I would like to speak in generalities if possible, so I'm not going to refer to my own equipment, maybe later on in the thread, or a different thread.
In my opinion, I would say the transducer, which is the cartridge. ( I feel the same about the other system transducer, the speakers.)
So, as a generality, is it safe to say (if you agree with my choice) that it would make the most audible difference to upgrade your cart first ? I hope not to make this a loaded question, what I mean is: what component do you think would be most important soundwise, therefore what would you upgrade first ?
I admit to being indecisive and neurotic about which gear I want to end my Search with, I want to make final choices on the combo and be done (even happy), I don't want to experiment with gear the rest of my life if for no other reason than it costs so much. This is why I truly value everyone's advice here.
Almarg, it's beginning to register in my head, the point about first having a stable platter upon which to experiment with a good cart. I'll keep the SP-10.
Syntax, your point on the preamp makes sense. Eventually I'll have to decide where to stop on this. Currently I have a Linn Linto and an Acoustech PH-1P. I guess I won't rule out looking further, but at the moment, this will have to do.
Viridian, I believe I agree with you, in fact your point makes me the most nervous. Where to stop in pursuing arm/cart Magic ?
Raul, you are correct in listing my current gear, plus my second phono pre above. I suppose I will reveal the crux of my dilemma here. I have the SP-10 with the factory obsidian plinth, and the SME-V arm. The arm is new and not yet set up in the plinth. I will probably take one of three directions here: 1. Stop buying anything and just be happy. 2. Only seek additional magic by trying different carts on the V arm. The Clearaudio Accurate needs to go ? 3. Sell the obsidian plinth and the V arm, get a V-12 arm and then figure out what to do plinth-wise. (V-12 won't fit on the obsidian plinth.) I think this would be the end of the line for me (with the possible exception of a better pre, maybe......)
Again, I humbly thank you for guiding this old HiFi nut....
It's a system, guys, and everything interacts to some degree with everything else. So recommending the best upgrade is difficult without knowing the context. On top of that, many people have never examined specific changes scientifically. I had a direct drive turntable that sounded dynamic and one belt drive that sounded slow, so that becomes a way of characterizing all such units in the future?
The best upgrade might be moving from a rubber belt to a tape drive, to fix the microdynamics and leading notes of instruments.
The best upgrade is the one that makes every other part of the system work better! I would not throw a world-class unipivot on a suspended chassis design without doing my homework regarding interactions and spring rates. But if you get it right, you could make the whole thing MUCH better.
Most of us hobbyists never listen all that critically to all various combinations to find that optimum upgrade. I'm in the process now of trying to do that with plinth design. I have an unsuspended table with a 1" thick top plate, and I'm experimenting with plinth layers and materials (aluminum, steel, Panzerholz, MDF, EAR Isodamp, etc.). Make a change, then do comparative listening & take copious notes. Then change back and make more notes. Then change one other thing and make notes. Change back and make more notes. Eventually, I hope to learn what will be the best upgrade for my system.
But in a generic sense, the answer is too dependent on the context to be useful. Just my $.02.
If the table doesn't spin at the correct speed and induces rumble in the playback, do you really want to hear that reproduced precisely while you wait to upgrade the other pieces?
On the other hand, if you build a solid foundation on a good turntable, it will produce music and will only be diluted by the weak links in the chain.
Purchase the best you can afford at the beginning (research carefully, first). It will save you the cost of trading up later (involving time and money).
Dear Noslepums: I don't know if you still own the Clearaudio Accurate, SP-10, SME V, Linto phonostage, Bryston amps and DYS speakers.
I know very well all those items but the Linto phono stage.
The SP-10 is IMHO a very respectable TT especialy in nude/naked version ( with out plinth. ) but needs a good TT mat. The Accurate is a good cartridge but not the best match with the V tonearm and not because resonance frequency in between but because other kind of interactions/distortions generated in between. Bryston amps are very good units.
According with Linto owners and Atkinson measurements the Linto is very good performer with the drawback that can't accept the MM/MI alternative that despite what Syntax posted ( IMHO in that topic he really talk with no facts that could serve as foundation on his remarks. IMHO any kind of cartridge deserve the best at phono stage to can shows at its best. ) is always a welcomed alternative.
So what I do it if I was you is to go for a different tonearm to achieve better Accurate performance and from there you could move a head on the other analog links to fulfil your overall music sound reproduction targets.
IMHO what defines where to start a system up grade is the system it self and for any one of us not be sure which your system set up has no real sense to give advise. There is no rules on up grade in any audio system.
If you share your system items you could have more precise answers that could help you in betetr ways.
Al, good point. I thought about it when I read the list. From my experience the majority of Arms (inside) is far away from its possibilities based on their cheap, average cable inside. For example, a cheap Rega Arm can show very good results when it will be rewired, you can simply get the most out of it with such a modification. When all is done to get the best out of any Arm, then it makes sense to go ahead (not everyone can afford everything but when you have something which can really deliver what is possible from its design, it can be absolutely fine). Various SME Arms are another example for internal wiring. Some Arms have good wire inside (Graham for example), here it makes sense to link a top cable from its connector to the Phono input. Or another example, when you work with Headshells, most are delivered with very cheap leads. When you replace those with top leads, silver or copper, you hear immediately the difference, for a small investment about 35-60$. The cartridge signal is so fragile, you can't improve it, but a lot can be done to degrade it.
IMO the comment by TPReaves pretty much says it all, although Viridian also makes an excellent point in emphasizing the importance of a synergistic match between cartridge and tonearm.
I would add that more than a few very experienced audiophiles here, whose opinions IMO command a good deal of respect, have expressed the belief that a relatively inexpensive but suitably matched cartridge mounted on a high quality turntable/tonearm combination will generally outperform an expensive cartridge mounted on a relatively inexpensive turntable/tonearm combination. I see no reason to doubt that, as a general guideline.
02-02-13: Syntax Your 1-5 list is correct.
Surely you didn't mean to suggest that the choice of cable is more important than the choice of turntable, tonearm, and cartridge, at least in situations where the length of the cable is not unusually long. Or did you?
The most critical unit in analog reproduction is the Phono Stage. There is absolutely no way to degrade a signal more than here [Only exception: Using MM Cartridge, then it is not necessary to think about a high quality Phonostage]. Your 1-5 list is correct.
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