Lehmann Audio Decade


The Decade a 2 Box phono stage. Lehmannaudio is has built a reputation and unrivalled customer satisfaction on the sound and build quality of phono stages.

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Lehmann Audio Decade

2 Box phono stage. Lehmannaudio is has built a reputation and unrivalled customer satisfaction on the sound and build quality of phono stages. The ambitious Decade effectively fills the gap between the Black Cube SE II and the Lehmannaudio reference phono stage, the Silver Cube. In the Decade, like in all Lehmannaudio devices, top notch technology is used that normally can be found only in price ranges far above.

The input stages of the Decade can also be found in top notch mixing consoles and high class microphone preamps of professional studio electronics. The highly accurate, passive RIAA equalisation network is placed between two linear gain stages and uses precision MKP capacitors. This results in a very stable soundstage reproduction and pin point localisation of instruments.

The maximum gain of 66 dB is well enough for even very exotic low output MC cartridges. Impedance load adaption is practically infinite as with all Lehmannaudio phono stages: there is a free slot for a custom impedance so that every existing MC cartridge on the market can be loaded properly. Input capacitances are adjustable as well.

The Decade is the first phono stage by Lehmannaudio that offers a “Soft-Bass- Rolloff-Filter” and gain selections accessible via toggle switches at the face plate. Both, gain and filter functions, are executed by studio grade relais inside the unit.

The Decade is powered by the PWX II, a power supply especially developed for the unit which is downward compatible with the PWX. This means that Black Cube audio sections can also be connected. The second power outlet at the PWX II is made especially for that purpose. The PWX II power supply with chokes at critical places powers the Decade with very clean DC power and – like the Silver Cube – is connected to the audio section via a shielded cable with Neutrik XLR plugs.

Key Features

Audio Section:

The input stages used in the Decade can also be found in top notch mixing consoles or in well known professional microphone preamps.

The passive filter network between two linear gain stages realized with precision MKP caps

Several resistive and capacitive load options as standard

Front switchable gain (36dB – 66dB) and soft bass rollof

Onboard slot for custom impedance

Zero global feedback Class A output stage technically identical with Black Cube Linear

High quality gold plated pcb mount RCA connectors for audio

High quality double sided printed circuit board for optimal signal routing

Neutrik connector with gold plated contacts for supply connection (as Silver Cube)

Faceplate anodized aluminium in either black or silver finish

Technical Data:
Input Stage: Dual-Mono Microphone Preamp Chip, Newest Generation

Gain Settings: 36dB, 46dB, 56dB, 66dB

Max. Gain: 66dB

Internal Impedances: 47kΩ, 1kΩ, 100Ω (Selectable)

Custom Impedance: Yes, Via Onboard Slot

Internal Input Capacitance & Cap Type: 47p, 100p, 220p, 1n KP 1% And Combinations (47p Always Active)

Soft Bass Roll-off Filter:
Toggle Switch On Face Plate

High Gain:
Toggle Switch On Face Plate

RIAA Filter Caps: MKP

Bass Coupling After RIAA: MKP

Second Gain Stage: Dual Mono

Burr Brown OPA 134

Discrete Output Buffer Zero Global Feedback: (Bipolar Class A)

Power Supply Features on Audio Board: LC Pi-Filter

RC-Filters with Extensive Electrolytic Bypass

Additional information


Black, Silver


Lehmann Audio

Lehmann Audio Vertriebs GmbH was founded in 1988 by the young student of audio engineering, Norbert Lehmann, in Cologne, Germany. After 11 years in pleasant Bergisch Gladbach the company returned to the Rhineland metropolis in spring of 2018. Here with passion for detail is being created what has come into favour in the whole world because of it's quality: the Lehmannaudio product line. Made in Germany.

Striving for perfection

During his audio engineering studies, he was listening to two amplifiers with identical technical specifications in a direct A/B comparison. Really amazing how much they differed in sound quality: one delivered sound, the other one music. There I realised for the first time that good sound depends on much more than technical data such as power, distortion factor and signal-to-noise ratio. That listening session sparked a passion in me which has never ceased: how could he build audio technology so, that it communicates the musician's intention as musically and faithfully as possible? For him, this aspect is key in developing high end. Furthermore,  in pursuit of perfection while staying grounded. And when he finally learnt that his customers feel happy while listening  


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