VAC Owners:Outboard Phono Stage?

Loading varies with the phono stage, the overall system, and one's taste, of course. And like anything in vinyl, it can always be optimized by fine changes, IMO. Whether one really needs to is another question. Playing with this VAC, I find changes of 15 ohms to make worthwhile differences so I've blown a load of cash on Vishays from Michael Percy, mainly because it's so easy to experiment. but I could have gotten by with fewer options.

I'd guess your Ortofon would be quite happy at 100 ohms. Would it be happier at 125? Maybe but it might very well not matter. I have two Ortofons and I like them both at 25 x DCR.

BTW, how do you like the Bronze? I've been interested in that cartridge--seems like it would be very meaty and musical with good detail.

VAC did the mod. It was Brent's clever idea and he did a beautiful job. Resistor value x 10 gives me loading value, so it's a breeze.

Best,
Bill

I was not doing my own thing at Newport last year, but assisting Concert Fidelity. This year I will be exhibiting with Fritz Speakers and WyWires. As I indicated we plan on using the Zesto again. We'll be using a Concert Fidelity refurbished Denon DP-3000 with Denon arm and B&O MMC-2 cartridge for the rest of the analog set up. By all means look us up and stop in for a listen.

To those of you who have experience with VAC phono stage and comparing it to others: I am considering moving to a VAC preamp with phono, and I am looking for some kind of gauge as to how good the phono is. Are the phono stages the same in VAC's Renaissance III and Signature IIa? Most of the comments above compare the VAC phono with units around $4K, which seems reasonable from a comparative pricing perspective. But I had come to think that the benefits of using the on-board phono in the Signature IIa placed its competitors in a more expensive category (like Allnic H3000 or Pass XP-25)? I would appreciate any comments. I received a recent suggestion to consider the Renaissance pre without phono and using a separate phono preamp. The idea was that the Renaissance is 90% as good as the Signature IIa, and an improved separate phono would more than offset the 10% differential in preamps, while not breaking the bank in the process.

Bill,

You are certainly inspiring, but I think I'll hold off on contacting Mr. Percy... that sounds dangerous!

I am very fussy about cartridges. The Ortofon Cadenza Bronze thoroughly exceeded my expectations and compels me to say that it does not belong in the $2000 price point, but much higher. It is silky smooth, rich and meaty with micro detail to die for. It creates a believable deep and wide soundstage and has what I love the most... a lot of Slam! I could go on and on... When I play my original early 70's pressing of Jeff Beck's Wired LP (esp. the cut Goodbye Pork Pie Hat) it practically knocks me off my seat, without being at all too forward or aggressive. It has replaced my previously favorite cart of all time, the Carnegie One by Madrigal as my reference.

It did need to break in for about 90 hours, but when it reached its potential it was breathtaking! I believe it to be one of the best MC bargains out there.

And you know who gets the credit for introducing me to the Bronze? None other than Kevin himself! Really, who would know better?

Alón

I recommend calling VAC to find out about the differences between the RenIII and SigIIa phono stages. I might be wrong, but I think the line stages themselves are pretty different, with the SigIIa being lower gain. Another question for VAC.

And as I said above, I find the phono in my Phi Beta, which is the SigIIa circuit, to easily compete with my Manley Steelhead II. Don't know about the Pass. I did audition the Allnic at home a few years ago, although my system was quite different then, and I passed on it. I found it extremely liquid but ultimately somewhat colored and it hummed like mad. I preferred the Steelhead anyway. YMMV.