After the thoroughly successful presentation of the pre-release version of the Wilson Benesch Tessellate Ti-S , I decide to swap the Transrotor Tamino against it, playing then the second side of Zakir Hussain's ECM album Making Music: John McLaughlin's acoustic guitar impresses on ‘Anisa’ with pressure and unbridled transients, but Jan Garbarek's saxophone is a little too much of a good thing regarding attack and high-frequency energy. That's why I'm paying a visit to the Audio-Freak website again, which had already told me that I have to select the 24-decibel input for the Tessellate if I want to reach the recommended range of 100 to 300 ohms. Even though the value then drops a little below 100 ohms, I try the 33 kiloohm load impedance on the MM-PH-AMP. The saxophone still has enough attack, but seems a little more restrained. The guitar and the tablas are bursting with energy and the – virtual? – space in the Rainbow Studio seems bigger than ever. This is extremely stimulating to listen to along one side of the record, but it still isn’t going to seduce you into hours of musical enjoyment. Increasing the load capacity for the transformer at the phono stage from 150 to 250 picofarads provides remedy: The dynamics, openness and spatial imaging continue to fascinate, but tonally everything is now hunky-dory. Even in a comprehensive test such as this one, it is impossible to explore all the possibilities the MK Analogue SUT-1L and the MM-PH-AMP have to offer. But I am sure that these two MK Analogue products will reward their owner for all his efforts..