On Step Ups and the Importance of Managing Gain


The past several weeks have been some of the most eye opening in my entire audio journey. Despite over 30 years listening to LPs across a range of setups it seems I've only just stumbled across one of the secrets of analog reproduction -- the step up transformer AKA the importance of managing gain across the analog reproduction chain.

To understand what I mean you need to start with an understanding of my gain cascade prior to my most recent changes. My cartridge is an Acoustical Systems Palladian which is a relatively low output MC at 0.33mV. I've been running it into an ARC Ref 2SE Phono and then an ARC 40th pre. Both are connected balanced so the gain is 51dB (for the phono stage) plus 12dB (for the pre) = 63dB at the LO gain setting -- I tried listening to the HI gain (74dB) setting on the phono but found the added FET amplification added an edge to the sound, amplified hum and restricted dynamics. I'd therefore learned to live with having the Ref 40 volume control on the high side (about 70-80% of range) and "thought" I was getting good sound - great clarity, sound-staging and frequency delineation.

However with a pending upgrade in my phono stage to the VOSS phono, a pure 40dB only single ended affair, I was forced to add a step up to my setup. I've always sworn off the added complication and additional switching and cables so had assumed it would not do anything to improve things. How wrong I was. The model I have is the Music First Audio Classic V2 in a custom configuration built for me with two inputs (one for my mono arm and cartridge) and fixed 20dB gain (1:10 ratio). It also has a three way ground lift switch so any hum issues can be addressed at source (which works btw). At about $3K it's not cheap (and MFA have cheaper options) but in the scheme of things actually much less than the list price of the interconnect I needed to add to connect it to my phono stage (so in the context of my system a stone cold bargain). 

My gain cascade is now 20dB (step up) plus 45dB (phono, now single ended) plus 12dB = 77dB and the volume control is at 40-50% of range. Once I'd realized that running a step up into 200 ohms is not going to work at all and switched the ARC Ref2SE to 47K I was off -- and was I surprised! All of the sudden the soundstage opened up by 50% side to side, front to back and up and down. Dynamics on individual instruments suddenly snapped into focus and the overall presentation was transformed in a way I would not believe possible. One instance can serve as a sense of what I mean -- the two opening cuts on Joni's Hejira, "Coyote" and "Amelia", are mostly similar sounds layered over one another and can be pretty hard to sort out. With the new step up in place it's as if everything now makes sense and each instrument is positioned in space perfectly in location and scale with all the others.

So what's my take away and potential advice to any reading this?
  1. High gain (i.e. 60dB plus) phono stages are, as we all know, problematic so if you can avoid going that way consider looking into it, BUT
  2. Don't "push your gain" i.e. try to under drive a stage, you may not know it (as I didn't) but trying to amplify .33mV with "only" 51dB is probably losing a lot of detail into the noise floor of your amplification stage and/or giving you problems down stream if gain is set too high
  3. So given 1 and 2 try a step up -- you may be surprised as I was!
Not sure if this experience matches with others and would love some perspective from amplifier designers as to why I may have had such a bad (in retrospect) experience with my prior gain cascade.
128x128folkfreak
I guess you’re saying that the Aqvox provides for continuous adjustment of gain anywhere between some lower and upper limits. The BMC (as you likely know) has internal jumpers that allow for "low", "medium", and "high" gain. Those should be sufficient for most situations; you would choose your setting once, to match the particular cartridge you are mating to it, and then forgeddaboudit. I looked up the Nibiru, too. Although it accepts RCA connections for input and output, implying SE, one cannot be certain that the actual business is not done in the balanced mode; there is just no information provided, and the phono circuit is hidden from view by a copper shield. Anyway, I feel like we might be guilty of hi-jacking the thread, for which I apologize to the OP. Thanks for responding to my question about current drive in the first place. I am tempted to try one out in my system.

I read Fremer's reviews in the course of my recent research.  He certainly did seem sincere in his praise for the MCCI, even in comparison to some very much more expensive units that he is known to adore.  In his summation, it seemed he had to backtrack to come up with some reasons why the $30,000+ units he compared it to are a slight bit better than the MCCI. Surely, the MCCI had better measurements than the megabuck units. (As I recall, the Boulder 2008 is pretty noisy.)  
No worries @lewm I think we are all interested in different ways of skinning the cat of phono reproduction. 
Responding to the original post here - re not overloading with excess gain - I have to add that with SUTs, of which I have several and love their resultant sound, the gain of the SUT is linked to its output impedance which when combined with the 47K MM phono stage input creates the load the MC cartridge see. With a x10 SUT the load is 470 ohms and with a x22 SUT the load is 97 ohms. This load applied to the MC cartridge will greatly effect the sound. This is the challenge with SUTs and MC carts. matching the gain and the load as the cart sees it.