PS Audio GCPH Phono Amp
I've had the GCPH for a few months, and feel confident that I know it well enough to write a brief review. It has replaced a Trichord Dino/Dino+ combination, which has served me well over the years. Fed music from my heavied Spacedeck/Spacearm/KontrapunktB combination, the Dino always impressed by being very quiet and detailed. I would have characterised it as being quite musical, and it is, however without giving the game away too much, the GCPH knocks it into a cocked hat.
The Dino has always been a bit of a pain in that it's so light that supporting it properly is almost impossible; also it is prone to interference from DECT phones etc. It was usefully upgraded with a Trichord High Performance Power Lead, but that is so stiff that the Dino is almost lifted off the rack by the lead. The GCPH is very conventional in comparison - one simple and very nicely made metal box, with a thick alloy front panel, giving options for mono and signal inversion. There's a volume control which allows the GCPH to be used straight into a power amp, for those who have only vinyl sources. Round the back are RCA inputs and both RCA and balanced outputs. Small rotary switches allow gain and loading resistance to be adjusted - there is no adjustment for capacitance. I do like the huge gold plated earth post, which is by far the least fiddly earth post that I have ever used on a phono amp.
It doesn't take long to set the gain and loading. The instructions say that the volume control should not be used above 3/4 setting, but I find that maximum is fine into the Lyngdorf TDA2200. If there's a reason why max volume cannot be used, then it escapes me, and the amp sounds fine. I have been using the balanced outputs, via Kimber Balanced Silver Streak interconnects. Mains is fed via a Vertex mains lead. The gear sits on an Ash Designs rack, which I keep because it looks domestically acceptable.
Straight away, the sheer quietness of the GCPH impresses. You have to crank the volume right up and press an ear to a tweeter to hear noise. In this respect it's much better than the Dino, and I suspect most other phono amps. After a couple of months use, I find it to be very detailed and dynamic (the latter being something that the Dino was perhaps not so good at), but above all musical. There's a foot-tapping allure to the way music is presented, but until I popped a set of Stillpoints underneath the GCPH, I had no idea of the level of performance that this humble £800 box could deliver.
On Stillpoints, sitting points down in Inverse Risers, the sound magically assumed a natural feel. It's very difficult to articulate that feeling, but taking a record like Mary Coughlan's 'Tired and Emotional' I was suddenly presented with her in the room with stunning reality. Also, guitar string details became sharply etched, yet still with a lovely analogue liquidity. The soundstage leapt out to beyond each speaker, but in a believable way.
So, I am very happy, and thrilled to have reduced the box count (again). The GCPH can be recommended without hesitation, as can Dave of Blade Audio ( http://www.blade-audio.com ). Just remember, though, that the true potential of this remarkable product is only unleashed when proper attention is paid to supports, and I have no problem in shouting out the benefits of Stillpoints in that respect. I had to be dragged kicking and screaming to Stillpoints products, but now I would not go back to Oak Cones for all the tea in China!
I've had the GCPH for a few months, and feel confident that I know it well enough to write a brief review. It has replaced a Trichord Dino/Dino+ combination, which has served me well over the years. Fed music from my heavied Spacedeck/Spacearm/KontrapunktB combination, the Dino always impressed by being very quiet and detailed. I would have characterised it as being quite musical, and it is, however without giving the game away too much, the GCPH knocks it into a cocked hat.
The Dino has always been a bit of a pain in that it's so light that supporting it properly is almost impossible; also it is prone to interference from DECT phones etc. It was usefully upgraded with a Trichord High Performance Power Lead, but that is so stiff that the Dino is almost lifted off the rack by the lead. The GCPH is very conventional in comparison - one simple and very nicely made metal box, with a thick alloy front panel, giving options for mono and signal inversion. There's a volume control which allows the GCPH to be used straight into a power amp, for those who have only vinyl sources. Round the back are RCA inputs and both RCA and balanced outputs. Small rotary switches allow gain and loading resistance to be adjusted - there is no adjustment for capacitance. I do like the huge gold plated earth post, which is by far the least fiddly earth post that I have ever used on a phono amp.
It doesn't take long to set the gain and loading. The instructions say that the volume control should not be used above 3/4 setting, but I find that maximum is fine into the Lyngdorf TDA2200. If there's a reason why max volume cannot be used, then it escapes me, and the amp sounds fine. I have been using the balanced outputs, via Kimber Balanced Silver Streak interconnects. Mains is fed via a Vertex mains lead. The gear sits on an Ash Designs rack, which I keep because it looks domestically acceptable.
Straight away, the sheer quietness of the GCPH impresses. You have to crank the volume right up and press an ear to a tweeter to hear noise. In this respect it's much better than the Dino, and I suspect most other phono amps. After a couple of months use, I find it to be very detailed and dynamic (the latter being something that the Dino was perhaps not so good at), but above all musical. There's a foot-tapping allure to the way music is presented, but until I popped a set of Stillpoints underneath the GCPH, I had no idea of the level of performance that this humble £800 box could deliver.
On Stillpoints, sitting points down in Inverse Risers, the sound magically assumed a natural feel. It's very difficult to articulate that feeling, but taking a record like Mary Coughlan's 'Tired and Emotional' I was suddenly presented with her in the room with stunning reality. Also, guitar string details became sharply etched, yet still with a lovely analogue liquidity. The soundstage leapt out to beyond each speaker, but in a believable way.
So, I am very happy, and thrilled to have reduced the box count (again). The GCPH can be recommended without hesitation, as can Dave of Blade Audio ( http://www.blade-audio.com ). Just remember, though, that the true potential of this remarkable product is only unleashed when proper attention is paid to supports, and I have no problem in shouting out the benefits of Stillpoints in that respect. I had to be dragged kicking and screaming to Stillpoints products, but now I would not go back to Oak Cones for all the tea in China!
