Soundsmith Sussurro & MCP2 Phono Stage

The MCP2 moving-coil phono stage, at only $700, is a fine example of function over form. Peter doesn’t waste your money on fancy clothes. The production case is black anodized aluminum, with a 24vdc “wall wart”. I was shocked to find it had input transformers. Many MC cartridges don’t sound good without input transformers—in my opinion. Most moving-coils have high frequency ringing and the right transformer load will almost completely eliminate the issue. An added benefit is that transformers kill RFI, and help eliminate ground loops. The Soundsmith is the only phono stage at this price point with step-up transformers (that I know of), and that’s not the only thing making it unique.

Peter has fixed an issue that has always bothered me, something that cried out for a sensible solution. Instead of being stuck with a handful of loading options, he’s made the load infinitely variable from 10R to 5K, which will match most good quality moving-coils (actually, all the good ones I’ve heard). Channel-to-channel balance seemed fine to me. I’m assuming this is a high quality (both channels tracking very close) potentiometer in a shunt circuit after the step-up transformers, but I did not ask. This is an assumption.

The wonderful thing about continuously variable loading is hearing the frequency response and dynamics change with load. It’s a rather complex relationship, and when you get it just right, the image pops into focus and tonal balance is just a little warm, but with plenty of extension. In a way, it makes for a unique front-end tuning-knob. As you know, there are cartridges that absolutely need to be loaded down—way down—to control coil ringing. A low impedance loading could be considered as electrical damping, just as the little rubber damper inside the cartridge is mechanical in nature. Back in the “good old days”, being able to tweak the loading to “just right” was a nightmare scenario of turning off the phono stage, swapping load resistors, powering back up, waiting for it to stabilize, then repeating the process. All the while, your aural memory starts to fail you, and by the time you’re done, you’re left questioning which setting actually sounded best. Peter’s method takes seconds, gives you way more options, and you won’t run the risk of lifting circuit board traces, stripping screws, or getting electrocuted. Big thumbs up on this.

So, how does it sound? It’s amazingly good and stands the comparison to any transistor phono stage I’ve heard. Where it blows away a lot of competition is the meaty, beaty, big and bouncy character it imparts on music; music that gets “audiophiled-to-death” by overly etched, detail-freak ‘stages, some of which cost a ton of money. The detail is mostly present with the MCP2, though not to the degree I’ve heard with some other stages. Thing is, the MCP2, like the Sussurro cartridge, does a wonderful job of delivering a balanced performance. Being able to dial in the load on tweaky moving-coil cartridges to your taste (not someone else’s taste) means that a weakness in one area will be offset by getting the frequency response, and electrical damping, correct.

The MCP2 also fairs well when judging rhythm and slam. It’s better than the stock version of the Jasmine phono stage I reviewed, and better than most of the classic tube based stages I’ve used over the years, including the 6DJ8-based examples, such as Counterpoint, Audible Illusions, etc. I did hear a rolling off in the very low bass. It’s not something I would hear with panels like the Maggies, but with the hybrid Sanders 10B. The bass is still better than most tubed phono stages, and compares well with similarly priced transistor units, some of which do bass and only bass.

So, where does it come up short? Chiefly, in terms of dimensionality, it can’t compete with the more expensive (like 8X as much, and up) tube units with killer power supplies, cost-no-object parts, and chassis made of gold sourced from another galaxy, all hand assembled by small gnomes in an enchanted forest. No, Peter’s unassuming phono stage is good, but a little 2D when compared to the Allnic 1500 LCR, Aesthetix Io super-duper version, Ypsilon, etc.. I did briefly listen to the Sussurro with the Allnic phono stage. It was magnificent, and one of the two best sounding combos I’ve heard in my system. Switching to the MCP2 wasn’t night-and-day, or a huge let-down. Yes, it wasn’t as good as the Allnic, but it did share one thing with the H1500: great tonal balance and good rhythmic drive.

The MCP2 is a bargain at the price, and is a better match to many moving-coil cartridges than the more common FET-based units. It really deserves to have its own, full-fledged review, but take for granted that it’s a bargain, sounds very musical, and doesn’t let the Sussurro down. Matter-of-fact, the Sussurro/MCP2 combo is a must-hear if you had figured on spending $5-6K on a cartridge/preamp combination. It might be anathema to many in the high-end, but this moving-iron cartridge and diminutive little phono stage can wipe the floor with many moving-coil/tubed phono stage combinations. Bravo Peter, and keep up the great work!