While the C2300 has one of the best phono sections ever made (both MC and MM, BTW), it took forever to warm up. Like 3 hours. By the time it was ready to rock, I was ready to roll... right into bed. I just don't have enough free time to deal with that kind of thing. 99.7% for most of the available time is better than only a tune or two @ 100%.
Folks have said I could have run the 2300 harder (i.e. much louder) to warm it up more quickly, but I just don't like the harshness you have to endure to do it that way. It's a big reason why I don't often care for the sound of a first set at a concert, either.
I'm not kidding about how good the 2300 sounded - the late Harry Pearson used it as part of his personal reference system for something like a year back when it was released. I found it magical on everything, and especially so with acoustic instruments. When you can hear the difference between a Guild and a Martin folk guitar on the first note, that's a remarkable accomplishment.
Still, the C50 is no slouch. It is a bit quieter as you might expect from SS, is perfectly neutral and has a kick-ass internal DAC. Maybe I can't distinguish between the Guild and the Martin for a few bars, but i can still hear the depth of their bodies and the timbre of their wood. Horns ring like they should and drums move air. I can still hear the difference between a Paiste and a Zildjian cymbal set; that didn't change.
I will also say that I underestimated the convenience of the DAC. I am very much not a digital guy. While I have a very high-end disc player, I have never heard a CD, SACD, DVD-A or 192/32 PCM file beat my fancy vinyl rig. However, getting my Graham arm to the correct VTA to bring all the magic out takes patience and a steady hand. Not ideal when I'm pressed for time or had a number of adult beverages. So, streaming Internet radio and running files from my computer provides benefits the C2300 couldn't deliver.
I may go back to a tube pre (maybe the C2500) after I retire and have the time to burn, but for now I have a compromise that works very well indeed. Since this is all supposed to be about happy listening, that's about as good as one can hope for.
Good luck!
Folks have said I could have run the 2300 harder (i.e. much louder) to warm it up more quickly, but I just don't like the harshness you have to endure to do it that way. It's a big reason why I don't often care for the sound of a first set at a concert, either.
I'm not kidding about how good the 2300 sounded - the late Harry Pearson used it as part of his personal reference system for something like a year back when it was released. I found it magical on everything, and especially so with acoustic instruments. When you can hear the difference between a Guild and a Martin folk guitar on the first note, that's a remarkable accomplishment.
Still, the C50 is no slouch. It is a bit quieter as you might expect from SS, is perfectly neutral and has a kick-ass internal DAC. Maybe I can't distinguish between the Guild and the Martin for a few bars, but i can still hear the depth of their bodies and the timbre of their wood. Horns ring like they should and drums move air. I can still hear the difference between a Paiste and a Zildjian cymbal set; that didn't change.
I will also say that I underestimated the convenience of the DAC. I am very much not a digital guy. While I have a very high-end disc player, I have never heard a CD, SACD, DVD-A or 192/32 PCM file beat my fancy vinyl rig. However, getting my Graham arm to the correct VTA to bring all the magic out takes patience and a steady hand. Not ideal when I'm pressed for time or had a number of adult beverages. So, streaming Internet radio and running files from my computer provides benefits the C2300 couldn't deliver.
I may go back to a tube pre (maybe the C2500) after I retire and have the time to burn, but for now I have a compromise that works very well indeed. Since this is all supposed to be about happy listening, that's about as good as one can hope for.
Good luck!