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Phonostage Question

The piggybank is getting close to what I need to finally get my vinyl playback going again and I could use some advice. I'm currently running a VPI Scout/JMW9/Dynavector 20XM with 1mv output. In considering a phonostage, I want something that will work well with this setup but that will also allow me to upgrade my table/arm/cartridge at some point without having to replace/upgrade the phonostage. I've noticed that some designers/companies are content to produce phonostages that offer medium to high gain but not enough to run a very low output moving coil. (I'm thinking of Audio Research here whose models seem to come in around 57db). Others (like the new Pass XP15 which is on my list) offer a wider range of gain selections from the mid-40's all the way up to the mid-70's and so allow you to put just about any output cartridge in front of them. Here's my question: Is there any disadvantage in using a phonostage that tries to offer such a wide range of gain options? Put another way, do some manufacturers shoot for medium/high gain (i.e. 57db or so) because that is the most gain that can be produced without distortion and assume that if the consumer is running a really low output cartridge they will buy a separate step up transformer because this is the only way to run a low output coil and not introduce excessive noise, distortion, ETC. Certainly, it would be nice to have a phonostage that does it all (including all those nifty cartridge loading and resistance settings) but what do you give up with the "one size fits all approach"? Finally, let's say I decided to swear off really low output coils--who makes the best (preferably solid state) phonostage for higher output coils or moving magnets like the Soundsmith (2.2mv), Dyna 20XM (1mv), Musicmaker (4mv) and such? I'm thinking that it is less expensive to get a REALLY good phonostage for higher output cartridges--so who makes the best for this type of application?

I hope my question makes sense and thanks for the assistance.

Oh, one final thing I should probably mention. My ARC LS26 linestage has three different gain settings so I can tailor the gain at the linestage as well.
dodgealum

Showing 2 responses by t_bone

t_bone
1,182 posts
 
You did not mention a budget. Jumping to a wild conclusion based on your
table, the stages on your list, and a desire to get something which could survive
multiple upgrades...

I recently saw a ZYX Artisan advertised here on Audiogon for $1500 (new it's
quite a bit more but Mehran at Sorasound may have or two left in inventory at
lower than the newly-raised retail price). It is SS, has a high gain MC head amp
built in, and I have no desire to replace mine. Describing the sound is hard - the
closest I can come may be that it sounds like my ZYX cart - very detailed and
very smooth (I'm a 'tube guy' and it sounds like it should, which is not
something I say about all SS designs).

As for why mfrs choose different gain... ya got me...
t_bone
1,182 posts
 
Dodgealum, if you have $5000 to spend on a phono stage, you can go extremely far when buying used.

As to your original question about whether one gives up something with all the doodads attached. The first and obvious answer is "Yes." Add-on options cost extra in every domain so with a fixed cost point (note I did not say price point), the more doodadegadgetry, the less is spent on the main thing. The second, also somewhat obvious, answer is "Yes." When you add switches to change MM to MC, and you have a selector knob to change inputs, another to select input impedance, yet another to set capacitance and another to set inductance, and then maybe others to change the turnover and rolloff (for phono stages with multiple possible equalization curves), and then maybe a final switch to select gain, in each case you are adding an interruption to the signal path, which creates yet another wire connection to oxidize, to deteriorate, another solder point, you get the picture. Given perfect impedance/capacitance/inductance matching between cartridge and phono stage and phono stage and downstream linestage, the best phono stage will be the simplest. Adding on switches interfering with extremely low-level signals (especially the ones affecting LOMC signals) will create the potential for signal degradation.
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