To those with multiple tables/arms/cartridges

So Nandric, Would say this Einstein is "no Einstein"?

Today I went to Bill Thalmann's shop to see for myself that my new baby TT101 is indeed working nearly perfectly. In fact, I never saw my KAB strobe hold speed so solidly. The only remaining defect is that the pitch control will not allow "Fast" adjustments. Bill says it's just the push-push switch needs cleaning or replacement. We are going ahead to replace all electrolytic capacitors in any case. Soooo, here I went to sell my DP80 and found no takers. I was trying to cut back from four TTs to three. In the midst of that, I found the QL10 on eBay and could not resist its orphan status, because the seller described it as "broken". Had it been described as "working", the price would have been high, and I would have resisted. In any event, I ended up winning the auction with a low bid, bought the TT101, thereby not only increasing my TT count to five but also adding the Victor 7045 tonearm in the same bargain. No need to tell me this is ridiculous, but it's cheap fun compared to a mistress or a Ferrari.

Altho it turns out I do not need one, I will soon have several NOS spare clock chips for the TT81 and TT101, for anyone out there who needs one. Coming from China, or so they say.

I would like more info on Dertonearm's TT switcher. Does he have a balanced tonearm input version?

Lewm/Nandric

Sure buying a separate phono stage for each table is the ultimate, but expensive option. This is about the best other option.
Transparency is excellent however I would be lying that there is no difference. But the differences are less than changing an interconnect. Just get the chassis off the small rubber feet as that does soften the sound a bit. Daniel uses his fav Ikeda silver wire with, wbt connectors and I had him put a captive output on it.

Not sure if Daniel makes these anymore now that he has his tonearm and headshell. Syntax would probably know more as I originally got the idea from him.

Lewm, I believe Daniel has made balanced before.

here is a couple of pics

uniselector1

uniselector2

Dear Lew, to chose the name 'Einstein' for amps is typical
German 'modesty'. But ,uh, the reviews were 'fantastic',
while the producer is near the Dutch border. So I thought
what a chance to see how those are made. But alas: just one
connector for my 12 tonearms ??? (thanks Henry).
Well while I am primary interested in your Beveridge I may
be willing to part from my Kuzma Stabi Reference and,
as you know, only your Kenwood will fulfil all my wishes.
The poor thing can at last get the second tonearm on its
back side in this 'futuristic scenario'. Not to mention
your own dilemma regarding your sanity in connection
with the number of the TT's you own. BTW If I counted
them correctly you own 6 TT's, not 'only' 5.

Downunder,
sometimes I am responsible for clearing the ground for some new small product ideas :-) In case of the UNIswitcher I asked Dertoneam some years ago if he could build such a switcher for my many tables and phono pres. The aim was not loosing any quality. So the UNIswitcher was born. I am using one with three inputs and I still have another unit for also three units which I don't use anymore (cause I sold two tables). my units have a very nice wooden box around it which I ordered at my High End carpenter. The wiring is fully silver which makes it not cheap.
I am not sure whether I will need it in the future or not. It makes Audio-life easier.

Last winter, I had a local entrepreneur visit my home. He is Douglas Hurlburt, founder and designer of DSA phono stages (models I and II). He brought both for a try-out in my system, even though I warned him in advance that I was unlikely to pay the high prices for his units. Doug turned out to be a fine gentleman, and I must say I have rarely if ever seen such quality of construction, which stems from the fact that he over-builds his units himself, and he is obviously an obsessive person. In any case, his phono II has provision for three separate tonearms, balanced and unbalanced inputs for each, individual R and C adjustments for each, and individual gain selection for each. All selections can be made from the front panel. No flashlights or mirrors needed. (Each tonearm is in fact feeding a completely separate RIAA stage, one from the others.) In short, he's thought of everything our little hearts could desire in a phono stage. And I might add that the sound was superb, good enough for me to consider putting aside my bias for tubes. At the time, the Phono II was going to market at around $15,000, which alas was too much for me. I think now he has slightly reduced the price. Highly recommended if you've got the financial capital.