Analog Upgrade - Where to start?

A Member of my Local HiFi Group has a SME 20/2 turntable and the SME Series V Tonearm, in use with a Transifiguration ?? MC.

Prior to COVID I have heard this on a few occasions in the Owners System, with a GRAAF OTL into Quad ESL's.
I missed a very recent date to listen to the above Vinyl Set Up,
but the Groups reports on the meeting was unanimous, in being very positive and complimentary.
Not too bad an outcome when their most recent Meetings prior to this have been using a SP10R >  12" Glanz > Miyajima.

I do not see any reasons for there to be any concerns for the TT and Tonearm, as needing to be replaced as part of a Upgrade Method.

To introduce a more dynamic sound, and add detail without drawing the attention to the Clinical Element, along with creating a perception of being engaging and as having a musicality that is a attractor.

There are few things that can be considered, prior to the investigations to be undertaken.

I know there is not any doubts for rest of the System, but a little extra thought and consideration might prove extremely beneficial,
especially when focused at the Systems Interfaces.

These options at the Interface can be prove to be cheaper to in vestigate and in some cases can be achieved for free, as some of the choices available might come with a offer of  a Trial and return Period as part of the Offer from the Vendor.

I have adopted the thought chain, where the Vinyl Chain in the System from Wall Outlet to Speaker a System that is totally dependent on the Umbilical's that combines the Individual Devices into a Whole, and will Treat these as an Individual Part, that has the potential to add or detract  to the Chain as a Whole.

The Phono Stage from PS Audio in my view will have the potential to improve on its Performance if the Power Cord is exchanged to a Modern Wired Design Power Cord. (My own use of such Power Cable Types has changed my thoughts on the subject permanently, a PS Audio Device was one that really benefitted, I am at presently working towards all Devices being Powered by such Modern Designed Wire)

The Cartridge Tag Wires can become quite revealing if exchanged for a Modern Design Wire. ( I have had this experience and am not interested in reverting back to my previous used Tag Wires)

The 5 Pin DIN > RCA Phono Cable 'if this type is used' can become again a very noticeable improvement if a Modern Design Wire is used.
The use of the same Wire Types between SUT and Phonostage or Phon' and Pre' ,  has the potential to underpin the Value being perceived for the use of the Modern Designed Wire. (Again this is a Method I am permanently using, and have no intention to return to previously used Wires, during Loans of these New Used Wiring configurations, on friends owned Systems, the reception for them is very positive and one that will at some stage be aspired to by the system owners).
I am working my way toward the Pre > Power Amp Cable Exchanges,
but I am not able to offer a report on this at present.

Where there was not too much added expectation to be further impressed by a Large Measure, I was proved quite wrong.
When the Speaker Cables were exchanged to a Solid Strand Modern Design Wire, my initial thoughts were that there was not much to be gained, within about Two Hours of being Hooked Up, I was Jaw on the Floor, what was a very well acquainted Subtle Breath on a recording was now a Room Filling Sound, and the improvements were very noticeable across different recordings.
(There are still stranded wires on standby to be used that are a Modern Wire Design, to be compared in place of the Solid Wire)

If by Dynamics it is meant the range between the Quietest and Loudest Sound.
Then I believe that the changes being made to the Cables in my System have shown that the previous cables in use, although produced from a Wire with a popular following, were not able to reveal the Dynamics at the same level being presented with the New Wires that are presently in use.
This is a result of my using just one type of a Modern Designed Wires at the Interfaces.
(There are different configurations of these Wires and the varying Levels of Purity within the structure of the Wires that can be used.)   
 
The exchanged Cables are still going through a Settlement period, and the way they are revealing Details, and showing the capability of being able to present the Whole Envelope is already noticeably improved. 

As said previously, certain Cables may be able to found on a offer for a period of loan, prior to fully committing to the purchase.

My Suggestion is not encouraging a change of a TT > Tonearm > Cartridge as a Source.
It is about encouraging the Devices to be connected with a Cable to be given a New Interface and offer the Devices a chance to deliver in a manner that has not been imagined.
A friend with a Audionote IO MC was shocked at how the DIN Cable and RCA Cables I loaned to them to use with their Tonearm and SUT TO Phon' Pre' produced a Presentation that was more than they had imagined and much wanted to be maintained.    

The Suggestion that ones hearing might be showing signs of deterioration is a good point, as age and environmental exposure can affect the Hearing.

My own were checked with a Testing Equipment during a Medical Three Years ago, I informed the Clinician of my added interest in the Test and asked for a demanding Test.
The Clinicians evaluation was that for my age, my investment in my HiFi
System was still able to reward me.  
 

I would start with the ps audio phono stage all the rest of your stuff is top notch all i can say is the phono stage you choose will be very important for the rest of your vinyl front end.

Dear friends: As I posted I respect all of you  Now all those gentlemans that posted to change the phono stage and if you don't mind I would like to ask :

why? where are your facts/objectiove reasons against the OP phono stage compared to any of the unit you own? where are the advantages of what you propose to the OP?



Btw and in the other side: the phono stage as important as it's unfortunately it's not the source in an analog rig but the cartridge. The MUSIC/sound is generated through the cartridge tracking abilities and its motor/engine quality design.
What we expect to listen through that cartridge is what that cartridge can pick-up or not, the phono stage can enhance nothing about the best that can make a phono stage is that that cartridge signal suffers the less distortions/noises ( everykind of it ) and the lower degradation .

Which of the phono stages you own achieves that in better way than the OP phono stage ?

Do you thing that the price tag ( 2.5K ) of the OP is so low that can't outperform phono stages in the 20K+ prices?  Well it can do it.

R.

Dear @edgewear @chilli42 : I own or owned or listen in my system all the vintage cartridges and new ones you named including the 9Rex and yes are good performers and there are reasons about and the main reason is because cartridge designs did not changes over the last 40+ years. Main changes are on build materials used for today designs and other 2-3 " designers details "

I own very old Ortofon cartridges ranging from MC-10 or the MC2000 and today ones and certainly exist differences for the better in today designs and I’m not trying to diminish the MC2000 that’s really good.

I own the XV-1s and the 13D and Ilistened the 1t ( the OP model. I listened the original not a SS refurbished like the OP sample. ).
The 13 D ( I own the wood version. ) is very good but the XV-1s detail retriaval is better and that puts in our ears the sensation of more dynamics along that the 1s handled better the high frequency range. The 1t is a little less " dynamic " than the is but it’s a very good performer too.

Now, what we can or what we can’t listen in a cartridge quality level performance depends mainly in the room/system resolution levels.

I know that you know this: if any one of us want to have a different " natural color " of the MUSIC we are reproducing then where do you have to go? when each cartridge has it’s own " natural color " and sometimes differences for the better are or could be significant.

I know for sure that the first step for the OP is in his cartridge’s system.

Now, I like a lot the Colibri by Vdh specially its lower output designs and if you listen in your system this kind of Colibri design against not only the good vintage performers but against any other today/vintage designs you will be surprised of how many differences exist in between but if we take a ZYX or other manufacturer as the new Lyra Lamda series we can find something like that.

You own the Anna and the A95 and each one has its own " signature " its own " natural color ".

We don’t want a phono stages be with its own " natural color " but to be acurated and neutral to leave pass the cartridge signal " intact ". The OP unit is way neutral and accurate it does not matters its price tag.

That’s my opinion and some of the reasons of my opinion.

Other advantage of the Stellar is not only that’s a fully discrete, very low noise, high overloadin/headroom, pure class A ", high gain active, hand selected parts design but that is a SS design because for a phono stage , like it or not, the rigth way to do it is through SS electronics not tubes and I don’t want to open any " new door/window " about tubes because is not the issue in this thread.

R.

Whilst I haven't heard the PS Audio, I can comment upon what I have. If you want dynamics and transparency - a sort of front row seat consider a TOM Evans phono stage - i have auditioned and heard various Groove phono stages and Toms designs are all dynamic front row perspective. I would also highly recommend that you audition a Whest - very powerful, dynamic, silent, extraordinary imaging and authoritative. The problem with both stages are that they do not have alternative EQ curves - that's a problem if you have old records. IMHO I would get the best RIAA i can, then a cheap (relatively) phono stagee with other eq curves such as a Graham Slee