Written by Marco Kolks 
Phono stage: The Grail Version 3 by
van den Hul
Within the refined circle of analog playback, there are only a few names that command such unwavering authority as van den Hul. For decades, the Dutch company, led by Aalt Jouk van den Hul, has stood for uncompromising dedication to the vinyl record as a medium (cartridges, electronics and cables): not as a nostalgic relic, but as a living, sonically superior art form. With the new phono stage The Grail Version 3, for which none other than Jürgen Ultee is responsible, another impressive step forward has now been achieved. One that claims nothing less than a new reference in its price class.
Even the first visual impression is marked by a seriousness rarely encountered in this
form. In the new generation, the housing is milled from solid material. A massive aluminum block, machined with the highest precision, gives the device an almost archaic presensence. It is not a housing in the traditional sense, but a statement of material and form. The surfaces appear as if cast from a single mold, every line is clear, every edge exact. This type of construction not only ensures extreme stability and freedom from resonance, but also conveys, through touch alone, the level of quality one expects from a device in this class—yet rarely finds executed with such consistency.
Inside, a completely redesigned construction is revealed, which deliberately relies on proven technology in only one area: the legendary RIAA equalization. Implemented exclusively with inductors and resistors, it remains untouched. A sonic anchor that has always been one of the great strengths of the Grail series. Everything else, however, has been rethought, rebuilt, and perfected anew. Particular attention deserves the power supply, which is nearly unique in this form. The Grail Version 3 initially uses an external preregulator that delivers an extremely lownoise DC voltage signal with less than 5 mV broadband residual ripple. This voltage is then further processed internally, filtered, and fed into a highly advanced dual-voltage converter. The central converter component, developed in Switzerland and originally designed for medical applications, operates at such a high frequency that the resulting residual ripple appears practically immeasurable. On the oscilloscope, the signal resembles an ideal direct current.
This technical sophistication has immediate sonic consequences. Due to the high converter frequency, smaller capacitors can be used, possessing significantly better highfrequency characteristics than conventional electrolytic capacitors. The result is said to be a sound image distinguished by extraordinary speed, flow, and smoothness. This is complemented by an elaborate filter architecture consisting of coils, capacitors, and multiple staggered capacitance multipliers that eliminate even the last traces of interference. What remains is an almost absolute silence. A black background against which music can unfold in its purest form. It should also be noted that the design is only single-ended. Symmetry is reserved for the even larger models.
A look at the technical specifications also underscores the ambitions of this device. With a maximum undistorted output voltage of +16.7 dBu, enormous dynamic reserves are available. The gain extends up to 74 dB, enabling even extremely quiet MC systems with output voltages of just 0.05 mV to be handled effortlessly. The input impedance for MC cartridges covers a range from around 10 to 40 Ohms and requires no manual adjustment. A remarkably practical approach. For MM systems, the classic 47 kOhm is available, also customizable. The output impedance of 330 Ohms ensures stable integration into high-end systems, while the power consumption of around 10 watts seems almost modest considering the elaborate power supply.
A look inside: The circuit layout has changed compared to the predecessors and has been optimized.
Particularly in the analog playback chain, the phono stage is the decisive bottleneck. This is where signals in the microvolt range are amplified, shaped, and ultimately transformed into audible music. Every weakness, every coloration, every trace of noise is inevitably revealed. An outstanding phono stage is therefore not an option, but a necessity for serious analog playback. The Grail Version 3 fulfills this task with a sense of ease that deeply impresses the experienced audiophile listener.
The Grail’s power supply is externalized and can be placed at an appropriate distance from the actual phono stage.
Listening Experience
How this technical perfection manifests itself musically, becomes apparent through selected recordings. In “So What” from the album “Kind of Blue” (Columbia) by Miles Davis, a soundstage of fascinating depth opens up. The trumpet floats freely in space with the finest dynamic gradations, while the interplay of the rhythm section is rendered with a naturalness that makes any trace of electronics disappear. Here, the new Grail V3 conveys not only sound, but also space, air, and time. Adding “Freddie Freeloader” from the same album further reveals the phono stage’s extraordinary ability to illuminate tonal colors with nuance: the piano possesses weight and woodiness, while the horns unfold a silky texture that is at once highly detailed and completely relaxed.
“My Funny Valentine” from “Waltz for Debby” (Riverside Records) by the Bill Evans Trio reveals another facet. The soft clinking of glasses in the background, the breathing of the room, the intimate interaction between piano, bass, and drums – all of this is reproduced with a sensitivity that feels astonishingly close to the original event. The Grail V3 reveals microdetails without ever dissecting them. With “Waltz for Debby” itself, this intimacy is heightened even further: the spatial imaging gains depth, the audience becomes perceptible as an organic part of the performance, while the piano appears with analmost holographic presence.
With “A Case of You” from “Blue” (Reprise Records) by Joni Mitchell, vocal reproduction moves to the forefront. Her voice appears corporeal, tangible, and free from any harshnes.
The chassis of the 3rd Grail generation is milled from solid material.
LPs: Miles Davis “Kind of Blue”, Columbia/LP; Bill Evans Trio, “Waltz for Debby”, Riverside Records/LP; Joni Mitchell, “Blue”, Reprise Records/LP; Dave Brubeck Quartet, “Time Out”, Columbia/LP
Fine nuances in articulation become audible without the presentation ever sounding analytical. It is this balance between precision and musicality that makes the Grail V3 so special.
In “River,” the emotional penetration of this phono stage becomes even more apparent: the piano shimmers with fragile clarity, while the voice develops a vulnerable intimacy that is immediately moving.
Completely different in character is “Money for Nothing” from “Brothers in Arms” (Vertigo) by Dire Straits. Here, the phono stage impresses with enormous dynamics and control. The famous guitar riff has impact and structure without ever becoming aggressive. Spatial layering remains stable and comprehensible even during complex passages. With “Your Latest Trick,” its ability to finely illuminate tonal colors also becomes evident: the saxophone stands vividly in space, the percussion sounds airy and precise, while the overall balance is consistently maintained.
Finally, “Take Five” from “Time Out” (Columbia) by the Dave Brubeck Quartet reveals the rhythmic precision of the Grail 3. The drums sound springy and lively, the saxophone has body and texture, while the odd meter flows with impressive naturalness. The Grail V3 turns rhythm into a physical experience. With “Blue Rondo à la Turk,” this quality is emphasized even further: the complex rhythmic structures unfold with playful ease, each instrumental voice remains clearly defined and yet organically embedded in the overall soundscape.
Conclusion: The van den Hul The Grail Version 3 is not a device for compromises. It is an uncompromising manifestation of what is possible today in analog amplification. Its outstanding craftsmanship, technical brilliance, and above all its sonic authority make it a phono stage that not only impresses but leaves a lasting impact. Anyone who has once experienced how music flows through this monolith of aluminum and engineering will find it difficult to part with it again. MK
listened with:
Analog drives: Transrotor Fat Bob
Tonearms: Pluto 5a Special, SME 3012R;
Cartridge systems: van den Hul Colibri, Black Beauty,
Stein Music Aventurin 6, Volpe by Walter Fuchs;
CD player: Cambridge 650 modified by Klang und Kunst
Phono stages: Surzur, EAR 834 (2x), TE Audio Phono
(Tessendorf/MC – Teflon version) and reference filter
power supply, Clearaudio Basic+ including battery supply;
Integrated amplifier: Unison Research Simply 845 (triode),
Speakers: Bösendorfer ACT-System, Artkustik
Cables (interconnect/speaker/power); Interconnects:
van den Hul The Second, Dolphin Gold and Black, Last
Cable NF 30, Peter Feldmann Elektronik, Artkustik;
Speaker cables: Bösendorfer ACT system, Artkustik,
Mains power: Klang und Kunst NK 3, Phonosophie, Peter Feldmann Elektronik, Blue by Dolphin, Artkustik,
Power strips: Peter Feldmann Elektronik;
Power supply accessories: Power Animator and
Optimizer by Artkustik, Phonosophie AG wall outlets;
power conditioner by Peter Feldmann;
Base accessories: KWO, Shaktis;
Digital accessories: CD magnetizing station DE 2 by
Steinmusic;
Analog accessories: Resonators by Finite Elemente,
Audio Animator and cable animators MK II versions by
Art Akustik, LP magnetizing station by ATT-Saar, alignment gauges by Stadthaus, Clearaudio, Dr. Christian
Feikert, metal alignment gauges by Acoustic Solid, turntable mat ATT-Saar, record weight: Record Puck Audio
Tuning Tools, Vorizoo by Blue Amp, Super Tools and
cones and plugs – in/out – by Audio Tuning Tools;
Room tuning: Super Tools (JH + JJ) by Audio Tuning
Tools, Room Animator MK II by Artkustik, Harmonizer
by Stein Music, Albat Bioenergetic Solutions Revelator
Pyramid;
Cleaning products: Fast Audio, Steinmusic, Gläss LP
washing machine, CD-Flux by Phonosophie, cleaner by
Audio Tuning Tools;
The product:
Phono stage: The Grail Version 3
Price: not yet determined at the time of publication
Mains voltage: 120V and 240V (switchable in the external power supply), 50/60Hz
Power consumption: approx. 10 watts
Maximum undistorted output voltage: +16.7dBu
Output impedance: 330 Ohms
MC input sensitivities: referenced to +9.8dBu at the output
Gain factor 56dB: -65.7dBu (0.4 mV)
Gain factor 64dB: -74.3dBu (0.15 mV)
Gain factor 74dB: -83.8dBu (0.05 mV)
MC input impedance: from approx. 10 ohms to 400 ohms, no adjustments required
by the user
MM input impedance: 47 kOhm, customizable
Manufacturer:
Van den Hul B.V.
Oude Apeldoornseweg 69, 8171 LV Vaassen, Netherlands
Tel.: +31 (0) 578 569 950
E-mail: info@vandenhul.com, Internet: vandenhul.com
Distributor (Germany): Bt Hifi Vertrieb GmbH, Stefan Becker
Hauptstr. 14, 40699 Erkrath
Tel.: +49 (0) 2104.175560
E-mail: team@bt-hifi.com, Internet: bt-hifi.com
