Tech Lowdown

Southport, UK – May 2020
iPhono3 Black Label
micro series
the Tech
It is packed throughout with TKD Japan made C0G type
capacitors. Capacitors owning the C0G specification have
lower thermal drift and distortion than Polystyrene capacitors.
The iPhono3 Black Label uses them for the actual equalisation
AND power supply bypass capacitors.
ELNA Japan made Silmic Capacitors are used for the power supplies.
These use special silk fibre paper for the isolating barrier resulting in
decreased odd-order distortion and reduced micro-
phonics/mechanical resonance.
Vishay MELF type thin film resistors, these resistors show
dramatically decreased noise and distortion compared to the
standard surface-mounted resistors. Previously, just like C0G
specification capacitors, they were reserved for the most critical positions.
Design highlights
EQ curves. Even the same LPs may not have the same
equalization
Because as LPs even from different pressing plants can have a
different equalization curve.
Descending from the AMR PH-77, the iPhono3 Black Label has
impressive DNA. One of the key aspects is the ability to precisely
‘correct’ the recording with the intended equalization curve.
There are 6 curves on the iPhono3 Black Label that are trickle-
down technology from the PH-77 which had a total of 22 EQ curves!
Not all LPs have been equalised using the same RIAA equalisation, additional
equalisation curves are needed. At the introduction of the Long Play record (LP) in
1948, most record companies implemented their own particular equalisation
curves and continued to experiment with equalisation in order to extract the best
performance from the new medium. This led to a baffling array of different and
incompatible equalisation curves being applied worldwide.
In the mid-1950s, as all its members agreed to adopt the RCA Orthophonic
equalisation curve, the Recording Industry Association of America (RIAA)
promulgated this curve as a common standard that became known as the ‘RIAA
equalisation’. However, as this was essentially an American standard, it had little
impact outside of the USA. The RIAA equalisation only became a truly international
standard by the mid to late 1970s when European recording labels slowly and
finally began to adopt the RIAA equalisation. It was even later when some Asian