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:
- Technics SL-1200G turntable
- Denon DL-301II cartridge
- Benchmark DAC3 HGC
- Bryson 28B SST2 monoblock amplifier for each speaker
- 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.
- Tascam CD-RW901 Mk II, CD recorder used for making mix CDs for use in radio broadcasting
- 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)
- Teac A-3300SX, open reel recorder for same purpose as the other one
- 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:
- “Deceit” by Front 242 on the LP ‘No comment,’ Wax Track records, WAX 010
- “Running with the Hurricane” by Redgum on the LP ‘Midnight Sun,’ Epic (CBS Records Australia Limited), ELPS 4570
- “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
- Neither phono stage had any problem driving the long cable to the Benchmark DAC3 HGC, or any of the audio recorders listed.
- 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.
- 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.
