Back in 1980 Robert Grodinski (of RGDynamics) identified phono stage overload margin as a major factor in SQ. His own designs surpassed all competitors of that time in SQ! So he was on to something!
Phono stage can minimize tics and pops on vinyl
Recently @atmasphere made an interesting statement twice on a thread about CD vs. LPs where he posited that one phono stage can minimize the sound of pops and tics over others.
I recently upgraded from my 25 year old Aragon 47k phono stage to a Luxman E-250. After sufficient break-in time, which was considerable, as I pulled out my old, though well kept vinyl, it became very clear that I was experiencing this effect with the Luxman. The pops and tics were still there, but they were much lower in volume relative to the music and thus made all of my vinyl quieter in the sense of surface noise.
Interestingly, the treble was clear and open. Well recorded jazz cymbals had that burnished brass sound with a natural airy decay. You can readily tell the wood tipped sticks from the plastic ones! Good hall sound and open, expansive soundspace!
So...have any of you ever experienced this kind of change, and if so, what might you attribute it to?
Thanks!
I recently upgraded from my 25 year old Aragon 47k phono stage to a Luxman E-250. After sufficient break-in time, which was considerable, as I pulled out my old, though well kept vinyl, it became very clear that I was experiencing this effect with the Luxman. The pops and tics were still there, but they were much lower in volume relative to the music and thus made all of my vinyl quieter in the sense of surface noise.
Interestingly, the treble was clear and open. Well recorded jazz cymbals had that burnished brass sound with a natural airy decay. You can readily tell the wood tipped sticks from the plastic ones! Good hall sound and open, expansive soundspace!
So...have any of you ever experienced this kind of change, and if so, what might you attribute it to?
Thanks!
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- 25 posts total
- 25 posts total