Sound By Hari and ubiqaudiolab joined forces for the vinyl day in Ljubljana. I was really surprised that to see so many audiophiles and music lovers showing the interest for the analog day. Two impressive systems consisted of new Ubiqaudiolab Ubiquitous (big and smaller) monitor speakers prototypes (first-order crossover, no capacitor in the signal path!), new Ubiqaudiolab Ubiquitous solid state power amplifiers, FM Acoustics 255 MK2 preamplifier, Vertere MG-1 Magic Groove & RG-1 Reference Groove turntables, Vertere Reference tonearm New Gen & SG-1 tonearm MKII, CH Precision P1 phono stage with X1 power supply, Top Wing Red Sparrow Cartridge, Faber'a Cables cable loom and phono preamp, Grandinote Genesi flagship preamplifier and more. Repeatedly I've caught the comments about how silent and noise/crackle free Vertere record players were. There is far more tech hidden (and decades of knowhow) to the eye than most people realize. Two carefully matched setups really allowed the grandeur performance with quite a selection of top tier high-end audio components.

CH Precision! A Swiss high-end audio wonder, that created further than just an abiding impact at our beloved high-end audio industry in a rather short time. And the lingering effect is nowhere near to echo out with the current state of the CH Precision creative and push forward mentality momentum! 

CH Precision represents the 21st-century ultra high-end brand, that implements the latest technological advancements effectively in their products. 

As many of us are also the watch enthusiasts and aficionados of different degrees, the IWC Schaffhausen somehow comes to a mind as the most analogous. The iconic CH Precision solid aluminum front plate is a vivid reminiscent of the rich Swiss industrial design tradition and if my memory serves me well, the prolific faceplates are actually manufactured in one of the companies that produce the upper echelon high-end watch cases. And the CH Precision similarity with high-end watches is no accident. At the initial stage, the designer was following exact instructions to reflect the mechanical construction of the high-end watches and CH Precision has taken some of the cabinet construction tricks from the watch industry: for example, small pins are used to accurately position parts, while screws are only used to secure parts together.

Like many recognized Swiss brands, CH Precision logo is genuinely and fully Swiss blooded. As such, it instantly imprints deep into the memory. Nothing that radiates with timeless design simplicity is a result of a rushed decision and CH Precision is an avid example taking the time and making the right business moves. The logo, design, color and modular construction that shares brand’s DNA across the complete product range is a result of profound planning each and every step from the very beginning. 

CH Precision chassis reflects with the elegant grey, sort of titanium color (think Apple dark grey) that instantly captivate one’s mind with the assurance of excellence and quality. It represents something highly refined and of timeless appeal. A Bauhaus level of aesthetic quality!

I genuinely grasp the minimalistic, sculptural presence of the P1/X1. Most of the high-end audio companies are endeavoring (or fail) to find the recognizing visual leitmotif. Well, CH Precision really nailed it with a first strike!

P1 phono preamplifier is a complex analog music device, that embraces many impressive capabilities and exceptional features, making it a genuine stand out product. 

In order to fully grasp the P1 phono preamplifier, you‘ll find below the in-depth technical information and I’ve asked Raphael Pasche (CH Precision's Electronics Design Engineer) a few questions to give the P1 deserved attention…

What was the initial inspiration behind the P1?

When we started to specify the features of CH Precision's first phono stage, we wanted to achieve the following main goals:

- Design a current-sensing input dedicated to MC cartridges. 
- Design a "traditional" voltage input which takes away the complexity of setting up cartridge loading. This was the introduction of the P1 Loading Wizard feature.
- Allow the user to select more than one EQ curve, in essence allowing playback of older records as well as new record.

The rest of the specifications of the P1 go in line with our work philosophy:

- Low noise, high bandwidth transistor based circuitry
- Symmetrical and balanced circuitry
- Class A analogue path throughout
- short signal paths
- dedicated power supplies for each critical sections
- Configuration modularity. The system can be refine at any time.

Make the P1 compatible with our Android app, CH Control which allows to control all the settings of the P1

On the outside the P1 looks very simple, yet once you start exploring the possibilities the real complex nature reveals itself. What's the P1's inner core made of?



There are four distinct sections inside a P1:

Mains: filtering, mains voltage selection and two mains transformers.

1. DC power supply regulations: 18 regulated 
2. DC power supplies with shunt regulator topology on critical audio circuitry
3. Audio circuitry: two printed circuit boards each containing the entire analogue audio path for one channel of phono amplification. The boards also comprise a measurement circuitry to provide the frequency response of the audio path and used by the Loading and Gain Wizards.
4. Control and UI section: micro-controller that operates the unit. Follows instructions read from the unit's user interface or from the Ethernet port and act accordingly  

In terms of features, there are:

- Two current-sensing inputs with individual amplification first stage and power supplies per input. These inputs are dedicated to MC cartridges only. The higher the current the cartridge can source, the more efficient the first stage amplifier will be, the better the signal to noise ratio will be.
- No loading needed with the current sensing inputs a voltage-sensing input. FET input stage, digitally controlled analogue resistors to create 500 steps of loading resistance variable from 20 Ohms to 100k Ohms.
- CH Loading Wizard used in conjunction with the CH calibration record provided with each P1 to define the best suited load for the specific cartridge-tonearm-cable-phono input chain.
- CH Gain Wizard used in conjunction with the CH calibration record provided with each P1 to define the best gain to apply on each input.
- RIAA & Enhanced RIAA (eRIAA) EQ curves fitted as standard. High precision custom-made capacitors and resistors to achieve ±0.1dB of level accuracy.
- COLUMBIA, DECCA, TELDEC and EMI EQ curves option board
Selectable anti-rumble high-pass filter, 3rd order, cut of frequency at 10Hz
- Inputs on RCA and XLR
- Outputs on RCA, BNC and XLR

When it comes to the handling of the fragile signal from the cartridge, how important is to keep everything as simple as possible yet not comprising the performance?

It is crucial. The first stage of amplification is the most difficult to realize because it determines the noise level of the system. Low noise amplifier design is the way forward to achieve high dynamic range. We design transistor-based circuitry to have a full control over the audio signal path. Besides, power supply design is just as crucial as the noise of the amplifier output noise is directly impacted by its power supply.

What does X1 separate power supply adds to the performance?

The X1 adds a second set of voltage regulators in series with the regulators inside the P1. This means that all the DC voltages are regulated twice, improving the quietness of the DC voltages reaching the amplifier stages. In addition, the mains transformer inside the P1 remains powered off when the X1 is connected, ensuring a near zero radiated mains hum in the audio path.


How about fully dual mono mode with separate X1 power supplies?

The aim of the modular architecture we have implemented in our range of products is to dedicated elements to the left and right channels. This ensures that there is as little common elements and all the power supplies including the mains transformer can be fully dedicated to a single channel.

In addition, using a P1 enclosure per channel halves the current consumption in each enclosure compared to a stereo unit. This makes the common electronic circuitry in a stereo configuration work at a more relaxed current rating.

What is the main and basic difference between MC current inputs MM/MC voltage input?

The two MC inputs are the current-sensing inputs. They are dedicated to low impedance MC cartridge. These cartridges are able to provide high levels of current compared to for example MM cartridges or high-output MC cartridges. No cartridge loading is required on these inputs. The input consists of a very low impedance virtual ground topology. The CH Gain Wizard feature can be used to define the best gain needed for each input.

The MM/MC input is the P1 voltage-sensing input, the more traditional input. High input impedance FET input. Variable loading resistor in 500 steps from 20 Ohms to 100k Ohms. The CH Gain Wizard feature can be used to define the best gain needed while the CH Loading Wizard can be used to define the best loading resistor for the cartridge.

What is so special about the current input?

The two current-sense inputs extract the information coming from the cartridge in current (as opposed to in voltage). These inputs are dedicated to cartridges that are able to deliver a high amount of current, typically low output MC cartridges. The more current the cartridge is capable of providing, the lower the gain needs to be set to, the lower the noise floor of the system, the higher the dynamic range of the system.

How exactly does the impedance matching operates in the current mode?

Simple, you don't need to worry about loading your cartridge with the P1 current-sensing inputs.

Do you believe that low output/low internal resistance MC cartridges offers the best performance?

We haven't tested all the cartridges available on the market so I cannot tell you if low output/low internal resistance MC cartridges offers the best performance. This being said, I believe that with extremely light mobile mechanism and small amount of winding turns,  high reactivity and high bandwidth, low output MC cartridges are checking all the right boxes to be performing well.

However, users will make the most of them by connecting them to a current-sensing input.

There are mind-blowing 500 steps available for the cartridge loading adjustment. How exactly is this implemented?

Digitally controlled analogue resistors is the way we implemented the 500 loading steps. We developed an electronic circuit which consists of a structure of resistors that can be switched in and out following binary words sent by the main microcontroller. This allows us to generate 500 values spread between 20 Ohms up to 100k Ohms. As the resistor is located pre the first gain stage, extreme has been taken to ensure that the digitally controlled analogue resistor doesn't induce extra noise and switching noise.


Why the optional EQ curves and what's your view on the most widely adopted RIAA EQ?

RIAA has been defined as the international standard EQ curve for many years. It is therefore logically coming as standard with the P1. Before RIAA became the standard, every music label were using their own EQ curve. Then, when RIAA became the standard EQ curve, it is said that some of the major music labels didn't introduce RIAA straight away and carried on using their own EQ curve for an unknown period of time. Not knowing where the truth is, we decided to stay as neutral as our homeland and to give the choice to our end-customers to use or not use the EQ curves. We created an option board containing the EQ curves of 4 major music labels: EMI, Columbia, Teldec and Decca. If you don't want anything else than the RIAA EQ curve, then you don't pay for something you'll never use. If however you own pre RIAA records or you are concerned that the supposedly RIAA recorded LP you are about to play was actually recorded with another EQ curve than RIAA, then the EQ option allows you to switch from RIAA to a different curve on the fly.

Tells us more about the unique set-up wizard and why you've chosen to include it with the P1?

There are two wizards in a P1:

- the Gain Wizard which can be used on the three inputs
- the loading wizard, dedicated to the voltage-sensing input.

Each P1 comes with a record containing calibration tracks. The process is the following: connect your P1 in your audio system. First, select the Gain Wizard and play the CH record's first track on your turntable using the cartridge that you are intending to use afterwards. The Gain Wizard analyses the signal played through the whole system and defines the best gain to apply in the P1. We recommend to run the Wizard on all the P1 inputs used in your system.


For the current-sensing inputs, nothing else needs doing and users can start playing their favourite records. However for the voltage-sensing input (labelled MM/MC input) only, the Loading Wizard should be run using another track of the CH record and set the most appropriate loading for cartridge in use. The Wizard requires a range of loading resistances to be set. If the user is unsure of what loading to use, the wizard defaults to the maximum range (20 Ohms to 100k Ohms). Once the process starts, the P1 analyses the signal coming from the CH record and extracts the frequency response of the signal. It does that 20 times for 20 various values of resistances spread across the selected range. After processing, the graph representing the frequency response of the first curve is displayed on the P1 front panel screen. Using the unit's front panel push-buttons, the user scrolls through the 20 curves and sees the tendency of the system's frequency response. CH recommends to adjust loading to obtain a graph as flat as possible. But the Wizard doesn't force the user to choose that curve and users load their cartridge according to their taste, having a visual indication of the frequency response of their system.

The Loading Wizard can be run as many times as needed, for example every time refining the range of loading resistance in the area that is considered the desired one.

A trick from CH: when the 20 results of the Loading wizard are displayed on the P1 front panel screen, the P1 audio path is still on and the loading resistor corresponding to the displayed curve is engaged. At that point, users could replace the CH record by their favourite LP and listen to the results. Scrolling through the curves using the front panel push-buttons scrolls through the loading resistors and users can then directly hear the effect of the value of the loading resistor while having a visual indication of their system's frequency response.


Please note that the loading resistor setting can also be changed without having to use the Loading Wizard. The only difference is that users don't have the visual indication of they are doing.

How does P1 deals with the airborne micro vibrations and resonances?

The design and the robustness of the chassis is essential to immune the electronic circuitry from external perturbations. It acts as a shield against electric and mechanical perturbations and vibrations.

In addition, steps have been taken in the electronic circuitry themselves to prevent mechanical vibrations from reaching the audio signal by using electronic components which do not exhibit piezoelectric characteristics.

To what point a P1 is user specified? 

The P1 EQ curve option is the first step of customisation that users can specify.

Just like the rest of our range of products, the P1 is highly modular. When purchasing a P1, users can specify the following configurations:

- Stereo configuration. The left and Right channels are located in the same chassis.
- Dual monaural configuration. The Left and Right channels are held in two identical chassis. Each chassis is dedicated to one audio channel.

The addition of X1 Power supplies is the P1's next refinement step. A single X1 is added to the stereo configuration while two X1 units can be added to the dual monaural configuration.

Why the inclusion of the BNC outputs?

CH Precision recommends the use of XLR balanced interconnections between pieces of equipment. On top of the inherent benefits of balanced signalling, we recommend balanced interconnections because the design of the electronic circuitry inside our products is inherently balanced.


We also provide single-ended interconnections inputs and outputs. RCA is the most used type of single-ended connection so we have to have it from a compatibility point of view. BNC, with its use in all sorts of High Frequency domains is we believe an excellent if not better way of interconnecting pieces of audio equipment in a single-ended fashion, hence us offering the choice of RCA and BNC to our customers.

Does P1 allows future upgrades and if so are there any in the loop already?

Thanks to its modular architecture, the P1 is an easily upgradable product. This being said, at this point in time, we have no plans to create a new set of boards for the P1.

Is the classical music the ultimate vinyl challenge for any phono stage?

Classical music could be the hardest type of music for the cartridge to handle. When there is a lot going on in the music, the ability of the cartridge to capture every little details is crucial.

As far as a phono stage is concerned, its strength is to be able to create an as perfect interface with the cartridge as possible so the cartridge do its work without being affected by the phono stage's input stage while the phono stage phono stage can receive the musical information without degrading it and in an as efficient way as possible. This is why we designed the current-sensing input, dedicated to MC cartridges.

Low input capacitance, zero DC offset on the cartridge, frequency-linear loading and of course low noise input stage are para mount in creating a flawless interface.

P1 is the 21st century phono preamplifier that doesn't sound artificially augmented. Is this due to the proper voicing or strict selection of the built in parts?



At CH, designing a piece of audio equipment always starts with the creation of circuit diagrams that get tested by simulation on a computer. This allows us to verify that the behaviour of the circuit matches our specifications.

We then implement the circuit in the real world by creating a prototype board. The choice of components to use in the circuits is crucial to ensure that they don't introduce undesired effects like extra noise, higher distortion, piezoelectric effects, etc.

Finally, once the prototype board has been tested, listening tests are conducted to make sure that the sound is up to our standards. Comparisons of critical components in the signal chain can be performed at this point to further improve the quality of the product.

How important is the proper grounding, especially with the P1?

Grounding is second to none to ensure that the phono stage performs well. With huge amounts of gain, minute noises will be amplified to a level that might become audible above the program material.


But where grounding of the phono stage is important, the grounding of the wires linking the cartridge to the phono stage input is crucially important. Hum as well as turntable motor noise are easily picked up there and impossible to get rid of afterwards. The turntable chassis and if metallic, the tonearm body should be grounded so they act like shields for the wires.

Finally, the ground wire coming from the turntable should be connected to the back of the P1. Each P1 comes with ground lugs that should be used to connect the turntable ground wire to the ground of the P1. The back of the P1 gives access to two different types of ground, analogue (audio) ground and chassis ground. The ground lug connected to the turntable ground wire should be inserted to one of these sockets and experiments should be made to determine which socket provides the best results for a specific system.

There are three inputs on the P1. Two of them are current mode inputs, dedicated to MC cartridges. The third is the "usual" voltage mode that accommodates both MM and MC cartridges as well as step-up transformers.

A current mode input reads the current generated by the cartridge (not its voltage). 

Current mode inputs are usually dedicated to MC cartridges. The current from the cartridge is amplified by a discrete transistor based trans-impedance amplifier. Using current mode inputs provide a superior signal to noise ratio compared to a conventional voltage input, better immunity and by essence no necessity to match impedance. The gain of the trans- impedance amplifier is intrinsically dependent on the cartridge internal resistance. The lower the cartridge internal resistance, the higher the gain. Multiple gain settings are available on each input to accommodate the variation of resistance among cartridges.

QA voltage mode input reads the voltage generated by the cartridge. The voltage mode input is used for all types of cartridges as well as with step-up transformers. The cartridge output signal is amplified by a voltage amplifier. The input is fitted with a user-variable resistive load (variable between 20 Ohms and 100 kOhms), allowing to adjust the cartridge loading impedance and providing a frequency response as flat as the setup will allow. In order to assist the user to set up his system, the P1 comes with a feature that measures the frequency response of the system (cartridge, cables and P1 input) and displays a series of graphs showing the flatness of the system.

RIAA playback equalization is a specification for the playback of phonograph records. The P1 is fitted with a passive implementation of the RIAA equalization, using high grade, high tolerance metal film resistors and custom made film capacitors. The RIAA equalization provides an accurate filtering for the playback of all the discs recorded with the RIAA equalization. However, older records (up to the mid 50's and sometimes later) were recorded using different equalization. The P1 can be fitted with an optional board that contains 4 extra equalization filters: Columbia, EMI, Decca and Teldec. 

The enhanced RIAA curve: the unofficial Neumann time constant can be enabled by the user and is added to the RIAA equalization. It is displayed on the unit's screen with the letter "e" preceding the standard filter: "eRIAA"

Manufacturers often specify a recommended loading value or range that best matches their cartridge. This is the optimal impedance that should electrically load the cartridge.

If an impedance of that value is simply added in parallel to the phonostage input circuitry, sub-optimal result are often obtained. The main reason is that the actual loading seen by the cartridge is the combination of the impedance of the cable, the input impedance of the phono stage input and the variable loading that phono stage manufacturers usually provide. Moreover, some cartridge/tonearm pairs can also exhibit resonance in the audio band, which can be seen as accidents (peaks or dips) in the frequency response. Such ringing can also be slightly tamed by proper cartridge electrical loading.

In order to help our customer to optimally load their cartridge, the P1 phonostage comes with a 45 RPM test record. Side 1 contains a 250Hz-30kHz filtered pink noise track designed to be used in conjunction with a wizard available from the P1's menu. The wizard allows to analyze the frequency response of the entire system (cartridge + tonearm + P1 input loading), while varying the resistive loading of the P1's voltage input. Users can select to test the entire [20 Ohm – 100 kOhm] range that the P1 provides, or any subset of that range for finer tuning. The P1 automatically acquires 21 different frequency response curves applying input loadings scattered across the range selected in the previous step.

In addition to the frequency response curve for each loading value, an average level and a measurement of the flatness of each curve (standard deviation) is also a provided guidance.

As a general rule of thumb, user should start by analyzing the entire possible loading range when a step-up transformer is used, or when no recommended loading is provided by the cartridge manufacturer. If only a minimal loading value is defined, users are welcomed to analyze all values above this specification. In other cases, one can start around the recommended value, roughly from half to twice this value. Iterative calls of the loading wizard, while refining the analyzed range is recommended to find optimal loading.

Proper loading should meet the following criteria:

Once a set of acquisitions is completed, users can browse through analyzed loading values both visually (seeing the corresponding frequency response curves) and sonically (listening to the effect of each loading value while playing any record).

The P1 phono stage chassis is made of high grade aluminum alloy with no visible screws on the front, top and side panels. First class mechanical and chemical surface treatments provide the luxury finish of the P1. Pin assembly of all chassis elements enables smooth joints between metal parts while screws every 6cm ensure protection against electromagnetic interferences.

Four stainless steel feet support the unit. Each foot is fitted with an elastomer ring to sit on delicate surfaces but is also equipped with height adjustable hardened steel spikes to fine tune the unit position. Horizontal leveling is accomplished using the provided screwdriver through the four adjustment shafts accessible from the top of the unit. Moreover, the steel spikes serve as vibration evacuation channels in a stack of units. Special covers are provided to interface with the spikes of the unit above 

The power supply of the P1 is a linear supply with multiple independent local regulation circuits.

The largest mains transformer is an oversized toroidal transformer and is used to supply power to the local regulation circuits, which in turns, supply both phono stage boards. The transformer also supplies power to the digital areas of the unit (front panel display, micro controller and Digital Signal Processing devices - DSP - that monitor the unit).

Discrete ultra low noise regulators are used throughout the power supply to ensure the purest low noise DC feed possible to the different audio sections. Each phono stage board enjoys dedicated analog regulators.

The second, smaller toroidal transformer inside the P1 is used as the Standby transformer to ensure green Standby mode, meeting the latest energy saving regulations.

Both transformers have static shields between primary and secondary windings. They are mounted on a steel plate which is isolated from the rest of the chassis by silent blocks to prevent vibration transmission to the unit.

Input AC voltage to the power supply can be set to 100V, 115V or 230V AC according to your local mains voltage.

In this setup, a single P1 enclosure is used to hold the Left and Right channels. Two boards are fitted inside its chassis, each one independently processing a single channel. The mains power supply section is common to both the board, however separate dedicated DC regulation circuits are used for each board. For ultimate performances, the X1 External Power Supply unit should be added to the setup.

In this setup, two P1s enclosures are used to hold a single channel each (Left respectively Right). The entire power supply of each P1 is dedicated to one channel, further enhancing the system performances. Both P1s should be connected to a network via a router to ensure all audio settings (such as gain, selected input, cartridge loading) are synchronized between units. For ultimate performances, up to two X1 External Power Supply unit should be added to the setup.

I was really quickly entangled with the CH Precision P1 mind-boggling and complex core. I certainly didn’t predict to dip that deep and thoroughly into this apparatus, but once I’ve discovered P1’s current input potency I’ve literary pull out all of my cartridges that I own or have them in the review loop (Top Wing Blue Dragon, Top Wing Red Sparrow, Lyra Etna SL, Gold Note Tuscany Gold, Hana SL, Murasakino Sumile Mono, Etsuro Urushi, Miyabi Labs, Soundsmith Paua Mk Ii Cartridge etc.) and entered the non-plotted, but a most rewarding and prolonged sleepless nights analog adventure.

The cartridge list itself reveals my passion for the MC cartridges and with the up to 25dB user adjustable input gain, there was never even the slightest trait of the missing gain. 

Most notably there was never even a remote notion of the impedance mismatch, that can be too often the case even with quite a few the upper echelon phono stages that offers adjustable loadings. Although many phono preamplifiers offer a different level of cartridge loading settings, one can really never know if the manufacturer provided specs are spot on. You wouldn’t believe how much, how repeatably the given and actual optimal setting can differ. Dealing with such a minuscule signal demands an utmost precision. Missing the exact loading leads to distortions, gain mismatch and most importantly, failing to exhibit the cartridge real potential. 

So yes, The CH Precision X1 does make a difference. A big one! Make no mistake, this is a truly 21st century, reference level analog gem, that takes no prisoners. For someone like yours truly, that is both an analog addict and full-time audio reviewer, this phono stage represents a pinnacle of the upper echelon phono stages. It’s both the state of the art music machine and lab tool. I can understand the impulse of media colleagues to jump aboard and not letting the P1 back from the evaluations. What I cannot comprehend is the failure of understating/hearing the P1 true potential by many of the analog enthusiasts. Well, go figure, but I guess our mileage and priorities differs. 

My recent completion of the dedicated house/listening room completely drain my founds, otherwise, I would myself pull the trigger. I certainly hope that in not too distant future P1 will accompany the rest of the gear in my reference setup. P1 has turned out to represent an indispensable tool for state of the art testing and nonetheless unaltered music enjoyment.  

And to thicken the plot... Sadly once you try out X1 along with the P1, there is no going back. The difference is not small by any measures and this impact not only heavily improves the performance but also add quite considerable weight to the final combo price. But, it’s what it is as Sherlock would say...

The usual state of affairs with Mono and Stereo Editors Choice Award goes like this... Almost as a rule, the prestigious award is only given out if I acquire the device and add it to my reference system. I'll make the exception for CH P1/X1 not only for the reasons stated above but for what this magnificent Swiss duo brings to the analog reproduction. The current input has changed my perception of dealing with the analog micro-machines and how they can behave when everything is set fitly. This is truly an exemplary state of the art high-end product that cleverly implements the right technology and puts the music at the forte and not the other way around!

Stay tuned for the part two, where’ll perform in-depth analysis with the reference vinyl and sum up my listening impressions. 

High end analog enthusiasts around the world are familiar with the name Mark Döhmann, the award winning turntable designer and inventor from Australia, who was responsible for such iconic turntable as Continuum Audio Labs Caliburn among others. Since 2015 Mark has been designing new turntables under his own brand name. Both of his new tables, Helix One and Two, won multiple award and praise around the world. 

Recently, well known Toronto high end dealer Sonic Artistry had the privilege of hosting Mark and George Moraitis, the new Director of Sales and Marketing at Döhmann Audio. Both of them were visiting dealers around North America to discuss future opportunities for growth as well the the new features of the upcoming Helix One V model, which will debut at Munich High End 2019 in May.    Richard Mak and Alex Gorouvein were invited. 

In the video below Mark explains the technology behind his original Helix One turntable and the use of the Minus K isolation platform, which was originally intended for use in medical laboratories.

The Minus K vibration isolation device has been granted multiple US Patents.    In the second system I have in my library located on the second floor, the turntable is literally unplayable unless nobody walks around the room.   The slightest foot stomping will cause the cartridge to hop across the record.   I have tried numerous isolation platforms from butcher blocks, SRA Platforms, HRS platforms, Ginko Audio Cloud platforms, Vibrapods, Maple Shade Audio Maple Boards, Granite slabs, Symposium Ultra platforms, you name it, I’ve tried it.    None were able to provide the active vibration isolation as effective as the Minus K.   With the Minus K, I can at least listen to the turntable with people walking around, but a heavy foot stomp will still cause the cantilever to hop across the record.

Foot stomping aside, the Minus-K does eliminate all sorts of vibration from the air, the room, and whatever which may get transferred onto the turntable.    How ingenious of Dohman to incorporate it right into his turntable!