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Trilogy 907 Twin Chassis Phono Preamplifier
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Trilogy 907 Twin Chassis Phono Preamplifier

  (1 Review)
£1,995.83 Exc. VAT |  





Trilogy 907 Phono Stage



Click here for full review 

Available in natural silver anodise as standard. Custom colours are also available at an extra cost and are painted specifically for you by Trilogy through their Chameleon System. Please contact us for more information or for a price and availability on a colour of your choice. 



It is easy to overlook what mature technologies can still offer amidst all the clamour of the digital revolution. Vinyl's appeal as a medium of the highest quality still rightfully endures, despite today's convenience-led music market.

The Trilogy 907 Phono Stage has been meticulously designed to be the perfect interface between your turntable and high resolution amplifier.


Click image for larger picture.



The compact enclosure for the active circuitry is machined from a solid billet of aluminium. It's 1.5kg mass provides outstanding physical and electrical isolation for each of the circuit elements. Even the DC from the power supply runs through its own channel within the housing, until L-C filtering takes place before the main power regulators.

The commonly used series regulator, usually chosen for its lower power dissipation and simplicity, has been rejected in favour of discrete shunt regulators. They are biased heavily into Class A with plenty of voltage headroom to provide ample current for the active gain stages.

The key feature of shunt regulators is their ability to sink, as well as source current. This gives a clear performance advantage under the dynamic operating conditions music demands.



The DC for the regulators is derived from a separate power supply housed in a brushed stainless steel enclosure. This can be placed remotely to keep any magnetic fields well away from the sensitive active circuitry. The custom mains transformer is designed with a low operating current density and a copper faraday screen. It feeds the main Mundorf reservoir capacitors through a bespoke inductor, forming a true choke input supply for absolute minimum electrical noise.

Each channel has its independently housed and isolated gain stage. The fully discrete topology is single ended; achieving high bandwidth and low distortion through the use of active current sources and cascode gain blocks. Precision matched input transistor pairs ensure low noise.

The circuit performance is such that global feedback is not needed. RIAA equalisation is passive, carefully optimized with precision components. Gain settings for MM or MC and cartridge loading are easily achieved via configuration switches on the base. 


Click image for larger picture.

Bringing all the design elements together: innovative circuit topology, optimized electrical screening, superior component quality and elimination of microphony through mass loading, the Trilogy 907 achieves class leading performance. Vast headroom, low noise floor and low dynamic distortion are just some of the benefits that have been realized in achieving our main goal; outstanding musicality.

Superbly crafted for making music at the highest level, the Trilogy 907 conjures music that lives and breathes, keeping the magical essence of vinyl perfectly intact.



 Size (907 Pre Amplifier)

 150x220x38 (WxDxH)

 Size Including Connectors (907 Pre Amplifier)

 150x235x38 (WxDxH)

 Weight (907 Pre Amplifier)

 2.0 Kg

 Size (PSU)

 132x225x57 (WxDxH)

 Weight (PSU)

 2.85 Kg

 Packaging Size (Combined)


 Packaging Weight (Combined)

 5.9 Kg

 Power Consumption

 10 Watts


 2 RCA Phono Sockets

 Input Impedance

47KOhms (User Adjustable) 

 Input Capacitance

 100pF (User Adjustable)


 50dB, 64dB or 70dB (User Adjustable)

 Frequency Response (to RIAA Curve)

 20-20KHz +/- 0.25dB

 Output Impedance

 150 Ohms


 Phase Correct (non inverting)



Average Rating (1 Review):  
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Monday, 15 September 2014  | 

A catastrophic accident occurred late one night when replacing the pickup arm on its rest. Let's just say the cartridge was terminal. I consoled myself by the fact that it was eight years old so perhaps it was due for renewal. I decided to complete the upgrade by purchasing a new phono stage as the old one was of similar age to the deceased cartridge. Just over one month later I collected the Trilogy 907 phono stage from Analogue Seduction. This time gap between purchases had the advantage of allowing me to evaluate the new cartridge before installing the 907.

Cartridge specification gives the resistance value and voltage output, but not the capacitance figure. Terry, of Analogue Seduction advised on the appropriate figure to use and informed me that optimum listening is achieved by experimentation. This allayed my concerns about doing harm by setting incorrect levels. I started by setting the capacitance at 200pF; the resistance at 70 ohms and the gain set for the moving coil range 0.25-0.7mV.

Immediately one is aware of pin point imagery and tighter bass. There is a sense of spaciousness around the instruments and a feeling that you are experiencing the real performance. This was especially true in the case of the live recording of Joan of Arc on Famous Blue Raincoat: The Songs of Leonard Cohen with Jennifer Warnes (CISCO Limited Edition 45r.p.m.). As the audience applauded her entrance, there is a great sense of the vastness of the venue and the atmosphere is tangible. My system produces a very deep sound stage, but clearly there is now a greater separation between instruments and they sound more realistic, Jennifer being forward and the drums well behind her.

Antal Dorati's recording of the Stravinsky's Ballets for Mercury Records is an excellent production, the replay being so much better with the 907. The trumpets in Petroucika produce a tremolo that leaves you wondering, how do they do that? - an effect I don't recall from previous listening sessions.

Tullio Serafin's recording of Verdi's Requiem with the Rome Opera House Chorus and Orchestra for EMI had not been out of its record sleeve for 20 years so I decided to try it out. I left the room for coffee in the conservatory after lowering the pickup only to be drawn back on hearing the lush voices of the choir. Everything sounded under firm control and I felt I could reach out and touch soloists so realistic was their presence. The bass drum boomed as it should and the post horn solo is heavenly. There is some distortion, but I suppose that can be expected in a recording made in 1959/60.

I am not a great rock fan, but as soon as Stevie Ray Vaughan struck up with Love Struck Baby on And Double Trouble Texas Flood the response was not just foot tapping, but legs and arms moved with the beat. I will let that speak for itself.

The output of the 907 must be greater than my old phono stage as I had to reduce the volume control from 10 o'clock (normal setting) to 7.00 o'clock.

The experimental stage came next when I adjusted the load setting. The manufacturers recommended load for my cartridge is 70 ohms – 1K ohms (optimum determined by listening). I took it full scale and set it at 1K ohms while maintaining the capacitance at 200pF. I soon reverted to the 70ohms2 setting after the opening bars of the Mercury Stravinsky Rite of Spring as the higher setting appeared to enhance hum from what I assumed to be the valve amplifiers of the old recording, though perhaps that is incorrect and I am open to correction.

It's difficult finding things to dislike about the 907. The switches for configuring the unit are on the underside and some might find this a nuisance. Provided there is sufficient space on your rack, however, the unit can be turned over without disconnecting the interconnect cables. Let's face it though, once set up, the configuration will not be changed that often. The unit gets very warm, but this, according to the manufacturer, is normal.

Post review: I had a long and fruitful conversation with the designer of the 907, Nick Poulson. He prefers a higher load setting on the grounds of musicality. I experimented once again with higher settings and now maintain the load at just under 1k ohms. Nick also said that capacitance settings are not so criticial with moving coil cartirdges as with moving magnet and that the figure is largely down to personal preference.

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