{"id":34827,"date":"2023-09-24T12:15:19","date_gmt":"2023-09-24T10:15:19","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=34827"},"modified":"2025-03-23T13:15:36","modified_gmt":"2025-03-23T11:15:36","slug":"lejonklou-entity-1-2-mc-phono-stage","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/amplifier-reviews\/phono-preamp-reviews\/lejonklou-entity-1-2-mc-phono-stage\/","title":{"rendered":"Lejonklou Entity 1.2 MC Phono Stage"},"content":{"rendered":"

Review sample supplied by hexagonaudio<\/a>
\n<\/a>Retail price in the NL (incl 21% VAT): \u20ac2.050<\/h4>\n

Functionality<\/h3>\n

With their understated appearance, Lejonklou products are not about lavish appearance. Instead, they are all about emotional involvement, connecting you to the music, the musicians, and their interplay. Fredrik Lejonklou never talks about how his products sound, but whether they reflect the emotion in the music and convey it to the listener. If the music played through Lejonklou products does not move or fascinate him enough, he returns to the drawing board and works on the design until the ‘goosebump factor’ reaches the intended benchmark. As a result, there are never any unnecessary elements on Lejonklou products if they do not contribute to this goal, and there are certainly never any detrimental elements.<\/p>\n

The Entity has a captive power cable cut to a specific length. It offers a single set of inputs and outputs and has a switch to select the load at 90, 120, and 180 Ohms. The input sensitivity is specified at 0.4mV with 71dB gain, and the output impedance is 300 Ohms. Besides the loading, there is nothing else to configure, and because it consumes less than 5 Watts, it can be left switched on indefinitely.<\/p>\n

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Even though the power cable is captive, the manual specifies that the power connector must be inserted in the power outlet in a certain orientation to achieve the weakest electrical field around the power supply which improves the sound. In other words, mind the phase. I always do, and I can confirm that the Entity does indeed sound best when connected as specified.<\/p>\n

Entity versions<\/h3>\n

As new insights form and modifications have proven to produce better sound, Fredrik<\/span> Lejonklou applies tweaks to existing products. He does not tread lightly and will not apply changes if they lead only to a technical advantage. The change must always retain the component’s natural flow and pure emotive power. The updates are usually very subtle, but in all cases, I have experienced them so far, and they are always musically rewarding.<\/p>\n

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Above: Entity 1.0; Below: Entity 1.2. Note the flush black screws and the two gold dots next to the serial number, indicating the second revision, ie Entity 1.2.<\/em><\/p>\n

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The first Entity that I heard was the 1.0, introduced in 2019. I found it was cut from the same cloth as the Lejonklou pre- and power amplifier components I reviewed earlier. As I recall, the initial Entity sounded remarkably transparent, neither warm nor cool, beautifully airy and refined, gentle yet upbeat, and deliciously fluid.<\/p>\n

The next Entity model I heard was the 1.1 introduced in February 2021, which included a newly added circuit equalizing idling currents. Alas, I was not able to compare it directly to its predecessor at the time, but having heard the new model in comparison with a couple of other preamps that I also used with the initial Entity model, I was impressed to find it has retained its well-balanced, transparent, fluid, and highly refined sound, but now coupled with much-improved solidity, robustness, and dynamic slam.<\/p>\n

And that brings us to the subject of this review, the Entity 1.2, which was introduced in September 2022. the Entity 1.2 includes new chassis ground parts and a specific fastening torque for its chassis screws.<\/p>\n

It is good to note that all models can be upgraded to the latest 1.2 specification.<\/p>\n

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System context<\/h3>\n

Between the last Entity review and this one, my systems have changed. The Origin Live Calypso Mk4<\/a> turntable with Illustrious arm and Vira Aidas Rainbow<\/a> MC cartridge in the main system have made way for the AVIDHIFI Sequel SP with Audio Origami PU-7 tonearm<\/a> and AVIDHIFI BORON<\/a> MC Cartridge. In the Secondary system, I have been using the AVIDHIFI Pulsare II<\/a> phono stage with the Thorens TD1601<\/a> with ZYX Bloom3 Silver Plate<\/a> MC Cartridge in the secondary system. It is in the context of these systems that the Entity 1.2 will be assessed.<\/p>\n

My long-time audio buddy JW purchased the Entity 1.1 immediately after hearing it as part of my review, citing the best performance he has heard in his system since the Jeff Rowland Consonance’s built-in phono stage and the Benz Lukaschek PP1. This provided the opportunity to also directly compare the new Entity 1.2 to the previous 1.1 model in his Zesto\/Thorens\/Apogee system.<\/p>\n

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Entity 1.1 versus Entity 1.2 – First Impressions<\/h3>\n

The Entity 1.2 sounds very much like a Lejonklou, which is to say it is well-balanced, agile, transparent, fluid, and refined. In my initial comparison with the Entity 1.1 in JW’s system, we were amazed that the seemingly simple modification (new chassis ground parts and a specific fastening torque) yielded distinct advantages.<\/p>\n

Most notably, the updated model sounds more vigorous, propulsive, and ballsy, with considerably more grip and more impactful dynamic behavior. However, during this initial comparison, we also found that JW’s older Entity 1.1 sounded more airy, fluid, and refined, and more continuous in its flow. By comparison, the new model sounded technically superb but emotionally less engaging. This prompted me to consider the Entity 1.2’s very low play hour count.<\/p>\n

When reviewing earlier Entity models, I was unaware of any major running-in phenomena. I’m not sure now if those models were run in or not. In any case, when listening to the Entity 1.1 review sample in the context of my own two systems, or in JW’s system, for that matter, I never felt that it needed more time to come on song. In retrospect, however, JW recalls that his newly purchased Entity 1.1 sample did<\/em> take some time to run in.<\/p>\n

Next: Running In<\/p>\n

<\/p>\n

Running In<\/h3>\n

Of course, JW’s Entity 1.1 has been left switched on since he bought it at the start of 2020, while my Entity 1.2 review sample was brand new. Moreover, JW plays records nearly every day while I’d been using the 1.2 so far for a few hours only.<\/p>\n

At this point, I decided to grant the new 1.2 a lot more time to fully develop before repeating the comparison. As time went by and JW visited now and then to hear my system, we both felt that the 1.2 did develop, but very slowly. Then, the idea formed that maybe the Entity would not run in properly unless it was actively being used, playing music. And sure enough, as the listening sessions proceeded, the 1.2 became better and better.<\/p>\n

I tend to play LPs only when in the company of certain friends who share the passion. And when I’m writing, it’s not practical to flip records every 22 minutes. As such, the running-in process took considerable time, which is one reason this review took so long. In a more normal use case, however, I would say that if you actively use the phono stage by playing records at least a few times a week, the running-in process should be all but complete within a month.<\/p>\n

Entity 1.1 versus Entity 1.2 – Second Round<\/h3>\n

Once the Entity 1.2 was considered fully run-in based on what we heard in my system, JW and I repeated the comparison at his place.<\/p>\n

Sure enough, the two had grown much closer to one another. The 1.2 had become considerably gentler, airier, and more fluid whilst retaining its more robust stance and superior dynamic impact. It has to be said that the older 1.1 remains slightly airier and lusher overall, but this is no longer a measure of quality but rather one of personal preference. As regular readers will know, I prefer a solid, incisive, and toe-tapping sound to a more dreamy-flowy sound. With the Entity 1.2, however, one does not have to choose between pace and rhythm or liquidity and flow, as it simply provides both in equal measure, in an arguably better balance than with the earlier 1.1 model.<\/p>\n

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More Listening<\/h3>\n

My personal reference phono stage is the CH Precision P1. Over the years, I’ve listened to various other phono stages, and as far as I am concerned, none have matched its careful balance between precision, resolution, neutrality, and transparency on the one hand and refinement, fluidity, delicacy, flow, and air on the other. At its eye-watering price tag (starting at 15 times the Entity’s modest price tag), it is no surprise that the Entity cannot truly compete. The big Swiss poses entirely unfair competition, but still, I have to hand it to the little Swedish phono stage, for in direct comparison, the Entity makes a superb case for itself.<\/p>\n

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Like its predecessor and similar to the CH P1, the Entity 1.2 threads a delicate path between technical excellence and musical flow. As before, the Entity 1.2 adds no warmth but neither does it deprive music of warmth, saturation, or fullness if these traits are in the recording. And that is precisely how I prefer it. The recording should speak for itself. Importantly, despite its high resolution and revealing nature, the Entity 1.2 does not add any hardness or edge or has even the slightest grain. But where so many alternative products that fit such a description can lean over into an overly relaxed, polite, or even tame reproduction, the Entity 1.2 is speedy, lively, and engagingly expressive. The Entity 1.2 not only possesses an emotion-inducing gushing and “singing” quality, but it also never fails to make my foot tap.<\/p>\n

Of all the phono stages I heard up to 10.000 euros, none have matched the Entity 1.2’s superbly balanced combination of virtues. More precisely, I’ve not heard a phono stage under 10K that can beat it in terms of transparency, linearity, articulation, resolution, fluidity, and refinement.<\/p>\n

I could probably end the review with that last statement, but to illustrate what more is possible if money is no object, I will provide some more detailed comparative information with the CH P1.<\/p>\n

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The Entity 1.2 is actually almost as transparent, refined, and articulate as the CH P1. The Swiss reference is mainly just that bit more revealing and more realistic in terms of timbre and texture. It achieves even greater precision and has a more powerful and impactful nature with faster, more immediate transient behavior. By comparison, the Entity 1.2 glosses over the lowest levels of texture just a tiny bit, making the music less piercing and in effect friendlier. But, and this is something to be well aware of, the big Swiss also presents something of a butcher’s block for the recording quality. If the recording is great, the sound will be fantastic. But if the recording is only so-so, the P1 will make one astutely aware of this, even if it avoids tipping over into clinicality.<\/p>\n

That is something that also never happens with the Entity 1.2. It may be almost as neutral and linear as the P1, very nearly as clean and uncolored, and pretty much as refined, airy, and fluid, but it always manages to elicit the best from whatever you play with its lively, fluid, joyous, and soulful performance.<\/p>\n

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I have the AVIDHIFI Pulsare II Phono Stage in the other listening room. Again, based on price, it can be argued that it poses an unfair comparison to the modest Swedish phono stage. But remarkably, the Entity 1.2 upholds itself marvelously. The difference between the two, I would say, is not so much in terms of absolute quality but much more in terms of sound signature and tonal character. Whereas the Entity 1.2 is very linear and carefully balanced, the Pulsare II offers a particularly earthy sound with a special emphasis on bass solidity, body, and tonal saturation. The Entity 1.2 counters with an airier and more refined treble and a more fluid and more free-flowing presentation. As a result, between these two, it really comes down to personal taste and system synergy. Of course, the Pulsare II offers a wealth of adjustments which were a big selling point for me at the time, but as I found in practice, the ideal range does not deviate much, and the preamp is used predominantly using the same settings.<\/p>\n

Although the Entity 1.2 has only a single toggle switch to provide three loading settings (90 – 180 – 120), I always preferred its highest 180 Ohm setting, which is the toggle switch’s middle position. I found this was true no matter what cartridge I used or in which audio setup the Entity was listened to. The 180-ohm setting always provided an ideal balance between natural fluidity and incisiveness and expression. I also tried the two lower settings, but they made things a little too mellow for my taste or the cartridges I used.<\/p>\n

Conclusion<\/h2>\n

Building on the highly refined and musical sound of its 1.1 predecessor, the updated 1.2 model sounds more vigorous, propulsive, and ballsy, with considerably more grip and more impactful dynamic behavior. the Entity 1.2 threads a delicate path between technical excellence and musical flow. It adds no warmth but neither does it deprive music of warmth, saturation, or fullness. Despite its high resolution and revealing nature, the Entity 1.2 does not add any hardness or edge or has even the slightest grain. But where so many alternative products that fit such a description can lean over into an overly relaxed, polite, or even tame reproduction, the Entity 1.2 is speedy, lively, and engagingly expressive. Notably, the Entity 1.2 possesses an emotion-inducing gushing and “singing” quality and never fails to make my foot tap.<\/p>\n

As it follows, it is highly recommended!<\/p>\n

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

External Links<\/h3>\n

Distributor for the Benelux, UK, and Germany: hexagonaudio<\/a>
\nManufacturer’s website: Lejonklou<\/a><\/p>\n

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