“…It conveyed all the dynamics, tonal characteristics, and spatiality of the recording, just as well as any other phono preamp I’ve ever heard, and it did so without adding any personality.”

The FedEx deliveryman held his phone in one hand and a small box in the other. He handed me the box, took my signature, and left. As I turned and walked into the cool room, I was excited because I knew the box contained the Octave Phono EQ.2 phono preamp. As a vinyl enthusiast, I’ve always been interested in products that promise to make listening to records a more enjoyable and immersive experience. At the time, I didn’t know that the box contained just such a product. To my surprise, the box was surprisingly light. Was it empty? I would soon find out. I removed the Octave-branded box from the outer packaging and opened it. I was greeted by a well-padded foam liner, with the Phono EQ.2, wrapped in linen, sitting securely in an opening. Above the foam were the user manual, the external power adapter, and a small bag containing a pair of gloves and more linen tucked into either side. I breathed a sigh of relief, because placing this component on my rack wouldn’t leave me sweating like I used to when placing other components.

Octave Audio’s history dates back to 1968, when founder Karl Heinze Hofmann started a transformer winding factory; the company still manufactures transformers for some OEMs today. Seven years later, his son, Andreas, brought Hi-Fi audio electronics into the business. The Octave brand name appeared in 1980, and its first product, the HP 500 tube preamplifier, was launched in 1986. Since 2000, Octave products, handcrafted in Karlsbad, Germany, have focused on hybrid tube-to-solid-state electronics, a method of connecting transistor front-ends to a pentode-designed tube output stage. Octave’s product line includes power amplifiers, preamplifiers, integrated amplifiers, phono preamps, and headphone amplifiers. According to Octave Audio, their hybrid technology achieves “…the best combination of traditional tube technology and innovative semiconductor circuitry. The tubes ensure the superior sound performance of our amplifiers, while our innovative transistor circuitry plays a crucial role in enabling the tubes to fully realize their audiophile potential.” Furthermore, most components used in every Octave Audio product are developed and manufactured in-house, while Dynaudio North America distributes Octave products in the United States and Canada.

The Phono EQ.2 is a robust, electromagnetically shielded, brushed black aluminum rectangular case, 4 inches wide, 2 1/8 inches high, and 6 1/2 inches deep, weighing slightly over 2 pounds. A small blue LED indicator on the front illuminates when powered on. The internal operational amplifiers primarily handle MM/MC gain and high-level output, while the phono equalizer (RIAA) is handled by circuitry composed of discrete passive components, and an optimized ultra-low frequency filter perfects the circuitry’s characteristics.

The back features a socket for a small medical-grade 24V DC switching electronic transformer, a large grounding terminal, a switch for selecting MC or MM cartridges, and two sets of gold-plated RCA input jacks (one for MC and one for MM), with only one pair of gold-plated RCA output jacks. Impressively, two turntables can be connected to this unit simultaneously, one using a moving coil cartridge and the other a moving magnet cartridge.

On the bottom of the box are two small openings for DIP switches to select gain and load when using an MC cartridge. There are four gain settings: 58, 62, 68, and 72dB, which should be sufficient for any MC cartridge on the market. The input impedance for MC cartridges is selectable in 12 DIP settings, from 100 ohms to 1000 ohms, allowing for extensive adjustment. It’s even simpler for those using MM cartridges, as the gain and load are fixed at 50dB and 47K ohms, respectively. Adjusting the DIP switches requires good lighting, a magnifying glass, and a tool to select the settings. I auditioned the Phono EQ.2 with several cartridges, including the Dynavector DV-20x2H, Audio-Technica VM95SH, Audio-Technica Mono3/LP, and AudioQuest 1.1 (an older, mid-range MC cartridge), and had no problems. Most of my listening was done with the Dynavector.

Listening: I usually start my evaluation listening with the ambient music duo A Winged Victory For the Sullen’s double vinyl record *Atomos* [Kranky Krank 190]. This music, composed by Adam Wiltzie of Stars of the Lid and pianist Dustin O’Halloran for Wayne McGregor’s dance sequences, features a cello section, two violins, violas, piano, harp, and synthesizers, unfolding like a slowly moving, dense fog. As described by Brian Howe of Pitchfork, “…it was recorded in a large space, so each instrument seems to float in a vast, ocean-like resonant field through the interplay of natural acoustics and electronic effects.” I would add that it also contains many subtle internal details waiting to be discovered by the resolution of your system.

At about two and a half minutes into the first track on the first side, the first deep bass note rises, followed by an even deeper note a few seconds later, and finally, at the three-minute mark, a bass note strikes so deeply that it is both audible and felt. My old PS Audio GCPH phono preamp, which I referenced, had no trouble with the bass in this track. It delivered a fully extended and tight bass. However, the Octave Phono EQ.2 not only captured that deepest bass note with authority and weight, but also imbued the music with a “personality” and subtle detail that the PS Audio failed to achieve. Playing the album across all four sides, amplified by the Phono EQ.2, I was repeatedly struck by the wide soundstage, captivating timbre, and exquisite detail of the music reproduced in my listening room—a richness I’d never heard before in my system. It imbued this music, often characterized by its long, melancholic notes, with a quality that enhanced my appreciation of the sound entering my ears.

Looking for a slightly faster tempo, I turned to Roger Eno’s 2023 release, *The Skies, They Shift Like Chords* [Deutsche Grammophon 028948650217]. This album is a concise, elegant, and soothing hodgepodge of music, bordering on New Age/ambience, but with a richer content. From the brilliant flow of Scoring Berlin strings in “Chordal Drift” to Alexander Glücksmann’s clarinet in “Tidescape.” From Eno’s ethereal piano in “That Which Is Hidden,” to Vocalconsort Berlin’s almost indistinct vocals in “Illusion,” and the cat-and-mouse strings in “Mind the Gap,” I found myself comfortable with the Phono EQ.2’s ability to showcase nuanced performance details while maintaining musical integrity and enjoyment. For example, Cecily Eno’s narrative in “Strangely, I Dreamt,” and Jon Goddard’s exquisite, deep electric guitar in the album’s final track, “Where Does This Lead Us?”, were all clearly discernible. When the final section of “Japanese Rain Garden” shifted to the natural sounds of birdsong, I found myself turning my head to look out the window for them. Overall, I found the overall musical balance and immersion to be the best I’ve heard on my system.

To change things up, I put Lou Reed’s live recording of *Rock N’ Roll Animal* [RCA APL1-0472] on the turntable. Recorded a few days before Christmas 1973 at the Academy of Music in New York, this album captures five fiery performances by Reed and his handpicked bands, brimming with raw brilliance. One of the most exciting live recordings in my collection, it captures the ferocious guitar duel between Steve Hunter and Dick Wagner in a cacophony of feedback, with Reed’s vocals providing perfect accompaniment. Prakash John’s spirited bass and Pentti Glan’s drumming create a solid foundation for the entire performance, constantly propelling the rhythm forward. Recorded on cassette by Frank Hubach of Record Plant Mobile Studio, my orange-label first edition Dynaflex sounded dynamic, spacious, and confident. The roaring sound emanating from my speakers kept me glued to my seat on both sides of the record. This was thanks to the Octave phono preamp, which revealed each guitar repetition, phrase, and glissando with astonishing clarity. Even Reed’s often-difficult-to-decipher lyrics stood out clearly from the music’s roar, becoming remarkably straightforward. Both of these aspects gave me a better understanding of the music and a stronger emotional connection.

To hear the album with an MC cartridge, I installed an AudioQuest 1.1. Given its 1.1mV output, I switched the selector switch on my Phono EQ.2 to MC, set the gain to 58dB, and the load to 100 ohms. These settings proved ideal for the cartridge, providing ample gain and a smooth overall sound. Throughout the album, the cartridge created a tangible image of the performer on stage, perhaps most surprisingly in the final track, “Rock ‘N’ Roll,” at 4 minutes and 18 seconds. An electric guitar enters from the left, accompanied by a repetition that continues throughout the song. The initial tactile feedback of the guitar was so realistic it startled me, and I jumped up. A minute or so later, Prakash John entered with a lively bass line, steadily building in intensity as the song progressed. Then, around the 6-minute mark, Pentti Glan launched a suggestive drum rhythm, culminating in a full-on sonic assault around the 7-minute and 30-second mark. I smiled, settled back into my seat, and listened eagerly until the song ended.

One of the benefits of a record collecting hobby is discovering vinyl records that offer exceptional musical and/or sonic value. Recently, after following a tip in a YouTube video, I discovered a series of albums called Warner/Reprise Loss Leaders, released by Warner Bros. Records from 1969 to 1980. Each album (usually a double-disc fold-out set) contained a variety of (often obscure) music by artists signed to Warner Bros. or its subsidiaries (such as Reprise). Available only by mail order, a two-disc set was ridiculously cheap at just $2. With 34 titles released in total, I set a goal to add them all to my collection. In the days before streaming services like Qobuz, the ability of these albums to open doors to new music was unparalleled. Furthermore, because each track underwent different engineering and mastering processes, I found them invaluable in helping to evaluate the sound quality of the components in my reviews.

For example, in *Limo* [Warner Bros. PRO 691], the music ranges from Ry Cooder, Leo Sayer, Wendy Waldman, and Henhouse Five Plus Two (Ray Stevens) to Bonnie Raitt, Fleetwood Mac, Al Jarreau, and Rod Stewart. In *The Big Ball* [Warner Bros. PRO 358], you can hear Van Morrison’s stunning “Caravan,” Fleetwood Mac’s early, rough mono recording of “Oh Well,” Pentangle’s “Sally Go Round the Roses,” Jethro Tull’s “Nothing Is Easy,” and Small Faces’ “Flying.” The quality of the individual recordings within each album varies greatly; the good ones sound great, while the bad ones are glaringly obvious. Van Morrison’s, along with Fleetwood Mac’s and Pentangle’s, are excellent, while Jethro Tull’s, Small Faces’, Family’s, and Kinks’ recordings are slightly less impressive.

The better the components being evaluated, the more readily these differences become apparent. Especially with better recordings, the acoustic characteristics of the numerous recording venues used to capture the performances are more or less revealed by the components being evaluated. I favor components that allow me to visualize the acoustics of a recording space in my mind, whether it’s a private studio, a nightclub, an auditorium, or a concert hall. The Octave Phono EQ.2 excels in this regard. For example, Van Morrison’s “Caravan” exhibits a wide, believable soundstage with distinct vocals and instruments. The same is true for Pentangle’s “Sally Go Round the Roses” and Jethro Tull’s “Nothing Is Easy.” Fleetwood Mac’s “Oh Well” is another example.

Earlier, I bought a first-edition UK press of Roger Waters’ 1984 epic album, *The Pros and Cons of Hitchhiking* [EMI SHVL 2401051]—yes, the one with the “naked” cover. Mastered by Doug Sax, I remember it as a dynamic feast in terms of musicality and sonicity, with layers upon layers of information waiting to be revealed. At the time, it was a challenge for my system. Thinking that it would now pose a challenge to my Octave Phono EQ.2, I started playing it, awestruck by the sound. I’ve listened to this album many times, but I can’t recall ever hearing it as dynamically, textured, and detailed as it did with the Phono EQ.2. The myriad notes emanating from Eric Clapton’s guitar and Dobro’s strings were captured by my ears, almost tactile, giving each string its own personality. The supple, husky sound of the bare steel guitar strings was clearly discernible. Similarly, the late David Sanborn’s alto saxophone is easily recognizable by its distinctive lamenting tone and rhythmic drive. It sounds so real that I began to imagine what reed Sanborn used. The dynamics captured in this recording are often astonishing, and the absolute quietness of the Phono EQ.2 enhances this effect.

To continue this style, I flipped through section “N” of my record collection and grabbed my recently acquired Bernie Grundman mastered version of Nirvana’s *Nevermind* on silver vinyl [DGC 2445]. *Nevermind* is not only one of the most important albums of the 1990s, but arguably one of the most groundbreaking albums in rock history. The Bernie Grundman master is widely considered to be the best-sounding version of the album. I’ve listened to this album many times over the years, bought my first copy when it was released in 1991, and later sold it for a good price. Nevertheless, aside from that album, I’ve never heard it as captivating and immersive as it sounds with the Octave Phono EQ.2. The dynamics, instrument separation, and level of detail throughout the organized storm of noise created by the three musicians are astounding. Dave Grohl’s drums are clearly discernible and powerful behind Chris Novoselic’s overloaded bass. Cobain’s vocals are “there,” centered and forward, raw and naked with their raw, resentful anger. The effect of all this energy left me so exhausted that I had to take a break after only a few tracks. While the mastering process clearly contributed to this, the Octave Phono EQ.2 delivers the music and its message without reservation.

Looking for something different, I’ve always been a fan of the Bartok String Quartet and found the early stereo version recorded by Concertapes in 1958 for the Fine Arts Quartet particularly satisfying. The first two quartets recorded on the Concert-Disc [Concertapes CS-207] sounded particularly good on the Phono EQ.2 system. As the stylus found its place, the four members of the orchestra were arranged in a classic string quartet semi-circle before me, as shown in the cover photo: the first and second violins on the left, the cello in the center, and the viola to the left of the cellist. The Octave Phono EQ.2 once again transported me to the recording studio. There, I savored Bartok’s challenging yet beautiful compositions and the quartet’s musical interpretation. Particularly striking was the excellent balance between the cello’s bass and the violin’s treble. The sonic texture of each string instrument, the resonance of its wooden body, and the hum of its strings were almost tangible.

Finally, concluding my time with the Phono EQ.2, I reached for one of my favorite symphonic works, Shostakovich’s Symphony No. 11, a recording widely considered a true reference. Paavo Berglund conducting the Bournemouth Symphony Orchestra [EMI SLS 5177]. My version, a 1982 reissue from the Michael Hobson Collection on Classic Records, is a gem. Playing it on my current system, with the Phono EQ.2 installed, brings back memories of why I first entered this hobby. In the very first moments of the first movement, I sat breathless, awaiting the release that would follow. I had never felt such a strong, instinctive response to this captivating music. I looked with unwavering admiration at that small black box on the shelf, as it repeatedly and consistently drew me closer to the music.

Conclusion: During my time using the Octave Phono EQ.2, I was constantly compelled to re-listen to albums that had been with me for years, albums I knew intimately. Thus, dozens of vinyl records ended up on the turntable of my Music Hall Stealth. Those were listened to for longer periods, as each album brought new enjoyment. Each recording rewarded me with an enhanced listening experience, revealing carefully selected recordings presented in a more exposed and emotionally resonant way. The late Eva Cassidy’s 1996 live recording at Blues Alley in Washington, D.C. [Blix Street Records G8-10210] transported me to my seat in that brick-walled club. I dimmed the lights, feeling as if I were on stage with Ms. Cassidy and the band, spread out before me with an almost tangible sense of presence. Then there was the recent stunning reissue of Bill Evans Trio’s *Waltz For Debby* by Craft Recordings [Prestige/Craft Recordings CR00617], which easily made me imagine myself in that intimate basement space known as the Village Vanguard, just feet from the band’s stage.

I could go on listing the records one by one. It is this experience that prompts me to consider the daunting task of re-listening to every single record in my collection. Any component capable of evoking this response would deserve my top recommendation, and the Octave Phono EQ.2 easily achieves that. Whether paired with an MM or MC cartridge, its ability to convey the dynamics, tonal characteristics, and spatiality of a recording is as superb as any other phono preamp I’ve heard, and it does so without introducing any of its own sonic personality. This is a stunning achievement. In a world where many audio systems are ridiculously expensive, the Phono EQ.2’s reasonable price makes it a no-brainer audition, and I predict you’ll be impressed with the sound.

Equipment Combinations

Analog Source: Music Hall Stealth turntable; Audio-Technica AT Mono3/LP and VM95SH cartridges, AudioQuest AQ 1.1 cartridge, Dynavector DV-20x2H cartridge; PS Audio GCPH phono preamp.

Digital Sources: Sony DVP-NC685V CD/SACD player, Teac UD-501 and AudioQuest DragonFly Black decoder, iFi Audio iSilencer 3.0 USB noise filter, HP Elite Book 8470p laptop running Windows 10 Pro and foobar2000, Qobuz streaming service, Shunyata Research Venom USB cable.

Preamplifier: Schit Audio Freya+
Power Amplifier: Emerald Physics EP100.2SE amplifier (used as mono)
Speakers: EgglestonWorks Emma EVOlution
Headphones: PSB M4U8
Power Processor: Audio Power Industries Power Wedge 116
Signal Cables, Speaker Cables, and Power Cords: Shunyata Research Venom