conrad-johnson ART Phono

The ART88 redrew the possible boundaries from a conrad-johnson tube (valve) line-level preamplifier. So, perhaps it wasn’t too great a leap in expectations to see a phono stage in the same range-topping line. Conceived as a natural partner to ART88, the conrad-johnson ART Phono follows the same principles of circuit choice, chassis aesthetics, and overall build quality.

This might not sound like that big a deal. The company has been building top-end phono stages to match its flagship line preamps for almost 50 years of manufacturing tube-based designs. But the ART88 was a bold and distinct departure from the conrad-johnson ‘norm’, and the ART Phono following in its footsteps bodes well for the company’s approach to its cost-no-object line.

This is more than just a cosmetic refresh. In all honesty, modern high-end tube amps are ‘modern’ in name only; the circuits upon which many high-end designs are based date to the early days of stereo. These models are the result of decades of refinement and honing. They now have higher tolerance components, significantly reworked circuit boards, computer-aided circuit board layouts, and better grades of materials in the signal path. Everything, in fact, except new circuits. The ART88 and ART Phono use novel circuits designed by conrad-johnson itself.

Double the approach

As with the ART88, we have a dual-mono approach with two triode gain stages for each channel. It couples paralleled sections of the 12AX7A (ECC83) double-triode to paralleled sections of the 12AU7 (ECC82) double triode. Depending on your outlook on life, these are a buffer stage or cathode follower. I’m not a follower, so… ‘buffer stage.’

This ensures low distortion and, more importantly, a very low output impedance (less than 200 Ohms) at the main output. While this is a great virtue when driving long interconnect cables without any loss of HF bandwidth (which may not be as crucial here compared to hooking up a line stage with power amplifiers), it also preserves the natural dynamic ability of the ART Phono and the overall transparency through the audio signal path.

The ART Phono’s power supply sections get special attention. Generous capacitance reserves, combined with ultra-low distortion regulation and voltage/current control, have been a mainstay of the brand’s designs for years and have only improved over time (more like ever-better engine management systems than a bottle of Petrus gathering dust in a cellar).

Isolated

The analogue circuits are always carefully and efficiently isolated from anything ‘digital’ (such as control functions and switching circuits), with separate power transformers for each purpose. Each channel has two completely independent and fully (discrete) regulated DC power supplies: one for the input gain stage and one for the second gain and buffer stages.

As with all conrad-johnson products today, all crucial circuit positions within the ART Phono’s audio signal path – as well as those in the power supplies – feature in-house proprietary PTFE (Teflon) and PP (Polypropylene) capacitors. Custom-made Vishay metal foil resistors are used in almost every relevant place, with only a few Caddock ones present, as well. All input and output connectors (RCA-only, single-ended circuits) are from Cardas Audio. These silver and rhodium-plated parts use pure Oxygen-Free Copper (OFC).

Separate and compliant

Again, as in the ART88, audio circuit boards are separate from the motherboard and decoupled through a series of compliant, medium-hard suspension rings to reduce microphony to an absolute minimum. A heavy and solid chassis is more rigid and resonance-free. It’s also resilient to interference thanks to the sub-top plate on which the main top cover rests.

This is no small change. A few iterations of conrad-johnson preamplifiers ago, we were concerned that the build quality did not reflect the performance or the price tag. The ART88 sports a chassis that addresses resonance head-on. The ART Phono has followed in ART88’s footsteps, and the product is now exquisitely well-made. Despite significant changes to the chassis, the ART Phono retains the classic gold minimalism of conrad-johnson. And that logo dates back to 1977… some things never change.

Let’s look at the specifications and ergonomics. The ART Phono is equipped with two phono inputs, offering different degrees of flexibility. Input one has a fixed input impedance of 47kOhms; this can be altered, but only by soldering Vishay resistors of the desired value onto the board itself. However, this input also enables the standard gain of 53dB to be increased to 63dB when the optional moving-coil step-up transformers are specified at additional cost.

Permanent gain

With step-up transformers fitted, the input impedance is locked at 46Ohm. Meanwhile, input two has a ‘permanent’ 53dB gain combined with adjustable input impedance with eight possible values that cover most MC cartridges available today. An array of tiny DIP switches on the unit’s back panel adjust these values.

The front panel functions are simple. Relay-controlled circular push buttons switch to power the unit on and off and allow the user to choose between the inputs. Those looking for a rich array of VU meters, rumble filters, different EQ settings or even a fancy light show… this is a conrad-johnson phono stage we are discussing here. It’s about elegance, design restraint, and an understated, fit-and-forget ethos, only slightly broken by its gold livery in a black-meets-silver audio world. A word of warning, though: the ART Phono does not have a muting function on its main output. This means due care and attention are called for – remember to reduce or mute the output of your line preamplifier before making any adjustments to the ART Phono.

Return to new form

I noticed a change to the conrad-johnson sound in ART88, echoed in ART Phono. The traditional conrad-johnson presentation was always beautiful, rich, harmonic and almost lush. The treble was sweet and refined, the midrange liquid and open, the bass full and plentiful. It made an enormous and enticing soundstage. A more detailed, brisk, upbeat, and forward sound pushed all that richness aside. The ART88 redressed the balance; it retained the harmonic richness of classic conrad-johnson Premier models but added that detailed and rhythmically upbeat presentation that brings it into the 21st Century. ART88 will never sound ‘forward’, but it introduces a sense of urgency to the company’s signature majestic sound. And so does the ART Phono.

‘Canadee-I-O’ by Nic Jones [Penguin Eggs, Three Black Feathers] highlights this return to form. Jones’ impossible folk guitar playing is a big ask for any system. It requires incredible leading-edge control, a lot of rhythmic precision, and resolution of detail to process his fingerwork. The melody is lost to the rhythm if there is too much leading edge. On the other hand, the rhythm is lost in following the melody if there is too much detail. And you can’t understand why the guitarist in the room is looking at their hands and sobbing if it’s too warm or soft. The ART Phono combines all those elements in an entirely natural and organic fashion. You are listening to some of the best guitar playing ever—no big deal.

Whisper quiet

The ART Phono is one of the quietest phono stages I’ve heard. It’s surprising how much background noise we attribute to the LP as a function of the phono stage. On the 45rpm cut of Mendelssohn’s Octet [Chasing the Dragon], the self-noise of the microphone preamps was audible. This is something that almost always hides below the noise floor.

Naturally, all the usual audiophile demands are exceptionally well satisfied. The soundstage scales well, moving between orchestral pieces and the close-knit dinner jazz of The Three [East Wind]. The dynamic range and vocal articulation required to play ‘The Ghost’ by Anna B. Savage [In Flux, City Slang] were perfectly rendered. It all sounds sublime.

The conrad-johnson ART Phono is more than just the matching phono stage for the ART88. Like the preamplifier, it’s stunningly good and one of the best things the brand has made in years!

Technical specifications

• Type: Valve Phono stage
• Valves: 2× 12AX7, 1× 12AU7 double triodes per channel
• PHONO 1: Gain 53dB, load fixed 47kΩ. Gain 63dB, load fixed 46Ω (with step-up transformers)
• PHONO 2: Gain 53dB, load variable 147Ω to 47kΩ, 20pf to 956pf
• Hum and Noise: < 500µv
• Ouput Impedance: below 200 ohms
• Dimensions (H×W×D): 13.8 × 47.6 × 40.4cm
• Net Weight:14.1kg
• UK price: £31,995 incl. VAT – optional MC step-up transformers £1,500 incl. VAT
• US price: $28,000 (excl. sales tax) – optional MC step-up transformers $2,000 (excl. sales tax)

Manufacturer:

conrad-johnson Design

www.conradjohnson.com

UK distributor:

Audiofreaks

www.audiofreaks.co.uk

+44(0)208 948 4153

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