Fosgate Phono Pre

Hi folks,

Anyone hear or have this unit? I love the look and have had a couple of sales- pitch raves. Currently using a Sutherland PHD. Nothing wrong with it, probably just looking for a little audio excitement !

Thanks,
Bill

 

Excellent value for the money. Tonally compelling. Drum sound is especially good. Responds well to tube rolling. Soundstaging can be bettered by others in the price range (Cary PH302).. But, depending on the rest of the system, could be the perfect phono stage in the $2500 range. Audition before purchase if you can.

 

If your into tube rolling, it can't be beat for the price. With the stock tubes it's nothing special. With the "right" combination of "NOS" tubes, the unit comes alive! Excelling at clarity, dynamics, bass slamm, sound stage and coherance. It's like a PHD with more PRAT and dynamics. DC clarity and active circuitry drive. I run mine through a highly modified Cary pre-amp.

Here is my tube selection- all 1960's vintage:

V1- Amperex Holland 6DJ8
V2- Amperex Holland 6922
V3- Telefunken Smooth Plate 12AX7
V4- Raytheon Grey Plate 5751
V5- Brimar Black Plate 12At7
V6- GE Black Plate 6201

Rectifier- Sylvania Black Plate 6X4 round getter

(I have about 15 different 6X4 tubes that I've tried)

 

Thanks so much, guys. I plan to audition one and would like to see if I can grab a decent price for the PHD. If not, the good news is that the Sutherland is still a nice unit.

Best,
Bill

 

I bought one and love it. My first serious phono stage. I haven't done any tube swaps yet but am hoping to. (I wanted to get used to its sound 'as is' before tinkering with the sound). I auditioned a prototype a year or so ago thanks to a forum member and had a hard time listening to my system after it left.

 

Hmmm, comments like that can get me going. I do love fooling with tubes in my BAT preamplifier and Cayin headphone amp. I agree with letting it settle first, though. Thanks for the review.

Bill

 

Review:

http://www.theaudiobeat.com/index.htm

 

Thank you Lee for the timely link to this review. I'd just like to clear up what might be a confusing issue regarding tube pairs. You do not need matched pairs of tubes for the Fosgate. The circuit is layed out in a dual mono configuration. One half of the triode in positions V1-V6 is used for the left channel, the other half for the right. I'm using a cartridge with .38mv/3.54cm into a 20db of gain balanced tube line stage. I would definitely advice not using a cartridge with output lower than what I'm using with the Fosgate. I'm getting a good match because the cartridge I'm using excels at dynamics and transient speed and I have plenty of quiet gain in the line stage.



Here is a picture of the inside, you can't see the topside capacitors or transformers though from this aspect. However, note the large circuit board traces.

 

Yeah, that review suggests that a lower output than .8mv wouldn't be acceptable, and when I had the Fosgate here for photos, it worked fine with everything I had in the .5mv range.

Unfortunately, Randy and others that had a chance to listen to the prototype have all said that the final production unit was not as compelling as the original. Would be nice to know what they changed...

When I listened briefly to the prototype before shipping it to Randy, I found it pretty romantic. I can see why the AudioBeat guy found it a fantastic match with the very analytical (and very dynamic) Clearaudio DaVinci, one of my other reference cartridges.

 

I sure agree that it would sure be nice to know those differences and quantify why they existed. I'm presuming the AudioBeat is the only review out there? A "google" hasn't turned up anything for me. My cartridge, a Koetsu at .6 mv ought be fine, I suspect.

 

The one obvious change was the original "prototype" used a 12X4 rectifier tube, while the production version uses a 6X4. If you do some research, not many pieces of audio gear other than some "Tubey" sounding Dynakit models use a 12x4. What other changes were made, I don't think we will ever know.

Over the years I have observed a trend for manufacturers to revise a products voicing more towards neutrality when "reviewers" report that the sound was: Warm/Romantic/Rich/Tube-like.

The production version has what is known as the "modern tube sound"- IMO. Other than a small amount of "bloom", there is none of the classic tube sound that was evident to some extent in the prototype.

On the positive side, the all tube signal path lets you clearly hear tubes swaps made in any of its (7) sockets. You can easily transform the sound of this unit to suit your taste. I was able quite easily to settle on a tube combination that more than satisfies me. I'm sure that other owners will be able to do the same.

 

I was originally running my P5 into the phono inputs of my old 1963 Eico integrated, so when the prototype Fosgate arrived via Randy, and we played some favorite discs, it was quite the revelation for me. Over a year later - a long wait - I got my new Fosgate (w/ Jan Phillips tubes) and the revelation was renewed. I was not aware of any differences, but then again I hardly have the experienced ears Randy has. The improvement to my system seemed pretty close to what I remember hearing a year or so earlier after I played the same vinyls. It would have been ideal to compare the two units closer in time. Nevertheless, for me, the Fosgate was a big step up. It should be interesting to do some tube swapping.

 

Hmm, that original sounds pretty special. That kind of sound is my preference.

 

I'd love to be able to chime in more here...but I sold the first one I had in a day and the distributor isn't expecting more until September...

It did sound fantastic while it was here, gave it the run through on an original Cream Wheels of Fire from my personal stack and it did justice to the highs, lows and mids with incredible stereo imaging.

 

October issue of "TAS" features a printed review of the Fosgate Signature phono.

 

It sure is pretty. I'd love to hear it.

 

Have not seen the review in TAS yet, but I look forward to reading it.

The prototype was prettier IMO (more expensive silver finish) and it was hand wired in the USA... but it needed to meet a price point for production - or so I was told.

I should elaborate on what I've said (and reported to have said) about the presentation of the production unit v.s. the prototype. If I could boil the difference down to one thing - it would be that the prototype had a more liquid tone. The soundstage of the prototype was deeper, more natural and the presentation drew you in more. I would not call it romantic as much as more realistic. Pretty much everything else sounded the same. The difference I heard was not huge, but it was enough to make me re-think my evaluation. Not sure how much reproducing the prototype's construction would have added to the cost. At $2500, it's still one of the genuine bargains when it comes to phono stages.

 

Thanks for that bit of info on the hardwired prototype version. I'm a believer in that approach to a certain extent. When my warranty expires, I may take my unit apart and hardwire the connections that will make the most difference and 'upgrade" some of the passive parts. I'm sure Mr. Fosgates personal unit must be hardwired with premium parts and NOS tubes.

 

Hi guys, I was just reading TAS review the other day and I'm very intrigued by this phono, so it was great to stumble on this thread by accident.

I am currently using the phono in my rogue 99 preamp and its pretty good, although I dont have to much experience to compare it too.

I was thinking if upgrading and one choice was that I might be able to get a mac c2300 for a pretty good price (NOT for the $2500 the Fosgate would cost). but this phono really has my attention. so it's more of the usual dilemma, keep what I have, add the fosgate to what I have or get the Mac. 75% of my listening is to records.

Thanks Brian

 

my equipment

 

Brian, not to go off track, but how do you like the 2M Black/P5 pairing?

 

I've spent my whole life going off track, so thats no worry.

I've had it for about 3 months so its good and broken in. That said I like it very much, it was a good step up over the stock elys 2. It has more seperation and detail. though the low end isn't as prominent as it could be but I believe that is because the mids and highs are now more prominent. this cart is in no way bright and it is not lacking in bass, I don't want anyone to miss understand me. I would rather say its more balanced.

I just bought the p5 about 6 months ago and I had an elys 2 from my p3/24 on the p5 for about a week to see the differences in 2 tt's, before getting the 2m black. so in a round about way I say 2 thumbs up.

Thanks Brian

 

Regarding cartridge output limits, I am using a ZYX Universe that has a stated output of .24mv and it works fine with the Fosgate. Max volume for me is around 10-11 o'clock on the preamp (Plinius). At that level with no input, you can hear some tube rush but it's not very pronounced at the listening position. Jim had reservations about my cartridge with his unit, but I am more than satisfied.

This preamp is magical in its inner detail, sense of air and ability to gulp complex highly dynamics without a hint of congestion or clipping. Captures the woody, chesty sound of a cello beautifully, yet renders powerful bass and slam when required. And at this price, I would call it an absolute steal.

 

Its my understanding that Mr. Fosgate owns over 40 cartridges. I'm sure he has listened to many more. I start to hear some "tube rush" around 11-12 O'clock through my line stage that has about 20db of gain. But its low enough in level to be under the analog noise floor. How much gain does your Plinius line stage have ?

 

Cartridge-Pre Amp gain

The specs in my pre amp (Plinius M8) manual don't show gain. I have seen Jim's cartridge collection, pretty impressive. He said when his house was remodeled a few years ago, a box with a similar collection got thrown out by mistake!