Dustcover Blues

@rauliruegas , what would you suggest?

On December 3rd I am traveling to New York City and on the way we are stopping at Soundsmith to audition the strain gauge cartridge. If I decide to go with that it comes with a dedicated phono stage. For a moving coil phonostage I was looking at the Channel D Lino C, the transimpedance unit. I would probably try a My Sonic Lab cartridge to go with it. 

@lewm , Actually, right now I am using 48 dB/oct slopes with a cut off of 100 Hz. Yes, smaller drivers are capable of higher freuquencies.  The "speed" of a woofer is indicted by it's frequency response as I said before. Otherwise a subwoofer's sound is not dictated by speed as long as you stay away from it's limits. 12" woofers generally are good to 1000 Hz and we go nowhere near that. With the right crossover and time correction you can match subwoofers to any loudspeaker. 

I can get you over your digital phobia in a heart beat. Who knows. Maybe next time you wander towards Vermont :-) 

Dear @mijostyn  : I hope you don't pull the trigger on that kind of SG cartridge because make no sense to play LP recorded with the RIAA eq. curve through a dedicated phono stage with no inverse RIAA eq...

Just saying,

R.

I have the Soundsmith Strain Gauge, got one used about a month ago.  SG does not use RIAA or any kind of normal phono stage because it is not any kind of normal cartridge.

MM and MC both are generators that generate a voltage by moving. The faster they move the greater the voltage. SG does not work that way at all. What it does, the cantilever is connected to strain sensors that detect deflection. These are used to modulate a voltage coming in from the SG preamp. So the preamp generates the voltage, the cartridge modulates it (similar to the way a tube acts as a valve) and the resulting signal comes back into the preamp where it is amplified. 

Because of the way this works it requires no RIAA equalization. One of its many advantages over the conventional approach.

Overall it is a nice step up from Koetsu Black Goldline/Herron VTPH2A. With one exception, the low end is a bit weak in comparison. In terms of tracking though it is darn near seamless. Recordings that seemed to have hopelessly large amounts of sibilance now sound like the normal level of sibilance you would expect from a real live person. Percussion in particular is tracked exceptionally well. Listening to SG confirms Koetsu has a real talent for tailoring resonance. The Black Goldline may be entry level Koetsu but it truly is a wonderful cartridge. The SG on the other hand gives the distinct impression of listening to the master tape.

SG also has some nice features like auto-mute and a built-in 12Hz filter. Its main weakness would seem to be the power supply, which can be upgraded with SBooster, Farad, etc. 

@millercarbon , Correct MC, when the gauge is stressed it changes resistance which modulates the supplied voltage which is subtracted afterwards leaving only the signal. Messing with the power supply might not be a good thing. If the voltage subtracted is not exactly equal to the voltage added you will get a dc offset. If your amps go down to DC you could have fried woofer for dinner. If run through a preamp this might filter the DC out.

I do not think it is weak bass but rather exaggerated highs supposedly a hangover from the RIAA curve. Several reviews have noticed this. I can correct for it so it is no worry for me. Weak bass I won't tolerate. If I can't feel the bass drum beat that would kill it for me.

@rauliruegas , you did not make a suggestion for a phono stage or comment on the Lino C. I'll be taking 5 records I know very well down with me. I should be able to pick up any major problem depending on the system Mr Ledermann is using. I won't spend that kind of money if I am not completely comfortable with it. I am also very captivated by the transimpedance approach to amplifying a moving coil cartridge. The only problem is that it limits you to very low impedance cartridges. I have no problem with this as there are many excellent low impedance cartridges. I read uniformly good things about the MySonicLab cartridges then there is Lyra and Ortofon. The new Verismo looks very interesting. The My Sonic Ultra Eminant Ex with an impedance of 0.6 ohms is perfect for a transimpedance stage. 

Dear @mijostyn  : Years ago I listened the SS SG mounted in a Schroeder tonearm and in first rate room/system and there I had the opportunity to compare it against the Lyra Olympos and at least for me no contest against that Olympos set up.

Years ago too in the SS site was a link and the SG real curve and unfortunatelly SS decided to take out/off the site.

" The Italian article did a very good job of explaining to a general audience the difference between "velocity" devices and "displacement" devices.."

In a very hot dialogue where I posted PL him self posted:

" I have measured the SG in many arms, and recently in my Schroder Reference SQ, the new SG design (which you did not hear) it was +/- 1dB from 50 Hz to 12K in conformation with RIAA. ..."

That measure tell us a swing of 2db where our ears are more sensitive but the deviation from the RIAA below 50hz and over 12khz are even higher.

No problem with if what you listen like it.

Now, I understand you owned or listen to the Lino that could be better performer that your today phono stage.

I know very well the overall design of the Lino and other current mode phono stages and for personal reasons I'm not with the kind of overall designs/parts used to build those phono stages.

But that " preference "/captivated you have with and that you ""  exaggerated highs supposedly a hangover from the RIAA curve. Several reviews have noticed this. I can correct for it "" in the digital domain precludes my recomendation to you to really  arrive nearer to the recording and live MUSIC event.

My path/road is totally different from yours.

R.