EAT E-GLO Petite MM/MC tube phono stage

ET 02 PS EGLOP
NZ$ 2,500.00 ea (incl. GST)
EAT Tubes

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NEW PRODUCT RELEASE: Elegant High-End Tube Phono Preamplifier with Ultra Slim Design

"The unit was deliciously quiet and hum-free, and it even looks and feels luxurious, but it was the sound that made my jaw drop, price notwithstanding".......Reviewer: Ken Kessler - HiFi NEWS

Let's face it. No matter where you live, whether you're in a cramped apartment or a sprawling mansion, space almost always seems to be at premium. Go compact with the new E-Glo Petit phono preamplifier from the European Audio Team (EAT) and still enjoy the big sound and ample performance that you've come to expect from these vinyl playback wizards.

An elegant high-end hybrid tube phono preamplifier with ultra slim design, the E-Glo Petit is the small sibling of the highly acclaimed and award-winning E-Glo S from EAT. With its fully discreet, OpAmp-less design, EAT was able to achieve an outstanding sound in a small and compact form factor. Stunning dynamics, a clear midrange, and high resolution definition is what makes E-Glo Petit punch way above its weight.

Advanced Hybrid Tube Design

Employing fully discrete circuitry, the E-Glo Petit uses reliable, two long-life 12AX7 dual triode vacuum tubes. The specially designed power supply enables the tubes to stay "warm" at all times so that your preamp is ready to sound its best as soon as you start up the music. The tubes will perform at their maximum during the entire listening session. EAT has put a lot of time and effort in getting the power supply just right for E-Glo Petit, since it is a critical and important part of the signal path. Therefore they designed it to be regulated and well filtrated for better performance of the complete package.

With the use of very special low noise type-2SK209J FET transistors in a quad-setup in cascade-parallel for the input, the E-Glo Petit achieves its incredible and unique signal-to-noise ratio of 87 decibels. No other tube phono preamplifier on the market that we know of achieves similar results.

Highly Configurable to Suit Any Cartridge

The E-Glo Petit is highly configurable to suit any phono cartridge, whether it's a MM moving magnet or MC moving coil, and the adjustments are easy, thanks to easy, attractive, front panel controls and switches that feel nice to the hand.

You can precisely set the input impedance (low output MC cartridges, 10, 18, 43, 75, 150, 300, 600, 1200 Ohm or high output MC cartridges 30, 36, 42, 47, 53, 59, 65, 75 K Ohm), and load capacity (50, 150, 270, 370, 520, 620 pf). Gain is also adjustable (40, 45, 50, 60, 65, 70 dB).

The E-Glo Petit also offers precise RIAA equalisation plus a switchable subsonic filter switchable. The aluminium casing with wooden side panels offers a retro look reminiscent of a classic reel-to-reel tape deck. Connections consist of one RCA input pair and one RCA output pair.

Features

Specifications

Reviews

Videos

Features

E-Glo Petit is the small sibling of the highly acclaimed and award winning E-Glo S. With its fully discreet, OpAmp-less design, we were able to achieve an outstanding sound in a small and compact form factor. Stunning dynamics, a clear midrange and high resolution definition is what makes E-Glo Petit punch way above its weight.

Hybrid tube design with 12AX7 tubes

  • MM & MC capability
  • Precise RIAA equalisation
  • Adjustable impedance and capacitance
  • Subsonic filter switchable
  • Fully discrete circuitry
  • Advanced power supply
  • Aluminium casing with wooden side panels

With our special designed power supply we enabled the tubes to stay "hot" at all times. That ensures that they perform at their maximum during the entire listening session. We have put a lot of time and effort in getting the power supply just right for E-Glo Petit. As we believe it is a critical and important part of the signal path. Therefore we designed it to be regulated and well filtrated for better performance of the complete package. With the use of very special low noise J-FET transistors of the type 2SK209 in a quad-setup, E-Glo Petit reached its incredible and unique Signal to Noise Ratio of 87 decibels. No other tube phono preamplifier on the market is even getting near those results.

Specifications

INPUT IMPEDANCE (LOW)  10, 18, 43, 75, 150, 300, 600, 1200 Ohm
INPUT IMPEDANCE (HIGH)  30, 36, 42, 47, 53, 59, 65, 75 kOhm
LOAD CAPACITY:  50, 150, 270, 370, 520, 620 pF
OUTPUT IMPEDANCE  100 ohms
GAIN  40, 45, 50, 60, 65, 70 dB
NOISE FLOOR  87 dB (A weighted), 70 dB (20Hz-20kHz)
THD  0,15% 5mV/1kHz gain=45dB
RIAA ACCURACY  within 0.1dB/20Hz – 20kHz
SUBSONIC  @20Hz with 18dB octave
INPUT  RCA
OUTPUT  RCA
POWER CONSUMPTION  450 mA DC, <0.5W standby
DIMENSIONS  226W × 78H × 262D mm

Reviews

The unit was deliciously quiet and hum-free, and it even looks and feels luxurious, but it was the sound that made my jaw drop, price notwithstanding.
Ken Kessler

SUMMARY: In comes piano, crisp percussion, rich bass, everything spread across the stage: the Petit filled the room with ease, belying any dynamic or spatial constraints one might wish to attribute to a wall-wart PSU.the Petit peeled away any vestiges of confusion which might be caused by the chaotic barrage around a minute from the end, before it fades back in... I could, perhaps, imagine how a drug-addled brain might read more into it than The Beatles intended, for this phono stage delights in conveying power and meaning.

REVIEW: As the most affordable of EAT'S three MMMC phono stages, the new E-Glo Petit has its work cut
Lout, as there are plenty of killer phono stages at this £1249 price point. Nevertheless you should still prepare to revel in a transistor tube hybrid phono stage bursting with facilities, in a package - not counting the 18V wall-wart power supply - with a footprint of only 226mm wide by 250mm deep. plus sockets and wooden cheeks.

Although it's a mere 90mm tall including the knobs, toggles and valve tops, it needs a few inches above to allow the heat to circulate, while the industrial design precludes anything being placed on top. And, at the risk of stating the obvious. the Petit's natural siting will be next to a turntable, as access to its operational facilities is, as I've hinted, on top.

TWEAKER'S PARADISE 

What you see when looking down on it are two 12AX7 triodes, with metal discs supported by two 10mm posts to protect the glass tips that peek out from the top plate. Two Allen bolts hold these discs in place, and they are easily removed when it's time to change the valves. Between the valves and the front panel are two rotaries for setting the impedance, the left knob with eight settings from 10ohm to 1kohm, notionally for MCs, and the other with eight settings from 30k-75kohm, for MMs.

Five toggle switches provide left to right, power on, selection of either of the two impedance rotaries, two sequential types to scroll through gain and capacitance values, and subsonic filter onjoff. The capacitance and gain settings scroll with each press, the values indicated on the front of the unit via two rows of six miniature blue LEDs. Capacitance settings are 50/150/270/370/520/620pF and gain options are +40/45/50/55/65/70dB 

As PM gleefully pointed out in his commissioning notes, the new baby of the range actually has more gain settings than the costlier E-Glo S (HFN Mar '17], while the absence of an MM/MC selector means that you can match cartridge types according to the gain and impedance settings. I smiled upon realising that here was a rara avis, a phono stage that allows me to set my Deccas and Londons at near enough to the rumoured ideal of 68kohm impedance thanks to its 65kohm setting. I am not about to quibble over 3kohm, when I've had to make do with 47 kohm for decades, save for a rare spell with (if I remember correctly) an early Gryphon.

Quite where the economies come in, vis-à-vis the E-Glo S, I'm not sure beyond the half-sized enclosure and one less toggle. Like the S but unlike the original E-Glo, the Petit accepts only one turntable, hardly a sacrifice for the vast majority of analogue lovers. This also means a minimum of clutter around the back. The Petit is fitted with two pairs of gilded RCA phonos for signals in-and-out, an earthing post and the socket for power from the wall-wart. Because of the simplicity and the near-intuitive nature of the controls, as well as the caveat that all phono stages should be set by ear rather than hard-and-fast rules according to pick-up manufacturer specs, you will have this up-and-running in two minutes. Or less.

A REALITY CHECK 

While I may dream of owning something like EMT's legendary JPA66 for ultimate cartridge matching, its price is way beyond my means. That's why I welcomed the E-Glo and the later E-Glo S for getting me part of the way there. But I must confess that I long ago gave up anally-retentive levels of obsessiveness, so the need for infinite settings is less important to me than, say, ample supplies of Colchicine for my gout. The E-Glo Petit certainly proved to be up to the task of matching a Kiseki Blue NS "The [HFN Jul '18), Koetsu Urushi (HFN Nov '17], its sibling is sure the jade-green Jo N°5 THEN Dec '18], a slew of Deccas to caus Londons, and anything bother else I threw at it.

There were no deal breaking, cautionary moments to relate to you, beyond a wee tingle if earthing wasn't addressed properly throughout the system and the need to ensure adequate ventilation, as with all tube equipment. Warm-up was a swift 10-15 minutes, the unit was deliciously quiet and hum-free, and it even looks and feels luxurious. But it was the sound that made my jaw drop, price notwithstanding.

PETIT IN NAME ONLY 

From the instant I lowered the stylus and it delivered the first notes of The Beatles' remastered, eponymous LP known as the White Album [Apple 02567 57201), I knew I was about to enjoy one of those rare moments when fidelity and finance were not commensurate. The Petit belied its price in every way, elevating it to the ranks of other fine phono stages in the £1000-£2000 sector, such as Moon's NEO 310LP, Trilogy's 906, a couple of gems from Graham Slee and EAR's sublime 834P.

Resolving the sound of a passenger jet flying across one's soundstage, however, isn't anyone's idea of a definitive test unless one happens to be a pilot, so I moved swiftly to the 'Esher Tapes' and the gorgeous, acoustic version of 'Dear Prudence'. Just guitars and voice, with a glorious sense of space, it oozed 'analogue ness' if such a notion can be defined. It was velvety, open, free of any nasties. Nothing about it sounded cheap, let alone economical. This was serious, high-end worthy playback, so close in impact and coherence to its two-box big sister that it renewed my faith in the concept of trickle. down technology.

Admittedly, the unplugged, lean nature of The Beatles' working sessions - while vivid and untainted by processing - do not tax a system in the manner of the more complex tracks on the album. Resolving the manic, proto-thrash of 'Helter Skelter' was as far off the chart in the other direction away from the acoustic stuff as could exist in the same box set, and the way the Petit managed the layers of bass and fuzz guitar revealed its command of a completely different set of requirements.

CHAOS UNRAVELLED 

This is one berserker of a track, with massed vocals at the back, descending guitars of various flavours, vicious stabbing sounds and machine gun drumming. I'm not about to declare an understanding of how it led Charles Manson to order a massacre, but the Petit peeled away any vestiges of confusion which might be caused by the chaotic barrage around a minute from the end, before it fades back in... I could, perhaps, imagine how a drug-addled brain might read more into it than The Beatles intended, for this phono stage delights in conveying power and meaning.

Breathless, I returned to something more genteel, The Band's Music From Big Pink (Capitol 06025674805325) on two 45rpm LPs. What stood out with this album was the massive, airy, echo-y sound of the organ that opens the majestic "Chest Fever' - an exercise in scale and depth that can rattle a room. In comes piano, crisp percussion, rich bass, everything spread across the stage: the Petit filled the room with ease, belying any dynamic or spatial constraints one might wish to attribute to a wall-wart PSU.

No, it did not possess all of the mass that was available via the E-Glo two-box flagship or the 's, but the x2 or x4 price increase needed to acquire the extra makes one stop and think. Skip to ' We Can Talk About It Now!, listen to the interplay between organ and piano, the back-and-forth vocals, the snap of the drumming, and try to resist its funkiness this sucker swings.

DREAM PARTNER 

Even mono couldn't baffle it. Little Willie John's classic set, Fever Sundazed MH-80551, exhibited texture, richness and power, the title track oozing with sinister, menacing intent-despite it being a song of seduction. Luggling those emotions was John's skill: reproducing them is the Petit's. This unit embraces the nuances of vocals with the kind of finesse worthy of the best MCS. Yes, it's a dream partner for the lo No5, but the Kiseki and Koetsu MCS proved it could handle even more.

With 'Need Your Love So Bad", the Petit again handled the emotional component of a song with aplomb, complementing the raw bluesiness of the composition and the late night vibe of the backing. One can hear how the sax/piano/guitar interplay must have captivated a young Peter Green, who commandeered this masterpiece and put a new spin on it with Fleetwood Mac.

By treating everything with the equanimity, consistency and proficiency of units at twice the price, the Petit is going to cause a bit of bother for the 'S, while not exactly obviating its existence. That unit is richer, livelier, in many ways bigger-sounding, but the Petit behaves like a precocious kid sister. The conflict, "S versus Petit, reminded me in reverse of a Lovin' Spoonful lyric that the Me Too police have certainly outlawed: 'Did You Ever Have To Make Up Your Mind?".

As dilemmas go, there are tougher choices to have to make, so I'll not take the cowardly way out and revert to the price issue, arguing that one should choose what one can afford. Instead, I will at some point have to face distributor and manufacturer, both possibly furious that I'm raving about the less expensive of two models in the same family. Then again, decades ago, a legendary reviewer postulated that many mid-power amps were better than the kilowatt beasts at the top of the range.........Ken Kessler 

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