Recommandation for 1:6 1:8 SUT under $5K?

@fa8362 @lewm  @elliottbnewcombjr @billstevenson @viridian @pindac 
Thank you all for the thoughtful input — I really appreciate it.

Something I didn’t emphasize enough in my first post is that the recording itself plays a huge role in what I’m hearing. For example, I have several of the new DGG “The Original Source Series” LPs, and they’re cut very hot. With those, even my Denon AU-S1 (1:13) or AU-340 (1:10) will push the ARC LS28SE into clipping on dynamic peaks. The only way I can play those records cleanly is without a SUT at all. But then, when I switch to something like Iron Maiden Live After Death, I have to turn the LS28SE volume up to around 70% for a realistic listening level, and in that case, the AU-S1 at 1:13 actually sounds glorious — open, transparent, and full of energy. I’m confident the clipping isn’t happening in the PH9 but rather in the LS28SE, because when I insert a pair of -6 dB Harrison Labs inline attenuators between the PH9 and LS28SE, the clipping disappears — though it also dulls the transparency and liveliness of the sound.

That tells me the gain structure is right on the edge — the PH9 (58 dB) plus LS28SE (12.5 dB SE) has just enough gain for quieter or conservatively cut records, but not much margin for hot ones. So I’m convinced a SUT around 1:4–1:6 would be the sweet spot: enough voltage boost for most material, but still keeping headroom for the “Original Source” LPs and other hot masters.

@billstevenson and @viridian — Bob’s Devices 1:5 is definitely on my short list. I like that it gives the flexibility of copper or silver windings and has a solid return policy. The Lundahl LL1931 (1:8) are also strong candidates, though I worry the 1:8 might still be a bit too much for those DGG pressings.

@elliottbnewcombjr — I agree, the Zesto Andros Allasso looks very clever. Being able to switch ratio and impedance independently is exactly what I’d need, since I’d likely vary settings between 1:4, 1:6, and 1:8 depending on the record. My only hesitation is sound quality transparency — they don’t specify the core material or wire type, and my experience with the AU-S1 has spoiled me a bit in terms of tonal purity and openness.

@pindac — thanks for mentioning Sculpture A. I know Zsolt’s work has an excellent reputation, and it’s a shame those units aren’t currently in production, but I’ll definitely try reaching out to him directly.

And just to clarify: I’ve never been a big fan of active head-amps for MC cartridges — I generally prefer a passive SUTas the first stage to preserve that sense of ease and dynamics.

So at this point I’m leaning toward either a Bob’s 1:5 or Zesto Andros Allasso.

INVERSE Relationship, as x factor/gain increases, the load/impedance lowers, take a good look at the single dial on this unit I posted above. GAIN in db on the outside; LOAD in ohms on the inside going the opposite direction

Lounge Copla offers a Silver Wire Upgrade

SILVER WIRE

LCR MKIII Silver wire will give you much more transient response, resolution and frequency extension than the LCR MKIII.  The LCR MKIII Silver wire gives you more space around the instruments and more sense of pace, rhythm and timing.

​

The specifications for the LCR MKIII Silver wire are the same as the LCR MKIII except for the gain which is 44db.  The circuit design is the same for both products but the LCR MKIII Silver wire has point to point silver wire in certain parts of the audio, ground and power supply area. The LCR MKIII Silver wire also has more power supply filter capacitors and some key resistors are upgraded. 

​

The LCR MKIII Silver wire uses the same chassis as the LCR MKIII Standard option. Robert writes "silver wire upgrade" on the bottom of the chassis and signs and dates the unit.

https://www.loungeaudio.com/copla

6 moons review

"Being a small outfit, Lounge opted for the only reasonable option. They sell direct through their very well designed and informative website, allowing prices to be kept low and value beyond anything you could purchase via traditional retail. The downside is of course that you can’t listen before you buy but Lounge do offer a 15-day return guaranty as well as a one-year warranty (they even pay for return shipping in case of a warranty repair)."

and here’s the video with the founder and designer, it’s fascinating, it is OPTICALLY controlled, you are simply dimming LED’s (not in the audio circuit)and that is controlling a pair of photo diodes that control a pair of transistors

https://www.youtube.com/watch?v=IBnxwatJu_w

I also noticed, at 2:40, the wife moves the sleeve of my favorite LP 'Friday Night In San Francisco' that I highly recommend to use to refine your antiskate.

@elliottbnewcombjr 

INVERSE Relationship

By transimpedance, I presume they are referring to current mode, ie to attempt to load the cartridge with a dead short to maximize and amplify the current generated by the cartridge.  An adjustable 40Ω-300Ω input impedance by definition suggests this is a traditional voltage amplification device and not a transimpedance one.

dave

Dave at Intact, I would never argue with you, but in this case, the OP originally said nothing about noise and only mentioned that he sensed overload when he did insert a SUT.  Good point, though, about noise. Even in his latest post, the OP does not mention noise per se as an issue with no SUT, but he does say he prefers the SUT to no SUT with certain recordings. So there you go. I would never use an (original) DG recording as any sort of standard; those used to make my ears bleed.  They are not just hot in terms of level but also in terms of treble emphasis. Kind of like Roulette LPs in the jazz genre.