SUT - electrical theory and practical experience

Some vinyl users use a SUT to enhance the signal of the MC cartridge so that it can be used in the MM input of a phono stage.  Although I don't understand the theory behind it, I realize that a SUT should be matched individually to a particular cartridge, depending on the internal impedance of the MC, among other things.  

Assuming an appropriately / ideally matched SUT and MC, What are the inherent advantages or disadvantages of inserting a SUT after the MC in the audio chain?  Does the SUT theoretically enhance or degrade the sound quality?  What does the SUT actually do to the sound quality? 



The Coil on the Cartridge > Cartridge Connections > Internal Wand Wire > Pillar Connections > RCA Phono Cable and Connectors are all able to have an impact on how the Signal is sent and the SQ of the Signal is to be perceived.

A Dedicated MC Stage is one that in many cases, might not be able to compensate for upstream influences on the signal and create a presentation that has an attraction that is on parity with the attraction that can be created, using separate ancillaries that can have an influence that compensates for upstream influences on the signal path.

There is no doubt that the option to influence the SQ and presentation with the use of an ancillary that bypasses a use of a Dedicated MC Stage and creates a MC Stage through adapting a MM Input to take on the role of a MC Stage, is one that has won over many adopters of this as their chosen method.

The Math behind the differing options is only one part of the equation.

The interface chosen and the impact it has on the end listener is substantially more important, as this is where the satisfaction in enjoyment of the Vinyl chain is to be found. It is hard to convince most that the Math should be their end goal behind their choices made. 

Trusting in Designers and their Skills to produce a Device that is a correct interface as an inclusion in a Circuit and Signal Path, is the most typical and successful route to finding the methodology that offers the most attraction.

@dover is testament to this, his route to have an ancillary that satisfies has ben realised through his trust in his EE and their design for a Bespoke device.

I'm glad it is revealed as I am keen to learn more and will approach the subject with my most trusted EE Designer, to see what I can learn about the concept.   

Hi @intactaudio ,

Finally, the overload points (1% THD+N) for the 834P were 69.2mV at 1kHz, 260mV at 20kHz, and 7.85mV at 20Hz.

Hi @pindac ,

I had the original EAR 834. I like it but I saw it was built with very cheap components and power supply. Romy The Cat article "End Of Live Phonostage" inspired me to build my DIY EAR 834 with better parts (including air capacitors, z-foil and AN silver Tantalum resistors, Jupiter signal capacitors,...) and power supply with LCLC filtering, parallel voltage regulator based on 0A2 tubes and different other upgrades.

So, my DIY EAR 834 is a different animal compared to the original one. The schematics is very important but the implementation is even more.




Hi @rauliruegas ,

Yes I use these Tamura SUT with box build by myself without switches. All wires are directly soldered to RCA. 

But I thinking to built a new box for my DIY phonostage where I want to place SUTs near input tubes. So I can rid of SUT to phonostage interconnects.