Name came from a big night out when I lived in London and we were drinking Barolo wine. As long as the leads have not been cut too short it can be done. How easily is something you'll have to determine. Go to their web page and there are three docs, one each for 8:1, 12:1 and 24:1 ratios. There is also a doc for the zobel networks, dependent upon single ended or balanced configuration, step up ratio and internal impedance of cart to be used. I don't remember if that doc is on the website. Good luck.
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Hang on guys, some transformers have multiple taps and others do not. You have to check on the wires coming out of the transformer. Most are color coded. While having multiple taps gives you flexibility. I think but I am not entirely sure that a single ratio transformer is theoretically better. Ralph may be able to comment on this. Sowter has multiple tap transformers but I have always avoided them. May be just a knee jerk assumption. My brain hates unused wires.
Over a decade ago I made the below linked post and still stand by it 100% today.
Some basic takeaways I have found.
-Loading the secondary is the worst thing you can do to a transformer. With a known source / load combo an optimal transformer can be designed.
-47K is a silly value for the input of a phono stage when considering a SUT. Selecting a turns ratio on the reflected load of that 47K is misguided.
-Turns ratio and cartridge load should have zero connection to each other when selecting a SUT. Turns ratio should be set for appropriate gain (with careful attention to possible overload). Load resistor should be also as high as possible. Any needed cartridge load should be placed directly at the cartridge.
-Zobel Networks are a Band-Aid for a source to load mismatch of a transformer. They will make the test equipment happy but always leave the music feeling something is amiss.
-high Q resonant behavior of a SUT at 30Khz is audible and objectionable yet Low Q resonant behavior above 100Khz seems audibly benign.
Complete novice here on SUT so bear with me please.
"47k is a silly value for an input of a phono stage"
Bearing in mind that is the figure majority of MM phono stages come with and the likely application what figure do you suggest is NOT silly and how to go about making it so?
Hope that makes sense as genuinely intrigued as yep I am running a SUT through a 47k phono stage right now...….
Indeed the 47K is there for MM inputs to properly load a MM cartridge. The 47K value is not a liability for an active MC stage but when the turns ratio of a SUT is considered things change. The 47K value reflects to the Cartridge as 47K/Turns ratio squared. The perfect example of where this becomes an issue is with the Altec 4722. This is a 30/200:40K mic transformer that found a cult-like following because it is a great match wired 1:18 (120:40K) for a denon 103. The interesting thing with this combo is you get essentially the same gain out of a 103 in both the 1:18 hookup and the 1:36 hookup. This happens because assuming 47K, the reflected load of the 1:18 is 145Ω which is fine for a 103 but moving to 1:36 nets a 36Ω load which is less than the 40Ω internal impedance of the 103 which results in a 6dB loss which roughly offsets the 6dB gain from doubling the turns ratio. If the 47K resistor were increased to say 200K suddenly the increase of gain by doubling the turns ratio would be returned however the transformer behavior would also change which may be better or worse. It is interesting to note that some people do prefer the sound of the 1:36 connection with the 103 which has two possible expanations. 1) the transformer has no ringing and is critically damped. 2) loading a cartridge with its internal impedance reduces IM distortion and increases high frequency tracking (Peter Moncrief IAR #5)
Since with the SUT connected the secondary of the transformer serves the purpose of the grid resistor, it can in theory be removed completely. The problem with this is if the SUT is external and the interconnect gets unplugged or has a fault the phono stage can immediately become unstable and wreak havoc with a system with the tweeters usually becoming a casualty. The better solution is to increase the 47K value to the largest value that still keeps the phono stage stable with an open input. This becomes a situation where it is wise to open a dialog with the manufacturer and then have a competent tech change the value retaining the original part to replace if the unit is to ever be resold. I should also point out that increasing the value from 47K serves no purpose if the SUT is relying on that value (and possibly an additional Zobel) for controlled response.
I install a 300K at the input of my LR phono and I believe shindo used 100K so no everyone adheres to that antiquated 47K value.
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