AUDIOPHILE AUDITION focuses on recordings of interest to audiophiles and collectors, with an accent on surround sound for music, and on all hi-res disc formats. Over 100SACD, DVD Video/Audio and standard CD reviews are published during each month, and our archives go back to January 2001.
PS Audio GCPH Phono Preamplifier
Definitely worth your consideration if looking to spend around $1000 on a phono preamp.
Published on January 11, 2009
PS Audio GCPH Phono Preamplifier
SRP: $1000
PS Audio
4826 Sterling Drive
Boulder, CO 80301
720-406-8946 (voice)
720-406-8967 (fax)
www.psaudio.com
Basic Description
Phonograph preamplifier for MM and MC (gain 48/54/60/66 dB, 100/500/1K/47K impedance); front panel output gain adjust; mono switch; balanced design with balanced and single ended outputs; polarity switch; passive RIAA curve +/- .1 dB; auto subsonic filter; remote control (volume, phase, mono, mute); three-year warranty; 8.5” W x 2.75” H x 15.5” D (including knobs and jacks); 8.6 pounds.
Associated Equipment
Marantz TT-15S1 Turntable, Krell KAV-400i Integrated Amplifier, Whest TWO Phonostage (for comparison), Bowers and Wilkins 803S speakers, Audioquest cabling.
Setup, Testing and Description
As I mentioned in my Whest phonostage review, this preamplifier was one of the pieces that a friend had used to convert analog to digital and burn a comparison CD between four phono preamps. The Whest and the PS Audio were clear favorites. The PS Audio is $900 cheaper, built like a tank, offers remote control, switchable gain and loading right on the back of the unit, balanced outputs, polarity reversal and a mono switch. For those who intend to play older mono records (especially old jazz LPs) with a stereo cartridge the mono switch is a huge advantage and will produce better sound. Since reversing the polarity is so easy, you can always find out which way sounds best with each record and keep a record (pun intended) for the next time you play it My friend suggested reverse polarity on Harry Belafonte’s Belafonte at Carnegie Hall for instance.
The level control on the front of the unit allows the GCPH to be connected directly to an amplifier. As I was using an integrated amplifier I did not try this configuration although the amount of gain offered is more than sufficient to make this an option for some listeners.
The manual warns against locating the preamp near power amplifiers and other pieces which may induce noise in the component. I didn’t have any problems in my setup where the piece was positioned to the side of the turntable. If noise is an issue, try moving the preamp to another shelf away from the offending component.
When the unit is first powered up the volume control rotates to the lowest position to prevent any loud bursts of noise. After that it remains in its set position. At the recommendation of the manual (and my friend who experimented with volume setting) I left the control at the half way position. Halfway or the upper three quarters of the range are the recommended positions for the lowest noise levels. When doing comparisons between phono preamps it was convenient to be able to set levels using the control.
Connection of the input and output cables can be a bit confusing if you don’t pay attention to the labeling on the back panel of the GCPH. The channels are grouped together rather than by inputs and outputs. Also, the left output has a red ring around the connector and the right input has a white ring around the connector (usually signifying the reverse channel). I thought it might be a mistake on my unit, but I see in the manual that the back panel is pictured the same way—weird. The ground post is heavy duty and centered between the input jacks.
The gain and loading knobs are near the bottom, but it was easy enough to set them before and after the input and output connections were made. With the moving magnet cartridge that comes with the Marantz turntable (reviewed in November) I used the 48 dB setting and 47K ohms.
There is a power switch on the back, but I left the unit powered continuously during the time I listened to the PS Audio. As mentioned earlier, be forewarned that every time power is disrupted from the unit the volume will return to 0.
Sound
I used some of the same recordings I listened to with the Whest and I must say it was a very enlightening experience. Some of my initial impressions with both units changed as I listened to record after record.
With the same Eagles’ cut “One of These Nights” there were more high frequencies than with the Whest. This was not by the way of extension or air, but a sizzle, a shimmer, edge and/or grit to all the instruments. I wouldn’t go so far to call it an obvious distortion although it wasn’t there with the Whest. Some of these characteristics may have helped give the piece more presence and better vocal response. Bass was deeper/more powerful. Transient response was almost overdone and I struggle with the best way to articulate this characteristic as it wasn’t the improvement wrought by a good moving coil cartridge that makes things seem quicker even when they are not, but more of a change in dynamics and loudness. The definite areas of improvement were in image size and focus. It had more rock and roll and rhythm but in a way that many would term “hi-fi.”
With “Landslide” from Fleetwood Mac’s self-titled LP the PS Audio offered a richer presentation on guitar. Voice was bigger, more present/up-front and more focused. This cut sounded so good I wanted to sing along. There was no disguising any imperfections on the record including crackles, pops, and noise. The Whest is much more forgiving in this respect.
With “I’ve Seen All Good People” by Yes from The Yes Album and the Earl Klugh cut from Blue Note “Las Manos De Feugo” a pattern was starting to develop. The PS Audio was not as sweet or smooth, but offered deeper bass, more punch, and more drive. Images were more present and there was more distinct separation between them. The sound was more ‘there’ but lacked the ease and delicacy of the Whest. Another track that exhibited some of the same qualities was “Good Times” from Chic’s Greatest Hits. I wrote in my notes next to the GCPH—“good punch, bass, nice rhythm, clean voice, something added.” With the Whest the sound was lighter in weight; voice was laid back and blended more with the background sounds. It was a less involving sound, but less fatiguing as well.
I listened to a few tracks from The Beach Boys Endless Summer starting with “Surfer Girl.” The PS Audio had more bite and voices were more distinctive. With the Whest the tone of the music was served better—the sound was relaxed and I swayed with the music imagining my self on the warm sand. On “Don’t Worry Baby” it was just the opposite—voice was more remote on the Whest and it just lost the vibe. Here, the PS Audio’s more forceful sound was more along the lines how I believed the music should sound.
With newer recordings like the Pure Pleasure remaster of Keb’ Mo’s self-titled record, the PS Audio made the sound more alive and vocals had a greater sense of realism. There was an added richness to the sound across the entire band giving the impression of improved bass response, more prominent voice and strings, more edge, and a heavier/thicker sound. There is definitely something being added to the recording, but not enough to preclude a recommendation.
When I listened to “Material Girl” from Madonna’s Like a Virgin record through the PS Audio I couldn’t stop thinking how mediocre this LP sounded. It was compressed, edgy and flat. Bass was good, but overall the sound was crunchy and somewhat gritty. The Whest rendered the voice mellower which was an improvement with this record. High bell-like sounds were pleasant and tinkly (like they should be). Crackles, ticks and pops were not nearly as noticeable.
The Krell amplifier used in this review has never been thought of as a soft sounding amplifier A lot of people consider it to be on the brighter side of neutral and that contributed to some of the sound quality of the PS Audio. However, it just helped to bring into light some of the limitations with the GCPH. With “Low Down” from Boz Scaggs’ Silk Degrees record the sound with the PS Audio had too much sizzle and the music was just not entirely convincing. The Whest was much more relaxed and enjoyable to listen through. The cymbals had a chick-a, chick-a sound as opposed to the tick, tick, tick with the PS Audio.
Conclusion
Up to this point you might think I really hated the PS Audio, but that is not the case! While I had this unit under review one friend borrowed it for a couple of days and bought one soon after--he was that impressed. There is no denying its ease of use (remote, mono switch, polarity reversal, volume control, gain and loading knobs on the back, etc.) Build quality is excellent for its price and it shone in more than a few areas sonically. Bass response, dynamics, and presence were always impressive. Soundstaging was solid and dimensionality, focus, and depth were very good.
However, there was an artificial quality that would raise its ugly head and pull me out of my listening pleasure with some recordings. It would manifest itself as a thickness or make the music come across as forced and even sound like it were emphasizing particular frequency extremes. Ultimately (with an unlimited budget) I would not be happy with either the Whest or the PS Audio as they both have limitations, but given the price of the PS Audio you have to expect some shortcomings. In comparison with the lesser priced phono preamplifiers it clearly surpassed them. I haven’t heard anything at its price that sounded even close, so I continue my search…
-- Brian Bloom
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