@rauliruegas you really know everything don’t you? I know you don’t like FR64S, so no surprise there. But I was very surprised as well as disappointed that Anna even mistracked in the MAX-237 (with J-shape armpipe), because that arm could handle everything or so I thought. I also know you don’t like SUT’s, but why do you think an active gain device wouldn’t add colorations of its own? The Boulder electronics were selected for their neutrality and that’s generally how they present music through the Maggies. With cartridges like Miyabi Standard, Transfiguration Proteus, Shelter Harmony or VdHul Colibri this delivers a sound that to my ears is very accurate, but also enchanting and immersive. With the Ortofons this set up emphasizes their own neutrality (a good thing in itself of course) to the point of being sterile, which keeps you uninvolved. Somehow a good SUT restores that balance. At least that’s the way I perceive things, but of course YMMV.
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It is a general consensus, that an Additional Pair of RCA Phono Connector Inputs are used, followed by quite a few metres of Copper Coil and Lead Outs, followed by RCA Connectors as Outputs and then an additional pair of Cables is to be used. The same above stands for a Head Amp in use as well, but swap out the Copper Coil, for a circuit built with usually seen component types. The suggestion is, and mostly presented as a subjective evaluation based on the idea, increased components in the signal path, deteriorates/adulterates the signal path, and the shortest signal path is working toward the ideal. I have not seen any measured data, that clearly defines sound produced from a signal passing through a SUT or Head Amp' is an inferior Sound produced at the Speaker End. Do keep in mind signal that is produced prior to passing through the Speakers Xover, is an electrical current. It is only when the electrical current/signal has travelled as far as the Speaker, is the time it becomes sound and is able to be evaluated by each individual. In most cases individuals do nit share identical attraction for the same produced sound. We are all unique and have sensitivities to how we are affected by sound. |
Dear @edgewear : The issue is not about FR but what showed your Anna in those both FR tonearms that just said the FX truly was and is spot-on with. The Anna is not only a " so so " tracker along those 16grs. on its weigth. I owned the MAX 282 with all its 3 arm pipes and two but the J shapped 237 and I mounted there bad bad trackers to exceptionall trakers/ heavy ones and not so heavy and never had any single trouble with mistracking in any MM/MI/MC over 100 cartridges in cluding Ortofon but not the Anna. The gyroscopib MS tonearm bearing is really a beauty..
About the SUT issue it's not that I'm " against " it per sé and for several years I used SUT's , many to name it here including the best best SUT ever made exclusively to Denon by Murata : Denon AU-1000 that still I own and it's modified by me ( obviously not the transformers. ). Now a " few " years ago and even been owner of the AU-1000 a close friend of mine started and finished a " new " Phonolinepreamp that in those times outperformed in my system FM Acoustics. We took around 2 years and a half to been finished and I still use in its version 3180, @lewm own the 3160 version and other gentlemans the 3150. Why took we the responsability to build that kind of unit? easy: because no SUT/phono combination and top full SS active high gain units as the mentioned FMA truly even my way demanding analog targets till appeared the 3150. All versions came with two totally independent ( including power supply ) dual mono phono active high/low gain stages even time to time I use its MM stage along the AU-1000 and is enjoyable.
Btw, we are thinking to re-start that phonolinepreamp design maybe with 4-5 latest version including one for me. This is in the desk because is not my business way of life and each unit time to build take a lot of time . We will see.
R. |
Dear @edgewear : " but why do you think an active gain device wouldn’t add colorations of its own? "
Where posted I that statement?, every device develops some kind of distortion level.A well matched pairs of bipolars is all what the cartridge signal looks at the very first stage in an active design. Its distortion levels are way low and the length/distance that that signal needs to " walk " is really low too. So, if that phono stage is a good design, the signal that goes to the inverse RIAA eq. is almost direct from there to the output. It's only common sense In the other side a SUT has a way limited whole frequency range . Any one in this thread knows what is the FR of that Sky 20?: I'm almost sure no one has it. Today SUT's but one have short FR and nothing even approaching what was measured in my Denon AU-1000: 3hz to 305khz but a vintage FR goes down to 2hz !!!! the best ever and Technics goes from 3hz to 350khz. The Sky's not even dreams with and I think that the Denon AU-340 that goes from 10hz-100khz is even better that what the OP is looking for.
Btw, the today wide band SUT ( silver wire ) is the intactaudio design.
R. |
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