While the turntable is important it is only part of the front end of the process. It starts with the Record, the disc itself. The stylus and thus cartridge is stimulated by the movement of the disc and are managed by the arm. Mechanical energy is provided by the the turntable through the stylus and converted to electricity to become the audio signal,but you know all this. So consider that this is system where each element effects the other, they are all inter-related to produce output. The final element in the chain is the loading on the cartridge output, change it and you change how the cartridge converts the energy from the stylus, the loading cartridge effects how energy it taken from the cartridge and how energy is both absorbed by the stylus and reflected back it. The process has a 'geschalt' to in, a wholeness. Change the loading on the cartridge and you change the relationship between the stylus and the record grooves.
The loading on the cartridge effects the timbre of the final output of the cartridge. If you can change the loading you can change the timbre of whole system. Timbre is the term used for the relationship of the overtones or harmonics of the signal, both in amplitude and phase.
It would seem a big naive to believe random combinations of turntable, arm, cartridge, and disc mastering/pressing would yield the same loading requirements for optimal sonic performance.
I took this a step further took an exploratory phono-preamp I designed and added fully adjustable front end loading for both MM and MC cartridges and found staggering performance changes of the systems. Last year I did the experiment and wrote a paper about this, I will send you a PDF copy of it if you like, only a couple of pages. I will send you a copy if you send me your email address.
Barry Thornton
