[Review] PS Audio GCPH Phono Amp

PS Audio GCPH Phono Amp

I've had the GCPH for a few months, and feel confident that I know it well enough to write a brief review. It has replaced a Trichord Dino/Dino+ combination, which has served me well over the years. Fed music from my heavied Spacedeck/Spacearm/KontrapunktB combination, the Dino always impressed by being very quiet and detailed. I would have characterised it as being quite musical, and it is, however without giving the game away too much, the GCPH knocks it into a cocked hat.

The Dino has always been a bit of a pain in that it's so light that supporting it properly is almost impossible; also it is prone to interference from DECT phones etc. It was usefully upgraded with a Trichord High Performance Power Lead, but that is so stiff that the Dino is almost lifted off the rack by the lead. The GCPH is very conventional in comparison - one simple and very nicely made metal box, with a thick alloy front panel, giving options for mono and signal inversion. There's a volume control which allows the GCPH to be used straight into a power amp, for those who have only vinyl sources. Round the back are RCA inputs and both RCA and balanced outputs. Small rotary switches allow gain and loading resistance to be adjusted - there is no adjustment for capacitance. I do like the huge gold plated earth post, which is by far the least fiddly earth post that I have ever used on a phono amp.

It doesn't take long to set the gain and loading. The instructions say that the volume control should not be used above 3/4 setting, but I find that maximum is fine into the Lyngdorf TDA2200. If there's a reason why max volume cannot be used, then it escapes me, and the amp sounds fine. I have been using the balanced outputs, via Kimber Balanced Silver Streak interconnects. Mains is fed via a Vertex mains lead. The gear sits on an Ash Designs rack, which I keep because it looks domestically acceptable.

Straight away, the sheer quietness of the GCPH impresses. You have to crank the volume right up and press an ear to a tweeter to hear noise. In this respect it's much better than the Dino, and I suspect most other phono amps. After a couple of months use, I find it to be very detailed and dynamic (the latter being something that the Dino was perhaps not so good at), but above all musical. There's a foot-tapping allure to the way music is presented, but until I popped a set of Stillpoints underneath the GCPH, I had no idea of the level of performance that this humble £800 box could deliver.

On Stillpoints, sitting points down in Inverse Risers, the sound magically assumed a natural feel. It's very difficult to articulate that feeling, but taking a record like Mary Coughlan's 'Tired and Emotional' I was suddenly presented with her in the room with stunning reality. Also, guitar string details became sharply etched, yet still with a lovely analogue liquidity. The soundstage leapt out to beyond each speaker, but in a believable way.

So, I am very happy, and thrilled to have reduced the box count (again). The GCPH can be recommended without hesitation, as can Dave of Blade Audio ( http://www.blade-audio.com ). Just remember, though, that the true potential of this remarkable product is only unleashed when proper attention is paid to supports, and I have no problem in shouting out the benefits of Stillpoints in that respect. I had to be dragged kicking and screaming to Stillpoints products, but now I would not go back to Oak Cones for all the tea in China!

 

Great write up. I've got the Dino+ and was thinking of going the same way.

 

A bit pissed at the moment but:

how much were the still points? Might it seem like worse value once you add the 'essential' supports?

That said, a lot of your comments about the Trichord ring very true. It is cracking value but I swapped from the Dino (without additions and PS), to the Dussun 3i and feel I got a more even presentation without the need to upgrade in price terms. The weight of the Dino was a pain in the arse as well.

P.S I've tried RDC and ball bearing feet underneath the new Phono Stage with no difference to my ears.

Interesting comments and good review.

 

Well, at a getting on for £300 for a set of 3, many might consider the Stillpoints to be a luxury, but I've faffed around with not necessarily cheaper support and tweaking options (oak cones, torlyte, roller bearings etc) for too many years, and the Stillpoints have brought about a consistent level of musical performance under all my gear that is worth many times their purchase price in comparison with futile equipment upgrades. Have you ever gone chasing audio rainbows, spending thousands on new upgrade hardware, only to do the same again a few years later? Most audiophiles would admit to having done just that, unless they are very wise, cunning, or just good liars. For me the Stillpoints have enabled the GCPH to punch so far above its actual price point that I cannot conceive the need for a further upgrade. I am content, therefore, that taking into account the purchase price the Stillpoints themselves represent fine value for money; and yes, I reckon that the GCPH is still good value for money after taking into account the additional cost of the Stillpoints.

 

Thanks for the review, I've been thinking of buying one for a few months & done nothing about it, maybe this will help

 

For anyone interested there are 3 sets of still points for sale now on Wigwam for £400 the 3 sets

 

you could alwasy just damp the inside of the case, less rattle and heavier.

i've seen a few GCPH bounce around audigon for less than $1000..

 

I am interested in this unit - or even the underwood modified version. Does anyone have one in London I could listen to?

Regards,

Nick.

 

No but i could loan you the Anatek phonostage.

 

How much does the Anatek retail for?

 

£800. Hifi World rate it.

(Sorry chaps I couldn't help myself)

 

All I can say is that for exactly the same money, the Anatek would have to be very good indeed to merit a recommendation over the GCPH. A recent move to Avalon NP2.0 speakers has illustrated just how good is the GCPH - I clearly did not realise just how neutral sounding it is until now. That aside, it would be good if a British product were to be better value than one from the USA, but nobody should leave the GCPH off their dem list when looking for a phono amp, irrespective of price.

 

heard the anatek with the cheapy Kuzma and prologue amps into the SF elipses this weekend at the show.

And it sounded exceptional, spatious, clear, fine detail and dynamics and very liquid.

i'd be guesing it's a discreet class A unit, defo no opamp taint to the sound and no hint of valveness.

its on my to buy list, knocking off the GCPH purely because its british.

 

Does the anatek have balanced outputs and a volume control built it? If not then it doesnt fit the bill!

 

No but it sounds good though. Do you still have the FM 122?

 

surely unless its balanced going in you wont really get that much of a major benefit except for using long cables.
you could just use an unbalaced to balanced style cable.

 

all cartridges are inherantly balanced.....

 

No I changed it to MM to try with a step up as that improved the Borbely. Then they wouldnt change it back to MC without charging 2 grand which is a total ripoff!

I need balanced and with a volume control as I no longer use any kind of preamp.

 

Once I have that then I will convert the lagrange to balanced when I finalise my phono stage next year (maybe a VR3 with volume control added). The rest of my system is balanced already.

Very few phono stages have a volume control built in I just want something to tide me over for 12 months.

 

The latest version of the GCPH comes with a remote control.
Hum and hiss levels on the 230 VAC version (2 units tested) were found to be unacceptably high in a system that includes Music First Audio passive attenuator and ATC SCM20s. With other words no pre-amp gain after the GCPH and the ATCs sensitivity pretty low.
A stunning phono stage otherwise.