Patrick
Warm sound with top-notch settings
Comment from 7 November 2026 — Experience from 1 October 2026
Each year, dozens of European journalists gather to select the best electronic products of the year. Awarded by a diverse and impartial jury, the EISA (Expert Imaging and Sound Association) awards recognize exceptional products for their performance, design, or ergonomics.
The Tube Box DS3 B is the first phono preamp in the Pro-Ject Tube Box series to offer balanced XLR inputs and outputs alongside the usual RCA sockets. It amplifies the very weak signal from a turntable cartridge, whether moving magnet (MM) or moving coil (MC), to bring it up to the level of an amplifier’s line input. Its circuit, designed by Dr. Sykora, uses two E88CC tubes in a dual-mono configuration, with each channel featuring its own electronics. The unit is made in Europe.
Load impedance is the resistance the preamp presents to the cartridge. Chosen correctly, it gives an MC cartridge an accurate tonal balance; chosen poorly, it makes the treble dull or, conversely, overly bright. On most phono preamps, this setting involves small switches hidden underneath the unit, which have to be adjusted between listening sessions. The Tube Box DS3 B assigns it to a front-panel rotary knob, which continuously varies the impedance from 10 to 1000 ohms while the record is playing. You start with the value specified by the cartridge manufacturer, then fine-tune by ear, immediately hearing the effect of each position. For MM and high-output MC cartridges, a fixed 47-kilohm setting can be selected with a simple press of the Loading Ohms button.
Two turntables can remain connected at the same time, one to the balanced input and the other to the RCA input, with a front-panel button switching between them. Gain, impedance, capacitance and subsonic filter settings are stored separately for each input, so each turntable returns to its own settings whenever you switch. On the balanced side, the preamp accepts a 5-pin mini-XLR connector, as used on Pro-Ject turntables equipped with the True Balanced output, or a pair of standard XLR cables. A balanced connection carries the signal over two conductors in opposite phase: at the receiving end, the preamp compares the two and eliminates noise picked up by the cable along the way, protecting a very delicate phono signal from interference in a modern home. The RCA input is accompanied by a screw terminal for the turntable’s ground wire.
On the output side, the XLR and RCA sockets work simultaneously, allowing the preamp to be connected to two amplifiers. The XLR output provides an additional 6 dB of gain.
The two E88CC tubes, also known as 6922, stand out for their low background noise and low microphonics, meaning low sensitivity to mechanical vibrations, two valuable qualities in a phono preamp where the original signal measures only a few millivolts. They form the unit’s tube output stage, paired with audiophile-grade polypropylene capacitors.
Gain ranges from 40 to 65 dB in 5 dB steps. Lower values suit MM and high-output MC cartridges, while higher values suit low-output MC cartridges, whose output voltage is much lower. This choice also allows the turntable’s volume to be matched to that of the system’s other sources, such as a CD player or network player. Input capacitance can be set to 50, 150, 300 or 400 pF; it affects the treble of MM and high-output MC cartridges and has no effect on low-output MC cartridges. For example, an Ortofon 2M Red (MM) is set to 47 kilohms, 150 pF and 40 dB, while an Ortofon Quintet Red (low-output MC) is set to 50 ohms and 60 dB.
The subsonic filter cuts frequencies below 20 Hz with a slope of 18 dB per octave. These inaudible sounds, produced by a warped record or tonearm movements, put unnecessary strain on the amplifier and speaker cones.
The aluminum enclosure protects the circuit from electromagnetic interference. Power is supplied by an external 18 V adapter, placed outside the enclosure to keep the electromagnetic fields it generates away from the circuit. The optional Power Box DS2 Sources linear power supply provides cleaner power and replaces the supplied adapter.
A front-panel button turns the unit on or puts it into standby, and a blue LED confirms that power is on. 12 V trigger inputs and outputs (2.5 mm jack) allow the Tube Box DS3 B to be switched on and off at the same time as other devices in Pro-Ject’s Box Design range. The enclosure is available in black or silver, and magnetically attached wooden side panels are available separately.
Balanced XLR connection reduces interference picked up by the cables, a clear advantage in environments with strong electromagnetic noise. The benefit depends on cable length and surroundings. Over short, well-shielded RCA runs, the difference can be subtle. In setups where cables run close to power supplies or Wi-Fi, the improvement in noise floor becomes noticeable.
MC cartridges fully exploit balanced connection thanks to their floating coil. MM cartridges, where one side of the coil is tied to ground, can’t provide a fully balanced signal. Pro-Ject offers the Pick-It PRO Balanced, an MM specifically wired for this mode.
Yes. Any E88CC, 6922, 6DJ8, or 7308 tube is electrically suitable. Sonic characteristics vary according to manufacturer and production era. NOS (New Old Stock) tubes from brands like Mullard, Amperex, or Siemens are highly sought after, but care must be taken to verify authenticity.
The supplied adapter works properly, and the internal circuits already filter the power. The Power Box DS2 Sources further lowers the noise floor and can add a bit more stability to bass reproduction. It’s an upgrade, not a necessity.
This warm-up time protects the tubes and stabilizes voltages. The sound only reaches its best after a few additional minutes, as with any tube-based device. Leaving the unit on for long periods is not recommended due to tube wear.
Starting from the value recommended by the manufacturer is the safest method. Without this information, begin at 100 ohms for a low-output MC or 470 ohms for a medium-output MC. Turning the potentiometer while listening lets you fine-tune: impedance that’s too low will dull the highs, while too high can make the sound aggressive. The ideal point is where the tonal balance sounds just right.
Patrick
Warm sound with top-notch settings
Comment from 7 November 2026 — Experience from 1 October 2026