At first glance, it can neither be recognized where the components of Aavik's new electronics line are located in the company's own hierarchy, nor exactly what type of device it is. The R-580 is a phono stage and is equipped with everything that Aavik or Ansuz respectively have to offer in terms of „Noise Cancelling Technology“.

When I reviewed the Ansuz PowerSwitch D-TC Supreme I already came to know that developer Michael Børresen most of the time relies on the same basic circuitry for his electronic components. The main difference between devices of different price and quality levels is the number of assemblies he grants them to immunize them against external influences such as contaminated mains power or RF noise. In the case of the phono stage, these include the Ansuz Active Tesla Coils, the Ansuz Square Tesla Coils and the Ansuz Dither Circuitry. For all components of the 180 series, the 280 series and the 580 series, the enclosures made of NBCM - a natural-based composite material - are added to minimize mechanical resonances, whereas that of the 580 series phono stage is the only one to feature in addition a titanium inlay for vibration control as well as a copper inner case. Auralic has already shown with its G2.1 series that shielding copper housings can have a very positive effect on sound.

On the outward appearance, Aavik relies on neat understatement: The front is adorned with a large dot matrix display with red LEDs, while two push buttons allow direct access to the standby and muting function. Together with a third button, one can also navigate in the menu and select the input impedance, the brightness of the display and the duration of its activity, as well as display the current firmware version. Even if you call a huge music room your own and the listening position happens to be far away from the audio system, you shouldn't have the slightest problem in reading the information on the large display. The load impedance for the cartridge can be set to 50, 75, 100, 200, 300, 400, 500, 600, 700, 800 or 900 ohms, or 1, 1.5, 2, 3, 4, 5 or 10 kilohms. The simple facade nevertheless hides a great variety. However, the values also quickly make it clear that the R-580 was designed exclusively for the use with moving coil cartridges: The standard value for MM (moving magnet) cartridges, 47 kiloohms, is not offered. In addition, the Aavik operates with a fixed gain of 65 decibels, and that is clearly too much when paired to the more powerful output voltages of moving magnet systems.

I have to admit that I was quite disappointed when I took a look at the back of the R-580. The fact that there is only one stereo input can, in my opinion, easily be forgiven. But the circumstance that the R-580 only connects to the tonearm cable via two RCA jacks doesn't make sense to me. After all, the generator of a cartridge is a free-of-ground, balanced signal source. Michael Børresen of course knows that, too, and that's why the RCA jacks conceal a discreetely designed, floating, balanced input circuit, which operates with ultra-low noise bipolar transistors. By connecting several pairs of transistors in parallel, an extremely low-noise input section was thus created: The signal-to-noise ratio is said to be 94 decibels at one kilohertz. Considering the balanced signal routing via RCA, the shielding of the tonearm cable and the ground wire of the tonearm should ideally be connected to the phono stage via the grounding cable alone. Therefore I asked Morton Thyrrestrup to include a suitable tonearm cable in the shipment right away, as cables are readily available in the group of companies, which also comprises Ansuz. He recommended a Signalz Interconnect Tonearm D-TC2, which takes up the number two in the product hierarchy, offering connections for a PowerBox, but which remained unused here.

As expected from a component developed by Michael Børresen - I was already given the opportunity to familiarize myself with the Ansuz PowerSwitch and the Børresen 01 Silver Supreme -, there are also innovative and exciting solutions to be found in the R-580, some of which he specified to me in a telephone conversation: In the input stages of phono preamplifiers commonly MOSFETs are used, while he uses in his circuitry however bipolar transistors and namely BISS types. The acronym stands for "Breakthrough In Small Signal". The noise level of these transistors approximately equals that of a two-ohm resistor, being therefore extremely low. The disadvantage of such a circuit design is evident in the cartridge having to be protected from voltage feed from the amplifier by a capacitor. In a floating, balanced circuit using BISS transistors, however, one could do without the capacitors. Therefore, in the Aavik phono preamps arrays of BISS transistors selected in pairs form these floating, balanced input stages. To the best of his knowledge, no other circuitry can achieve such a good signal-to-noise ratio, Michael Børresen explains.

Eleven Ansuz dither circuits are used in the R-580, whose very low-frequency voltage ratings around seven to eight hertz modulate the DC voltage provenient from the resonant-mode switching power supply. The modulation voltage ranges about 140 decibels below the DC voltage. Still, they keep the voltage regulators "busy", so that they are able to step in more effectively in smoothing the ripple on the DC voltage. Since I couldn't spot any relay on the circuit board, I asked Michael Børresen how the various load impedances are to be set on the R-580: He refuses to use mechanical switches or relays, because the fine detail information carried in the fragile phono signal would get lost. He relies on photoresistors or LDR sensors instead. A light source is controlled via the menu, the intensity of which would then realize the selected resistor value in the LDR: a completely contact-free solution that is also common in studio compressors in a similar form. The developer also revealed that the equalization is performed partly active, partly passive and that the R-580 gets by with only two voltage gain stages. Apart from the significantly higher number of elements used for suppressing RF interference and noise from the mains, the R-580 also differs from the R-180 and R-280 by even higher quality and more strictly selected components.

Even though I experienced the extremely positive effect of the Darkz feet on the sound when busying myself with the PowerSwitch and the Børresen 01, I placed the R-580 directly on a Krion platform in the Artesania Audio Exoteryc rack. For now, it's not about critical listening, but about the R-580 and the D-TC2 tonearm cable accumulating as many hours of operation as possible. They join forces with the Lyra Etna, which is mounted in the Thiele TA01. In the meantime, its internal wiring should have transmitted at least 150 hours of finest signals, but significantly more can't be bad at all. While on Einstein's The Turntable's Choice I usually load the Etna with 85 ohms, on the R-580 I switch between 75 and 100 ohms, which initially results in almost no sound difference.

I now do have ample opportunity to rediscover some great records. One of them is Percussion Profliles, Japo 2360 025: This recording, featuring five percussionists and George Gruntz on keyboards and synthesizer, is mesmerizing with its precise, wide and deep depiction of the stage, manifold tonal colours and seemingly infinite dynamics. Another musical delight is Richard Beirach's solo piano album Hubris. At some points the sound is reminiscent of the spectacular grand piano sound of the Three Blind Mice albums: The striking of the keys in the upper octaves sounds crystal clear, hard and powerful. But sound engineer Martin Wieland isn't out for any kind of audiophile gimmickry. Beirach's playing is equally impressive with its intense, flowing, even lyrical passages lacking any form of harshness. And particularly during the second part of the B side one is astonished at how much low frequent energy Richard Beirach elicits from his instrument. Along the way it becomes also clear that the R-580 offers above-average dynamics and space, whereas the background noise not only ranges below the average, but settles even a touch lower than with Einstein's The Turntable's Choice, which is exemplary in this discipline: Only when the volume control of Audio Exklusiv's R7 is turned up significantly beyond levels that would be detrimental for both speakers and ears with the tonearm lowered, a slight hiss is audible - but still no trace of hum.

So, now time has come to spin one or the other test record. The first one I use to briefly check whether the Ansuz Darkz T2 Supreme have the same positive effect under the phono stage as under the PowerSwitch. And they do: With Dick Schory's "Buck Dance" and "Duel On The Skins" the dimensions of the Orchestra Hall seem even larger, the instruments are better separated from each other, the performance gets a bit more dynamic, and the percussion ensemble and the two tap dancers appear to get down to business with a touch more verve. Those who don't shy away from the investment the R-580 and the Signalz D2 entail shouldn't dispense with the Darkz T2 Supreme. I won't do that in the following either.

The second movement of Albéniz-Frühbeck de Burgos' Suite Española is a musical and sonic delight when heard through Etna, Thiele TA01 and the R-580: The orchestra performs on a large stage, the brass entries are right on the mark with the necessary attack, and the timpani are easy to differentiate in their diversity. Even throughout the fortissimo passages the claves can be very well distinguished. Resolution, dynamics and definition are on an extremely high level. This is not much different with Einstein's The Turntable's Choice, which briefly replaces the R-580: It fascinates with even a tad more impetus in the lower octaves, but doesn't quite reach the excellent transparency and openness of the Aavik R-580. Instead of carrying forward the comparison with other records, I'd rather try a few other cartridges on the R-580. The Transrotor JR Tamino, which is manufactured by My Sonic Lab, is already waiting to be used in in the twelve-inch version of Einstein's The Tonearm. Since the Tamino comes up with a very low internal resistance despite its output voltage of 0.5 millivolts, I opt for  the lowest load impedance available on the R-580: 50 ohms. And the Tamino feels audibly comfortable with the selected value. Although I must have heard "God Bless The Child" a thousand times from record - and as a 192 kilohertz file for years, too - this title captivates me from the very first notes: Timbres, ambience and intensity are a touch more fascinating than with the digital variant - and that, although the record might be slightly worn and not free of crackles. The space, openness, and rich detail offered by the R-580 are truly something special. I have never heard - if memory serves - this standard with the Tamino so finely depicted and yet emotional. So I'll switch briefly to The Turntable's Choice to verify this impression: No, I don't need to withdraw my statement at all. However, the Einstein performs rhythmically with a touch more excitement. Maybe setting the R-580 to a higher terminating impedance will prompt the Tamino to more groove. And yes, at 100 ohms, the enthusiasm intensifies a lot, but without reducing the pressure of the bass drum.

In the following I facilitate myself the installation of new cartridges by mounting the Transrotor TRA 9, which has recently been presented a Statement-in-High-Fidelity Award, on the LaGrange's nine-inch tonearm position instead of the Thiele TA01. Meanwhile, the 3D-printed bridge to indicate the TRA 9's tonearm pivot point has arrived, making overhang adjustment much more convenient in conjunction with all the gauges that need to be aligned to that point. This way it's easy to find the right position for the Allaerts MC Finish Gold using the Dennesen adjustment protractor. By the way, this is the cartridge with the lowest output voltage in my small collection - even if the manufacturer's specifications say something different. Although it sounds excellent, I haven't used it for a long time, because even with the balanced Einstein phono stage, its noise level lies only minimally below the groove noise of the needle and is a bit annoying in play breaks at the appropriate volume still. By the way, Jan Allaerts is quite strict in specifying the load impedance: It should be exactly 845 ohms. Since the R-580 only offers 800 or 900 ohms, I start with the minimal closer value and let the Finish Gold after its long inactivity find relief over four record sides. This already shows the potential of the Allaerts: it spoils with a very good spatial imaging, an enormously powerful and well contoured low frequency range and inspiring dynamics, while in the empty grooves there is no disturbing noise to be heard at all: The Finish Gold harmonizes excellently with the R-580!

Since I had listened to Steve Tibbet's Safe Journey quite loudly, it happened that when changing the record there was very slight hiss audible at the listening position with the tonearm raised, which I didn't find in no way annoying. Since I really enjoyed listening to the Allaerts through the Aavik, I didn't start with "Malinye" right away, but listened to the first side of Codana 2 in its entirety: The timbres were in parts exotic, the dynamics abundant, the sound fresh and of good transparency. Don Cherry's trumpet attacks with vigour but without the slightest trace of sharpness, added by the imaginary three-dimensional stage designed by Martin Wieland, where you can also sense the height of the room: What a delight! If the R-580 were a consistent member of my system, I would put the Allaerts much more often to use. I came to like the combination so much that I simply refrained from experimenting with a terminating impedance of 900 ohms.

The Finish Gold now makes room for the Brinkmann EMT ti in the Transrotor TRA 9's headshell. This allows the R-580 to show how well it copes with "loud" moving coil cartridges. Helmut Brinkmann recommends a terminating impedance of 600 ohms and that's where I start. Of course I also grant the EMT two records to warm up before I give it a more critical listen. After all, the bearing rubber has to become a little smoother again. The EMT then starts on - at least on vinyl - a long unheard album: Stevie Ray Vaughan's Couldn't Stand The Weather and of course its track "Tin Pan Alley": That was already one of my favourites more than 30 years ago, at a time when I listened almost exclusively to EMT variants. And now again I enjoy the tremendous power and energy of the song. However, I have never been granted to experience such a large and airy space. The fine dynamics of the guitar playing I don't remember as good as this. Of course, this is largely due to the rest of the chain, but the EMT ti and the R-580 harmonise excellently: The coarse dynamics and the joy of playing of the cartridge benefit from the spatiality, speed and detailing of the phono stage: an ideal pair!
PS: This proves especially true if the cartridge is terminated with 400 instead of 600 ohms.