Do 5-pole DIN tonearm connectors deteriorate the sound?

Kuzma arms offer different wire choices and most are from clips to pre-amp.

Yes, the BMC is balanced.  So too are my Atma-sphere MP1 and my 3160 Phonolinepreamp.  In my Sound Lab system, everything is balanced, front to back. Nearly all current driven phono stages are balanced, but not all; the Sutherland Loco appears not to be balanced. (There are 3 Sutherland current driven stages; at least one of them offers RCA inputs only and is said not to be balanced.)  Since the most common way to do current drive (BMC excepted) seems to involve an op amp, and those can usually be driven in balanced mode, I have to wonder whether Sutherland drives what is really a balanced current to voltage gain stage in SE mode, in order not to scare away customers who are used to SE phono operation.

You can add Basis Vector arms to the directly connected camp.

@lewm . Isn't your BMC balanced?  I can not separate having a current mode phono stage from running balanced as they happened together. There is no question to my ears that the combination of the two is distinctly better especially when it comes to bass and that is most definitely not psychological. 

Some Reed arms have removable arm wands adding an additional connection. They offer the wands in different EFs which is good for cartridge matching but I refer the Schroder approach of supplying different cartridge mounting plates.

Having experienced problems with various tonearm connections in the past I avoid them religiously. Theoretically the lower the cartridge output the worse they are so I think you are wise to use straight wired arms with your low output cartridges. I think you can also order Kuzma arms straight wired. I am not totally sure. 

I have Tonearms that have the DIN Connection and a Tonearm that has a Direct Wire routing, which is from Tags to RCA Phono.

I have formed the view that the less connections is for the better, but have not to date, got comparisons  put in place to discover where the discernable differences are to be found.

Where I have recently discovered discernable differences for the better, is relating to the Wand Wire used. The demonstration has included a Wire Type not commonly seen in use as a Tonearm Signal Wire, and also has the Wire being used as the Tag Wire. This experience has been quite revelatory, it has left myself wanting to incorporate the same into a Tonearm I own of the same design.

If I could attach the Wand Wire to the Cart's Coils and Directly Terminated to the circuit at the Phono Amp' end, that would be for me the very best outcome, but as it is quite a fragile design and will be impractical, the direct wire method will be the option used.  

@reimarc If I am interpreting your inquiry correctly. It looks like you are trying to learn about controlling hum in the system.

When using the methods I am familiar with I have not had a Hum issue due to these Wiring Configurations, neither have I been aware of Hum in others systems that use either of the options.

If you can make time available to try out a selection of wire types, you might discover a signal wire that offers a SQ way above what you thought was available.   

Because 5pin DIN is the standard connector for most tonearms. Since I like to collect tonearms I like the 5 pin DIN connectors. If everything is in good condition than there shouldn't be any degridation or signal loss. But I'm sure others with golden ears will argue this point.

BillWojo

Any connection will deteriorate sound just like 5-din, but why you're asking specifically for 5-din, not sure

Currently I have issues with hiss and a deep background hum, indicating bad shielding of the tonearm wires and some grounding issues.

@reimarc You need to figure this out before worrying about rewiring the arm or dealing with connectors! Otherwise you may find you have the same problem after all that work! Based on other comments in your opening post, I suspect this will be the case.

FWIW, the ground wire does not have to be carried within the shield. It might help to explain how tonearm wiring actually works:

The cartridge is a balanced source. Like any balanced source, the signal is carried in a twisted pair of wires to the input of the preamp. It does not reference ground, hence the ground wire is merely to connect the shield (the arm tube) to the preamp chassis ground. On this account, the actual shield can be around the signal wires only.

However, you have a foil shield which is great at RF frequencies but bad bad not good really terrible for audio frequencies. Its no surprise you're having hum problems. The 'shield' is picking up noise and injecting it into your audio wiring within. So you'll want to rethink your tonearm cable, not your tonearm wiring!

Since you are likely running the system single-ended as most people do, its acceptable to shield the '+' (plus) output of the cartridge with the '-' (minus) output once the arm wires have exited the tonearm, but this should not be the same as the ground wire connection. That's about the best way to connect a balanced source to a single-ended input and is why tonearms are the only 'single-ended' source that needs the ground wire- in fact its not a single-ended source.

I doubt there is a "right choice". Each choice of the two has its advantages and disadvantages. I do not change wires for different types of cartridges, as does Dover, so I personally do not benefit much from a DIN connection. In my case, I just haven’t had the time or urge to bypass the DIN in the tonearms I own that do use it. I do tend to mount my very lowest output LOMC cartridges in those two of my tonearms (Reed and Triplanar) that have continuous wiring from cartridge pins to phono stage, in the belief that there ought to be a benefit. Since we are being anal, why not a balanced connection? But you’d need a balanced phono stage to take full advantage of balanced wiring. Also, there is the silver vs copper conundrum.

I just went through this decision making process to Din or not to Din when ordering a new Origin Live Encounter. My current Rega arm has Incognito wire from clips to RCA. I went with the Din setup for convenience. I hope I made the right choice. :)

Reed and Triplanar can also be purchased optionally with straight cartridge to phono wiring, as were both of mine, to name only two of several other than Schroeder.

I am of the opinion that you want as little as possible between the cartridge and your phono stage. I want one wire, cartridge clips to XLRs (or RCAs).  The Schroder arms do not even have a solder joint in the way. They use Litzed wires which are a PITA to solder. 

My preference is to keep the DIN in place because that allows me to run 2 differently configured phono cables - I have 1 specifically designed  for MC cartridges and a second one specifically designed for MM cartridges.

Retaining the DIN allows you to optimise the cable for your cartridge/phono stage.

For me this flexibility outways the disadvantage of having a DIN connector.

Another alternative is to solder the tonearm wires directly into the phono cable to eliminate the DIN connectors.

In theory, one would think that any connector is worth eliminating when possible, and I have two tonearms with direct wiring from cartridge to phono stage, but in the case of other tonearms I also own and use and that do use the DIN connector, I cannot honestly say I hear any "problem", when I have compared the SQ of the very same cartridges in the very same audio systems, mine that is, comparing straight through connection to DIN connection. Is it possible that there is the tiniest loss of fine detail? Yes, but as connectors go, I think the Cardas DIN connector, if you’re using both male and female halves, is a very good one.

I read the referenced section on the Origin Live website regarding solder joints vs DIN connections, and I have no beef with that, but I do wonder at the concerns related to resistance of the wiring. In many phono stages, especially but not only tube phono stages, a resistor is deliberately inserted in series with the signal, right after the phono input. This is usually to prevent oscillation of the first amplification device and in tube units is typically 100 ohms or so. So why be concerned about a few ohms of resistance in the wire when the signal is going to encounter a much larger in magnitude series resistance inside the phono stage, before any amplification or RIAA filtering?

An interesting read here: 

https://www.originlive.com/technical-support/tonearms-support/tonearm-faqs/