Manley Steelhead Phono Preamp and Goldring GR1 Turntable

Wayne Garcia

Manley Steelhead

Thanks to a generously lengthyloan by EveAnna Manley (thisreview was initially slated toappear several issues back), the

Manley Steelhead has been the mostconstant component to reside in my sys-tem over the past fifteen months.Turntables, cartridges, preamps, amps,CD playback, cables, speakers, and evenother phonostages have come and gone,yet the Steelhead, a (mostly) tubedesign, has not. This ultra-retro-lookingphono preamp is about as close as youcan get to an ideal audio component: itssound is quite neutral (it leans ever-so-slightly to the warm side but never, eversounds overtly “tubey” or otherwise col-ored); it is quite detailed but never ana-lytical (though lousy-sounding recordswill be stripped naked); it works flaw-lessly and silently; it is very flexible; itcan be used “straight” (as a full-functionpreamp) if you’re limited to but oneline-level source (and the sonic rewardshere are great, as I will touch on in amoment); and—the truest test—it is somusically satisfying that I never longedfor something else, and am indeeddreading the day when I have to eitherreturn it or bite the bullet and purchasethe damn, fishy-named thing. (ManleyLabs has a history of christening its gear

after various scaly creatures of the deep.The Steelhead is so named because it isan “upstream” component.)

Driven by a large outboard solid-state power supply, the Steelhead givesthe analog lover—and for seventy-threehundred clams, a well-heeled analoglover you’ll need to be—control overgain (50, 55, 60, and 65dB), volume,impedance for mm and mc (see specsbelow), and capacitance loading (fromzero to 1100 picofarads in 10 picofaradsteps). You can tweak and tweak andtweak ’til you go nuts, and though somewill dig it for that, I love the Steelheadbecause I can fine-tune the sound of anycartridge I feed it, and then forget aboutit. Originally introduced in 2001, thelatest (and third) version of theSteelhead has three phono inputs (twomoving coil and one moving magnet), asingle line-level input1, fixed and vari-able outputs, and, as the company’s col-orfully written Web site calls it, “a bighonkin’ volume control.” (It is.)

I called the Steelhead “a (mostly)tube design” because designer MitchMargolis has cleverly placed a JFETunder the first tube gain stage (theSteelhead uses two 6922s in its gainstages, and four 7044s as output buffers)to provide high gain, wide bandwidth,and low noise and distortion—unlikelyqualities for a pure tube model—with-out resorting to large amounts of nega-

tive feedback. Although there’s a lotmore technical info about the Steelheadon the company Web site, it’s worthnoting here the unusual care that wentinto the unit’s RIAA phono equaliza-tion. Although there are four RIAA cor-ner frequencies (or time constants), mostphonostages focus on just three timeconstants (3180, 318, and 75 microsec-onds), while ignoring the fourth cornerat roughly 3.2 microseconds. Accordingto Manley’s owner’s book, this causesmost phono units to “continue rollingoff the highest octave signals comingfrom the phono pickup, rather thanturning the final ‘corner’ and shelving toflat response at about 50kHz.” It goes onto say that removal of the upper octave“causes the recovered audio to soundsomewhat lifeless and remote, withneedless loss of impact, detail, and per-cussiveness.”

While the Steelhead, make no mis-take, has the sonic virtues that maketubeheads so passionate—layers of har-monic complexity, instrumental body,tonal naturalness, air and “bloom”around instruments, lingering decay,great soundstaging, outstandingdynamic nuance and range, etc.—itnever betrays its glass-bottled originswith tube rush or noise, microphonics,or any other such snap-crackle-and-pop-ping, and I like that the unit automati-cally mutes when you switch gain or anyother functions. These include MUTE,SLEEP, and the sassily named DIM andSUM (otherwise known as -20dB muteand mono). In addition, the Steelhead isblissfully immune to RFI, which, likemost city dwellers, I’ve had some prob-lems with in the past when testing otherphono preamps.

24 THE ABSOLUTE SOUND ■ FEBRUARY / MARCH 2005

a b s o l u t e a n a l o g

1 Manley has just introduced The Skipjack, a 4 into 1 (or 3 into 2) line input switcher that allows more sources to be fed into the Steelhead’s single line input.

WWW.THEABSOLUTESOUND.COM 25

And as it turns out, silence is one ofthe Steelhead’s great strengths. Thoughin this respect it is not quite the equal ofthe battery-driven Sutherland Ph.D.that I reviewed quite favorably in Issue144—although the Steelhead is betteryet, musically—it does have a notablylow noise floor for a phonostage, tubedor solid-state. And here is where I’mgoing to urge you to feed your Steelheaddirectly into your power amp. For thoseof us with multiple line-level compo-nents, this may be too much of a hassle.But for the rest of us the sonic rewardswill be huge (and for those in the firstcamp it may even be worth the gyrationsnecessitated by switching interconnectsbetween your main preamp and theSteelhead). If this sounds like an extremesuggestion, it is only because theSteelhead is such a great-sounding pre-amp, period (so great, it has been award-ed TAS Preamp of the Year in this very

issue), and removing that extra (and, inmany cases, unnecessary) layer of elec-tronics from our systems—no matterhow great a layer it may otherwise be—further lowers noise; reduces grit andgrain; improves dynamics (both microand macro), and therefore the impressionof rhythmic precision and liveliness; andmakes a huge improvement in the abili-ty to “hear into” the music.(Coincidentally, the importance of alow-noise threshold for LP playback hascome up a few times in recent phoneconversations with HP, who has beenexperiencing similar sonic discoverieswith the ASR phonostage—a battery-powered device—and VPI SuperScoutmaster [see last issue’s Workshop].And there’s no doubt that the graduallybuilt combination of a ClearaudioMaster Solution turntable, Tri-PlanarVII arm, and Shelter 90X cartridge[reviews pending] have played a signifi-

cant role in my own listening sessionshere at home.)

Most importantly, and especially sowhen it’s plugged straight into an amp,the Steelhead makes music more imme-diate, more “there” in the room. Bass ismore solid, tonality is closer to reality,and the overall presentation is more“relaxed’ and musically involving. OnMiles Davis’ “Flamenco Sketches” [Kindof Blue, Classic Records] these qualitiesbrought the individuality of the instru-ments to the forefront in a staggeringfashion—the beautiful, reedy, throatybrass tones of John Coltrane’s tenor sax;the lilting, chiming, soft percussion ofBill Evans’ piano; the slightly nasallysweet, more buzzing reed of CannonballAdderley’s alto; the round, nimble, yetweighty quality of Paul Chambers’ bass;the subtle brush and cymbal work ofdrummer Jimmy Cobb (you can practi-cally see him hunched over his kit); and

Davis’ own, famous muted trumpet,sometimes whispery, at others forceful,and even mumbling occasionally like ahuman voice.

Now, for those of you who needmore sockets, the Steelhead sounds justgreat as an outboard phono device, andthe benefits of plugging it directly intoyour amp will, of course, vary from sys-tem to system. Nonetheless, using itwith a wide range of gear for some timenow has convinced me time and againthat the music, and my response to it, issignificantly more thrilling when theSteelhead’s virtues are unimpeded byother preamps. Or as my wife recentlyput it, “It takes your breath away.” A great and classic component.

Goldring GR1Turntable

Sourced from Rega, Goldring’sGR1 is essentially a Rega P2turntable and RB250 armcombo, but with a few interest-

ing twists. Most obvious is the replace-ment of Rega’s standard glass platterwith one that appears to be made ofMasonite. It’s fitted with a thinner feltmat than the thicker felt we’re used tofrom Rega, and, in addition to presum-ably being less expensive to manufac-ture, the platter clearly has a different(lighter) density and resonant frequencythan Rega’s glass version. There are afew cosmetic changes too—a texturedgray vinyl material covers the top of theplinth, darker gray trim finishes the

three visible edges, and the front cornerssport black rubber bumpers. The GR1comes fitted with a Goldring Elektramoving-magnet cartridge, and the pack-age sells for $425, a very good valuegiven that the dollar continues to take amauling from foreign currencies.

Setting up the GR1 couldn’t be easi-er. The Elektra comes mounted on thearm (correctly, too), so all that remains arefitting the counterweight and setting thetracking force and anti-skate. The singlepage of instructions is right on, tellingthe owner to float the arm one millimeterabove the platter before giving the coun-terweight one full forward turn. Usingthe Express Machining digital stylusforce gauge, I measured exactly 2 gramstracking force. You then slide the biaslevel to 2 and that, as they say, is that.

The GR1 has Rega’s characteristical-ly lively sound, and as is typical ofRegas, it runs a tad fast. This is a veryengaging turntable—rhythmically pre-

cise (a good toe-tapper, inLinn’s parlance), as heardwith Nathan Milstein’srecording of Bach’s Sonatasand Partitas for Solo Violin[DG], where his phrasingand double-stops weredelivered with a nice com-bination of poetry andverve, and also with TheFlaming Lips’ YoshimiBattles The Pink Robots[German Warner pressing],with its combination ofpinball synths and staccato

drumming. Dynamic range is good ifnot outstanding, with finer shifts lack-ing subtle nuance and the widest swingsbeing slightly compressed. This is sim-ple reality, folks, and what one wouldexpect from an excellent but budget-minded product.

The Elektra cartridge tends towardthe drier side of the tonal spectrum, andyet again this is no cause for alarm, par-ticularly as I was also listening througha state-of-the-art speaker system and anexcellent range of ancillary gear—stufffar more sophisticated than the systemsthe Goldring will be matched with inthe “real world.” Plus, you can alwaysupgrade the cartridge at a later date, and

there are endless Rega-related tweaks incatalogs from Music Direct and others.

Overall I give the GR1 high marksand a strong recommendation. Givenits pedigree, it should provide manyyears of maintenance-free musicalpleasure. This is an especially greatchoice for the first-time purchaser of LPplayback gear and a great way foraudiophiles to get their children intovinyl—if they’re not already. &

26 THE ABSOLUTE SOUND ■ FEBRUARY / MARCH 2005

M A N U FA C T U R E R &

D I S T R I B U T O R I N F O R M A T I O N

MANLEY LABORATORIES, INC.

13880 Magnolia AvenueChino, California 91710(909) 627-4256www.manleylabs.comemanley@manleylabs.comPrice: $7300

MUSIC HALL (GOLDRING DISTRIBUTOR)

108 Station RoadGreat Neck, New York 11023 (516) 487-3663www.musichallaudio.com info@musichallaudio.comPrice: $425

S P E C I F I C A T I O N SManley Steelhead

Inputs: Two MC, one MM, one line-level

Gain: 50, 55, 60, and 65dB (4-step user

adjustable)

Input impedance: MM: 25, 50, 100, 200, and

47k ohms; MC: 25, 50, 100, 200, and

400 ohms (both 5-step user adjustable)

Tube complement: 6922 x 2 (gain); 7044 x

4 (output buffers)

Dimensions: 19" x 4.25" x 15.5" (main unit);

13.5" x 4.5" x 11.375" (power supply)

Weight: 15 lbs. (main unit); 18 lbs. (power

supply)

Goldring GR1

Speeds: 33.3, 45 RPM (manual belt-adjust)

Arm: One-piece cast aluminum with precision

double ball-race bearing assembly and

magnetic frictionless bias compensation

Dimensions: 17.7" x 4.72" x 14.5"

Weight: 12 lbs.

ASSOCIATED EQUIPMENT

See list on p. 78.

gital source phono cartridge turntable preamplifier powmplifier • integrated amplifier • affordable loudspeaker • miced loudspeaker • cost-no-action loudspeaker • budget comp

ent • accessory • product of the year • digital source • phono cdge • turntable • preamplifier • power amplifier • integrated amp

er • affordable loudspeaker • mid-priced loudspeaker • cost-nction loudspeaker • budget component • accessory • product e year • digital source • phono cartridge • turntable • preamplifpower amplifier • integrated amplifier • affordable loudspeakeid-priced loudspeaker • cost-no-action loudspeaker • budget co

onent • accessory • product of the year • digital source • phoartridge • turntable • preamplifier • power amplifier • integratmplifier • affordable loudspeaker • mid-priced loudspeaker • coo-action loudspeaker • budget component • accessory • produ

the year • digital source • phono cartridge • turntable • preamper • power amplifier • integrated amplifier • affordable loudspeak

mid-priced loudspeaker • cost-no-action loudspeaker • budgomponent • accessory • product of the year • digital sourcehono cartridge • turntable • preamplifier • power amplifier • inated amplifier • affordable loudspeaker • mid-priced loudspeakcost-no-action loudspeaker • budget component • accessoryoduct of the year • digital source • phono cartridge • turntableeamplifier • power amplifier • integrated amplifier • affordabudspeaker • mid-priced loudspeaker • cost-no-action loudspeakbudget component • accessory • product of the year • digiurce • phono cartridge • turntable • preamplifier • power amp• integrated amplifier • affordable loudspeaker • mid-priced loueaker • cost-no-action loudspeaker • budget component • accry • product of the year • digital source • phono cartridgerntable • preamplifier • power amplifier • integrated amplifierfordable loudspeaker • mid-priced loudspeaker • cost-no-actiudspeaker • budget component • accessory • product of the yedigital source • phono cartridge • turntable • preamplifier • powmplifier • integrated amplifier • affordable loudspeaker • miced loudspeaker • cost-no-action loudspeaker • budget comp

ent • accessory • product of the year • digital source • phono cdge • turntable • preamplifier • power amplifier • integrated amp

38 THE ABSOLUTE SOUND ■ FEBRUARY / MARCH 2005

the absolute sound’s

2OO4product of theyear

awards

the absolute sound’s

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awards

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Meridian G08 CD Player$3995www.meridian-audio.com Meridian deserves its reputation for excellent work with digital technolo-gies, and the new G08 CD player—a standard Red Book machine with noDVD-A or SACD capability—continues the company’s streak of excellence.

Part of the all-new G Series, the 08 substantially betters the unit it directlyreplaces, the 588. Its sound is unusually smooth and free of grain, with a beautiful overall

tonal balance, and, rare for all but the very best digital, the ability to deliver the emotion in themusic. And with the G08, the music flows effortlessly from your speakers, creating an impressive and

convincing sound space. As reviewer Sue Kraft summed it up, “I’ve not heard a more elegant soundemanate from a transistor-based system in quite some time.” WAYNE GARCIA (Reviewed by Sue Kraft in this issue)

Shelter 501 Mk. II and Shelter 90x $800, $2700www.axiss-usa.comThe Shelter line of moving-coil cartridges has been the buzz of shows and Internetaudio sites for some time now. The reason why is obvious: Each of this Japanese manu-facturer’s products offers superior sound at a reasonable price. Shelter’s “low-end” model,the 501 Mk II (reviewed by Chris Martens in Issue 147), does everything well—andsome things spectacularly well. Its superb three-dimensionality adds spaciousness torecordings seemingly lacking in air and bloom, while its neutral tonal balance, audio-phile virtues (resolution, focus, transient speed, extension at both frequency extremes),and cohesiveness make its sound always seem as if it is cut from whole cloth. Shelter’stop-of-the-line 90x (JV’s Golden Ear Award winner in Issue 150) is ever more impressive,as it should be at its higher price point. What the 90x does better than other high-end cartridges is combine transient speed withrich, fully articulated timbres, so, for example, on plucked violin and guitar strings you don’t hear more of the starting transientthan you do of the note’s steady-state tone and decay. With the 90x you hear each with equal clarity and realism. The Shelter car-ries this transient speed and tone color into the deep bass (the 90x’s bottom end is the finest JV has heard in a moving coil-car-tridge) and top treble. On top of this, the 90x’s staging, imaging, and resolution are competitive with those of cartridges thatcost two-to-four times as much, making it a genuine bargain in ultra-high-end gear. JONATHAN VALIN (Review forthcoming)

WWW.THEABSOLUTESOUND.COM 39

Welcome to our third annual Product of the Year Awards, in

which our editorial team picks the most outstanding

components from among the scores reviewed over the

past year. Our Product of the Year Awards go not just to the most

expensive items but to those that best combine sonic performance,

technical innovation, value, and significance in the marketplace

(such as redefining the performance available at a particular price

point). We also award an Overall Product of the Year to the one

component we consider the single most impressive.

the absolute sound’s

2OO4product of theyear

awards

40 THE ABSOLUTE SOUND ■ FEBRUARY / MARCH 2005

VPI Super Scoutmasterand VPI TNT HR-X

$5000, $10,000www.vpiindustries.com

VPI’s Harry Weisfeld continues to push the limits of what is possible with LP playback,and his two newest releases (both come fitted with arms) challenge what’s possible attheir price points. HP, who has been following Weisfeld’s work for many a year now—actually, 24 of them—all but did back flips recently over the Super Scoutmaster, whichuses a 9" version of the JMW Memorial arm and the same motor system as the HRX. HPwas particularly taken with the combo’s low noise, saying, “…with the Super Scoutmasteryou simply are not aware of any contribution the playback system is making to the sound, so tremendously far down are its noisecomponents.” He concluded: “No doubt Harry Weisfeld will, one of these days, build a better mousetrap, but for now I reallycannot see how.” At double the Scoutmaster’s price, VPI’s TNT-HRX comes equipped with the 12.6" tonearm, a three-layer(acrylic-aluminum-acrylic) chassis, a new solid clear acrylic platter mounted on an inverted three-inch bearing, and a host ofother innovations. Anthony Cordesman described the TNT HR-X as “…a superb and highly synergistic set. The devil inturntable and tonearm design does not lie in radical innovation, but in a constant attention to detail, and refinement based on lis-tening experience.” AC also went on to note the VPI’s extremely low noise: “What you get with the VPI TNT HR-X and VPI12.6, however, is as close to the sound of silence as I have yet heard. This is not just a matter of the best signal-to-noise ratio Ihave ever heard from an analog front end. There is an amazing lack of low-level coloration to the sound.” WG (Super Scoutmaster

reviewed by HP, TNT HRX reviewed by Anthony Cordesman, both in Issue 151)

Manley Steelhead $7300www.manleylabs.com

A Golden Ear Award winner this year, Manley Labs’ Steelhead is one of the great preamps. Ostensibly aphonostage, the Steelhead also has a pair of line-level inputs (and the freshly caught Skipjack switcher lets

you add more) that allows you to use it as your main preamp. Which is what you’ll want to do, as theSteelhead is one of the quietest, most detailed, and highly musical preamps out there. A quasi-hybrid (a

single J-FET resides in its otherwise all-tube circuit), the Steelhead has a stunningly crafted RIAA stage,accepts three phono cartridges, and gives you so much control that you can fine-tune it to get the best out of any cartridge.

WG (Reviewed in this issue)

McIntosh MC2102 and McIntosh MC402$6100, $5100www.mcintoshlabs.com Tube amplification or solid-state? Industry legend McIntosh makesthis sometimes-agonizing choice deliciously easy—or deuce diffi-cult, depending on your POV—with the 100-watt KT88 tube-driven MC2102 or the 400-watt transistor MC402. In his in-depth dual review, Paul Seydor concluded that they were “…themost completely pleasurable electronics I’ve used in nearly fourdecades of pursuing high-end audio.” PS found this pair remarkably similar insonic character, adding that they could easily be mistaken for each other, but opined that the betubed MC2102 (at moderate lev-els) was a little yielding and forgiving in comparison to the solid-state MC402, which he described as “more forthright, defined,and transparent.” On big orchestral works, the unbridled power and control of the solid-stater might be the way to go, but onsmaller, more delicate material and vocals, the vivid yet neutral mids and the “roundedness and solidity” of the valve unit makesit an unquenchably seductive alternative. Both offer balanced and unbalanced inputs and heavy-duty WBT speaker terminals.Exceptional build and parts quality are matched by the Mac’s classic good looks, with trademark black glass faceplate against ice-blue backlighting. Whether you choose poise with power or power with poise, PS concluded,“You’re unlikely to find betteramps…on the planet.” NEIL GADER (Reviewed by Paul Seydor, Issue 147)

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