Groove is in the heart.


Groove is in the heart.

Vinyl is back!

But for true music aficionados, it never really went away. That’s why with vinyl sales on the increase, the only way to listen to ‘live-quality’ vinyl is with the PH-77 Phono Equaliser.

Groove is in the heart.

The excitement of that first crackle as the needle hits the groove grabs your heart like your first love.

And the PH-77 brings those feeling flooding back, with one major difference – it delves into the groove of each and every record like never before.

The PH-77 reinvents your LPs with life-like sound the way the artist intended.

The tech spec.

The PH-77 is a premium, high-spec vinyl player with:

  • 8 levels of gain/64 steps of load line
  • 23 equalisation curves
  • 3 inputs

These, combined with its in-built Analogue-to-Digital audio converter, make the PH-77 one of the most sought-after vinyl players on the market.

Enthralling audio.

Delivering music as you’ve never heard it before, the PH-77 picks out and separates every instrument to produce enthralling live-performance audio that’ll leave you gasping for more.



Inputs: 1 x Direct Input with custom loading RCA socket
3 x Switchable Inputs
Gain: MC Lo: 72, 66, 60, 54dB; MM/MC Hi: 48, 42, 36, 30dB + Mute
Frequency Response: ± 0.3dB of RIAA; 12Hz to 95kHz +0.3/-3dB
Noise ‘A’ weighted: < -145dBV (< 0.056uV) equivalent input noise
Equalisations (Stereo): RIAA (Modern stereo LP playback curve)
Enhanced RIAA (with Vinyl Cutting Lathe HF Roll-Off and Phase-Shift Compensation)
RIAA DMM – (The RIAA ‘Direct Metal Mastering’ Curve is not a standard EQ Curve. This ‘AMR Curve’ was developed specifically to correct for the commonly found‘bright’ and ‘metallic’ edge of DMM recordings)
Columbia (Columbia LP Stereo)
Decca FFSS (Decca & London, Deutsche Grammophon, Archiv, Polygram, NAB, Philips, and Argo)
CCIR (Europe pre ~1962, Eastern Europe & Asia pre ~1975 eg. Amiga, Eterna, Deutsche Grammophon and Melodiya)
Equalisations (Mono): RIAA (Mono, also RCA Orthophonic)
Enhanced RIAA (Mono, with Neumann Cutter HF Roll-Off Compensation)
Columbia 52 (later Columbia LP Mono)
Columbia 48 (early Columbia LP Mono)
Columbia 38 (78rpm, Columbia Electrical post-1938)
Decca FFRR 53 (also London Records post-1953)
Decca FFRR 52 (also London Records 1952)
Decca FFRR 51 (also London Records 1951)
Decca FFRR 49 (also London Records 1949-1951)
RCA 50 (RCA, Urania, Lyrichord)
RCA 38 (78rpm, RCA Electrical post-1938)
AES 51 (1951 AES Standard)
Bartok LP
NAB (1942 also NARTB)
EMI (early EMI Mono LP)
CCIR 56 (Mono, Europe pre ~1962, Eastern Europe & Asia pre ~1975)
CCIR 53 (Europe pre-circa. 1956)
Selecting a Mono EQ curve automatically switches the PH-77 into Mono Mode.
Load: (user selectable) MC(ohm): 47, 48, 50, 52, 54, 56, 58, 60, 63, 66, 69, 72, 75, 80, 85, 90, 95, 100, 110, 120, 130, 140, 160, 180, 200, 250, 300, 350, 500, 750, 1.5K, 47K
MM(pF): 70, 90, 110, 130, 145, 165, 185, 200, 220, 240, 260, 280, 300, 315, 330, 350, 370, 390, 410, 430, 445, 460, 485, 500, 520, 540, 560, 580, 600, 620, 640, 680
Polarity: Non-inverting
Output Impedance: RCA < 200 ohm, XLR < 400 ohm
Outputs: 1 x RCA, 1 x XLR, 1 x USB
Analogue to Digital converter: 24bit/96kHz (for archival of vinyl onto a PC)
New Old Stock Valve Complement (6 in total or 3 per channel): EZ80 (Rectification) x Mullard ECC81/12AT7 (1st Gain Stage) x Philips 5687WB (2nd Gain Stage)
Display: Vacuum Fluorescent Display, Dot Matrix, 5 level adjustable including OFF
Dimensions: 17.9in W x 6.2in H x 18.3in D
46cm W x 16cm H x 47cm D
Weight: 28kg (net)



LP magazine’s Chief Editor lavishes praise on the PH-77

Chief Editor, Mr Holger Barske remarked of the PH-77, “…it confidently displays its own distinct sonic footprint: an earthy, warm sonic fundament with a potent, visceral and colourful bass. With ascending frequencies, one becomes more and more aware of the valve contribution to the sound.” We would like to thank Mr Barske very much for getting to the crux of the PH-77’s sonic character.”

(Click name to read original review)