Reprint of a review
of the Black Cube phono stage written by Timothy Liu of
Hi-Fi World
in October 1998.
Republished with kind permission of the publisher.
Black
Beauty
Timothy Liu does the time warp with Lehmann Audio's Black Cube Phono
Stage and digs out his ageing vinyl.
In the
modern world, fads and fashions come and go. The same could be said
of the Long Playing record, whose days once looked distinctly numbered.
Instead, the oldest of formats has surprised many by rising (albeit
only slightly) from the digital flames which threatened to consign it
to oblivion once and for all.
Lehmann Audio of Germany would rather you didn't abandon your vinyl
to a car-boot sale. They have thrown down the gauntlet to the Compact
Disc industry by producing the Black Cube phonostage to proclaim their
undying love for the black disc.
If
attraction is strictly a visual thing for you, then the Black Cube will
certainly not set your pulse racing. A basic folded-steel case houses
the electronics, fed from an external power supply. Don't get fooled
by appearances though. Closer inspection inside reveals the Cube to
measure up where it counts. Audiophile touches such as Wima foil capacitors,
a screened power-supply lead and passive equalisation make you realize
this is a Benz engine in a Skoda bodywork.
The flexible Cube is compatible with most cartridges currently available.
Input sensitivity is fixed at 250uV and capacitance at 220pF, values
chosen to suit both Moving Magnet and Moving Coil cartridges. Loading
is accomplished by configuring two DIP switches, impedance-matching
(which is important for optimum sound quality with low noise) ranging
from 80 ohm to 47 kohm.
Another useful suggestion contained in the manual advises soldering
your tone-arm's lead-out wires directly to the Black Cube's input terminals,
thereby leap-frogging the gold plated phono sockets to avoid signal
degradation. This makes really sense when you consider the microscopic
signal generated by Moving-Coil cartridges.
A small point worth mentioning is that the Black Cube requires a warm-up
time of 10 days before it comes to boil; in other words, it's best left
on all the time. Once warmed through, it was slipped between a Basis
Ovation turntable/Airtangent 10b tone-arme/Roksan Shiraz cartridge source
and Audio Analogue's Puccini SE amplifier with Sonus Faber Minima Amator
loudspeakers.
After the initial thud of the stylus touching down, what confronted
me was a wall of black silence; the almost total lack of surface noise
gave the impression of waiting for curtains to rise and the performance
to begin. Stevie Wonder's 'Do I Do' emerged from this inky black background
complete with a broad palette of tonal colour and lightning fast percussion.
Rhythmic, weighty bass with good extension further heightened the listening
experience.
The Ramones maintained pace with their 'I'm Against It'. Instead of
curling up in the nearest corner and wilting like so many audiophile
products do when the Ramones appear, the Black Cube changed up into
over-drive. High-octane guitar thrashing was handled effortlessly, with
real speed and power. In the midst of this onslaught, rhythm guitars
remained tonally distinct from one another, strummed strings portrayed
with a subtlety I've not come across on sub- £1000 phono stages
before.
Changing back down to Rickie Lee Jone's 'Lucky Guy' demonstrated the
chameleon-like character of the Black Cube. Posessing virtually no character
of its own, it could create a wholly convincing sound stage and 3-D
imaging, while allowing Rickie Lee Jones' wide vocal fluidity and lucidity
without sibilance.
Lehmann Audio's Black Cube is a genuine audiophile achievement in terms
of musicality and neutrality. I can't honestly think of anything near
its £395 price tag which even gets within spitting distance. The
Cube should keep those vinyl junkies out there misty-eyed and defiantly
anti-digital for a long time to come.
Timothy Liu
AUDIO
PUBLISHING LIMITED
64 Castellain Road, Maida Vale
tel: ++44 (0) 171 289 3533
fax:++44 (0) 171 289 5620
edit@hi-fiworld.co.uk
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