Gramophone Dreams #42: Sunvalley Audio SV-EQ1616D phono equalizer

The 1980s was a decade when I needed three jobs to support my wife, infant daughter, and octogenarian dad. My primary job was to make and sell art, and I'm sure you know how that can go. Between exhibitions, I was forced to do construction work and to find, repair, and resell old tube amplifiers.

What I remember most from that period was how much I loved Phil Rizzuto and Yankee baseball on AM radio and how often I burned myself on the soldering iron.

Except for each brand's unique wiring layout, chassis construction, and finish, the tube amps I repaired were mostly boring. Circuit-wise and sonics-wise, they were quite similar to each other and generally unremarkable. After fixing and auditioning scores of these crusty boxes, I realized that the better-sounding ones, the ones that were neither slow, dull, nor screechy, employed large, high-quality transformers, the simplest circuits, and tube rectifiers. The more tube amps I repaired, the less I admired mainstream (1950s and 1960s) home audio and the more I admired professional sound-reinforcement gear from companies like Altec, Ampex, IPC, and Bogen.

What really bugged me were the phono preamps of the time. Almost universally, they sounded opaque and undynamic. The only one I thought was all right was the Dynaco PAS-3X's phono stage, which, with tweaks and modifications, anchored my personal hi-fi until I couldn't stand it any longer.

At that point, as an experiment, I scratch-built RCA's "Preamplifier for Magnetic Phonograph Pickup With RIAA Equalization" to see if I could do better than the Dynaco or Marantz preamps that passed through my workshop. The schematic for this passively equalized phono preamp was in the back of every RCA tube manual, and the circuit fit easily in a $5 aluminum Bud box.

My knocked-together phono stage turned out livelier and more transparent than the feedback-equalized counterpart in the Marantz 7C preamplifier. Why did my preamp sound better than Sid Smith's? I speculated that it was because I had used a higher current, 5U4-tube–rectified power supply designed for RCA's 30 watt "High-Fidelity Audio Amplifier," which also had a schematic in the back of the RCA tube manual. (The Marantz 7C used a solid-state bridge rectifier.)

Encouraged by these results, I replaced the supply's 50 ohm pi-filter resistor with a low-impedance choke. The preamp opened up and made me quite happy. Eventually, I fabricated a separate chassis for the power supply and connected it to my RIAA circuit with a detachable umbilical cord. This allowed me to audition a variety of home-brew and military-surplus +250VDC power supplies.

I was astonished by how much difference power supplies made—how different power-supply topologies changed my system's sound. I realized then that how one makes those stable, quiet volts could be the biggest factor in amplifier design, and that low-noise, accurate RIAA equalization is far from the most serious issue affecting phono preamplifier sound quality.

I built this RCA RIAA stage, and many others, just before digital went mainstream.

Back then, I could never have imagined that now, almost 40 years into the digital era, there would be countless newly manufactured phono preamplification devices for audiophiles to choose from, or that phono-preamp circuit innovation would continue, bringing alternative topologies like LCR and LR equalization and current-mode amplification into the limelight. Or that so many of these new preamps would use tubes. Or that a $52,000 phono preamplifier would be on the cover of the August 2020 Stereophile.

Sunvalley Audio SV-EQ1616D phono equalizer
I had been studying violinist Joseph Szigeti and happened to be listening to a Columbia 78rpm pressing of the master of the bow playing Brahms's Concerto in D Minor for Violin and Orchestra, Op.77 (MM 603-8) when I encountered Michael Fremer's well-composed review of the $52,000 Boulder 2108 phono preamp. I already knew that Boulder made solid, well-sorted products, but even I, the man who once sold $250,000 amplifiers, freaked at the idea of a $52,000 phono stage with (gasp) "house-made" discretely implemented "op-amp" gain stages arrayed on bulk-soldered surface-mount circuit boards.

I forgot all about those op-amp gain stages when I read, "It was like analog on acid. Every note, every musical gesture became the most important, most profound note ever struck—until the next one." Michael's wife agreed.

I like listening to "analog on acid" as much as anybody, but must I become a robber baron to experience it?

It seemed fittingly ironic that, when I discovered Mikey's Boulder story, I was listening to that 78rpm disc through the $150 Grado Prestige 78E mono pickup and the small, $825 Sunvalley Audio phono stage, which is built from a kit.


In addition to its passively realized RIAA equalization, Sunvalley's SV-EQ1616D's phono equalizer uses tubes for gain and offers 78rpm enthusiasts a choice of two filters tailored to match either European or American standard play (SP) recording characteristics. It also has selectable EQ for pre-1956 microgroove pressings from Columbia (NAB) or Philips, Capital, etc. (AES), and it has a boost-or-cut high-frequency adjustment.

I remember the first record I played through the SV-EQ1616D because it made me gasp in disbelief.

The $3000 Parasound JC 3+ phono stage had been in the system, and I was using Ortofon's $755 2M Black moving magnet cartridge to assess the character of the phono stage in Rogue Audio's Sphinx V3 integrated amplifier. The 2M Black was sounding unusually vivid, 3D, and exciting with both the Rogue integrated and the JC 3+. The Sunvalley phono equalizer took "unusually vivid" several steps further. The sounds of recordings seemed to burst into my room, charged and luminous.

The Parasound JC 3+ is an exceptionally well-engineered, thinking man's phono stage. It is good at everything, sonically and measurement-wise, except that it seems a little low on thrill and glow.

I gasped playing the first record because the Sunvalley made music feel more intense and exciting than the Parasound, or any other phono pre I have used in the bunker.

I played "Shhh/Peaceful" from the Mobile Fidelity Sound Lab reissue of Miles Davis's In a Silent Way (MFSL 1-377) and knew instantly that something unusually exciting was going on. The sounds from Miles's trumpet cast hypnotic spells as they appeared, lingered, then disappeared. The sense of one intense moment of invention leading to another dominated my attention. I kept taking breaths and holding them.


The SV-EQ1616D was giving me expensive, moving coil–type pleasures, but I was not using a fancy moving coil cartridge. The Sunvalley was extracting those pleasures from the $755 Ortofon 2M Black moving magnet cartridge. Later, when I played "Shhh/Peaceful" with the $7495 Koetsu Rosewood Signature Platinum and a $2700 nickel-core EMIA 1:10 step-up transformer (SUT) feeding the SV-EQ1616D's moving magnet input, it would become clear that to experience "analog on acid"—to feel that every note is the most profound note ever struck—it helps to pay the high-end surcharge. You can save a lot of money, though, with a carefully chosen modestly priced preamp like the Sunvalley. Then invest the money saved in the immodest cartridge, and perhaps the immodest step-up transformer, of your choice.

It's a kit!
I did not have the time to assemble this made-in-Japan kit myself, but I have assembled enough kits to say authoritatively that this one-box phono equalizer is easy and fun to build. If you study the interior photos, you can see exactly what each bit looks like, where exactly it goes, and how it should look when installed. Notice all those hookup wires trimmed in elegant, sweeping curves. All those resistor wires were bent around a pencil or screwdriver shaft to form those perfect smooth bends. Apart from saving money, making bits and wires look artful is what kit-building is about.

Footnote 1: Sunvalley Audio, Sunvalley Co., Ltd., 4-201 Hirokoji Kariya-City, Aichi-Prefecture 448-0844, Japan. USA/Canada Distributor: Victor Kung. Web:

ken h's picture

Thanks for reviewing this options for us DIYers Herb! Sounds very tempting. I was thinking of a Lounge Audio LCR Silver but this indeed is very tempting. Would you describe to me your thoughts on the different characters of the Lounge Audio LCR and the SunValley? I suspect I would lean more towards the sound of the SunValley.


Herb Reichert's picture

You are right. I was remiss in not making the Lounge Audio LCR comparison. The LCR is in the Bunker and I will get on that and report on their differences asap. Meanwhile, everyone I have ever recommended the Lounge Audio to loves it and thanks me repeatedly. I doubt you'd be sad with either.


ken h's picture

Thanks for being willing to describe the sonic character of each. I appreciate it.

Lazer's picture

I can’t wait to hear your thoughts on how the LCR compares. I bought the musical surroundings phono pre and linear charging power supply that you reviewed and am very happy. Thanks Herb!

CG's picture

You hit on too many great points to cover, Herb!

One that I will mention is that a surprising amount of the audio products from about 1950 on, including solid-date designs, had their origin in RCA's and Motorola's product manuals. If people only really knew...

We have an RCA Model 9T table radio that was restored so that it works to the original specification and is safe to use. (Looks pretty, too.) Once or twice a week, one of the small local AM stations plays a couple programs that actually feature music. It's easy to understand why people sat around the radios in their living rooms more than half a century ago. Not hifi, certainly not stereo, but as my kid says, "soothing."

Jack L's picture

....... the most serious issue affecting phono preamplifier sound quality." quoted Herb R.



No need to spend money on however "low-noise, accurate RIAA EQ" as our ears can't hear the difference in deci dBs.

Yes, spend money on the power supply using CHOKES filters to replace cheapie resistors. This will improve the sound noticeably. I always use choke filters to replace cheapie resistors in my amp design/builds.

Listening is believing

Jack L

CG's picture

There's more to the recipe...

Ultimate low noise in the phono stage may or may not matter in the overall system noise. Somebody - actually lots of somebodies over the years - has analyzed that. Here is a recent effort, complete with links to earlier analyses:

(I have zero connection to the owner of the above web site.)

Jack L's picture


I just ran through above website: I only read the noise specs of opamps published by Texas Instruments, the op-amp maker.

Yes, op-amps are a kind of intregrated circuit chips, built up of many bipolar junction devices, ie. transistors, & FETs with lots of feedback loops to achieve certain gain factor & ultra low noise levels for special field applications, e.g phono preamp gain devices.

I got no doubt op-amps can achieve ultra low noise levels, can even be lower than the noise level of the signal generator used to test them. For noise level alone, it fits excellently for building phono amps.

BUT, but for music amplication, noise level does NOT constitute the key part of the performance. The built in feedback loops form a dual blade sword: one side it delivers ultra low noise level, but the other side causes harmonic distortion, & phase distortion to the music signals which are built of multi high orders of harmonics, unlike the pure sinewave/square waves used to their lab tests.

Sonically, critical ears can detect such transient distortions caused by the op-amp feedback loops.

We got to know the bipolar junction devices, e.g. transistors & FETs that build up the op-amp chips are non-linear devices with kinked signal transfer characteristics.

Therefore, I would NOT use any transistors & FETs, let alone op-amp chips despite their ultra low noise level, to build any audio amps - sonically unfriendly to my critical ears.

As I posted here many times, I use only triode tubes, which are the only active amplification devices with truly linear signal transfer feature. My ears like the music they processed. This is physics.

Listening is believing

Jack L

PS: the compact MM phono-line preamp as seen in my signature logo above was my design/build with triode tubes only.

Jack L's picture

........ phono stage," quoted Herb


I still got my pair of Dynaco PAS-2 & ST-70 on back burner. Needless to say, both I thoroughly upgraded years years back. 'Cause their original sound was totally unacceptable to my skeptical ears: opaque, slow & noisy.

Back to the topic of phono-preamp, I wanted to keep Dynaco's signature sound, so I only did upgrade rather then rebuild like most most DIYers
out there did & have been doing till todate.

So I still kept its original PCBs & replaced whatever parts really SONICALLY necessary: polypropylene metal film coupling capacitors, silicon rectifier diodes & filter caps for tube filaments, HV: filter choke, oil- filled FIRST filter capacitor & computer-grade fast speed HV electrolytic filter capacitors; computer-grade silver-plated oxygen-free signal wires etc.

I also bypassed the entire 2-stage tone-control linestage to make it PASSIVE. Who needs tone controls nowadays ?

After such upgrade, my PAS-2 sounds totally 'refreshed': fast. crystal-transparent, airy & very detailed. Keeping its major original parts, I managed to keep Dynamic renowned signature sound.

So my upgrade mission completed, driving direct my upgraded ST-70 - no sweat even with its linestage bypassed as passive.

A lot of fun for minimum costs.

Jack L

Ortofan's picture

... $700 Pro-Ject Tube Box DS2 phono preamp.

Besides tubes, it has switching for two inputs, five different gain settings, and the MC load is continuously variable from 10Ω to 1kΩ.
Ken Kessler bought one to use as his budget reference.

If variable EQ is needed, then get a Schiit Loki.

Jack L's picture


Whatever budget phono preamp chosen, the first thing I would do is to upgrade the HV power supply by replacing the cheapie filter resistor with a choke, & replace coupling capacitors to PP or PE metal film capacitors for superior sound quality.

Jack L

shawnwes's picture

Quite an accomplishment to have surpassed the JC 3+ in Herb's system. Thanks Herb.

williamb's picture

Herb, I've been considering a kit. Can you suggest a soldering iron? I don't want to spend a fortune, but I also prefer to spend a little more for quality .

John Atkinson's picture
williamb wrote:
Herb, I've been considering a kit. Can you suggest a soldering iron?

I'm not Herb but I've been using an earlier version of Weller's temperature-controlled WLC100 - - for many years.

John Atkinson
Technical Editor, Stereophile

williamb's picture

Thanks, John!

A5H_EV4N5's picture

Awesome review from a trusted advisor; this unit is extremely interesting especially considering I will get to pull out my trusted soldering iron and make the hidden parts beautiful. Is a step up transformer required for a Hana El MC cartridge?

Timbo in Oz's picture

IME Power supplies matter way more than audio circuits. Valve amps run with HV rails. This allows us to get very high storage and regulation, and very low noise.

I'll NEVER use a 12AU7 for gain again. Wonderful follower though. Blameless, and they seem to last a good while, if NOStock.

Way too many classic era valve power amps have too much inherent gain and need lots of NFB to lower it. My once were Leak St20s suffered from this issue.

They don't, now.

:-) and ;-) !!!

vkmusic's picture

SV-EQ1616D won the top prize in the analog equipment category of 2020 MJ magazine (無線と実験) (Radio and Experiment)
Technical of the Year 2020.

JazzManDC's picture

Whose got the time? Not me. Victor Kung arranged to have mine assembled in Japan. The wait was rather long because of the pandemic, but, wow! It arrived double-boxed and solid as a rock.

My past attempts at assembly (Heath kits) were always disappointing when it came down to final appearances and solidity. Always, there was some little compromising detail that only I knew about.

The assembled version arrives in PERFECT shape. Truly a joy to listen to. I'm using 3 TungSol 12AX7's and an ELROG 274B. Endless fun ahead, rolling tubes and varying the cartridges. And, yes, I'm playing 78's with the Ortofon SPU mono cartridges. The harmonics are simply astonishing.

Thanks, Herb, for the tip!

This kind of stuff is really hard to find without a review by a master audiophile.