The Official SOTA Turntable Thread

[dcmfan]

Thanks!
I'm not much into the subjective stuff as you know, and some of the rhetoric is blushingly over the top, but that's how Christan feels about it, and he is a notable part of the Audiophile community where such things are par for the course.
We'll see what happens going forward.
Interesting times, to be sure...

No sales link yet but I bet an email will got you one.

FWIW - I sent SOTA an email to get in line for one of these. Now we wait...

 

[dcmfan]

FWIW - I sent SOTA an email to get in line for one of these. Now we wait...

Donna at SOTA called this afternoon.

 

[Nashou66]

Donna at SOTA called this afternoon.

What did she say!!!!

Nashou

 

[wyn palmer]

All I know is that the units are testing AOK, so I too am curious.

 

[Morgan D]

What are the loading choices?

 

[wyn palmer]

I've attached a not fully up to date spec. SOTA has yet to release the final version, but it shouldn't be too different.

 

[dcmfan]

What did she say!!!!

Nashou

She said I am on the list for one of the first batch. Said she'd be in touch with a shipping cost very soon.

 

[Morgan D]

Dcmfan, I would love to hear your listening impressions after you have a little time with it and also what you have now to compare it to?

 

[smgonzales3]

It sounds t me your leak is between the platter and the mat. I’m sure you seen the air channels on the underside of the mat. I would unglue the mat and make sure glue follows those channels

or maybe a bead of glue around the perimeter of the mat and platter seems

Hi,
Good day! I have a Sota Star Sapphire and having problems with the vacuum system. The vacuum pump is ok but there is vacuum leak on the mat/spindle that prevents vacuum hold. Just wondering if you are familiar with problem and you got some troubleshooting tips which I can try?
Thanks in advance.
Salvador

 

[wyn palmer]

Dcmfan, I would love to hear your listening impressions after you have a little time with it and also what you have now to compare it to?

A review from someone who has one:
Sota Pyxi Phono Stage Review


Introduction


I am currently using the Sota Pyxi phono stage in the form of its final prototype which is identical to the upcoming production unit except for cosmetic chassis changes such as labeling. I had been using the iFi iPhono 2.


I obtained the unit from its designer, Wyn Palmer. I initially ran an a/b test starting with the iPhono 2, and immediately upon replaying the test track through the Pyxi, decided it was far better. As it is about to go into production, I thought it would be useful to run additional tests and publish a review. I intended to use 4 tracks for the comparison for this review, but stopped at 3 as the difference was very obvious.


Equipment


My listening room is 13x33x7.5 with wall-to-wall carpet, and both side walls damped with acoustic foam, with more foam in each corner where the speakers sit. It has the sound of a well damped control room.


The system components are:

1. Technics SL-1200G turntable
   
   
2. Denon DL-301II cartridge
   
   
3. Benchmark DAC3 HGC
   
   
4. Bryson 28B SST2 monoblock amplifier for each speaker
   
   
5. Bowers & Wilkins Signature 800 speakers
   

The phono stage has a special requirement to drive a long cable to the Benchmark DAC3 HGC preamp. This is because the analog equipment is housed in a built-in desk in the rear of the room. Therefore, the phono stage drives a 15’ cable to a patch panel and another 15’ cable from the patch panel to the DAC3 HGC.


I know the long cable run from the phono stage output raises the eyebrows of most audiophiles, but this is a consequence of my needs for the system, and the size and layout of the room in my 60-year-old home.


The patch panel facilitates the use of a number of audio recorders which the phono stage must be able to drive as follows.

1. Tascam CD-RW901 Mk II, CD recorder used for making mix CDs for use in radio broadcasting
   
   
2. Otari MX-5050BII 2, open reel recorder for making mix tapes for social events, and for moving old taped material to digital (after baking the tapes)
   
   
3. Teac A-3300SX, open reel recorder for same purpose as the other one
   
   
4. Tascam DA-3000, SD card mastering recorder for capturing open reel transfers
   

The DAC3 HGC drives a set of 20’ balanced cables to the Bryston amplifiers.


All small signal interconnects in the system are Mogami. The speaker cables are 4’ lengths of Kimber Ascent 8TC, with each speaker bi-wired.


Setup


The iFi iPhono 2 was set for “eRIAA,” as recommended by the manufacturer, a gain of 60 dB, and MC cartridge loading of 250 Ohms.


The Sota Pyxi was set for a MC cartridge load of 220 Ohms and provides about 65 dB of gain.


Both phono stages work well with the Denon DL-301 II cartridge which provides a 0.4 mV output level at 1 kHz when groove modulation is 5 mm/sec horizontal, and is specified for a load impedance greater than 100 Ohms.


Each phono stage was coupled directly to the Benchmark DAC3 HGC via normalled patch panel connections.


Subjective Test Results


Three 33-1/3 RPM LP tracks were used, each played in their entirety, once via each phono stage. The test ping-ponged from a/b to b/a. That is, whatever phono stage was used last, was used first in the subsequent test.


The “SPL Meter” iPhone App was used to ensure the room sound level was the same for each track test. The levels generally peaked in the 80-82 dBA range at the listening position as measured in the “SLOW” mode in the App.


The following tracks were used, in order shown:

1. “Deceit” by Front 242 on the LP ‘No comment,’ Wax Track records, WAX 010
   
   
2. “Running with the Hurricane” by Redgum on the LP ‘Midnight Sun,’ Epic (CBS Records Australia Limited), ELPS 4570
   
   
3. “Tchaikovsky Symphony No. 5 in E Minor, Op. 64, 3rd Movement” performed by The London Symphony Orchestra with Sir Malcom Sargent conducting, Everest 35 mm Magnetic Film Recording, EVEREST SDBR 3039
   

Track 1, “Deceit”


This track is of the electronic genre and is notable to me for a staccato synthetic bass drum among other synthesized instruments, but with vocals that are relatively unprocessed other than with reverb.


The staccato synthesized bass drum was better defined on the Pyxi, and somewhat muddy sounding on the iPhono 2. There was better detail and clarity in the vocal tracts on the Pyxi, especially for the low-level vocals at the beginning of the track. The sound stage was wider and more detailed on the Pyxi.


Track 2, “Running with the Hurricane”


This is a 1986 studio recording of the last incarnation of the Australian band Redgum. It is a rock number that is played and sung well, and cleanly produced. It has a flute solo that hits high registers of the instrument. I’ve played it many times.


The sound stage is again wider and more detailed on the Pyxi. The guitar and harpsicord-like instrument sounds more compressed on the iPhono 2. There is more sibilance, that sounds unnatural, in the cymbals; and the drums overall, especially the bass drum is muddier on the iPhono 2. At roughly an 82 dBA, the sound is somewhat “blaring” on the iPhono 2, but comfortable on the Pyxi.


Track 3 “Tchaikovsky Symphony No. 5”


These 35 mm magnetic film recordings were, I think, made in the late 1950s and 1960s, and released on vinyl of course. The original 35 mm recordings were restored in the 1990s, I think, and re-released on CD and vinyl. I am using the re-released vinyl edition. The recordings used a minimal number of microphones and a simple signal path to the modified film recorders. They are excellent in my view.


This recording was stunning in its demonstration of the superiority of the Pyxi phono stage. The 3rd movement notably features the violin section. In my experience, the violin and piano are great instruments for evaluating HiFi, because for some reason they are fairly hard to reproduce accurately. The iPhono 2 was used initially and the violin section immediately had an unnatural sibilance in its sound. Again, the sound stage was less wide and less detailed on the iPhono 2.


Once the Pyxi was plugged in, the violin section went from an annoying sound to a very natural sound. Separation between instruments, or the ability to single out what the various players are doing if you will, was far better on the Pyxi. The movement ends with a short but loud burst, registering approximately 90 dBA on the App in my tests. The ending on the Pyxi was notably cleaner sounding than on the iPhono 2.


Other Observations

1. Neither phono stage had any problem driving the long cable to the Benchmark DAC3 HGC, or any of the audio recorders listed.
   
   
2. The Pyxi can be turned on and off with the rest of the system on, and does not provide any transients on its output. The iPhono 2 is to be permanently powered according to the manufacturer.
   
   
3. I had a chance to evaluate a better cartridge than the Denon DL-301 II on the Pyxi recently, a Hanna ML. It was notably better than the Denon as one should expect given the increased price point.
   

Conclusions


The iFi iPhono 2 was at a $600 price point, more than the expected price of the Sota Pyxi. However, the sound of the Sota Pyxi is far better. It offers more detail and a wider sound stage for any recording. It has no tendency toward unnatural sibilance or a “blaring” presentation on some material as the iPhono 2 demonstrated. It is a fantastic sounding phono stage.

 

[Morgan D]

Thank you Wyn Palmer! This is going to be hard to resist. I happen to have that Tchaikovsky , the Solti Chicago Symphony one. A Decca record so it should sound pretty good too.

 

[dcmfan]

It is a fantastic sounding phono stage

Sounds promising!

Mine should get here next week.

 

[wyn palmer]

Sounds promising!

Mine should get here next week.

I believe that SOTA should have the user manual up shortly, including instructions, specs and sample measurements.
Hopefully when you get it, you'll like it.

 

[mackat]

I just received my Pyxi today. I've tried it both with MC and MM and first impressions are very positive! I'm not one for flowery audio descriptions, but it sounds great.

It's worth reading the manual, as you're not supposed to have the unit turned on in MM mode without a cartridge connected. I'm used to hot-swapping cartridges and cables (with the volume turned down, of course), so I'll have to remember not to do that.

I've had some ground hum issues to overcome with MM cartridges, but this seems to happen to me at some point with every phono stage.

 

[wyn palmer]

I just received my Pyxi today. I've tried it both with MC and MM and first impressions are very positive! I'm not one for flowery audio descriptions, but it sounds great.

It's worth reading the manual, as you're not supposed to have the unit turned on in MM mode without a cartridge connected. I'm used to hot-swapping cartridges and cables (with the volume turned down, of course), so I'll have to remember not to do that.

I've had some ground hum issues to overcome with MM cartridges, but this seems to happen to me at some point with every phono stage.

Was the manual included, or is there a link provided?
I completed the last of my revisions to it a day or two ago, and I don't know what has been provided.
Anyway, I'm very pleased that you like it, but a bit puzzled that there were hum issues with the MM.

 

[mackat]

Was the manual included, or is there a link provided?
I completed the last of my revisions to it a day or two ago, and I don't know what has been provided.
Anyway, I'm very pleased that you like it, but a bit puzzled that there were hum issues with the MM.

Thank you! I have attached the included 2-page manual. This unit was shipped to me last week, so it may not be the latest revision. Sota was very transparent that this is an early version, and they are still refining the casework and perhaps other things as well.

It seems like every phono stage I try has hum or buzz issues with a certain turntable/tonearm/cartridge combination that the next phono stage may not have, and vice versa. So many variables involved. I'm not too knowledgeable about electrical principles, so my troubleshooting abilities are fairly limited.

Right now I have it hooked up to a Technics SL-1000MK2 with a Shure V15 V-MR cartridge mounted, and both tonearm and chassis ground wires attached. There is a very mild buzz when the volume is turned up, which seems to disappear/decrease in volume if I power off the turntable or touch the case of the Pyxi. It's not too bad.

A few hours ago, I tried it with a Technics SP-15 and Audio-Technica AT-1010 tonearm with a 150MLX cartridge mounted. With that combo, there was a relatively loud, "sharp" buzz, even though both tonearm and chassis ground were attached. Without the wires, it was even louder. I was not able to figure that one out, and it does not occur with the ELAC PPA-2 phono stage (which I have also had other grounding issues with). Go figure!

 

[wyn palmer]

I can't copy the PDF onto this thread, but below is the latest version that I am aware of without all the formatting in place. It may or may not be the final SOTA document.
There is more commentary on grounding, but as there is no standard cartridge/turntable ground wiring it's very tough to come up with a one size fits all, and I would welcome any feedback that is appropriate relative to that problem.

Operators Manual

Series I Pyxi Phono Stage




PLEASE READ THE INSTRUCTIONS COMPLETELY BEFORE BEGINNING SET UP AND OPERATION!



You will find the following parts included with your Pyxi Phono Preamplifier:


(1) 14 volt AC adapter for use in the USA/North America

(1) External ground wire

(1) Operators manual


You will also need one pair of RCA to RCA phono interconnects of suitable length (not supplied) to connect the phono preamplifier to your receiver or existing amplifier.


Note: Save all packing material for reuse, should the unit ever need to be shipped.


CAUTION: Before making any connections ensure the phono preamplifier and your existing receiver or amplifier are disconnected from their power source.


Also, do not operate the unit in MM mode without a cartridge attached and the input load set to 47k ohms. This is not harmful to the unit, but it could cause potentially speaker damaging voltages to appear at the outputs.


Connect the tonearm signal lead to the input of the phono preamplifier, observing proper left/right channel orientation. The right channel connection is marked in red; the left channel is marked in white. Connect the output of the phono preamplifier to a line input (such as AUX, CD, Tuner, or Video) on your receiver or amplifier.


Generally, the best grounding approach is to have the turntable cartridge connections not connected to the turntable chassis ground, and for the phono stage circuitry to be grounded through the following amplifier’s ground via the output phono cables.


If you experience hum, you may connect the supplied ground wire between the ground terminal on the phono preamplifier and the ground connection on your amplifier.


Connect the low voltage plug from the supplied AC adapter to the 14 VAC socket of the preamplifier before connecting the power supply to the wall outlet.

Do not replace the supplied AC adapter with an after-market type. The Pyxi is designed to operate with this specific adapter and substitutions may reduce the performance or the reliability of the unit and void the warranty.

MM/MC Settings


The Pyxi phono preamp has two input gain settings, moving magnet (MM) or moving coil (MC) selectable from the front panel. Selection is made dependent upon the output level/type of the phono cartridge being used. See the accompanying literature that came with your phono cartridge to determine what type of cartridge you have.

Do not operate the unit in MM mode without a cartridge attached.


Loading Settings


Note: Down is 'on'; up is 'off'. Switches should be set the same for right and left channels.


Loading settings for impedance and capacitance can be adjusted via the rear panel DIP switches. If in doubt, contact your SOTA dealer.



RES LOADING

1

2

47K

OFF

OFF

470R

OFF

ON

220R

ON

OFF

150R

ON

ON




CAP LOADING

3

4

47P

OFF

OFF

147P

OFF

ON

267P

ON

OFF

367P

ON

ON


After all connections and settings are made, power up the phono preamp by pressing the power button on the front panel. Approximately four seconds after power up, the phono preamp will be operational and the output relays will connect. You may power your main amplifier on or off at any time as turn on and off transients from the phono preamp are eliminated by the output relay control circuit.

However, do power down the phono preamp before changing any settings or connections. It is not necessary to power down the main amplifier during this process.




SPECIFICATIONS


MC


Input sensitivity: 250 µV rms @ 1 kHz, 5 cm/sec.

Rated output specified at 12 dB above sensitivity (1 mV rms, 1 kHz) to capture signal dynamics.

Gain: 65 dB @ 1 kHz.
Rated output: 1.8 V rms. Rated peak 3dB higher.
THD: <0.0002% @ 1 kHz, 1 mV rms input, <0.0003% @ 10 kHz, 10 mV rms input.

IMD: <0.002% CCIF 20 kHz/19 kHz 1:1 measured at rated output.

S/N ratio: 82 dBA, relative to 1 mV rms @ 1 kHz. Shorted input.
Hum levels: >96 dB below rated output, shorted inputs.
RIAA compliance: 20 Hz - 20 kHz: within 0.15 dB p-p.
Input overload levels, nominal gain @ 1 kHz: 5.5 mV rms (27 dB relative to input sensitivity)


MM


Input sensitivity: 2.5 mV rms @ 1 kHz, 5 cm/sec.

Rated output specified at 12 dB above sensitivity (10 mV rms, 1 kHz) to capture signal dynamics.

Gain: 45 dB @ 1 kHz.

Rated output: 1.8 V rms. Rated peak 3dB higher.

THD: <0.0002% @ 1 kHz, 10 mV rms input, <0.001% @ 10 kHz, 100 mV rms input

IMD: <0.003% CCIF 20 kHz/19 kHz 1:1 measured at rated output.

S/N ratio: 98 dBA, relative to 10 mV rms @ 1 kHz input. Shorted input.

78 dBA, relative to 10 mV rms @ 1 kHz, 1.3 kΩ in series with 500 mH across input. Load representative of typical (e.g Shure V15 III) MM cartridges.

Hum levels: >96 dB below rated output, shorted input.
RIAA compliance: 20 Hz - 20 kHz: within 0.15 dB p-p.
Input overload level, nominal gain @ 1 kHz: 55 mV rms (27 dB relative to input sensitivity)



Other Features


Output impedance: 50 Ω single ended.

Channel matching: better than 0.1 dB @ 1 kHz.

Channel separation: better than 80 dB @ 1 kHz.

DC offset: < 2 mV. Typical c. 1 mV.

Bandwidth: 0 to -3 dB: < 1 Hz - 150 kHz.

1% metal film resistors used throughout, with 0.1% in the critical gain and RIAA stages, together with 1% capacitors.

C0G capacitors used in the signal path- with measured distortion and dielectric absorption equivalent to Polypropylene capacitors.

Low offset, phase corrected DC feedback loop eliminates the need for coupling capacitors while reducing DC peaking in the RIAA characteristic.

No digital. All analog implementation, including linear supply regulators.

Power consumption: <5 W active, 0.1 W in standby.

Specifications subject to alteration without notice in keeping with our continuous improvement policy.



SOTA Sound Inventions LLC

1436 Mound Road

Delavan, WI 53115 USA

www.sotaturntables.com

sales@sotaturntables.com

Phone: (608) 538-3500


Rev. 12/2022

 

[wyn palmer]

Apparently the Sota Pyxi first production run is completely sold out, and there's a waiting list for the second run.

 

[Morgan D]

Apparently the Sota Pyxi first production run is completely sold out, and there's a waiting list for the second run.

Awesome !

 

[wyn palmer]

Awesome !

Out of curiosity- did you buy one?