{"id":19417,"date":"2019-08-25T13:49:42","date_gmt":"2019-08-25T11:49:42","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=19417"},"modified":"2023-05-15T19:26:27","modified_gmt":"2023-05-15T17:26:27","slug":"ch-precision-p1-phono-preamp-part-1-2","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/amplifier-reviews\/phono-preamp-reviews\/ch-precision-p1-phono-preamp-part-1-2\/","title":{"rendered":"CH Precision P1 Phono Preamp"},"content":{"rendered":"

Review sample supplied by CH Precision<\/a><\/p>\n

Retail Prices in the EU (incl 20% VAT):<\/strong>
\nP1: 31.000 euro
\nOptional EQ board: 1.800 euro<\/h4>\n

Life is all about setting priorities and the audio hobby really is no different. Especially given the cost of ownership with components in the upper echelons, one has to carefully weigh the benefits of every upgrade prior to committing to it. My main system basically consists of two parts: a digital music server-based part and an analog turntable part. Even though I have often raved about the special qualities that are hidden within those black discs, so far, I never committed to spending even remotely similar amounts on the analog chain as I do on the digital part, mainly because digitally stored music is my primary source. As regular readers will know, I am deeply impressed with the quality of CH Precision electronics and adding their state-of-the-art P1 phono stage would seem like an evident decision. Indeed, that thought had crossed my mind several times but, so far, I remained hesitant.<\/p>\n

Of course, there is an obvious reason for this. Money. The cost of ownership is very serious and my income is not infinite. So, when it was time to decide where to spend the available funds, I opted to further enhance the DAC and the power amp and stick with the SW1X LPU-1<\/a>, Benz Lukaschek PP-1, and Schiit Mani phono stages that I already have.<\/p>\n

One very nice aspect about analog replay is that even a very modest but properly calibrated classic Thorens TD160 MKII turntable with a good cartridge and one of the aforementioned phono preamps can produce a sound that already challenges even very costly digital components in certain areas. The communicative aspect and the effortless emotional connection are what seem to be embedded in the DNA of analog replay and these aspects seem to come out even with modest means and especially so when using the tube-based SW1X phono stage. Because these are the aspects of analog replay that I value most I had accepted that my digital system was much better in several other areas. I did try upgrading from the humble Thorens player several times but with mixed success. Usually, the dearer turntables would indeed improve on the Thorens in several audiophile aspects but also diminish others leading to a loss of emotional involvement.<\/p>\n

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It wasn’t until I got the Origin Live Calypso mk4 turntable with Multi-layer Platter with Illustrious arm (review forthcoming) and Aidas Rainbow<\/a> MC cartridge, that I finally got a slice of proper high-end analog replay. This combination did everything that the Thorens player could, and then some!<\/p>\n

The major improvements that the Origin Live turntable and Aidas cartridge injected into my system triggered me to think about further upping the game with a more serious phono stage. So far, for MC cartridges, I had to “make do” with the Schiit Mani or the Benz Lukaschek PP-1. The former is surprisingly capable but it remains an entry-level phono stage. The latter is actually a very good phono stage but it uses an extremely high 22.000-ohm input impedance that cannot be altered. Although the maker claims that this leads to the best sound (with certain Benz cartridges, at least) I feel that this is far from ideal (with the cartridges that I used it with, in any case). In my experience, most MC cartridges sound much more balanced and less shouty when terminated with much lower values in the range of 180-300 ohms.<\/p>\n

About 6 years ago, I owned the Pass Labs X-Ono phono stage and a couple of years later I reviewed its successor, the XP-17<\/a>. While the former was great and the latter was really excellent, I was not happy with the requirement for taking off the top of the X-Ono or to crawl behind the rack for the XP-17 to get to the rows of microswitches for cartridge loading and gain setting. Although both offered an abundance of possible values to choose from, these were derived by combining two or more positions of the aforementioned microswitches using a lookup table in the manual in the case of the X-Ono and a printed pin-out on the back of the XP-17 and both of these solutions were just too fiddly for me.<\/p>\n

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For my reviewing purposes as much as for my inherent constant cartridge swapping behavior, I now wanted a phono stage that offers access to all the important settings directly from the front panel and ideally even via remote control. I looked at all the available serious phono preamp brands and models and, honestly, with this requirement in mind, there aren’t that many. Also, given that I was by now used to listening with CH Precision gear for the digital section, I was finally motivated to make not just a step up but the biggest possible leap that I could. Of course, the option that stood head and shoulders above the rest was, you guessed it, the CH Precision P1. The top two Pass Labs phono stage models also catered to my operability needs with a good range of selections available from the front panels. However, these are not priced quite as friendly as the XP-17. Given that the CH Precision P1 is much more flexible still, has that marvelous tablet control right from the listening position and since I had no doubt that it would match with the rest of my system so nicely, at a certain point, its elevated price didn’t look like such as stretch anymore. I know, an audiophile’s rationalizations have no bounds. One guy gets a brand-new car, another guy gets a state-of-the-art phono stage. Oh well. But anyway, with its price point out of the way, let me tell you all about why I think the P1 is so great.<\/p>\n

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Flexibility<\/h3>\n

The P1 phono preamp not only offers all the flexibility that anyone could ever want along with all of its settings neatly accessible via the front panel buttons and display, it actually allows the user to control all of its parameters conveniently from a tablet in real-time right from the listening position. By default, the P1 holds the standard RIAA and eRIAA playback equalization filters. Additionally, a set of other EQ filters is available as an option board that can be factory fitted or retrofitted to the unit. These additional filters are EMI, Columbia, Teldec, and Decca and these come in handy when playing old records that were produced before RIAA became the standard. All the equalization filters are extremely accurate and linear within +\/- 0.1dB.<\/p>\n

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Main status overview in the app, mimicking the information on the P1’s front panel display.<\/em><\/p>\n

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The settings page is comprehensive (only part of it is shown here) and contains every function that you could wish for including separate adjustments for the three inputs.<\/em><\/p>\n

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The unit offers three inputs all on XLR as well as cinch and BNC, two of which are in current mode, dedicated to MC cartridges and the third input is in voltage mode, accommodating both MM and MC cartridges. The MC-only current mode input takes the current generated by the cartridge (rather than its voltage) and, according to the manufacturer, this yields a superior signal-to-noise ratio and better immunity compared to a conventional voltage input, and by its nature no necessity to match impedance. Apart from the gain selection, this method is Plug and Play. The voltage mode input is used for all types of cartridges (MM and MC) and this input is fitted with a resistive load that is variable between 20 Ohms and 100 kOhms in what seems like a gazillion steps. The manual states that there are actually over 500 values available. The gain can be set at +35dB, +40dB, +55dB, +60dB, +65dB, and +70dB and there is also a user-selectable 3rd order high pass filter set at 10hz.<\/p>\n

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The cartridge loading can be set in over 500 steps of 5 ohms either by dragging the bottom rotary knob for large steps or the top row for small steps.<\/em><\/p>\n

What’s more, and this is a unique feature as far as I am aware, the P1 even has an automatic calibration system that uses a supplied calibration record to yield the best signal-to-noise ratio and the flattest frequency response, measured across the entire system of the cartridge, cables, and P1 input section. This procedure performs more than 20 frequency response curve acquisitions per run, each time with a different loading value spread evenly on a user-defined range of values. Once these acquisitions are completed, you can scroll across all analyzed loading values. For each value, the frequency response curve of the entire system is displayed on the P1 front panel screen, along with level attenuation and curve flatness. Based on this information as well as by listening while applying each loading in real-time the loading that provides the best results can be selected. The wizard can be run more than once, each time refining the measured loading range around the new optimal value. With such an extensive set of options and automated calibrations, the P1 is truly a feature fetishist’s dream come true.<\/p>\n

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Technology<\/h3>\n

The P1 is a pure Class-A discrete transistor-based design. The abundance of possibilities might make one think the signal is digitized but although the unit does indeed contain a digital section for control and analysis, the music signal stays firmly in the analog domain throughout. There are tight tolerance, high-grade metal film resistors throughout the audio signal path as well as custom high-grade film capacitors in the filtering sections. The P1 is powered by a massive linear power supply with multiple independent local regulation circuits. In addition to the main toroidal transformer, a second, smaller toroidal transformer is used for the standby mode that meets the latest energy-saving regulations.<\/p>\n

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System Context<\/h3>\n

The listening started using the CH Precision A1.5<\/a> amp and the Kroma Audio Carmen<\/a> loudspeakers with the Ayon Stealth<\/a> tube preamp and alternately with the Ayon Spirit III integrated tube amp instead of the CH A1.5.<\/p>\n

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Naturally, a CH Precision L1 preamp would have been a more obvious choice between the P1 and A1.5 but although I have already planned to review one in the near future, at the moment, I cannot afford to also add it to my system. So, for now, the Ayon takes care of all my LP playback duties. While the Ayon is not extremely transparent, it has a very engaging delivery and never gets in the way of the musical flow. What’s more, as it has become the standard preamp for my LP chain (both in the main and secondary system), it makes a dependable partner. In terms of loudspeakers, I am not hinging my conclusions on a single set. While the Kroma Carmen loudspeakers are even-handed, quite neutral and very revealing, they are also tonally tilted toward a full and rich sound.<\/p>\n

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To offset this, I also used a pair of Martin Logan ESL 15A electrostatics<\/a>, which are very transparent and can certainly not be said to add any richness to the sound. The Logans have a very low dipping impedance that makes them incompatible with most tube amplifiers and so, these speakers were used only with the full CH system. As it would turn out, the P1 phono stage works just as sublimely with both speakers. The big Zesto amps will be reviewed separately.<\/p>\n

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Sound<\/h3>\n

I was hugely impressed already with the P1 on functionality alone but using the MM\/MC Voltage Mode input, having settled on a 300-ohm setting for the Aidas Rainbow cartridge in the Origin Live turntable, my jaw truly dropped when I listened to the first record. It was only a very middle-of-the-road early Sade album with flat dynamics but within the first minute, it was clear that the P1’s extra expenditure really does bring an awful lot of extra performance to the table. The Origin Live Calypso mk4 already proved its superiority over the Thorens using the Benz Lukaschek PP1 phono stage but when combined with the P1, the performance truly is something else. With the P1, there is this immense purity to the sound, as if one is coupled much more directly to the source but not at all in a “digital” or overly controlled manner. Nor is it a typical “analog” warm-and-cuddly-tube-sound manner. Rather, the P1 instills the overwhelming sense of listening to the music itself, pure and simple. Vocals are seductive, acoustical instruments are highly convincing and there is just no restraint whatsoever. With either the Kroma’s or the Logans, it’s like the preamp is not there. That being the case, as well as because its contribution is infinitely variable depending on the chosen input, settings, and cartridge\/arm synergy, the P1 is very difficult to describe in absolute<\/em> sonic terms.<\/p>\n

So, how does one explain the merits of a component that is so utterly transparent and has no discernible character of its own? By explaining what it doesn’t do. The P1, first and foremost, does not color the sound in any way yet it absolutely does not sound bleak, thin, cold, or devoid of soul.\u00a0 The P1 also does not compress the dynamics, rather, it is more immediate and expressive than any other phono preamp that I have used so far. Further, it does not round off the transients in order to add a sense of fluidity, richness, or smoothness, yet it sounds utterly free-flowing and is absolutely not dry. It is not too fast and it is not too slow and it does not add any excess weight to the bass, yet it can sound every bit as thumping or bombastic as the recording requires.<\/p>\n

Yes, the P1 is extremely neutral and in a way, it is analytical – it lets you hear everything. However, it does not have a calculating, cool, or clinical character. On the contrary: it is hugely involving emotionally and it has a highly lyrical way with melodies such that it made me want to listen to the entire aforementioned Sade album even though I must have already heard it a million times. But weren’t the Kroma’s perhaps painting an overly rosy picture, one might ask. It’s a valid question but from comparisons with the other phono stages, I already knew this was not the case. Furthermore, having not only the rich and full-bodied Kroma Audio Carmens at hand but also the extremely transparent and clean Martin Logan ESL 15A’s, with which the P1 works just as sublimely, it was absolutely clear that the P1 walks the ideal but very narrow path between technical perfection and musical engagement.<\/p>\n

The Benz Lukaschek PP-1 is not as refined or as pure and certainly not as transparent as the P1. But by being less well-differentiated, it comes across as being a little creamier. However, this is offset by the unit’s extremely high input resistance and the result is a phono stage that sounds full-bodied yet frequently also a little too forward. In hindsight, the Pass X-Ono and XP-17 were probably also a little warmer and\/or thicker in the bass, making a case for the CH P1 to be judged to sound slightly cooler in comparison. It’s just that with either the Kromas or the Logans the P1’s lack of smear works to enhance the musical flow rather than dissect it. Warmer and smoother-sounding components can sound alluring at first but that is only until you realize that the additional warmth might be pleasant but is always of the same kind (like always eating the same dish) and is actually masking the finer details of the music.<\/p>\n

The P1 is supremely articulate and has zero excess fat yet it absolutely does not sound cool to me in the slightest. On the contrary: when playing Soul, the sound is full-bodied and with R&B, the bass synths are absolutely throbbing.<\/p>\n

Voltage\/Current amplification<\/h3>\n

So far, my descriptions of the P1’s performance were based on listening to it using the voltage mode input. The manual states that MC cartridges are particularly well-suited to using current amplification due to their inherent low internal resistance. It is not mentioned what constitutes a low value nor do I know where the Aidas’ 4 ohms coil DC resistance stands on the scale but this did not stop me from giving the Current inputs a try. As it turns out, the difference with the voltage input is very large and, likely, an opinion divider. Whereas I had a distinct feeling that the voltage input was extremely precise and articulate the current input seems to be less preoccupied with such technicalities and puts the tonality and flow of the music first. Although I find the voltage input to be technically perfect as well as emotionally involving, the current input takes the latter a considerable step further. In a word, with the current input, the sound becomes less technical and even more organic. It’s a darker and fuller sound and more a “sound as a whole” presentation rather than a dissection of separates. Here, too, the gain can be adjusted as needed but in this case, that does not really change the character of the sound very profoundly. Even if the current amplification presentation does come at the expense of a reduction in some of the aspects that I traditionally associate with high-end audio, I find his kind of delivery also highly appealing, especially with slow soul music. For fast-paced music or music that relies on transient sharpness and explosive dynamics, however, I tend to prefer the voltage input.<\/p>\n

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Above and below: CH Precision Calibration Record<\/em><\/p>\n

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Gain and Loading Wizards<\/h3>\n

The Aidas Rainbow cartridge has a recommended loading between 100-1000 ohms. By ear, I had narrowed that down to between 280 and 315 ohms depending on the music and my mood. The lower range made the sound smoother and warmer while the higher range made the sound more articulate and livelier in the upper midrange. The interesting thing is that even a step of only 5 ohms can make for an audible difference, and so, you can very precisely tailor the sound to your liking. With the gain setting, you can obviously set the gain to match that of other sources in the system but it is worth noting that this also affects the upper bass clarity and impact, the midrange presence and the overall feeling of attack. For my taste, 70dB turned out to be the best setting.<\/p>\n

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Playing the 45 RPM CH Precision Calibration Record<\/em><\/p>\n

The P1 can be operated fully manually and given that this works comfortably from the listening position, that works brilliantly for me. But if desired, there are also two wizards that help select the best values.\u00a0 Alas, the wizards can only be used on the P1 itself, not via the tablet. The supplied 45 RPM test record contains a couple of test tracks among which pink noise and a 1kHz tone in mono, left only, right only and out of phase and the on-screen instructions of the wizards will tell you which side and tracks to play.<\/p>\n

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One of the wizards is for obtaining the optimum gain setting for best signal-to-noise ratio and the other is for obtaining the flattest frequency curve. The gain wizard is straightforward to use and it quickly selected 70dB as the optimum value. I couldn’t agree more.<\/p>\n

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The loading wizard is a little bit more complex as it offers more options but nevertheless still simple as one simply follows on-screen instructions. After activating the wizard it asks to specify a minimum and maximum loading and these can be set to anything you like. If you already know that the optimum range is somewhere between 100-300 ohms, for example, simply choose those values to get a finely-grained spread of differences between the 20 measurements or choose a wider range to get the broadest spread between the 20 measurements.<\/p>\n

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Once the procedure is complete (it takes only 20 or so seconds) you can scroll through all the different measurements to see which one is the flattest. Alas, this can only be done from the unit’s front panel (not via the tablet) so one has to choose a setting, walk to the listening position and listen, walk to the device and choose another setting, walk back, etcetera. Having a human assistant surely would help but I can’t help but wonder why this functionality cannot be controlled from the app on the tablet. In any event, for me personally, the displayed results were less important than my aural assessments. For instance, on the maximum range between the lowest and highest loading values, there were several instances where the deviation from linearity was pretty much equally low and\/or the frequency curve pretty much similar. Judging from these frequency plots alone, I could not tell which would sound best. Upon listening to them, however, it was day and night. Well, maybe not that black and white but certainly a bright sunny day and a clouded day. My point is that while the graphs are great and provide insight, I don’t personally need them to get the best out of the P1. However, I know that there are many audiophiles who not only want something to sound right but also want it to measure immaculately. For those people, the Wizards will be super helpful.<\/p>\n

Expandability<\/h3>\n

The base model P1 offers everything that I need with impeccable performance in its basic single-chassis form. But, like all CH products, the P1 can be extended to further enhance its performance by going True Monaural (two P1s working together, each one processing a single channel, one phono stage board in each chassis). And then, these configurations can be even further enhanced with the addition of one or two X1 external power supply units. Or one could take a simpler route by using the base stereo model and power it with a single X1 external power supply unit. That option is one that I may well investigate some time in the future, especially since an X1 unit can power two CH components.<\/p>\n

Conclusion<\/h2>\n

The P1 offers the truth, the whole truth, and nothing but the truth. There is no flavoring or editorialization of the music signal. But there is also no added roughness, hardness, edge, glimmer, or shine. Er is geen flavour of smaak makerij. Maar er is ook geen enkele ruwheid, randje, glimmer of shine. Unlike many alternatives, the P1 refrains from imposing any character and it just lets the music speak for itself. It has a super-transparent, very articulate, and highly expressive delivery while also being entirely fluid and natural, highly lyrical, and super-engaging. It does not only offer brilliant performance, but it is also also the most flexible phono stage that I know to exist. Add to that full control via any Android tablet from the comfort of the listening position and it will be clear that the P1 is an absolutely amazing phono stage and my personal reference henceforth.<\/span><\/p>\n

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Associated Equipment<\/a><\/p>\n

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Read Also<\/h3>\n

CH Precision C1 and A1<\/a>
\nCH Precision L1<\/a>
\nCH Precision A1.5<\/a>
\nCH Precision A1.5 compared to Soulution 711<\/a>
\nAn Interview with Raphael Pasche of CH Precision<\/a><\/p>\n

External Links<\/h3>\n

Manufacturer: CH Precision<\/a><\/p>\n<\/div>\n

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