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Phonostage Question

The piggybank is getting close to what I need to finally get my vinyl playback going again and I could use some advice. I'm currently running a VPI Scout/JMW9/Dynavector 20XM with 1mv output. In considering a phonostage, I want something that will work well with this setup but that will also allow me to upgrade my table/arm/cartridge at some point without having to replace/upgrade the phonostage. I've noticed that some designers/companies are content to produce phonostages that offer medium to high gain but not enough to run a very low output moving coil. (I'm thinking of Audio Research here whose models seem to come in around 57db). Others (like the new Pass XP15 which is on my list) offer a wider range of gain selections from the mid-40's all the way up to the mid-70's and so allow you to put just about any output cartridge in front of them. Here's my question: Is there any disadvantage in using a phonostage that tries to offer such a wide range of gain options? Put another way, do some manufacturers shoot for medium/high gain (i.e. 57db or so) because that is the most gain that can be produced without distortion and assume that if the consumer is running a really low output cartridge they will buy a separate step up transformer because this is the only way to run a low output coil and not introduce excessive noise, distortion, ETC. Certainly, it would be nice to have a phonostage that does it all (including all those nifty cartridge loading and resistance settings) but what do you give up with the "one size fits all approach"? Finally, let's say I decided to swear off really low output coils--who makes the best (preferably solid state) phonostage for higher output coils or moving magnets like the Soundsmith (2.2mv), Dyna 20XM (1mv), Musicmaker (4mv) and such? I'm thinking that it is less expensive to get a REALLY good phonostage for higher output cartridges--so who makes the best for this type of application?

I hope my question makes sense and thanks for the assistance.

Oh, one final thing I should probably mention. My ARC LS26 linestage has three different gain settings so I can tailor the gain at the linestage as well.
dodgealum

Showing 2 responses by seasoned

seasoned's avatar
seasoned
181 posts
 
Cartridge output is a function of how the generating system is configured to operate. There are a lot of variations to choose from, hence the number of different phono stages available.

Manufacturers offer different types of phono stages for different applications. If you buy a unit with a lot of gain options you are paying for flexibility in cartridge choosing. While there is nothing wrong with that approach, it is just more expensive.

With respect to the one-size-fits-all approach - simpler is better. So if a manufacturer chooses complexity (lots of options) the cost must by high to maintain sonic integrity of an otherwise simpler device.

You are correct – it is less expensive to buy a really good MM and forgo the transformer or electronics required for a LOMC. This approach may not sound as good, but you get what you pay for when it comes to cartridge types. If you think you would ever move up to MC territory, then you will be kicking yourself if you don’t have enough gain.

Always a tough choice...

seasoned
seasoned's avatar
seasoned
181 posts
 
A general rule in this hobby is that when you decide to take the plunge to MC cartridges - it gets expensive.

Many excellent phono-stage choices have been listed in the thread, my personal choice would probably be a manley steelhead (you can find them used here, now and then, for <5K.)

If you want excellent MM, I have had wonderful results with a Clearaudio Maestro and EAR 834p (modified). That combination is about $2200 + connectors and cords. The Maestro is one of the very best MM available - I can attest.

seasoned
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