Audio Research PH6 Manual Do Utilizador
Energy [Concord/Pure Audiophile PR-065]. The
bass was appropriately woody and more than
deep enough (and my Paradigm speakers can
go plenty deep) to satisfy even the pickiest of
listeners. But more than that, it was the feeling of
realness that the PH6 imparted that tipped the scales in
its favor over any solid-state unit I’ve heard -- and any
phono stage I’ve heard in the PH6’s price range.
bass was appropriately woody and more than
deep enough (and my Paradigm speakers can
go plenty deep) to satisfy even the pickiest of
listeners. But more than that, it was the feeling of
realness that the PH6 imparted that tipped the scales in
its favor over any solid-state unit I’ve heard -- and any
phono stage I’ve heard in the PH6’s price range.
Another thing I’ve come to expect from the better
phono stages is cohesiveness -- the ability to keep the
music together and flowing, not parse it into individual
“events.” The PH6 is a cohesiveness champ. Mark
Knopfler’s guitar on Kill To Get Crimson [Warner Brothers
281660-1] is a case in point. As Knopfler has grown
older, he has mastered the art of conveying a great
deal through very few notes. However, if a phono stage
can’t keep those notes flowing properly, the meaning of
the music is lost. The PH6 flowed along with Knopfler,
creating a stream of varying textures -- just what Knopfler
does as well.
phono stages is cohesiveness -- the ability to keep the
music together and flowing, not parse it into individual
“events.” The PH6 is a cohesiveness champ. Mark
Knopfler’s guitar on Kill To Get Crimson [Warner Brothers
281660-1] is a case in point. As Knopfler has grown
older, he has mastered the art of conveying a great
deal through very few notes. However, if a phono stage
can’t keep those notes flowing properly, the meaning of
the music is lost. The PH6 flowed along with Knopfler,
creating a stream of varying textures -- just what Knopfler
does as well.
Going hand in hand
with cohesiveness
is resolution.
Having only one of
these is like having
peanut butter or
jelly. Individually
they may be nice,
but combined they
create something
special. The PH6
has cohesiveness
and resolution in
spades. I discovered
this by listening
to the latest Pure
Pleasure reissue
of the self-titled
Quicksilver
Messenger Service
LP [Pure Pleasure
PPAN ST2904]. Guitarist John Cipollina was in the room
so clearly and with such substance that I could hear
each pluck or strum and, just as important, how each
coalesced into the body of each solo --- especially on the
opening track, “Pride Of A Man,” which has one of the
best guitar solos I’ve ever heard.
with cohesiveness
is resolution.
Having only one of
these is like having
peanut butter or
jelly. Individually
they may be nice,
but combined they
create something
special. The PH6
has cohesiveness
and resolution in
spades. I discovered
this by listening
to the latest Pure
Pleasure reissue
of the self-titled
Quicksilver
Messenger Service
LP [Pure Pleasure
PPAN ST2904]. Guitarist John Cipollina was in the room
so clearly and with such substance that I could hear
each pluck or strum and, just as important, how each
coalesced into the body of each solo --- especially on the
opening track, “Pride Of A Man,” which has one of the
best guitar solos I’ve ever heard.
3
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PRODUCED
FROM
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Vocals were another strong point of the
PH6, which allowed me to hear better the
identifying marks of various singers. The
PH6, which allowed me to hear better the
identifying marks of various singers. The
slightly nasal but oh-so-smooth quality of
Art Garfunkel’s voice on Watermark [Columbia
JC 34975] was all the more apparent, and Shawn
Philips’ voice on his album Second Contribution [A&M
SP 4282] was full, deep and rich. The PH6 easily
differentiated between these two male singers, allowing
each to sound like himself with no super-imposed
colorations tacked on.
Philips’ voice on his album Second Contribution [A&M
SP 4282] was full, deep and rich. The PH6 easily
differentiated between these two male singers, allowing
each to sound like himself with no super-imposed
colorations tacked on.
In the end, the PH6 let records sound just as they’re
supposed to, and that’s a great thing from the
perspective of this hardcore vinylphile.
supposed to, and that’s a great thing from the
perspective of this hardcore vinylphile.
ompared to my longtime reference, the Audio
Research PH5 ($2995), each musical aspect
of the PH6 was just that much better. If the PH5
was very good at something -- like differentiating voices
-- the PH6 exceeded it. The PH5 improved upon its
-- the PH6 exceeded it. The PH5 improved upon its
newer sibling in
no discernible way;
believe me, I tried
to find something,
anything, to point
out, but couldn’t.
The use of the
6H30 tubes makes
for a noticeable
improvement in
dynamic shading
and the depth of
soundstage that
the PH5, good
as it is, can’t
match. There
was one area in
particular in which
the PH6 was
noticeably
better than its
older brother --
no discernible way;
believe me, I tried
to find something,
anything, to point
out, but couldn’t.
The use of the
6H30 tubes makes
for a noticeable
improvement in
dynamic shading
and the depth of
soundstage that
the PH5, good
as it is, can’t
match. There
was one area in
particular in which
the PH6 was
noticeably
better than its
older brother --
the noise floor. Whereas the PH5 could exhibit some
tube rush as I pushed the volume, the PH6 was almost
dead silent, and this aided in appreciating all its
resolution and cohesiveness. Don’t get me wrong --
the PH5 is still a very good phono stage. It’s just that
the PH6 is a better one.
tube rush as I pushed the volume, the PH6 was almost
dead silent, and this aided in appreciating all its
resolution and cohesiveness. Don’t get me wrong --
the PH5 is still a very good phono stage. It’s just that
the PH6 is a better one.
C