded velocities over 20dB above 5cm/sec, and that 20dB overload was the minimum acceptable if overload was to be avoided on most LPs. Having said that, not many cartridges (especially MCs) would track even +18dB (Shure's would!) but cartridge mistracking combined with pre-amp overload definitely would sound bad.

S.

 

[AudioSceptic]

FR of a phono cartridge changes with environment factors, also. I've read (no studies I know of) that an ideal temperature is in the low to mid '70s. In winter some audiofools have been known to keep a small incandescent lamp next to their record player in order to add some heat. At what point this helps or is even audible, and at what point this is simply the well known mental condition audio nervosa I can't say. Maybe that's why the latest and greatest Mac record player sports green tubes--to keep the cartridge warm. LOL

I've always used an Anglepoise lamp shining over my TT. I think the warmth helps on colder days, but more importantly, it helps that I can see what I'm doing when cueing the arm.

 

[AudioSceptic]

How much is audionervosa I can't comment, but there is evidence I've seen from Shure, published many years ago about the effect of temperature, and to a smaller extent, humidity, on phono cartridge compliance. Shure rated their cartridges at a temperature of 25° C (77° F) which is warmer than most European homes, and one technical reviewer in the 1970s (they had them then!) commented on that being a factor why they couldn't get the same performance as Shure claimed for their V15. I have heard anecdotal evidence, that some manufacturers used different damper rubber formulations depending on the market the cartridge was destined for, softer for colder climates and harder for warmer, so that the performance was comparable in both. How much truth there was in this I have no idea, and I would be very surprised if that happened today, given how markets are global and volumes so much lower than in the 1970s.

Nevertheless, keeping a cartridge warm isn't such a crazy idea, although whether audible, who knows?

S.

I remember that. Also, won't temperature affect the elasticity of the vinyl itself to some degree (warmer = softer)?

 

[SPOautos]

Exactly this.
Frequency response, i.e. RIAA accuracy combined with the cartridge's frequency response is the biggest arbiter of LP sound. Noise can be, but fortunately these days, preamp noise is sufficiently below vinyl noise that it really isn't much of an issue, but clipping behaviour definitely is. From the numbers I've seen, a lot of modern phono stages maximise low noise at the expense of overload performance. It's all very well to have a S/N ratio of 75dB, but if the overload point is only 10dB above 5cm/sec, then many LPs will clip the phono stage and sound pretty unpleasant. In the Good Old Days, phono stages were designed with at least 20dB of overload , a fair few well over that, and if the S/N ratio was only somewhat over 60dB, relative to 5cm/sec, that was quite good enough.
Shure had a paper out that showed that commercial LPs were often cut with recorded velocities over 20dB above 5cm/sec, and that 20dB overload was the minimum acceptable if overload was to be avoided on most LPs. Having said that, not many cartridges (especially MCs) would track even +18dB (Shure's would!) but cartridge mistracking combined with pre-amp overload definitely would sound bad.

S.

Can you please describe what "overload" is? How can I tell how much overload a specific preamp/phono pre has? I've never heard about overload so no idea what this referances.