It's here! Lehmann Decade Phono Preamp review!

After many months of saving for a phono preamp upgrade, researching, and deciding where to take my sound, I happily pulled the trigger initially on a Lehmann Black Cube SE II. Consulting @avanti1960 helped tremendously as he's had a VPI turntable as well as the same cart (Dynavector 20X2L) and preamp (Dynavector P75 MK3) I used and with whom we share a similar sonic philosophy. But a great deal led me to return the BCSEII unopened in favor of its big brother, the Lehmann Decade, which I bought used for $1200. When considering its retail price of $2100, that's a whopping 43% off!

For those of you keeping score, I've "only" been in the vinyl game since August 2016 when I opted to buy a 2M Blue-equipped used VPI Nomad (version 2), the ancestor to the Traveler, with an embedded phono preamp. 6 months later, I upgraded to what I listed above along with a VPI Prime.

Each step has been a significant upgrade in more ways than one! I've never been a fan of lateral moves, selling and buying a bunch of similarly priced and performing components and then squint aurally to figure out the subtle differences. I like to buy equipment that (at least on paper) should provide the buyer with huge gains.


OK, let's get on with the show...

As shown above, the Decade comes in two separate enclosures, one containing the phono preamp and the other, the PWX II power supply... which is a redesigned updated unit from the one that comes with the Black Cube SE II, the PWX. This redesign accounts for a significant increase in SNR so as to allow for a quieter preamp. An XLR cable links the two boxes together. As noted by Stereophile, it "contains two class-A, zero-feedback gain stages per channel, sandwiched around a passive RIAA equalization stage". MM carts can be loaded with 36db and MC carts with 56db. The "High" switch in the front applies another 10db of gain to whichever setting is used, elevating the max gain to 46db and 66db for MM & MC carts respectively.

The "MC" switch at the front of the unit is for toggling between MM and MC gains. A bass filter switch is represented by a sloping line. Lehmann states this affects bass frequencies at 50 hertz and lower, using a downward sloping reduction in decibels. I would like to stress that it is *not* a subsonic filter, as many users (and even publications) have inaccurately labeled it, although it does also affect subsonic frequencies but isn't limited to merely those frequencies. Thankfully, the 3 blue LED lights aren't overpowering like a lot of modern devices!

Underneath the device are DIP switches allowing the user to customize the capacitance and resistance load, a refreshing change from quite a number of preamps requiring the unit to be opened for any such changes. Allowing for even further tweaking, are two internal DIP switches for selecting custom resistance, not something I ever felt the need to experiment with. The resistance load settings are the following ; 47 kOhms, 1 kOhm, 100 ohms, custom load. For my 20X2L cart, 1 kOhm sounds best, using the full 66db gain.

The PWX II's design allows for a simple 3-prong cord to be plugged into it, therefore no wall warts. However, it is slightly disappointing that this unit couldn't come with a higher-end power cable that could potentially benefit the sound.


** In order to better understand this review, a bit of background is necessary. I am not one to shower praise gratuitously and it takes a lot to impress me. Furthermore, I am utterly objective when auditioning components. There is no faith or allegiance to any brand. **


Enough of that... How does it sound, you ask? In a word, glorious! From the very first note, the change was immediate, obvious, and enormously appreciated. Although the P75 is a decent phono stage for its class, I did find it easily overwhelmed when dealing with complicated musical passages which would usually show itself with blurred notes and a "wall of sound" quality, as if it wanted to get rid of these challenging seconds as quickly as it could. It also arguably featured a smokey presentation which I did not fully appreciate as a compromised quite a number of my records' enjoyment. That is not to say the P75 was underappreciated by yours truly but rather that after a while, I was able to identify its shortcomings, even with the benefit of auditioning other phono stages prior to purchasing the Decade.

On playback of any LP I threw at it, even those with immensely chaotic passages, the Decade is an agile resolving phono stage able to effortlessly make sense of any amount of dense musical information coming its way thereby beautifully crafting a surprisingly deep, tall, and especially wide soundstage. Alongside its craftiness, the extension on both low-end and high-end frequencies is welcome, not due to any exaggeration but rather because of how refined it is. High-end frequencies are breathtakingly airy while the low-end is obviously tighter. Especially in contrast to my P75, the difference was remarkable. Keep in mind that my listening room's width is merely 9' which is why I wanted a phono stage which could create a bigger soundstage in every sense. I can honestly say that it feels as those my room is deeper by a few more feet thanks to the Decade.

While the high and low-end frequencies are neatly displayed, the star of the show, in my view, is the midrange. The ability to sift through a wall of sound and present a natural and organic (not to mention musical) presentation never ceases to amaze. I would like to stress that this is not a phono stage which will grab you by the throat to make you pay attention to it. Instead, it just does a ridiculously impressive job of making you rediscover your albums in a way you never thought possible and then gets out of the way. Am I overselling it? If so, it's only by the smallest amount, I assure you.

In theory, a new & improved component should deliver something new and this phono stage certainly delivers on that front! The last track of Side A on "Crime" is IMHO the most cluttered and challenging. With the Decade, it was a pleasurable listen and I was able to easily detect a couple of guitar parts which were previously smeared by the P75. A side-benefit of the Decade is how pops and ticks aren't as pronounced. Of note, the baclground noise such as the space between the tracks, lead-in, and lead-out are also much quieter. I'm assuming this is what professional reviewers refer to as "blacker backgrounds".

In contrast to the P75, I'd say the bass is much tighter and ever so slightly receded in a tasteful way. Either that or the P75 exaggerated its bass frequencies. Since I've acknowledged the Decade's penchant for "truth" in its presentation, I'm inclined to believe the latter. Having put the Decade through its paces, I can say this unit will not output exaggerated boomy bass. For those needs, look elsewhere. Using the same settings on my sub as I did previously, I never felt the need to turn its volume up. To sum it up, the bass frequencies are more refined and sophisticated, therefore more rewarding. The decay of bass notes is refreshingly quicker and spirited.

Since nothing is perfect, is there anything of a not-so-glowing nature I should mention? Aside from the plain ol' regular power cord, the bass filter isn't something I kept activated for long. Although Lehmann explains it's to promote dynamics and de-bloat some bookshelf speakers, the difference was too pronounced on some LPs. I much preferred just letting my KAB subsonic filter perform its duties. Personally, I would have preferred a true subsonic filter in lieu of this bass filter which does act in the subsonic range but also affects higher audible bass frequencies. It also would've allowed me to remove one device from my chain.

In a strange design move, the RCA jacks are grouped by channel, meaning the In and Out left jacks are on one side of the Decade's back while the In and Out Right jacks are on the other side. The result is that the "red" is on the far side and the "black" is on the far other side. This may be minor but those of us using interconnect cables with not enough "give" after spreading the wires apart to plug it in might need to use/buy a different cable.

Truthfully, I was not expecting it to make as big of an impact on my system's performance and my enjoyment of it as it has. And in the end, it's all about tapping your feet and enjoying the best sound possible. In view of all this, I made out like a bandit! Lastly, would I buy it again? To me, that is a hell of a lot of money but even I have to admit that even at its full retail price, this unit is a bargain for what it does. Its only real competition at this retail price, in my view, at least on paper, are tube phono preamps. While I listen to album after album with a huge smile on my face, not once did I ever regret my purchase nor wish for tubes.

Try one from a dealer with a generous return policy. You won't be disappointed!

FOR :

• Utterly fantastic presentation
• Chaotic passages are now coherent
• Quiet
• Airy highs
• Natural organic midrange
• Tight bass
• Customized load for those who enjoy tweaking
• Available in black or silver
• (Bass filter to tame boomy speakers)

AGAINST :

• Plain bundled power cord
• Largely separated RCA jacks
• Lack of a true subsonic filter

Lehmann Decade Phono Preamp
Price : $2100
Max MM Gain : 46db
Max MC Gain : 66db
Decade < Phono Stages < Lehmannaudio

 

Paging @Ulises !

 

You missed your calling. You should have been a professional audio reviewer. Nice writing!

 

Nice...thanks for the right up! ...and Congrats!

 

Nice review.

I heard the Decade at a dealer a few years back and it made great music and when they switched in a far more expensive phono pre there wasn't all that much of a difference in musicality although there was a sonic change but I didn't think it was better, just different. Art Dudley praised it and I trust Art. TAS also gave it a great review. I should have pulled the trigger and bought a used one on Audiogon a few years back but the early bird gets the worm and I wasn't that bird.

Enjoy

 

Thanks John!

Things will be busy for a while as I'm starting a new job but when things calm down a bit and we both have time, it'd be my pleasure to have you over to listen to it or bring it to your place and show you how it can elevate anyone's system. It's a pretty damn good piece of gear and quite unassuming in its looks, too.

Thanks, bud!

As I essentially wrote, it'd be quite hard for me to imagine anything out there dethroning the Decade. Although not cheap, its performance is such that I have no doubt it could hold it's own with many many devices above its price.

Do you remember the price of that used unit you saw back then? What year was this?

 

Just listened to a dozen more albums, all sounding the best (by far!) they ever sounded.

Currently am listening to Coldplay's Parachutes, another album with a lot going on. This preamp makes all the atmospheric sounds delightful to take in.

 

congrats strat, and have others have said already - well written review ! by the way, don't sell those bass roll-off filters short. although somewhat cryptic to use, they are actually more versatile than your basic subsonic filter and still perform that function as well.
you have your choice of roll-off frequencies (where the knee of the curve begins according to my BCSEII manual)
the higher the frequency, the more extraneous bass / sub bass energy you reduce coming from your woofers and the more dynamic the sound becomes. - e.g. you can set it for 50 - 60 Hz or something like that and also as low as 23 Hz or so. Set it as high as possible without affecting the sound of the bass and you will have the best sound. the slope of the filter will continue on such that subsonic frequencies will also be reduced by a certain amount per octave.

 

That is something I should have expanded on.

Unlike its brother, the Decade does *not* have multiple bass filters available for selection. Only a single non-configurable slope can be used which affects frequencies up to 125 hertz, as shown by the lab report from Hi-Fi News. My own usage reveals some audible frequencies are indeed affected when it's turned on.

That is one advantage the Black Cube SE II has over the Decade but I shouldn't be surprised as the BCSE II was released in 2013 whereas the Decade is a slightly older design released initially around 2007, as far as I can tell. It would be nice to include that feature in future releases of the Decade but it's a minor quibble and the reason my KAB RF-1 subsonic filter isn't going anywhere.

I will expand slightly on the fact that the Decade allows its users to solder a resistor of their choosing which can be put in parallel with the 47 ohms loading which I think is pretty damn cool and something I haven't seen on other phono stages but since I'm no tech and don't hear anything out of place or in need of any sort of improvement, that isn't a feature I intend to experiment with. For tweakers, that has to be a great advantage.

Aside from that, it's a wonderful phono stage I highly recommend to just about anybody able and willing to spend the required $2100.

 

Isn't that great? This is the most rewarding aspect of the hobby to me.

In my case with my new Tavish Design Adagio phono pre, I'm still amazed with each long-time familiar LP I play. Can't wait to get off work to go home and play some more!

 

There were lots of options I was considering before landing on the Decade. I could have theoretically spent $300 more for a used Chinook but it could've taken a year to see one at that price. The Adagio was a possibility but I didn't feel like waiting months for one to be built. Same with the Decware ZP3.

The great price I got on the Decade sealed the deal. Like I mentioned in my review, I never once regretted not going with a tube unit. Having said that, my next amp will be tube-based so some of that tube warmth will find its way in the chain somehow.

Thanks for reading!

 

@Strat-Mangler awesome review! I agree you missed your calling as an audio reviewer. Mine arrived last night and I have been through a few albums. Initial impressions are that this is a worthwhile (okay, bonkers) upgrade coming from the Lounge LCR/ Copla. I too was going back and forth about tubes and transformers and also very tempted by the Adagio, but I found an open box version of the Decade and was able to do a bit of negotiating to get to a good price, albeit not one as good as yours. I have a tube integrated and Harbeths so I felt like a little German precision would make for a balanced and pleasing presentation. It's certainly feeling like I was right. I'll share a longer review after I dig in but so far I'm happy to report your impressions are ringing true. Enjoy the records this weekend.

 

Glad you were able to get a cheaper price on one. Regardless, it's a fantastic value for what you get.

Keep us all up to date on your new toy, my friend. Inquiring minds want to know your detailed impressions after you've spent a bit of time with it.

 

Great job on the review.

 

@IanL If you still have your P75 MK2, I think you should read this!

A definitely most impactful change in my system! Food for thought, my friend.

 

So glad it exceeded your expectations! I know you were very excited about it.

 

I do still have the P75, and yes, it is now the weakest spot in my system. Sounds like you got a great phono preamp, congratulations!

My tastes are for tube (and tube rectified) components these days, so although I am not ready to make an upgrade, my research has centered on the Decware and Audio Note Kits models. Since I am pretty set on using SUTs rather than active MC gain stage, I am concentrating on MM only.

Your description of your new preamp's ability to unravel complex musical passages sounds like it would be a big step up from the Dynavector. Again, congratulations!

 

As promised, here are my initial thoughts on the Lehmann Decade. Thanks to all of you on the forum who have virtually served as my audio mentors (er, enablers). First, a little context. The reason I started looking for a new phono stage was due to a recurring outcome that arose when comparing my analog and digital chains.

In addition to doing this comparison myself, I would also do it with others. It would usually go something like this. Friends would come over and wonder at the gear in my listening room (also a playroom and a TV room, but I digress). They might ask questions about the system, which is comprised of a Primaluna Dialogue Two with NOS tubes, Harbeth C7ES3s, a JL Audio D110, and the analog and digital setups described below. If someone expressed interest in hearing some music, we’d sit down and listen for a bit. One of my favorite things to do in these moments is cue up Roon and a record at the same time and switch back and forth. For some reason, my wife doesn’t find this exercise nearly as interesting as I do, so I'm always excited to share impressions with someone else. My digital rig is Roon + a souped up Mac Mini + a Schitt Gungnir Multibit and Eitr. My analog rig for the last year has been a VPI Classic with Ortofon Quintet Bronze fed through a Lounge LCR/ Copla.

For the analog/ digital taste test, I’d do my best to match volume. I’d cue everything up and hit play, switching back and forth between same tracks. Results were consistent enough to report a pattern. Everyone would marvel at the solidity and exoticism of my VPI Classic and its shiny ring clamp, listen politely, and announce with some hesitancy they preferred the Gungnir. It drove me a little crazy, but I had to agree. The Gungnir had a noticeably wider soundstage, great detail, and equal depth. Over the last ten years, I’ve invested a lot in records and the equipment necessary to play them. I don’t want them to sound good; I want them to sound transcendent and addictive so I can put the Ipad away, stop messing around, and enjoy the collection I’ve spent twenty years building. I want black magic. I’ve enjoyed the Lounge and will happily continue using it in another setup, but I decided to see if I could get to the next level on my main system with something more commensurate with the Gungnir. After finding a good deal on an open box Decade, I decided to go for it. Have I finally caught up with my digital chain? Read below.

First, though, let’s talk about the boxes themselves. Fit and finish wise, Strat Mangler is right—the power cord looks like something you’d find in a Goodwill next to cheap, half-functioning printer. Otherwise, I like the understated design and, especially, the low-profile of the boxes. Nestled between my Classic and my Primaluna Dialogue Two, they have a pleasing restraint that lets the two bigger pieces of equipment stand out. My black Decade is solid, minimalist, and all-business. It doesn’t draw a lot of attention to itself until the needle hits the groove.

Before I dig in, let me caveat that, other than my annual day at RMAF, (I live in Denver) I don’t get a lot of exposure to high-end phono stages. Last year, I had a memorable experience there listening to an EMT/ Sugden/ DeVore rig play the Grant Green version of “My Favorite Things” from Matador, but that doesn’t exactly make me a connoisseur. To properly evaluate the Decade, I’d have to hear other stages in this price range. That said, I’m pretty much gobsmacked by the level jump here.

I listened to a lot of records this weekend, and a few consistent themes jumped out. One attribute, already pointed out by Strat Mangler, is the Decade’s ability to cast a wide and deep soundstage. Listening to sixties siren Julie London sing “You Go to My Head,” the band isn’t cramped together, but spaced out and taking their time. This space, and the Decade’s impressive quietness, allows for detail to emerge with cohesion. As a listener, you can jump from musician to musician, picking who to follow, or you can lean back and just enjoy the show. This brings, for me, a new dimensionality to listening. For example, listening to “Love For Sale” from Cannonball Adderley’s Somethin’ Else, I found myself noticing for the first time the interplay between Sam Jones and Art Blakey instead of just paying attention to the legendary horn section.

The Lehmann, I find, also delivers a thrilling depth. I love the record Mateo Y Trasante featuring Ecuador’s Eduardo Mateo. This record, and the track “Amigo Lindo Del Alma” especially, goes subterranean thanks to Mateo’s soulful playing and singing and Jorge Trasante’s percussion. I recently added a JL Audio D110 to my system as well, and its ability to plumb the depths with precision and musicality completely changes the experience of listening to songs like “Amigo.” Similarly, listening to Michael Chapman’s album Window was like hearing a choir in a cave lit only by a few candles, and on Laura Marling’s opening track from Semper Femina, “Soothing,” the bass thundered across the soundstage bringing some slam to this nouveau British folkie in the best way. There was more of the same available on Thundercat’s “Them Changes” and Fleetwood Mac’s “Angel.” With the Decade in the system, this depth doesn’t come at the expense of the rest of the listening experience.

This depth doesn’t come at the expense of detail. Late Friday night, I found myself listening to Kris Kristofferson’s album The Silver Tongued Devil. One of the great joys of my record collecting journey has been discovering that pretty much everything recorded at Fred Foster’s Monument Studios in its heyday is worth snapping up. I remember buying a ubiquitous Roy Orbison Greatest Hits collection and realizing over time it was one of the best sounding records I owned. The Silver Tongued Devil is no exception, and it didn’t disappoint through the Lehmann. There is a plodding country bassline on “Good Christian Soldier,” and I noticed it no longer sounded thuddy. I caught the variation and vibration, and when Kristofferson started in on his Luke The Drifter style talking section, I could hear the crackling weariness in his voice.

Another track where new detail jumped out was on Valerie June’s “Shakedown.” At the time I was listening, I’d put my girls to bed an hour before, and the first few times the backup singers started shouting and stomping, I turned down the volume because I thought they were two floors up making last-minute, pre-sleep requests (as is their custom). I’ve listened to this track a lot, but I’d never really noticed the backup singers. Suddenly they were an equal and compelling part of the song’s makeup. It reminded me of the backup vocals in “Do I Move You” from Nina Simone Sings the Blues so that was what I played next, only to find more (much more) of the same.

Downsides? Apologies, but I’m a little too geeked at the moment to find many. If I had to point out something, it would be that the Decade is not a romantic component. There were a number of recordings I had high hopes for that sounded just okay. Slowdive’s self-titled recent album has been one of my favorites since it was released, and during “No Longer Making Time” things got a bit muddled in the heavy sections. Similarly, some of my indie rock favorites like Kurt Vile’s “Jesus Fever” lacked the expansiveness I was hoping for. On the whole, Valerie June’s The Order of Time wasn’t as revelatory as I wanted it to be. I chalk this up to the Lehmann’s truthfulness and consider it a small price to pay for the joys to be found elsewhere.

At the end of the day, the Decade is bringing me closer to the emotional intent of recordings. Menacing electronic tracks like Nicolas Jaar’s “Three Days of Nazareth” and Helm’s “Eliminator” from the Mono No Aware compilation are more sinister, dance tracks like Caribou’s “Can’t Do Without You” are more propulsive. Serge Gainsbourg sounds even creepier on “Ballade de Melody Nelson” (to the point where it’s a little uncomfortable). Listening to Percy Sledge sing “It Tears Me Up” tears you up just a little more. Otis Redding singing “A Change is Gonna Come” is a little more inspiring.

Isn’t this what the quest is all about? I’m sure there are other thrills to be had in this price range, and it’s likely a SUT could take this to another level, but I’m not in any hurry to part with the Decade or upgrade anything for the time being. No, it doesn't gloss over recording flaws, but if the engineers managed to bottle lightning, the Decade uncorks all the vibration, shimmer, shimmy, and ache that’s there to a degree I haven't encountered at home before. Does it beat the Gungnir? Honestly, I haven’t played any digital tracks on the system since the Lehmann arrived, but early impressions point to a new sheriff in the listening room.


PS

If you’re interested in any of the tracks mentioned above, I put them on Tidal here:

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Nice reviews guys!

I've mentioned it before on here, but I'll say it again....the Lehmann phono stages across the board really are great values and fantastic sounding units.

 

Glad you're enjoying your unit, buddy!

Great review as well. I agree it's not a romantic-sounding unit but even though I tend to have a bias when listening to them, I haven't found myself thinking the sound is lacking anything. The way you illustrated how you're able to pick and choose whom to follow and discover new parts within familiar songs is much more on point than what I wrote in my own review of this impressive device. I've heard new interesting things and have felt it more rewarding than ever to listen to albums I believed had no more mystery to me.

It'd be interesting after you level-match the volumes for you to have your wife blindly pick her favorite between your digital and vinyl chains now.

 

Thanks! Yeah these albums I mentioned aren't unenjoyable by any means. It's just that some albums (I assume those that arent as well recorded, or maybe sourced from digital) don't level up in the same way as others.

Will work on my wife. Maybe if I make her some cocktails she'll indulge me in a comparative listening session. Normally, she prefers one source at a time

 

Tell her it's only for 5 min. Arrange everything in advance so she doesn't have to sit waiting for it to all be configured. Maybe a brief explanation of what the point is will make things clearer to her. Either way, good luck and report back.

 

Great idea. Will do.

 

Nice reviews from both of you, thanks for taking the time to share them with us. A lot more detail and context than "you should buy this" or just some photos (which I DO like for what they are), which makes it very useful to others.

 

Thanks for the review Strat. You tried the 100 ohm load on the Dyna and you preferred the 1k?