Acoustic Sounds

Quadratic Audio, Treehaus Audiolab, Ampsandsound and a "generic"

various

By: Dave McNair

March 20th, 2024

Category:

Miscellaneous

Shootout at the SUT Corral.

Dave McNair listens and evaluates four moving coil cartridge step-up transformers.

Dave McNair listens and evaluates four moving coil cartridge step-up transformers.

Once Upon A Time…

…in an audiophile galaxy far, far away, a new species of phono cartridges with high resolution and meager output was discovered. This new life form was known as movere coil, or moving coil to non-Latin speakers.

As a young lad in the mid to late ‘70s, I clearly remember reading about the wonders of MC cart sound, evidenced by H.P. and the rest of The Absolute Sound crew. Maybe there were a few phono stages with enough gain in those days. Still, the generally accepted method for using these early, trend-setting wonders was to use a box containing some amount of active additional gain in front of a standard phono preamp designed for the high output of a moving-magnet-style cart or to rely on the electrical voodoo that happens when a wire-wound magnet is in proximity to another wire-wound magnet. 

The input side and the output side are connected with nothing other than air between the two windings. I’ve always been freaked out that current is induced to flow from the input (primary) to the (secondary) output side of the wire-wound magnet. Magic! 

If the magnets' flux and number of turns are equal, then it’s known as a 1:1 or isolation transformer, but if the output-connected side has more turns, then the current induced is more than what went into the input side wire-wound magnet. 

Passive, noiseless gain from this arrangement is the closest thing in electronics to a free lunch. Thus, the step-up transformer (SUT) was born.

Moving coil carts are more popular than ever in today's audiophile world. This has given rise to most phono stages, whether self-contained in a line preamp/integrated amp or as an outboard phono preamp, including circuitry designed to amplify the itsy-bitsy signal of low-output, moving-coil carts.

Some phono stages use all active gain devices; others use a combo of a self-contained SUT for the first 15 db or so, then hand off to an active gain stage(s).

So, what is the benefit of using an SUT before a lower-gain, moving-magnet phono stage? Is there any benefit? This is precisely what I wanted to find out.



Quadratic Audio SUT

Roll up for the Magical Transformer Tour; Step (up) Right This Way

I want to talk briefly about my experiences over the years using transformers in music production. Almost any experienced recording engineer, mixer, or mastering engineer who uses gear containing transformers knows in their bones that transformers have a sound, and they all sound different. 

One famous compressor used in all phases of music production has a toggle-switchable choice of three different output transformers, each using a different metal for the magnetic core. Nickel sounds different than steel or iron. Various types of metallurgy in wire and the wire's gauges contribute to sonic differences. So does the geometry of the winding. Some transformers made in the ‘40s, ‘50s, or ‘60s are particularly revered for their sonics and go for steep prices on the used market. Some pro gear use these in circuits that don’t even require a transformer for proper operation - folks just love that sound.

One interesting side note: there was a period in the ‘70s when everybody pulled out of gear as many transformers as possible —tape decks, consoles, compressors, you name it. They were thought to contribute to the signal undesirable non-linearities and grunge. Doug Sax employed a famously transformerless signal chain at his Los Angeles studio, The Mastering Lab.

During a session I attended, Doug told me that the only things stock in his Teletronix LA-2a vacuum tube/transformer-rich compressors were the optical resistor and the tubes—not a transformer in sight. 

That was the analog era. But sonics (like many other things) cannot escape changing styles and tastes. 

Now that digital has improved from the early low-rez, plastic sonics, the major fault of current-day SOTA digital technology is that it adds nothing to the microphone signal. Those Blue Note and Shaded Dog RCA records we love have color galore - partly because of all the transformers used in the long-winded signal path of that era.

These days, engineers want to add some mojo or color to the signal due to a very concise analog signal path between the microphone and the end listener.

Would this strategy apply to vinyl playback? This was my mindset going into my SUT listening extravaganza.

What I Tested and My Listening Methodology

The selection of SUTs I got didn’t have much to do with what is currently popular or of a particular price category. I simply got stuff from folks I knew or was introduced to. My goal was not to find the best (which is unknowable for many reasons) but to find what kinds of differences I would hear and how they would compare to using a phono stage designed for low-output cart signals.

The SUTDUT (step-up transformer devices under test) were the following:

  1. Quadratic Audio MC-1 - $1,795

  2. Treehaus Audiolab MC SUT - $3,000

  3. Ampsandsound SUT - price to be announced

  4. A “generic” eBay-sourced SUT, listed at $569.00, was built by Ned Clayton in Salt Lake City, Utah.

While I initially experimented with a Westminster Lab - Monolgue phono pre that I’ll be reviewing, I used the built-in phono section in my VAC Master Preamplifier.

The Monologue has internal dip switches for every conceivable gain, impedance, and capacitance value you’d want for matching a phono preamp to any cartridge. However, I also wanted to compare the SUT/MM input to a dedicated MC input. Using the VAC made the most sense because switching cables and turning a rear panel switch was more straightforward (and rapid) than unplugging an SUT and changing multiple dip switches in the Monologue every time I wanted to compare SUT/MM phono stage to the MC phono stage. Using the separate MM and MC inside the VAC Master Pre also required one less cable run and connectors. This setup more closely approximated what a real user would encounter - plugging the SUT output into a (most likely) internal MM phono input.

I used my TW Acustic - Raven LS fitted with the Raven 10.5” tonearm and my Dynavector XV-1t cartridge. It has a .35 mV output and 24-ohm internal impedance. 


Warning: Approaching Technical Landmine Area. Proceed at Your Own Risk.


Earlier, I wrote that current is induced to flow between a transformer's separated, air-gapped windings. This is not the complete story because the voltage is increased due to an impedance change. The input signal is transformed to a different impedance (lower to higher in this case), which allows the receiving gain stage to react as if the voltage had been increased.

All the SUTs I tested had multiple primary to secondary windings ratio choices. The Ampsandsound SUT achieves this with plugin transformer “cans.” I received a cool wooden box with places for the six cans; left and right for the three ratios. This gives the user different options of output impedances to the phono stage resulting in more or less gain. The Ebay SUT had toggle switches and cool diagrams indicating the three ratios available. There is more clarification on the bottom of the box. The Treehaus has three discrete, left and right RCA inputs corresponding to the different ratios, and lastly, the Quadratic offers internal jumpers for two ratios. 

However, when comparing the SUTs with a 1:10 ratio option, I noticed that the resulting volume level differed slightly. Even though the ratios were the same, the input impedances seen by the cartridge may have been different. 

Higher ratios yield more gain, and the output voltage and impedance of the Dynavector cartridge were such that any ratio past about 1:20 was too much gain based on how low I had to put the VAC Master output volume. I didn’t want to drive the VAC phono input hard enough to compromise its headroom. Being a vacuum tube circuit (while I do not doubt its dynamic capability), I didn’t want anything to influence my listening impressions. Thus, I used the lowest ratio available for each SUT - 1:10 or close to it. A ratio of 1:10 is approximately 22 db of gain added to what the VAC MM gain is spec’d at, which is 44 db. This also made comparing the VAC MC input (at 68 db) close enough to the 66 db MM/SUT combo to be at least Fuji to McIntosh instead of apples to oranges. 

Now The Fun Part

First, I enjoyed the sound of all the SUTs but preferred the sound of the Dynavector straight into the VAC MC input. However, take that with a grain of laudanum because this test only had one cartridge and the VAC phono sections. There are too many variables to conclude that any MC phono stage is superior to any MM/SUT combo. Onward.

Of course, I listened to the various SUTs leisurely, but I decided early on to use a few select cuts for serious comparison listening. What I used might surprise you. 

While I regularly listen to a great deal of jazz and classical records, my wheelhouse is various subgenres of rock - primarily due to my years of music production. While I’ve recorded and mixed or mastered plenty of jazz projects and even some classical, I have a deeper knowledge of where the “bodies are buried” in non-jazz and classical, so I’ve found I can drill down to the musical gestalt of component differences with more certainty if I use that kind of music. And it doesn't have to be cuts that I’m highly familiar with or have worked on, although I often check those as well.

I used “Runaway” and “Senses Working Overtime” from the XTC masterpiece English Settlement, “Wrapped Around Your Finger” and “Tea In The Sahara” from The Police - Synchronicity,  “Leave It Alone” and “Cinnamon” from Hayley Williams - Petals For Armor, and “15 Step” and “Bodysnatchers” off the Radiohead album In Rainbows.

In addition to the TW Acustic/Dynavector/VAC pre, my system has recently evolved to include the end-game Acora Acoustics - VRC loudspeaker, currently driven by Ampsandsound Zion Monos.

Besides being the most satisfying and musical speakers I’ve ever encountered, the VRC is like an electron microscope for hearing upstream component differences, whether readily apparent or highly subtle. And they pull this off when playing music at any volume - from very quiet to very loud. My dream speaker in every way.


Initially, the sonic differences between the various SUTs seemed relatively minor. But as has happened many times before, minor differences became more pronounced the more I swapped and listened.

My early favorite was the Treehaus Audiolab SUT. I’m sure my initial preference had much to do with its oversized, beautiful, handcrafted look. The hardwood base, the copper-wrapped artisanal Japanese transformers, and the engraved etchings that indicate the ratios of the various RCA inputs scream audiophile Nirvana. Oh, and it sounded good, too. 

The Treehaus sounds like it looks—sweet and silky-smooth but detail-rich. Musical elements from my selection of test cuts took on a subtle saturation in color. The harmonics and dynamic profile that give a great recording such an enjoyable texture were portrayed by the Treehaus in a mesmerizing way. It simultaneously relaxed and energized vinyl playback.

When I had the Treehaus plugged in, I felt like someone had given me a handmade silk kimono to wear while I listened to records.

In the 150-250hz region, low frequencies took on excellent focus and a pleasant warmth. Nothing seemed gloopy or blown-up-sounding, but the slight additional density to bass and upper-bass frequencies pleased my ear. The top end was airy, extended, and smooth, but a hair emphasized.

The Treehaus was also the most difficult to position for the lowest hum.

Oh yeah, hum. All the SUTs added a small amount of hum. It wasn’t a deal breaker because, through careful positioning, I could get the hum level low enough not to be audible during playback. It turns out that not only position but also the grounding scheme are big things (as is the connecting cable shielding!_ed)

As I like to tell my friends, I’m drawn to vinyl playback mainly because of its high cost and inconvenience.

Quadratic Audio MC-1If the Treehaus had the most easily detectable sonic signature, the Quadratic Audio MC-1 was the most neutral. It also comes with a well-written manual that explains the operation and principles of SUT use. As with the other SUTs, I tried both its ratios, which are internally selectable using pluggable jumpers.

The Quadratic produced the most color-free gain and, of all the SUTs, sounded the closest to using the VAC's dedicated MC input.

There's not much I can say here about the sound. I heard no definitive sonic signature, and it never got in the way of enjoying whatever cut I played. If you had told me it was a box of very clean active gain circuits, I wouldn't have guessed it was a transformer—this level of transparency results from outstanding engineering by the Quadratic team.

If you love the sound of your cart and the rest of your system yet have a nagging suspicion that your MC phono stage is less than great, kinda noisy, and is the weak link, a Quadratic MC-1 into an MM input could be just the ticket.


AmpsandsoundNext up, the Ampsandsound SUT. As a practical artisan, Justin Weber applied his plugin transformer can concept (which he uses in his latest series of preamplifiers) to a standalone SUT box. I received an attractive wood box to house the six cans (three different ratios) and was told by Justin that a customer could custom order any ratio for his or her cartridge. My higher output and higher internal impedance Dynavector was fine for comparison purposes. Still, MC carts with much lower output voltage and impedance benefit more from a well-matched SUT.

The Ampsandsound box fitted with a pair of 1:10 cans was more neutral than the Treehaus but less than the Quadratic. It has a very pleasing density in the midrange. The bass was solid and not particularly slanted one way or the other. The highs seemed to have a very gentle roll-off that didn't make the sound dark, but didn’t quite have the extra excitement of the Treehaus nor the flatness of the Quadratic. I’m talking tiny degrees here. Overall the Ampsand sound SUT was an easy-to-use, very enjoyable listen.


The eBay-sourced SUT by Mr. Ned Clayton was the dark horse that did not disappoint. It was the Goldlocks in my SUT comparison. 

It didn’t have enough of an overt texture to put a finger(ear?) on, but it was not as colorless as the Quadratic. There was nothing flashy about its presentation, but at a very reasonable price of $569, it more than held its own against the other challengers. It was neither bland nor dazzling, but it got the job done, and I was more than happy to listen to lots of records with this “Salt Lake City, everybody off” SUT. Thanks, Jonathan Richman.

Another thing happened in my SUT extravaganza: one final SUT and a companion cartridge arrived late in the game. A Lyra Etna SL and Lyra Erodion EVO SUT. 

I dutifully fitted the Etna on my TW arm and meticulously used Wally Tools et al. to achieve a solid alignment. However, I couldn't get it to sound as good as I knew it should. Shane Buettner, the USA Lyra importer, told me it was a demo cart that had made lots of rounds, so he was going to send it back to Lyra for a look-see.

Even as the Etna sounded dynamically lifeless, a bit too bright, and generally not an engaging listen, I figured that I could at least glean more info using the Erodion EVO SUT on my Dyna cart. 

I could tell that the Erodion EVO had a very classy-sounding heart, but it didn’t give the Dyna its proper tonal balance. Hmmm. But wait, later I was informed that an Erodion EVO SUT is not intended to be used on anything other than Lyra MC carts, so this explains the tonal shift since my XV-1t is nowhere near the internal impedance and output of the Lyra carts.

It was a bummer that this particular Etna had problems for unknown reasons—I mean, c’mon, it had no family resemblance to the Lyra Atlas I used in my Oracle review a few months back. Plus, no one would describe a properly working Lyra cart of any model as sounding like this, so it had to be broken. And the Lyra Erodion EVO SUT is designed to work with the Lyra's low output and low internal impedance and not my Dynavector, so the Lyra portion of my testing was a wash.

So What Did I Learn?

Quite a few things.

An SUT is a valid way to get the most from an MC cart, provided you have a solid-performing MM phono stage and either do enough research to sample likely matches for your cartridge’s electrical characteristics or are willing to buy and try.

The other way is to buy an SUT made to mate with a particular cart(s), like the Erodion. If I were a betting man, I’d wager that an Erodion and a Lyra cart into a decent MM preamp stand a good chance of besting most MC phono gain stages with a Lyra straight in.

Furthermore, the slight flavor of most SUTs can be a fun way to add salt and pepper to achieve performance goals that might be on your sonic wish list. 

I also learned that although three of the four SUTs used Cinemag transformers, all three sounded different. This should hint at the complexity of getting the SUT that works best for individual tastes and carts. I can also attest to the subtle differences—but only for my cart, phono stage, and the four tested SUTs. In a different situation, I can imagine very different-sounding results.

Interestingly, I heard little or no difference in imaging characteristics between the various SUTs.

I also learned that price and performance may not directly correlate in the SUT world.

This is sometimes the case for any hifi component, but generally, I’ve found that the high-priced stuff does sound better. Shopping for the perfect SUT for your system could be a great way to find your personal “giant killer.” 

So go forth and step up your cartridge game - the fun awaits.

Specifications

Comments

  • 2024-03-20 08:08:58 PM

    Patrick Brennan wrote:

    Very interesting, but I would have liked to have seen 'Bob's devices, SKY20 included.

    • 2024-03-21 03:43:01 AM

      Anton wrote:

      Bobs is a classic product(s).

      Great that you mention it!

  • 2024-03-21 01:07:29 AM

    JACK L wrote:

    Hi

    "Shopping for the perfect SUT for your system could be a great way to find your personal “giant killer.” qtd Dave McNair

    Thanks goodness, my MC already supplied with factory matched solid state headamp (battery operated - zip hum!). So I save opening up a huge can of worms of trial-&-error hassle & spending big bucks - hunting the "perfect SUT" to match whatever MC one owns.

    That said, my question: why go for MC cartridge which needs boosting up output voltage to match standard preamp with MM cartridge input? Better sounding (because of their much higher cost) ???

    FYI, my 12" SME black curved arm + MC+factor headamp on DD TT (both MC/headamp & TT were made-in-Japan) which cost so much more than my MM (also made-in-Japan) on a belt-driven TT. Honestly, I find my MM sound so much more musically natural than my MC , without the characteristic tonal coloration of a MC.

    So I have put my MC on the back burner ! My MM pleases my ears better musically.

    That's only my personal sonic experience, maybe quite different from yours !

    JACK L

    • 2024-03-21 07:20:39 AM

      Zaphod wrote:

      “spending big bucks - hunting” qtd JACK L

      I myself, have never been hunting but I bet it does take big bucks to do so.

      • 2024-03-23 06:30:03 PM

        JACK L wrote:

        Hi

        "I myself, have never been hunting" qtd Zaphod

        So how do you know what SUT fit your MC "perfectly" without trial-error "hunting"? So such "hunting" ends up with spending big bucks, right ?

        JACK L

        • 2024-03-23 08:13:20 PM

          bwb wrote:

          maybe.. the end result may be "big bucks" but if you are patient the hunt can be very cheap or even profitable. I've churned through a lot of gear in 30 years. Of course it pretty much destroyed the brick and mortar retailer, but that is the beauty of the proliferation of used gear on the internet. As long as you don't impulse buy something that is over priced you can come out OK when you sell it. On some items I've made a few dollars and on some I've lost a few but overall the hunt has been relatively inexpensive. Much less expensive than my friends who lost money on hobbies like boats and motorcycles and cars. . . . . .

          And the hunt may lead you to a much less expensive solution. I replaced a Benchmark AHB2 I paid and sold for $2500 with a $500 Naim NAP 100 to biamp my woofers. +$2000.... A $5000 Marantz AVR to replace my $19K Trinnov, etc. .. on the other hand my phono stage search led to an EMIA with a silver SUT that set me back over $20K to replace a $3000 BMC unit that was quite good, just not as good. . . . .

          and so it goes

          • 2024-03-23 11:38:20 PM

            JACK L wrote:

            Hi

            "the hunt may lead you to a much less expensive solution." qtd bwb

            So you did do "hunting" to save big bucks, right ?

            " an EMIA with a silver SUT that set me back over $20K.." qtd bwb

            $20,000 is not small buck for many, including yours truly. Upgrade on trade-in still costs money, more if not less. Upgrading to many audiophiles is the joy of the audio game.

            That's said, I still love my MM strictly for its neutral musicality, over my much more expensive MC+factory supplied headamp after intensive AB comparison.

            Does more cost warrant better sound ? Not for me in many audio stuffs including MC. Money to me is not an issue as I make EZ money from the money market (stock, funds & bonds) day in day out. But musicality is my audio bottom-line which I don't budge an inch !

            JACK L

            JACK L

            JACK L

  • 2024-03-21 02:29:10 AM

    bwb wrote:

    if the output-connected side has more turns, then the current induced is more than what went into the input side wire-wound magnet This is wrong. If the output side (secondary) has more turns than the input side (primary) it steps up the voltage and steps down the current. It does not induce more current in the secondary. If it did increase both voltage and current that would equate to an increase in power which is impossible for a passive device.

    Earlier, I wrote that current is induced to flow between a transformer's separated, air-gapped windings This is wrong because the current does not flow between the windings. The magnetic field in the primary induces current to flow in the secondary. It does flow between them

    This is not the complete story because the voltage is increased due to an impedance change The voltage is not increased due to an impedance change, it is increased because of the increased number of windings in the secondary.

    The input signal is transformed to a different impedance (lower to higher in this case), which allows the receiving gain stage to react as if the voltage had been increased. This isn't as much wrong as it makes no sense. Saying a "signal is transformed to a different impedance" and " allows the receiving gain stage to react as if the voltage had been increased" simply makes no sense. The source (cartridge) sees a lower impedance than the input impedance of the phono stage because the transformer effectively lowers the impedance that is presented to the cartridge. If it is a 1:10 transformer then the voltage is 10X higher on the secondary, the current is 10X lower in the primary, so the cartridge effectively sees an impedance which is 100 times lower than the input to the phono stage. If 1:20 then the cartridge sees 400 times less impedance. This transformation of the load on the cartridge is a key factor in determining what ratio to choose because it it has a direct effect on the cartridge loading. It may make no difference to most people, but it seems to me if you are going to write an article with a technical explanation you really should take the time to get the technical details correct.

    • 2024-03-21 02:37:21 AM

      bwb wrote:

      correction, ,,, should say "does NOT flow between them" in the last sentence of the second point

    • 2024-03-21 02:52:11 PM

      Dave McNair wrote:

      Thank you for the corrections and clarifications. I should have done more fact-checking on the tech parts, and I could have done a better job trying to get across the basic concept of how a SUT works. I wanted to avoid getting into I = V/R or V = IR and all the other derivatives. I'll be more careful next time.

      • 2024-03-23 08:53:46 PM

        JACK L wrote:

        Hi

        "I should have done more fact-checking on the tech parts" qtd D McNair

        Nobody knows everything unless the Almighty. So don't feel bad but of course one should study more about how a transformer (STU is one kind) works before presenting on a public site.

        JACK L

  • 2024-03-21 07:54:13 AM

    Jonti Davies wrote:

    Interesting topic for sure.

    A slightly esoteric workaround to getting MC sound without using an external SUT or MC phono stage is Ortofon's SPU-GTE, which is an MC cart directly linked to its own transformer built into the headshell. I'm enjoying this a LOT with the recent Ortofon RS-212D tonearm.

  • 2024-03-21 09:01:04 AM

    PeterPani wrote:

    The problem with SUT: good ones are expenive, so trial-and-error gets very expensive, And if I settled with one, after several months doubts came back - is that the right one? Not a very satisfying situation to get stuck in this loop... Appr. 10 years ago I changed the SUT for MC to MM lifting against a prepreamp that simply amplifies the MC level to MM via a single tube - and I am happy with that since.

    • 2024-03-21 01:14:23 PM

      bwb wrote:

      True, but isn't that the "problem" and the loop one can get stuck in for every component? How many phono stages, amplifiers, DACs, preamps, cables, power conditioners, and on and on have so many audiophiles churned through over the years. How many different versions of a given LP have they bought looking for the best one? It isn't just SUTs.

    • 2024-03-23 11:43:51 PM

      JACK L wrote:

      Hi

      "Appr. 10 years ago I changed the SUT for MC to MM lifting against a prepreamp that simply amplifies the MC level to MM via a single tube - and I am happy with that since." qtd PeterPani

      Bingo ! "Great minds t think alike". Or should I also add: "Great ears listen alike" !

      JACK L

      "

  • 2024-03-21 12:04:58 PM

    Robin Wyatt wrote:

    Being the US importer of Miyajima Labs I have discovered that a manufacturer made SUT always to be best. So the Miyajima KSW stereo SUT or the ETR Mono (single coil) SUT match perfectly with the Miyajima cartridges. However the recent release of the Miyajima MC-2 Tube headamp (maybe the only tube head amp available) has revealed the extreme limitations of SUT’s and moving coil cartridges. Any customer Who has heard the MC-2 vs their own SUT or a Miyajima SUT has bought it!!

  • 2024-03-21 03:11:25 PM

    David Geren wrote:

    Hi David; Thank you for the excellent review. In particular you identified one of my engineering objectives over the years as I explored the fascinating field of MC transformers. Some are intended to add a little “seasoning” to the listening experience. Others, such as the MC-1, are intended to be virtually transparent so that every nuance of the master is accurately reproduced. I am proud to have worked with Ned and Justin, as well as Quadratic’s chief engineer Jam Somasundram, to help meet their objectives with custom as well as publically available designs. They, and numerous others, have been inspirational in the eternal quest for the perfect transformer. Kindest regards, David Geren President CineMag, Inc.

  • 2024-03-21 05:01:36 PM

    Rich@ Treehaus Audiolab wrote:

    Hi Dave, Thank you for featuring the Treehaus Audiolab MC SUT in your review. I think you described its sound better than I could have myself. I am a big fan of Finemet-core transformers from our amplifiers, and wanted to offer it for customers in a very esoteric sort of execution.

    An interesting follow up would be a vintage MC SUT face off. Tango MCT999, UTC stuff, etc.

  • 2024-03-21 05:21:27 PM

    Jeff 'Glotz' Glotzer wrote:

    "As I like to tell my friends, I’m drawn to vinyl playback mainly because of its high cost and inconvenience." LOL.. and this is why I tell my budding audio friends that they should think twice about vinyl if they are newbs to the fray. I love vinyl on every level, but it is an investment to the nth degree and requires herculean efforts to keep vinyl clean and happy. Just removing dust alone is a ritual. It's worth it for sure, but it's a labor of love tbh.

    • 2024-03-21 07:06:41 PM

      Michael Fremer wrote:

      True, but I've always found that once someone gets "in" they are there for life. Some years ago i got to know Carl Bernstein (Woodward and Bernstein) and he came over to listen to some Wilson speakers I had at the time, I think WATT Puppy 6. He brought CDs each of which was labeled for absolute phase, which he found critical and I get that. Later he asked me to digitize the few records he had leftover from his "youth" and they were very good ones. I did that, but I brought the records back with a Rega turntable for him to have in his system for a while....Fast forward, or better, skip a few tracks and now? He's a crazy vinyl collector. I mean as fanatical a follower as you can imagine....happens all the time especially to people who are too busy to get involved!

      • 2024-03-23 12:36:50 AM

        Rich@ Treehaus Audiolab wrote:

        It's learning a new skill. Once you understand the principles and have time to practice and refine your craft (which here is setup and maintenance) it becomes a bit second nature and the vinyl-induced audio nervosa subsides. The reward for the studies is great sound. If someone isn't of the type that appreciates the process and ritual, then it's not for them.

      • 2024-03-23 11:50:03 PM

        JACK L wrote:

        Hi

        "I've always found that once someone gets "in" they are there for life.." qtd M Fremer.

        As Winston Churchill's famous quote: "When you're going through hell, keep going."

        JACK L

    • 2024-03-26 08:17:56 PM

      JACK L wrote:

      Hi

      "they should think twice about vinyl if they are newbs to the fray." " but it is an investment to the nth degree" qtd Jeff Glotzer

      Don't know I was a newbie or not. I'd been on CD/DVD digital for decades until only some 7 years ago I switched to vinyl from scrap. Now I've already stocked 1,000+ LPs (including some 50 digitally-mastered/remastered LPs all on AAA format). Maybe I design/built/upgraded my tube amps/loudspeakers etc, this vinyl audio has not costed my any serious big bucks at all. Yet vinyl+tubes provide me closest-to-live home music enjoyment. I'd never look back. I've put my DV/DVD/DAC/streamers on the backburner ever since.

      "requires herculean efforts to keep vinyl clean and happy" Jeff Glotzer

      Not for me at all! Maybe because, as I already mentioned before many times, I've installed my audio den down my house basement (some 10-ft below grade) with closed door. So outside noise-free & almost dust-free down there !

      I don't need "herculean efforts" to keep my vinyl stock "clean & happy" as I play it SMART:- (1) ensure all the album inner sleeves are paper, NO repeat, no plastic material which is a generator of electrostatic charges up to 10,000V when the vinyl LP is pulled out of its plastic sleeve ! (2) play the LP moist ! Moisture is the silent killer of static discharges caused by the stylus contact with the spinning grooves inside the album. The huge bonus of killing such noisy discharge with moist tracking is keeping the wear-&-tear of the stylus tip & the groove down to minimum. My MM & MC cartridges styli still work like magic without need of placement today - zero sign of noisy wear-tear & music deterioration. Therefore, NO need of any dish washing machines to keep ALL my vinyl stock crackle- free !!

      Be vinyl smart !

      JACK L

      "

      "

  • 2024-03-22 01:55:21 AM

    IR Shane wrote:

    IR Shane is my handle here at Tracking Angle, but I also self-identify as Shane Buettner of MIBS Distro, Lyra’s distributor for USA and Canada. We thank Dave for being the intrepid explorer he is and wading into the SUT waters! Our Erodion EVO is specified for use with low-impedance cartridges (2-10 ohms), but as Dave mentions we focus our dealers and customers on pairing Erodion with Lyra’s own SL (Single-Layer coil) MC cartridges- Kleos SL, Etna Lambda SL and Atlas Lambda SL for the most consistently vibrant performance across the broadest range of systems. Regarding our Etna Lamba SL which pairs so so engagingly with Erodion EVO, it’s a fine line sometimes between broken-in and plain broken … We look forward to re-engaging with Dave once we have a healthy Lyra SL dance partner!

    • 2024-03-22 01:57:00 AM

      IR Shane wrote:

      *Lambda (not having an Edit button is working without a net here!)

  • 2024-03-23 09:16:37 AM

    Nels Ferre wrote:

    I recently got a Le Son LS-10 Mk II cartridge which I love. Although I have a good phono stage (Sutherland Duo) I kept thinking there was more performance to be had.

    I was looking seriously at the Ned Clayton unit but ended up getting a pair of 1983 vintage Sony HA-T10 SUTs from Japan for $150 shipped. Sounds fantastic, and due to their “transformer in a plug” design, no extra cables are needed. Dead quiet too.