Two Paths to Musical Truth: The Case for Both Solid-State and Tube Phono Stages

The simple response is that I do not switch between valve and solid state designs.  I have never warmed up (pun intended) to the sound of valves).  
 

Within the two general paths to musical truth (valve designs and solid state designs) there are a myriad of other design considerations that impact the truth which are subject of a separate dissertation.   Staying within the two path proposition, I have seen contemporary valve and solid state designs narrow differences in sound quality between them. Contemporary solid state electronics now have removed treble distortion (sibilants and harshness) and are approaching valve imaging and ambient retrieval.  Valve electronics now have fast, controlled bass and higher damping factors to control speaker drivers better.  The treble is not as attenuated as in the past.   Distortion is now lower but not to the level of better solid state designs.  However, I am sensitive to the secondary harmonic distortion and lower damping factors, exacerbated by the fact I have always had low efficiency speakers presenting difficult loads. To me, the difference is like the quality of a photograph taken with a Leica or Hasselblad vs a Nikon or Cannon camera where the detail, clarity, contrast, and color density of the former is far superior to the distortions in the latter, regardless of the midrange bloom and superior imaging valves provide.  Therefore, I have never gone down the valve design path.  Recognize this is only my opinion and in my comparison I am speaking of better contemporary solid state and valve designs.  There is no right or wrong.  Many whose posts and ears I respect have valve based systems.  

I use both, as I find they do different things well. 

Tubes still float my boat in the critical music range.  Your description summed it up well.  I use solid state amps on my woofers for bass below 65hz....they definitely offer more control, better dynamics, and more low frequency extension than my smallish tube amps, but there are always a ton of variables in play, plus synergy and personal preference.  I find that relieving the tubes of low bass duty enhances their clarity and timbre.  

@jsalerno277 - why do so many professional photographers use Nikon and Canon gear? Are they just too cheap to go for far superior/expensive Leica and Hasselblad gear? I've been a photographer since the 1960's, and I sure couldn't tell you the difference in cameras by looking at a photo, but that's just me, so just wondering.

FIRST sound you here is a thump when the needle hits the groove,then snap,crackle & pop through the entire record..Does a recording engineer hear this at the session?

@freediver Please read my prior post as to why you might be experiencing ticks and pops that have nothing to do with the actual LP. 

The treble is not as attenuated as in the past.

@jsalerno277 If you’ve experienced this its likely not for the reason you think. Tube amps have had high frequency bandwidth well past 20KHz going back to the 1950s (the HK Citation 2 had bandwidth well past 50KHz). But one thing tubes do is they mask their higher ordered harmonic distortion very well and as a result seem to have less high frequency energy than most solid state amps (especially legacy products). You can demonstrate this easily by putting a good legacy tube amp (such as a Dynaco ST70) on the bench test equipment and compare its power output at 15KHz with that of a solid state amp. You’ll see they are both flat.

Obviously the seemingly audible difference in high frequency energy isn’t due to a frequency response error. Its due to the different way they both make distortion. 

However this is a conversation about tube/solid state phono sections, not power amps. 

@atmasphere Thank you for the technical explanation.  I am always open to an opportunity to learn more about the engineering principles that affect sound quality, especially from an industry expert.  I was speaking in broad generalities of my perception of the sound of valve designs vs solid state designs and not in terms of absolute measurement of frequency response.   I find measurements important design verification and validation criteria but not always directly perceived sound qualities.  So, if I understand you, and again speaking in very general terms, tubes trend towards lower order (even order) harmonic distortion which is perceived as warmth and richness by some audiophiles and solid state has more higher order  (odd order) harmonic distortion which is perceived as a harsh, clinical or dry sound by some audiophiles.  This is not an absolute measurement of frequency response and valves do not attenuate high frequencies absolutely compared to solid state, but rather it is the perception of high frequencies based on the bias of how the circuit generates or handles distortion.  Do I understand you and the principle correctly?  
 

I originally stated there is no right or wrong and I respect the sound of high quality valve electronics.  As an example, I remember distinctly being blown off my feet by a demonstration of Maggie 20s when they first came out driven by top of the line ARC electronics and by SOTA Sapphire/Gram/Koetsu combination front end - so rich, dense, dimensional, holographic, and true to timbre.   This experience is engrained in my mind for life. However, I have always gravitated to the clarity and extension of solid state, and the ability to command the low efficiency and difficult load speakers I have owned.