How much difference does a phono preamp really make?

The phono section is critical to the sound you get in a system. If it does anything suspect the best amps and speakers in the world won't make it right.

One thing poorly understood is how phono sections can generate ticks and pops that sound for all the world as if they are on the LP surface. These ticks and pops occur if the phono section has poor high frequency overload margins. A cartridge and tonearm cable have an electrical resonance that will be between 20-30dB more powerful than the actual signal. While this resonance might be at a couple of MHz, if energized by the cartridge output it can easily overload the input section of the phono preamp- and you get a tick when that happens.


A side benefit of a properly designed phono section (one that takes this phenomena into account) is that it will be less sensitive to 'cartridge loading'. Cartridge loading is the use of a loading resistor at the input of the phono stage. Its really there for the benefit of the phono section rather than the cartridge- it detunes that resonance I mentioned above. If the phono section is sensitive to that resonance, removing it will cause the phono section to sound better. But the act of loading the cartridge causes the cartridge to have to generate more current- and that in turn will cause its cantilever to be more stiff. IMO/IME you're better off working with a phono section that does not have this issue.

As a side note, I'm convinced that this engineering problem is a good part of why the CD came into existence, since back in the 1970s and 80s the majority of phono sections made had this tick and pop problem. If people didn't think that LPs had ticks and pops would they have been so eager to embrace the CD? ...

Hi @audionoobie 
I have been a Phonostage Enthusiast and Obsessive for far too many years, where the over interest has encouraged myself to have spent more time experiencing them than any other Device in my system.
This is a undertaking that is still with me, and COVID Travel Restrictions Impacted on most noticeably, when it come to my particiapation with the social side of HiFi .

I can not put a figure on how many Phonostages I have auditioned over the years, and my interest has not wained.
Very recently, now there are new freedoms to be exploited, I was with a group of friends auditioning one of the groups selection of ancillary devices that they have, to be used in conjuction with Phonostages.
On this occasion there have been Two Phonostages, in use, along with SUT's, Head Amp's and a Deguassing Device, to attempt to keep all Demonstrations carried out with the fairest of play times for each comparison.   
On this occasion there was a Debut within the Group of a very respected and reasonably well known Brands High Level Solid State Phonostage Model, using the Built in MC Stage and the other ancillaries.

This Debut was carried out as a Comparison along side a Bespoke Built all Valve Phonostage, using a SP10R, Glanz 12" Arm and a Miyajima Cartridge.
Due to Lockdown, this was my long overdue and first encounter with the TT Set Up.
In the above case all the auditions left very indelible memories, where the impression is very positive, and is a reminder of the bar that can be set for a Vinyl Front End.
Each Phonostage shared traits that were similar, but there was an overall separation in the Presentation, where one was Fleet Footed and offered an air of precision and control.
The other took the music on and showed a Tremdous Presence with ethereal room filling Voluminous Sound.

Prior to this meeting, I was keen to get on the road and meet a fellow enthusiast.
To achieve this I carried out a 200 Mile round trip, to visit a good friends home, and was listening to their own Bespoke Built Phonostage Design.
This was not a comparison, it was a update on a Demonstration of a evolved design I was becoming familiar with prior to the Lockdown.
The TT in use was a completely Over Hauled SP10 MkII.
This updated demonstration was quite phenominal, and left me with goosebumps.
I was greatly impressed, and am very keen to hear this Phonostage on my home system.

'In a nutshell' a Phonostage can quite easily make or break a system,
in relation to how it can produce a performance that leaves a very positive impression.
The effect that the use of can have on a individual, will only be understood by being in the Company of one, preferably being used on the Home System .
Most importantly the Phonostage is a Device needing to be heard,
hearing the choices of others who have taken a long time to find their Holy Grail of a Phonostage, can be extremely rewarding and educational.

There might be foot work required to get the best experiences and gain in understanding where your preferences lean toward, but what a great way to grow in understanding, through meeting fellow enthusiasts and being given demonstrations of the choices that others have made .     

The Ypsilon phono stage costs $30,000 and provides only 39 db of gain with a fixed input impedance. It sounds fantastic but price and flexibility do not go hand in hand in the current market.

A good phono stage is a wonderful upgrade but with a great one the magic happens on any good recording and you do not have to spend a lot to get a great one.

Theoretical options are interesting and means a lot but practical experience is much more relevant and has more value. I used to have DL-110 about 3 years ago and paired it with Parasound JC3 Jr and Rogue Audio Ares. I didn’t really liked the cart, find it pretty average sounding with no dedicated personality. The compiration of two phono stages with DL-110 was definitely in favor of Ares. It was noticeable upgrade in SQ. The Ares has pretty firm place in my system due to its flexibility and exceptional sound signature.