Best cost no object tube phono

Dear @issak121212  : First than all it was not an attack to that phono stage, just an audiophile opinion.

Obviously it's a phono satge, it handled the inverse RIAA eq.

What is totally BS are those  " paper on oil " caps .

About silver wire what I'm trying to say is that's it's not something to " die for " when I use even in power cables. Silver wires is very good choice any where we want use it.

Beautiful sound is the one that "  meet the needs of the listener. ". That's your opinion, mine is the one that meets MUSIC reproduction needs. So a " little " different.
SS can do that in a way better than tubes when we are talking of phonolinepreamps. We not nonly not need tubes for that but we have to avoid tubes on that specific and very special application/job.

I know very well the Audio Note Ongaku On that I listened in my own system several times. As a fact over 10 years I was a tube lover ( from somete years now I'm a MUSIC lover and that's why I choosed SS to do it. There is no return. ) and listened/owned from Jolida to Audio Note, you can name it and can be sure that I listened.
Now, everything the same SS or tube designs but in special with phono stages balanced is always a superior alternative.

Yes, my mistake because I took a very fast look inside the unit and I did not see those FETs. Sorry.

Of course I need to learn more and I'm always willing to do it. I know very well the FM Acoustics quality level performance ( listened many times as a fact FM was my reference in phono stages. ) and is obvious that you prefered your own system but that is a subjective and not objective opinion and as you I have no time to go deeper in this issue. Btw, syntax is not a good reference not for FM Acoustics and for other audio subjects. You can read my answers to him in this thread.



Btw, M.Huber is very emphatic not use any other cables but the PIT by FMA.

Here what Huber says about balanced phono stage design :

By design, all phono cartridges are balanced sources. The term "balanced" describes a system in which the audio signal is transferred via two shielded symmetrical conductors, neither of which is connected to ground (see Fig. 1). (For general information on balancing consult Technical Bulletin No. 31). In an unbalanced system one of the signal paths is carried by the shield or is exposing the signal to the ground carrier. Because of this, interference signals such as hum, RF, noise etc. are picked up by the shield and can thereby enter the audio circuitry. The lower the signal level and/or the more ambient interference present, the greater is the danger of degradation allowed by an unbalanced (single ended) interface. To this day the interconnection of phono cartridges has been done "unbalanced" (a few pseudo-balanced phono preamps are available):


ANY DISTURBANCES THAT MANAGE TO PENETRATE THE GROUNDED SHIELD WILL ACT UPON THE TWO ANTI-PHASE SIGNALS IN THE SAME WAY. AS INTERFERENCE REJECTION IS OPTIMAL THE COMMON MODE SIGNALS ARE CANCELLED. CHASSIS AND CHASSIS AND TONEARM SYSTEM GROUND

 Fig. 1 THE INPUT STAGE OF THE FM 223 HAS AN EXTREMELY HIGH IMMUNITY ( 100 dB!) TO ANY NOISE AND INTERFERENCE THAT MAY BE PRESENT IN THE SHIELD AND GROUND SYSTEM.



Considering the extremely-low signal levels of cartridges, it becomes obvious that a true balanced signal interface to the preamplifier is a huge improvement over presently available designs. Unfortunately, such an elegant system was always faced with a number of technical challenges. In the FM 223 these limitations have been overcome entirely. The FM 223 is the only phono preamplifier which assure true balanced interconnection of cartridges*. Fig. 1 shows a balanced interface. Such a balanced interconnection of the phono cartridge has major advantages: - increased dynamics - higher headroom - elimination of non-musical signals (interferences) - lower hum and noise - etc. The signal lines from the cartridge are directly connected to the true balanced input stages and have no connection to the shield. Thus, the shield can function optimally, conducting all interference signals directly to ground. The ground, of course, must be separate from the electric ground of the circuits (in many other so-called "balanced" products this is not the case). *True balancing requires more than just XLR connectors on the preamplifier's inputs and outputs. It is the interference rejection ratio) that defines the accuracy of balancing and with it the suppression of disturbing non-audio signals. This is one of the characteristics that exemplifies the tremendous difference between the FM 223 and other so-called "balanced" phono stages.



Thank's to take your time with your post. I will wait that your unit be finished to look for those main specs.

Btw, why hybrid if you are a tube believer?, S.Farkland designed the all tube WaveStream Kinetics phono and for tubes it's an achievement.

R.

Raúl is like a broken record.  Best Audiogon time was when he got banned...... I guess, he was so desperate in his real life he begged the mods to come back...
Always his “religion”, his “knowledge” which isn’t’ a knowledge to move something in a better direction and the difference now is based on his age ( he is high in his age and his ability to listen and to understand is very limited. It never was good but now it is replaced with promoting data sheets from whoever.....
“knowledge” transfer from Mexico .... a pain for brain....

A broken record playing backwards ! At least he stays away from WBF when he can post on Audiogon. I'm surprised how much trolling he gets away with here, meanwhile this post will probably be removed. Go figure !

You really have to hear Allnic.

Anyway you slice it... (whether it be pure tubed, SUT/tube, FET/tube, and yes even with some solid state devices, etc... ) I truly believe that we should try and remember that we, as vinyl lovers, should all feel thankful and blessed that we have so many great and talented designers who are able to provide us with a plethora of fantastic options that are available to us at so many different price points that it allows us all to have the opportunity to be able to enjoy the great sonics that vinyl can provide :)

As to the question of what is the "Best Cost No Object ’Tube’ Phono", I don’t understand how any one person would be able to know the answer to that question without being able to hear each and every option out there, in their own system, trying to keep all the many variables to a minimum. Likewise, I do not understand how anyone would be able to categorically deny the worthiness of a component that they may have never even heard in their own system, simply because of a certain capacitor, wire, passive/active device, etc... that is being employed. I’ve always believed that the worthiness of a component is a combination of the entire circuit design and the sum of all the parts working together seamlessly vs just one sole aspect of the component in question... not to mention the importance of system synergy.

However, I believe that we can all certainly give "suggestions" as to what we would consider as being "contenders" to being the best... as I do love reading about peoples experiences with brands that I haven’t had the opportunity to be able to hear myself :) We are all individuals, with our own set of ears, with our own unique way of hearing sounds. We all have our own set of listening preferences and sonic priorities. What is important to one, may not be to another. But, what we all "mostly" have in common is the love of music and being able to reproduce that in our homes :)

I have no idea what phono stage could be exalted so high as to carry the Title of being The Best Cost No Object. However, in the spirit of offering a "contender" to the list, I would suggest the Wavestream Kinetics Deluxe Phono Amp. I have admired Scott Frankland’s audio design work (phono, preamps, amplifiers) for decades but was never in a financial position to afford them. However, over the last couple of years, I have suffered 5 unexplained strokes and have recently been diagnosed with two cancerous tumors. I have come to realize that we may not get any mulligan’s in this game of life.

So, on Feb 17, I placed a deposit with Scott for his Wavestream Kinetic Level 5 Reference phono amp. His phono amp has always been on my "bucket list". It is an all tube design currently using (2 x 12AX7, 4 x 6DJ8); with extremely low noise ( I believe with the external power supply, noise is below 1uV (one-millionth of a volt ); providing 3 front panel selectable inputs = two MC at 62 dB of gain (without the use of SUT’s or FETS) with a useful cartridge range of 0.2mV to 1.2mV and one MM output at 42dB (you are able to choose your MM gain or you can have 3 MC ); having both balanced and RCA inputs and outputs; adjustable loading available on the back panel via custom loading plugs; and an essentially flat RIAA EQ curve within one tenth of a dB (.1dB) from 3 Hz to 40 Khz. *** The above specs are from the best of my recollection - if you have interest, please consult with Scott Frankland to confirm. He is wonderful to communicate with. ***

I have not received it yet, but I can certainly say that I am very excited to be able to hear it in my system. Scott is not only an excellent and talented designer, but is also a true gentleman and what I believe to be an asset to the audiophile community.

Wishing you all the very best of health, love and happiness!
Don