October 2012

Mr. Labs VERA Phono Preamplifier
VPI turntable's dynamic duo produces exceptional detail and soundscape.
Review
By Brett Rudolph
It is not hard to remember a time
when many people believed that the time of analogue audio would pass into the
history books and digital sound replace it. Luckily this was not to be the case.
The world of analogue sound continues as one of innovation, competition and
occasionally even revolution. The need to improve the performance and fidelity
of not only speakers and amplifiers, but turntables and phonostages continues to
increase. It is here that this review finds its humble roots. Recent increases
in vinyl material provided me with an excuse to purchase a VPI Aries turntable
complete with a JMW tonearm and Micro Benz Ruby 2 cartridge. The combination has
served me well. It allowed me to do a number of reviews on various components
and enhancements, including unbalanced RCA stereo cables since the VPI setup
provides a pair of unbalanced outputs.
Unfortunately, there has never been a simple or
commercially available way of to connect the tonearm directly to a phonostage.
This might seem somewhat trivial to most people, but to someone who continuously
strives to evaluate and explore new products it is oftentimes a very real
concern. However, MR Labs has come up with a unique phonostage which connects
directly to the tonearm alleviating this concern.
The
Technical Details
MR Labs is an audio company based in Florida. Their VERA
10F and 10R phono preamplifiers are designed specifically to allow the VPI
tonearms used on many VPI turntables to connect directly through the LEMO
connector. In theory this removes the potential of serious signal degradation.
It certainly removes the requirement to select the proper cable to connect the
unbalanced RCA outputs to a suitable phono stage.
The
VERA phono preamplifier's design begins which the aforementioned connection to
the LEMO connector. It then continues by providing a signal path of silver wire
shielded by Teflon. Unlike conventional phonostages, the VERA input stage
doesn't simply amplify the output voltage of the cartridge. It amplifies the
output current and then converts it to an output voltage in a transimpedance
topology of the input circuit. The only note here is that there are special
units designed for extremely high or extremely low voltage outputs. If you have
one of these you need to contact the company prior to ordering to make sure you
have the correct model.
Furthermore in an effort to decrease the possible
interaction between channels, the phonostage utilizes a dual mono topology. Each
circuit board is built by hand and utilizes all Vishay CMF resistors with
extremely low noise metal film types which have 50 ppm temperature coefficient.
The capacitors are Panasonic FC and are rated long life. All components are
selected to minimize sonic signature and increase signal purity.
According
to Mr. Labs, "Every moving coil cartridge is a balanced source intrinsically generating an output current as soon as its output pins are connected to each other in some way. The tiny output current (some tens of micro- amperes) flows into the fully balanced floating input of the TRIC input stage which is insensitive to hum pickup and electro-magnetic interference and is transformed to a reasonably high voltage. The TRIC stage is the perfect load for a MC cartridge and allows each and every correctly designed MC cartridge to develop its full potential. The topology of the TRIC input stage warrants an extremely low noise operation."
The
unit is powered by an external supply. This power supply delivers clean DC
through the use of three key components. These components include an oversized
toroidal transformer for primary voltage, a secondary voltage source. These two
voltage sources continually store power in a specially designed bank of
capacitors which supply the phonostage with the clean DC power which enables the
unit to function with even a somewhat compromised power situation.
The
Setup and Break-In
The phonostage is accompanied by an instruction manual
which gives a fairly good explanation of the recommended setup and operating
environment for the phonostage. The actual setup of the unit is extremely
simple. As noted earlier the phonostage operates on the principal that
there is no need to "load" the phonostage to allow for different cartridge
output, so there are no switches, toggles or buttons of concern. The only real
notable concern is that because of the gooseneck connection the only viable
placement of the phonostage is below the turntable.
Once the phonostage is connected, there is a
power supply which the company recommends you leave on at all times. According
to the literature this will enable the phonostage to remain at maximum operating
performance and decrease the possibility of electrical problems. The phonostage
itself has a small button that allows the user to switch the unit between
standby and on. Although it is in the front of the unit, the use of this button
can be somewhat difficult depending on how your system is laid out because of
the phonostage's necessary placement.
Once everything was setup and turned on, the
break-in time was fairly standard. It should be noted that like many units which
have signal pathways and delicate components it seemed extremely important to
break it in for a fairly lengthy period. It took approximately two full weeks of
the steady power and consistent playback until the unit settled in and became
consistent in performance.
The
Evaluation
The VERA phonostage provided an absolutely spectacular
performance across a fairly broad range of music. It excelled at the production
of vast sound stages, capturing even the minutest detail in the correct context.
The phonostage produced an extremely balanced and lifelike sound rather than
many of its solid state peers which produce often times metallic and overly
analytical presentations.
There were several selections which shaped my
overall opinion of preamplifier. The first of which was Jazz
At The Pawnshop [Virgin NAXO-PRO-7778] by Arne Domnerus. The album
contains a fairly vast array of jazz compositions performed in a live venue. It
oftentimes brings even the best-heeled system to its knees with the complexities
it contains. The VERA phonostage did an admirable job of reproducing the live
atmosphere at the same time as the musical selection. Its only real deficit came
with a slight metal texture when reproducing the audience. This subtracted from
the overall acoustics and brought the listener back to reality prematurely.
Another notable selection was Phillip Glass's Einstein
on the Beach [Tomato – TOM-4-2901]. This minimalist opera is meant
to be the embodiment of both Einstein as an icon and the usage of recursion to
enable the discovery of some of his most famous formulas. The opera, like many
minimalist operas, relies heavily on the accurate production of sounds and their
relation to the venue to depict extremely subtle difference. Many times even the
smallest detail can change a listener's viewpoint and therefore influence their
perception and overall enjoyment. The VERA phonostage did an outstanding job of
capturing both the soundstage and the music within. The highly detailed playback
allowed even a casual listener the ability to "see" the concepts being depicted
and appreciate the enormity of the information being conveyed in the music, both
instrumental and vocal.
A final selection influenced my opinion of the
phonostage was Clapton [Atlantic
WARB-ATL-3578] by Eric Clapton. This album is a compilation of songs performed
with different artists. It allows one to sample various vocal and instrumental
styles contained under the classical rock genre. It is also a fine example of
both a mixing for the mass market and the need to maintain the highest fidelity
possible given the propensity for low quality. While I would not consider the
album to be extremely poor in quality, I certainly would not consider it
audiophile quality either. The phonostage did not error on the side of overly
critical sounding nor was it overly muddled. It seemed to fall somewhere in the
middle which gives the impression that it is somewhat a jack of all trades where
this album is concerned.
Conclusions
The VERA phono preamplifier is an impressive product. It
does quite a number of different things extremely well and allows even a fairly
casual listener the ability to enjoy musical selections in different genres with
a great degree of enjoyment and satisfaction. The unit is extremely well made
and represents a definite consideration when one has a VPI turntable and seeks a
way of enjoying performance without going through the complex task of finding
the right harmony between various components to achieve the best sound within a
budget.
On the flipside, the unit is not without its
deficits. The somewhat limited placement of the phonostage is a item which
should give a potential customer slight pause. While it is suitable for the
majority of installations, anything which might fall short of the standard could
pose a threat to a simple installation. Additionally, the 10R and 10F models are
specifically designed for the VPI models. The 10R is made to function with
Scout, Scout 2 and Scoutmaster Models. The 10F is made to function with the
higher end Super Scoutmaster, Aries and HR-X Models. In addition there are
sub-models which are designed as noted earlier to handle cartridges with
extremely high or extremely low outputs. If you are not set on your particular
choice in turntables and tonearms, you might find yourself not only having to
replace your turntable and tonearm, but phonostage as well. This would
ultimately the possibility of a greater cost to change your existing equipment.
In
conclusion the VERA 10 phono preamplifier is definitely worth putting on your
list of phonostages to audition if you are looking for a partner to your VPI
turntable and tonearm. The company does make a model with balanced inputs for
those who do not have VPI equipment. It is not without certain limitations and
it will not fit the bill for everyone's system, however, it represents the best,
and perhaps only, real alternative if you wish a direct connection from tonearm
to phonostage.
Specifications
Type: True dual-mono design phonostage
Input: Fully balanced, floating (LEMO Socket)
Input Impedance: Dynamic, Cartridge Dependent (Note 1)
Gain: First Stage: 70db I/V Transfer Ration (Note 2)
Second Stage: 23dB to 43dB, User Selectable in 5 Steps
Sensitivity: Between 9µA and 90µA for 1V Output
Output: Unbalance RCA via Vampire RCA Socket
RIAA Deviation: < ±0.2dB (20 Hz to 20 kHz), < ±0.3dB (10 Hz to 50kHz)
THD: @ 1kHz <0.002% @ 1V Output
IMD: (19kHz+20kHz) <0.005% @ 1V Output
S/N Ratio: >100dB @ 1V Output (A-weighted)
>80dB @ 1V Output (10 Hz to 50 kHz, linear, unweighted
Headroom: >20dB from 20 Hz to 20 kHz
Dimensions: VERA 10: 6.25" wide x 1.75 high x 6.5" deep (Note 3)
Power Supply: 6.5" wide x 2" high x 8" deep
Weight: VERA 10: 1.9 lbs.
Power Supply: 3.7 lbs.
Height of flexible input socket carrier: ca. 5.5"
Warranty: 30-day Money Back Guarantee
3 years parts and labor
Price: VERA 10 Phono Preamplifier is $1590
VERA SS Power Supply is $890
Note 1: No cartridge load resistor required
Note 2: A high gain (75dB) first stage module for very low output current cartridges and a low gain
(65dB) first stage module for very high output current cartridges are available as an option.
Note 3: Height of fixed input socket carrier is 4"
Company Information
MR Labs L.L.C
1259 Royal Tern Drive
Punta Gorda, Florida 33950
Voice: (941) 505-7255
Fax: (941) 505-7256
E-mail Info@MR-Labs.com
Website: www.Mr-Labs.com