Today, I’m taking you to the temple of vinyl record listening with François Saint-Gérant of Ana Mighty Sound. François offers a range of high-end and ultra-high-end turntables, as well as all the equipment needed to fully exploit their capabilities, including cartridges, preamps, and reproduction systems, amplifiers, and speakers.
So I propose a different experience: rather than simply commenting on the listening experience, I will share with you recordings in DXD 24 bits 384 kHz made in various dream configurations, in order to give you as accurate an idea as possible of the exceptional performance of this equipment.
Before listening, however, it is essential to adjust the cartridge perfectly on the turntable. To do this, there are templates available to help you position the cartridge optimally: this is an essential first step in obtaining a basic setting.
But when it comes to getting the most out of high-end equipment, you can go much further in terms of precision and finesse of adjustment. This is where the AnalogMagik V2 test disc and, above all, the software provided come in, allowing you to make extremely precise adjustments using dedicated measurements.
Thanks to the test discs available in 33.33 rpm and 45 rpm, combined with the software, it is possible to adjust many settings on the turntable and its cartridge. We will not cover all the possibilities available today, but we will focus on a few specific measurements and adjustments.
For example, checking the rotation speed, which reveals remarkable accuracy here, with a deviation of only 0.06% from the theoretical speed.
The azimuth setting directly affects crosstalk, i.e. the ability to correctly distinguish between the right and left channels.
On an entry-level cartridge, crosstalk is generally around 25 dB, while higher-end models achieve around 30 dB. However, to actually achieve these 30 dB, it is essential that the cartridge is perfectly adjusted.
The VTA setting reduces playback distortion, thereby fully optimising the cartridge’s performance.
The measurement below illustrates the result obtained after a quick manual adjustment: there is a 3 dB difference in crosstalk between the two channels and a distortion level of around 12%.
We will therefore proceed in successive stages, gradually adjusting the azimuth to balance the values between the left and right channels. At the same time, the VTA will be fine-tuned to minimise distortion.
Once these adjustments have been made, we obtain the following result: a difference of only 0.08 dB between the two channels in crosstalk, and distortion reduced to just over 3.2%.
The effectiveness of this system is immediately apparent, as it optimises crosstalk and reduces distortion. There are many other settings and measurements available to ensure perfect adjustment of the turntable, which we will no doubt have the opportunity to explore in a future dedicated test.
The AnalogMagik tool, which requires excellent software skills, is available for purchase. It is used by François to precisely adjust the cartridges of the turntables he supplies to his customers.
Now that the cartridge is perfectly adjusted, I suggest we move on to a comparative listening test of the same extract on several different configurations.
The first turntable and phono stage configuration consists of:
- An AMG Giro MKII G9 turntable
- A Phasemation PP-200 cartridge
- A Phasemation EA-220 RIAA phono stage, used in three distinct setups:
- Configuration 1: phono stage MC input
- Configuration 2: phono stage MM input combined with a Phasemation T-320 step-up transformer
- Configuration 3: phono stage MM input combined with a Phasemation T-550 step-up transformer
Using step-up transformers allows bypassing the built-in electronic pre-preamp of the EA-220, providing a unique sonic character shaped by the specific windings of each transformer.
The second turntable and phono stage configuration consists of:
- A CSPort Analog Turntable TAT1
- A Phasemation PP-2000 cartridge
- A Phasemation EA-2000 RIAA phono stage, composed of six separate elements (Configuration 4):
- EA-2000T: MC step-up transformer specially optimized from the T-2000 model
- EA-2000EQ: newly designed vacuum tube LCR equalizer, featuring custom-made coils and other high-grade audio components
- EA-2000PS: power supply derived from the EA-1000, providing cleaner, more robust power with enhanced noise suppression
Finally, the listening session at Ana Mighty Sound was carried out on the following system:
- DarTZeel Int LHC-208 Mk2 integrated amplifier
- Stenheim Alumine Five SE loudspeakers
For this listening session, we selected the album Mr. Machine by the Brandt Brauer Frick Ensemble.
To allow for a direct comparison and to capture every nuance, the samples were recorded in DXD (32-bit / 384 kHz) using an ES9822Pro ADC, then converted to DXD 24/384 for playback here.
For each sample, you will also find a spectral comparison between the different configurations.
Sample – Configuration 1 (Phasemation PP-200 & EA-220)
Comparison spectrum between Configuration 1 (PP-200 & EA-220) and Configuration 4 (PP-2000 & EA-2000)
Sample – Configuration 2 (PP-200 & EA-220 + T-320)
Comparison spectrum between Configuration 1 (PP-200 & EA-220) and Configuration 2 (PP-200 & EA-220 + T-320)
Sample – Configuration 3 (PP-200 & EA-220 + T-550)
Comparison spectrum between Configuration 1 (PP-200 & EA-220) and Configuration 3 (PP-200 & EA-220 + T-550)
Sample – Configuration 4 (PP-2000 & EA-2000)
Comparison spectrum between Configuration 1 (PP-200 & EA-220) and Configuration 4 (PP-2000 & EA-2000)
As you can hear, each system has its own character. Configuration 4 (PP-2000 & EA-2000) offers greater openness and clarity, while Configurations 2 and 3 highlight the unique characteristics of each transformer. Ultimately, the preferred sound signature comes down to personal taste.
A big thank you to François for the time and effort spent enabling these exceptional listening sessions.
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