The EAR uses tubes for MM and step up transformers (SUT) internally for MC. The GNs use solid state which might be the way to go if you are good with no tubes. Dunno what MC you intend running but at this price level, you might be best served using a MM and skipping the additional lossy/potentially noisy MC stage.
Phono (0.1- 0.22mV+) or step up for LOMC?
A rookie needs some help please...
Would you buy a phono (0.1- 0.22mV+) or step up for LOMC? Which one? Why? It's an Ikeda 9TT (2ohm, 0.2mV) with a VPI Classic, and Dynaudio BM5 MKiii monitors with volume box.
I have found the following options in the past few days. Phono:
Gold Note PH-10 (0.1mV)
Gold Note PH-1 (0.15mV)
Gold Note PH-7 (0.15mV)
EAR 834p (0.22mV)
Nighthawk F117 (???mV)
Which one would you choose?
I am leaning towards the PH10, but honestly I dont need all those settings, but if IT sounds superior than the other then I would go for it. The Nighthawk sounds really good also for the price but I couldn't find the specifications and I am not sure if it's good as any of the Gold Notes. Used EAR 834p can be an option also but I read really mixed opinions about it.
Now what I have now is a Musical Fidelity MX VYNL (0.4mV if its balanced), now I am running unbalanced. It's biggest advantage is I could run it full balanced all the way from the tonearm to the monitors and maybe some factory upgrade is possible, regarding to the website in the gain and plus a PSU.
Or step up?
Ortofon?
Denon?
It must be Max 1000pounds used.
Thank you all :)
Would you buy a phono (0.1- 0.22mV+) or step up for LOMC? Which one? Why? It's an Ikeda 9TT (2ohm, 0.2mV) with a VPI Classic, and Dynaudio BM5 MKiii monitors with volume box.
I have found the following options in the past few days. Phono:
Gold Note PH-10 (0.1mV)
Gold Note PH-1 (0.15mV)
Gold Note PH-7 (0.15mV)
EAR 834p (0.22mV)
Nighthawk F117 (???mV)
Which one would you choose?
I am leaning towards the PH10, but honestly I dont need all those settings, but if IT sounds superior than the other then I would go for it. The Nighthawk sounds really good also for the price but I couldn't find the specifications and I am not sure if it's good as any of the Gold Notes. Used EAR 834p can be an option also but I read really mixed opinions about it.
Now what I have now is a Musical Fidelity MX VYNL (0.4mV if its balanced), now I am running unbalanced. It's biggest advantage is I could run it full balanced all the way from the tonearm to the monitors and maybe some factory upgrade is possible, regarding to the website in the gain and plus a PSU.
Or step up?
Ortofon?
Denon?
It must be Max 1000pounds used.
Thank you all :)
46 responses Add your response
The KAB calculator is your friend. In my experience, unless you are using a passive preamp or have a pretty unusual system in terms of extremely high efficiency/low efficiency speakers, or very low powered tube amplification, the KAB calculator should give you an almost exact read of proper gain as it relates to output of the cartridge. In the price range of phono stages that you are considering noise issues should be minimal or non-existent if gain is matched properly to the output of the cartridge. In addition to that, you should be achieving the best possible sound with proper gain matching. It is very important. Use the output section of the calculator to establish the correct gain level for your cartridge and the sensitivity section below that to input the sensitivity of the phono stage to establish how much gain it is providing on the MC input. http://kabusa.com/frameset.htm?/ If you want to go the step up route you're going to need an extra set of IC's and you're going to have to do further/a different set of calculations. It would not be my first choice but it's a subjective hobby. My preference is for a versatile phono stage that offers flexible gain options to suit a range of cartridges. |
I have been very happy with my ph10 so far. Very versatile and you may find all the settings useful at some stage, I certainly have. I have used it with a shelter501 mk3 cart at 0.5mv and now with a ZYX rs30 at 0.24mv. This really needed very little change in setup, I increased gain from -3db to 0db and loading at 470ohm. This gave me my best sq to my ears. Obviously the more gain you run the more chance you risk of distortion or excess hiss/noise at the speakers without music playing. I did a test changing to +6db just to see and I think I could live with the hiss if I needed to. But I think even a very lomc in the 0.12mv area should only need +3db gain at most. But your results could differ considerably in your system. |
Make sure to the JLTi phono stage from Australia. This is the reincarnation of the legendary phono stage designed by Allen Wright back in the days. You're a victim of reviews, but do not trust reviews that much. Forget about optional RIAA curves, nobody use them, just standard RIAA. For about $750 the JLTi is amazing, the older version was much more expensive because of the luxury box, the newer version is cheaper because the cbinet is cheap looking, but for us it is more important to look what's inside. Should not be a problem to run 0.20mV cartridges, but for 0.05mV (like my Ortofon MC2000) i would not use any cheap phono stages! Anyway you can add any SUT later on with JLTi if you need more gain. What you need for a SUT is a decent MM phono stage. The JLTi is superb for MM with all that optional RCA plug load resistors (on the backside). |
My advice is consistent with chakster's but based on different arguments. I own two pretty expensive phono-pres: Basis Exclusive and Klyne 7PX3,5. Both have different amplification stages with intention to use the lowest possible with the given cartridge. The reason is : ''the higher the amplification the higher distortions''. The max amplification (3th stage) by Klyne is 67dB by Basis 70. The most of my MC's are low output, low impedance kinds. As chakster a.o. I also own Ortofon MC 2000 with 0.05 mV output. But this is not a criterion. Your own of 0,1 -0.22 is better. It is obvious that for such values you will need an pretty expensive (MC) phono-pre. If the money is the problem as is usually the case a SUT is better solution than ''cheap phono-pre''. I use Denon AU-S1 in combo with my Klyne for low output carts. This means that even an expensive pre like Klyne is not warranty for sufficient amplification. |
@rsf507 I have found the PH10 to be very versatile as uberwaltz stated you may not need all the settings now but down the road it may come in handy and for $1300 I think it's a bargain. There are many great phono stages for half price of the PH-10, if someone own the PH-10 it woule be nice to see 2-3 more great phono stages in the same price range "beaten" by PH-10. But even in the first review it is clearly stated that we don't have to expect bass slam from the PH-10 (for example). I think it's not good, but depends on the system. |
Dear @korakotta: Ignorance is what makes " some one " to speaks with out even look what you need. Spend your money is very easy for any one of us. The PH-10 is very good option for you not only because is an active high gain phono stage but does it with very low noise and additional has a really high overload margin and a very low output impedance that means you will lost nothing of the signal through the IC cables. The additional eq. curves are not an issue and if you don't need it who cares: you just do not use it and that's all but always are there to help in the future. PH-10 has several up-grade options and it has a very clever design. At that price no single SUT/MM phono stage can even its quality level performance. As I said, ignorance . Regards and enjoy the MUSIC NOT DISTORTIONS, R. |
Ignorance is to speak about something that you never used, but as have been poited by others Raul could hear the system and products from his appartment in Mexico without even buyin them. What i said is that PH-10 must be compared to some other great phono stages in this price range, there are many of them on the market, one of them is JLTi. Each review normally pushing some of them over the top, but where is the comparison chart? @uberwaltz do you have that bass slam that one of the PH-10 reviewer has been missing. Any other decent phono stages from your arsenal has been beaten by PH-10, which one ? |
I am very fond about American expression ''overkill''. Sometime such an expression can explain more then a whole sentence. Well assume 71dB amplification by whatever phono-pre. For,say, a cart with 0.4 mV output one can say that 71dB is overkill. The context is ''the higher the amplification the higher distortion''. This is obvious the reason why some phono-pres have more gain stages than one. My Klyne has 3 my Basis has 4. Those who own ''many'' cartridges can then adjust them according to their output. The lowest possible depending from output. |
Thank you all, you are awesome! Sorry for the begynner questions, I am very new to this field...The Ikeda 9TT has 0.2mV, not 0.1mV, and in a review the author says it was just equal to an another 0.3mV cart... and 2ohms coil impedance According to the KAB calculator I supposed to have 64db gain, now my MX VYNL has, channel separation: <-83dB, SNR A-WTD: <-98dB Isn`t it enough? I really like the sound, I am amazed by the details. But I`d like to get the max out from my system, if it does not require to break the bank... First, I am going to replace the unbalanced RCA cables to balanced XLR, because I read, my monitors are expecting balanced connects. That is going to limit the phonos to buy, but I think, It`s a necessary first step.(?) Then, I have two options 1.st option: Buy a Denon AU-S1, and a pair of interconnects, used. Would it go well with my current phono and cart? This one? https://www.ebay.com/itm/DENON-AU-S1-MC-transformer/332641807987?hash=item4d72ff2e73:g:PTYAAOSwptNan... Any cheaper option what is still better than a phono? 2nd option: I am going to sell the phono, so my budget is going to be exactly what the PH-10 costs. But if it`s possible, I would like to keep the costs lower if it isn`t a trade off in the sound quality. JLTi from Australia would be a good one but If its possible I`d like to buy it from here -Norway- or if it`s a really good deal, then, inside EU. And it doesn`t have balanced XLR outputs....For the same reason I dropped (no xlr) the Nighthawk, the PH-1 and the EAR. So, the PH-10 sounds good so far, but what else could be better with -at least- a balanced XLR out? Even better if it has optional balanced ins also, so later I could upgrade the VPI Classic to balanced… ASR Audiosystems Mini Basis Exclusive for example? Any other better options? |
Why you’re so concerned about balanced connectors ? If your cable is not longer than 3 meters you don’t have to worry about it, most of the cables are easier to find/buy unbalanced with RCA and most people use it like that (1 meter or 1.5 meters). JLTi prices included shipping worldwide and Joe Rassmussen (JLTi designer, he’s originally from Denmark) can declare whatever value you need for your custom control, he’s a nice guy. I also asked to customize my JLTi by putting 500k Ohm internal resistor, so i can load it down to whatever value by adding RCA plug resistors on the backside. I asked him to replace 47k Ohm resistor to 500k Ohm, just because i use my MM cartridges with 100k Ohm and we can only go down with parallel resistors, so the internat resistor must be higher than 47k (i asked for 500k Ohm). In this configuration this phono stage is perfect for MM (not only for MC) and no other phono stage will give you this ability with whaever load value you need anytime. |
Dear @korakotta: First than all your cartridge ask for tghe best you can get, its needs must be fulfilled by your system if you want to listen first rate quality level performance and all those means no SUT in between the cartridge signal when you have a vbery good alternative for a high gain active SS phono stage where the cartridge signal does not has to pass through additional IC cables from the SUT to the phono stage that makes a degradation to that beloved cartridge signal, trhough those additional cables the signal must has to pass through solder joints that makes a degradation too additional to those the cartridge signal must has to pass through additional male/female connectors that just follows degrading the signal. If that were not enough about that severe accumulated cartridge signal degradation all SUTs comes with a limited frequency response at both frequency extremes and are not exactly " silent " and those transformers makes a degradation too !!! If that is what you want it then why you own that cartridge? makes no sense. In the other side if it's true that the LOMC cartridges are balanced by it self for you really can have an advantage with balanced configuration your electronics must be fully differential and not only with and additional inversor stage as is common. I really don't care the road you take, the ball is in your field and mine is only an opinion as the other opinions here. Regards and enjoy the MUSIC NOT DISTORTIONS, R. |
@korakotta it’s up to you, but very well shielded unbalanced phono cables (if they are under 1.5 meters) does not produce any noice. But if the cartridge has extremely low output and the phono is not top-notch you can hear some hum. For example check stereophile review for Ortofon MC2000 (0.05mV) paired with dedicated Ortofon T-2000 SUT. Reviewer stated that the MC-2000 is the best-sounding moving-coil cartridge he has ever heard (even with alittle bit of hum)! I think if you go balanced you need all balanced cables in your system: tonearm to phono to amp to spekaers. It’s just too compliacated. |
@rauliruegas Thank you for confirming my opinion about SUTs... Less is more in this case. I think my active monitors benefit from the balanced connects. I tried it with a whole different config also and it was just better. Wouldn`t make sense to upgrade the vpi classic with the xlr junction box and run it balanced from the tonearm to the monitors? That is a future plan if it makes sense, then I need a phono with balanced ins and outs. If not, then I need only balanced outs. What do you think? |
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Even Ortofon Century MC designer Leif Johannsen himself has been using SUT with his flagship cartridge, just watch this video on 18:22 when he’s talking about it. If the Orotfon mastermind is not against SUT at all after 100 years of experience, why should we ignore SUTs ? Raul about Ortofon: Ortofon is a total/100% of knowledge and skills at every single " sigth " surrounded its designs for it can works always in favor of MUSIC. |
Okay, I could live with that option also. As I said I am a rookie, so I don`t have much experience yet. Lets get down in the "SUT road". Beside the DENON AU-S1 which one would be good enough? I am open to buy used one also, but first of all I have to check the availability here. IT would be nice to have a few options. The Ikeda 9TT has 0.2mV and 2ohms coil impedance. |
Dear @korakotta: You said are a roockie so you do not know why or from where exist the SUTS. Look, in the old times when started the LOMC cartridges problem was that phono stages only handle MM cartridge type but were not designed for low output cartridge designs. All the LOMC cartridge manufacturers were SUT manufacturers too for the customers will be abble to listen its low output designs. Al manufacturers did it: Ortofon, FR, Denon, Dynavector, Audio Technica , Entré, Accuphase, and I can go on and on. In those times SS/tube electronics came with internal SUTs or with out any. In those same times started to appears SUT manufacturers to take advantage of the LOMC cartridge customers even that they were not cartridge manufacturers. Example, when Ortofon puts in the market its MC 10 ( lomc design. ) they gave its customers the T-10 SUT, then the MC 30 along the T 30 and then the MC2000 along the T2000 and then the MC5000 along the T5000 and that's why Ortofon and other LOMC cartridges manufacturers still manufacturer SUTs but not because today is the best alternative because it's not. Time to time started to appears phono stage units with active high gain stages that did not needs any SUT and these type of high gain stages were exclusive SS ones in times where SS was in reality in the learning began curve and audiophiles prefered that MM stages plus SUTs ( tube phono stages always need SUTs. That is a limitation in the tube technology because can't handle that so low output levels in that cartridge type. )that sounded a little better but today overall " things " changed and SS active high gain units are the best way to go, not SUTs. In the mid-time appeared too active high gain pre-pre with out RIAA stage named: headamps and were SS designs. problem with active high gain phono stages is not in the phono stage it self but that there are not many good designs because are not an easy audio item to design but the PH-10 looks as very good alternative. Ignorance and stupidity leves speaks sometimes in the people. As a roockie you need to learn and one way to learn is spending money bmore by ignorance in what and why to buy audio items. You came here looking for advise not to just spend the money but at the end that money is yours and you can do with whatever you want it. It's clear that the parameters/characteristics I mentioned in the PH-10 design are not of your concern and I understand it because you just not even understand it due that you are ( as you said. ) a newcomer. If you want SUTs go for it and sooner or latter you will learn or maybe you never will. Who knows? Regards and enjoy the MUSIC not DISTORTIONS, R. |
Yeah, active headamp or pre-preamp is nother option, for example ZYX headamps are unique, read Arthur Savlatore’s review of ZyX CPP-1 online. Now upgraded version available. ZYX cartridges are about 0.22-24 mV and inpedance is about 2-4ohm. According to Raul we’re all stupid, ignorant and rookie. Nowadays many manufacturers still makes SUTs, Headamps, but probably only for stupid people. I assume a decent active gain phono stage that can handle extremely low output cartridges (such as 0.05mV Ortofom MC2000) is very expensive, i mean many thousand dollars. Reviewers does not use such cartridges. Someone praised iphono 2 here on audiogon, but it can’t handle Ortofon MC2000, i tried, reviewers are happy, i’m not happy. So i’m not sure about PH-10 for extremely low output MC cartridges. Is it really works great with 0.05mV? Anyone? Don’t believe the hype! Nothing wring with the SUTs, Raul forgot to mention phono stages with build-in SUTs, i have one of those with Swedish Lundahl transformers, this phono stage is WLM Phonata reference MM/MC with automatic load impedance. The SUTs are inside, no additional wires needed, no extra connections etc. I love this stage with my Fidelity-Research RF-7f designed by Ikeda-San (0.15-0.22mV, 2-3 Ohm). I would recommend Luxman Silver SUT if you want to try inexpensive, but very good SUT. http://www.thevintageknob.org/luxman-AD8000.html |
Why use a transformer?
"Step-Up Transformers (SUT) are a serious option for anyone who owns a Moving Coil (MC) cartridge, one that can significantly improve both the sound quality and sonic character. Quite simply, a good transformer is the best way to audition an MC cartridge with the highest performance possible. Since the output of MC cartridges is lower than that of a Moving Magnet (MM), higher gain is required to utilize them, such as that provided by SUTs or MC phono preamplifiers. Although both devices provide this requirement, both are fundamentally different in function and in sonic character. This is where SUTs are frequently seen as superior; they are completely passive and offer exceptional noise performance and sound quality. This is due to the fact that the structure of harmonic and intermodulation distortion is fundamentally different between MC-preamps and SUTs. While an MC pre-amplifier has a constant resistive input impedance, an SUT has an input impedance that is frequency dependent. The harmonic distortion produced by SUTs is highest at the lowest frequencies and drops as the frequency rises, whereas in most MC preamps the distortion increases as the frequency rises. Combined with significantly lower Intermodulation Distortion (IMD), the sound produced with an SUT will be much more open, dynamic, spacious, and natural." https://www.ortofon.com/hifi/products/transformers |
Thank you for all the replies. I changed the unbalanced cables to balanced. The cables need to burn in,the octaves are incomplete, but it feels like I got 5-10db and overall better sound quality, so that's gonna be like that. I decided to buy a phono next. I need to do that even if I am gonna buy later a SUT because the Mx Vynl is running at 47k constantly in MM mode and the Ikeda is happy at 100ohms... I am hesitating between the Ph-10 and the ASR Mini MK3 exclusive high voltage edition. I couldnt find lots of info about the last one, only it's good with LOMC and high quality product. Anyone? Both has balanced xlr outs. Any other phono what would be better with balanced xlr-outs? |
@chakster , I assume that your ''guess'' is connected with the mentioned ''mini Basis'' phono-pre. I own the whole ASR German artillery: two transformers (40kg each), 2 battery supply (one for the amp the other for the phono-pre) than Emitter II (the amp) and Basis Exclusive the phono-pre . Those are 6 big boxes. |
Dear @ibelchev: Obviously that you just don't read my posts here about why and from where came SUTs. Ortofon mainly is a cartridge manufacturer not an audio electronics items. From its began Ortofon as all other LOMC cartridge manufacturers always joined its cartridges with its SUTs that they manufactured and they had to manufacturer SUTS because was the only alternative to listen those kind of cartridges in a " decent " way and not because was the SUT the perfect alternative. Was the only one on those old times. Active high gain phonolinepreamps just did not exist in those times at least niot good designs. Tubes are out of question for active high gain phono stages so normally almost all tube manufacturers use SUT, externally or internally to the design, because tubes has no other viable alternative and not because SUTs are better. Some SS phono stage manufacturers gone for SUTs because it's a lot more easy to design that way than an active alternative. You need very high knowledge level and skills to do it. In the other side active high gain SS phonolinepreamp design is not an easy task but if the design and excecution to that design is a good one then this is the true and best alternative. I explain in my posts. I'm not saying here or else where that SUTs are bad because are not but are inferior no matter what to a good SS active high gain stage.! ! ! Noise levels, distortions and very limited frequency response is where SUTs just can't compete. Regards and enjoy the MUSIC NOT DISTORTIONS, R. |
Dear @korakotta: https://www.passlabs.com/products/preamplifiers/xp-phono-series https://www.stereophile.com/content/parasound-halo-jc-3-phono-preamplifier https://www.stereophile.com/content/liberty-audio-b2b-1-phono-preamplifier https://www.stereophile.com/content/bmc-phono-mcci-phono-preamplifier https://simaudio.com/en/product/neo-310lp-phono-preamplifier/ R. |
Korakotta: There is always a propensity on audio forums for advice that involves change and spending more money. I can understand fully your preference for running balanced, especially if you have been able to hear your MF phono pre in fully balanced mode. I’ve been running fully balanced on the analog side for 10 years now and there will be a performance enhancement with most phono preamps running balanced vs. single ended with low output moving coils. There can also be a pretty significant lowering of noise levels moving from a single ended input to the balanced input on many phono preamps and it appears that this is exactly what you experienced with your MF. From the sensitivity spec of your MF phono preamp it would appear that you have about 56-58 db of gain. In most balanced phono preamps, running fully balanced in and out of the phono stage will give you an additional 6 dB of gain. It is not clear from the MF specs whether this is indeed the case-I would recommend that you contact MF and see if it actually is and get their thoughts on running with a .2 mV cartridge. If there is indeed an additional 6 dB of gain running fully balanced in and out, the MF should be a very good match with your cartridge and require you to do nothing more than properly terminate your tonearm lead with the necessary, albeit a bit unusual MF balanced connector. It sounds like you were able to source an appropriate tonearm lead to audition your MF phono pre in balanced mode before. Would be great if you could do that again with your existing cartridge. |
I'm no expert but listen with my ears and over the last 20 years I have found adding a SUT has really improved the SQ with just about every cartridge and phono unit I've used. For 12 years I've found the Kondo SFz to be wonderful especially when used with the Kondo cartridge but recently have found a SUT that has beaten the Kondo IMO. (Dealer disclaimer) |
About 10 years ago Dertonarm explained to me why he prefers SUT's and FR-7 kinds. But his SUT ''theory'' was that both impedance and inductance need to ''correspond'' for optimal result. Because of my, uh, ignorance, I thought that I would need an separate SUT for each of my MC carts and was not willing (than) to sell my home for the SUT's. So I bought my first (expensive) phono-pre: Basis Exclusive with battery power supply. With my present knowledge or rather experience I would save about 4000 euro by buying Denon AU-S1. According to the user manual this SUT covers all impedances form 2-40 Ohms while my MC collection also covers 2-40 impedances. So only the inductance is not known. To ''cover'' this lack of knowledge I bought Denon's special made cart for this SUT: DL-S1. I assume that Denon knows the theory and consequently adjusted also the inductance accordingly. |
I got down to the following options. It`s not not gonna be a SUT,
but a phono upgrade
first -but I am open to purchase one later- I am living in Norway, so my options are a bit limited. Which one would you choose from the following? 1. MF PSU + go full balanced from the tonearm to monitors (already balanced from the phono to the monitors). Eventually MF is offering upgrade in the phono, but I have to send it to the UK what is additional costs. I am gonna call them on tuesday to find out the costs. I am happy with the sound overall, so it can be considerable. BUT. Then I don`t have the option later for the SUT. 2. Gold Note PH-10. Upgradable, regarding to the specs, reviews, it would be a significant improvement for about 500pound extra, if I could sell the MF 3. Moon 310LP. I could get this one for the price of the PH-10. Excellent reviews, but I couldn`t find out if it would go well with a 0.2mV cart. THe seller says maybe. 4. ASR Mini Basis Exclusive High Voltage editon with Analog Devices (AD843SQ) chip. This one would cost about 800 pounds extra. Possible good ,but I couldnt find much specs. |
Hi I have an Ikeda Kai mounted on an Ikeda IT 407 arm fitted on a Merrilll Williams 101.2 TT. I use a Tom Evans Master Groove 11 phono stage set for 0.2 mV input and it has user selectable resistance settings. It is deadly quiet even at the highest volume settings which neither of my two other two LCR and CR valve phono stages can compete with. Sound quality wise the Mastergroove with the Kai is sumblime. It's not SS or 'tube' sounding. Just whatever is on the record is what you get. I originally listened via a Tom Evans Groove SRX 11 which is fabulous for the money. I was so Impressed by the SRX that I upgraded to The Mastergroove. I have no association with Tom Evans. I'm just a very happy customer. |
Korakotta, You are being pulled in all possible directions by conflicting advice from 2 or 3 of the main guys who hang around this forum. I would say there are no "wrong" answers to your questions among the myriad of responses, just opinions. Back up the thread, you mentioned that your interest in balanced ICs emanates from your impression that your "monitors" need a balanced input. Can you amplify on that? In general, balanced ICs (with XLR termination) are only of benefit when the equipment being connected has balanced circuitry inside or an input or output transformer that either converts a balanced input into an SE signal for processing within the circuit or converts the SE signal into balanced at the output, or both. Most speakers ("monitors") do not care. If the internal circuit is balanced either electrically or via transformer coupling at either end, then it is definitely worthwhile to use balanced ICs. |
Kora, I have no doubt that your Dynaudios may sound "better" compared to some unknown comparator, when fed from your balanced equipment, whatever it is you're using, but the speakers per se are not sensitive to the nature of the signal in terms of balanced vs SE. In other words, if you played around with amplifiers, phono stages, and line stages, you might eventually find some combination of SE electronics that sounds better than your current balanced set-up, although balanced circuits in my own experience do tend to have a lower noise floor. Also, unless your amplifiers have a balanced output, the speakers are not at all affected one way or the other by what is upstream (balanced or SE), except in the areas of noise and gain. I think I may be opening a can of worms. Don't worry about it. |
