Voltage mode vs current mode phono stages

Michael Fremer"s latest review of the Channel D Lino C 3.3

@lewm I did not mean to confuse or sound noncommittal in my compare. Both are capable units, equally enjoyable. With the voltage combo on the first needle drop there was a definite sit up n’ listen - ‘wow’ moment. With the Lino C, it just sounded right from the get go. I think in Fremer’s review, he described the unit has having an orderly or no nonsense sound on the warm side. That is what I am hearing. SS sounding more warm than the tube unit, go figure. I do believe the real gem is the Audio Tekne SUT. It’s just that this Japanese brand flies way under the radar in the US.

I am not using the RIAA in the digital domain with the Lino C. One more word on this unit, there are several upgrade paths available from Rob that makes very appealing to own long term. 

I have two cartridges, Audio Tekne, 0.1mv, 2 ohms and ZYX Ultimate Omega, .23 mV, 4 ohms. Both are considered LOMC. I started with a current mode phono, Channel D Lino C 2.2. And then added a Sunvalley EQ-1616d tube phono paired with a Audio Tekne MC-4818 permalloy core SUT. I prefer the voltage mode combination in my system. It has a more dynamic, more transparent presentation, cymbals sound crystalline clear, spookily real. The soundstage width and depth are about the same with the Lino C. The tube/ voltage mode phono sounds more vivid, the SS current mode sounds more warm and relaxing. This is the most surprising and counterintuitive result having lived with both for a good 6 months.

 I don’t think that one technology is better than the other. If paired with the right cartridge, current mode phonos are plug n’ play, whereas voltage mode is an endless pursuit of SUT’s and loading. I have admittedly rather entry level stuff, so not the final word. 

@dover Are you referring to Van Den Hul The Grail MC stage in current mode? I think the base model sells in the eight thousand level. If so, you have answered the OP’s original query as to which mode is superior. Although I have a suspicion that a EMIA LCR phono stage with their silver SUT by Slagle / Jackson  might be the persuasive counter argument that might have eluded you from the voltage side.

@atmasphere Of course, Ralph, you are right. A built-in phono, well chosen, is also a simplicity. I come from that tradition: Audible Illusions, CAT, MFA Luminescence. My current situation of line + phono stage is really to explore the possibilities of the medium, it's a learning experience for me, not a search for a particular sound.

@mijostyn Isn't the difference between a 'warm' and 'lean' sounding system a shift in frequency responses?  Or are you saying that the shift in frequency response is really a shift away from neutral / natural sound? I thought that's what difference devices do, ameliorate or exacerbate sound through the manipulation of frequency responses. Sorry, I get a bit hung up on terminology.

Please provide reporting of the Seta L+ somewhere in this forum. It would provide important data point, especially coming from you. BTW, in my communication with Rob at Channel D, he found a way to squeeze a '1/4 Seta L20' into a Lino C ( with a modified chassis). Yes, fitting a quarter of his TOTL phono into a Lino C! 

@dover Would you confirm if my guess on the Vd Hul Grail is correct? Like Lew, I did a bit more research on it, and it seems a very accomplished unit. Fremer compared it favorably with the CH Precision. Would be interested in hearing more from you on the Grail. Thanks!

@clearthinker If the Grail was ‘under-exposed’,  it certainly has caught my attention with the discussion here. 

What are some of the higher internal impedance LOMC you have tried? Presumably it was the Boulder 1008 that you made the compare to?