Voltage mode vs current mode phono stages

@atmasphere Of course, Ralph, you are right. A built-in phono, well chosen, is also a simplicity. I come from that tradition: Audible Illusions, CAT, MFA Luminescence. My current situation of line + phono stage is really to explore the possibilities of the medium, it's a learning experience for me, not a search for a particular sound.

@mijostyn Isn't the difference between a 'warm' and 'lean' sounding system a shift in frequency responses?  Or are you saying that the shift in frequency response is really a shift away from neutral / natural sound? I thought that's what difference devices do, ameliorate or exacerbate sound through the manipulation of frequency responses. Sorry, I get a bit hung up on terminology.

Please provide reporting of the Seta L+ somewhere in this forum. It would provide important data point, especially coming from you. BTW, in my communication with Rob at Channel D, he found a way to squeeze a '1/4 Seta L20' into a Lino C ( with a modified chassis). Yes, fitting a quarter of his TOTL phono into a Lino C! 

@dover Would you confirm if my guess on the Vd Hul Grail is correct? Like Lew, I did a bit more research on it, and it seems a very accomplished unit. Fremer compared it favorably with the CH Precision. Would be interested in hearing more from you on the Grail. Thanks!

@dover Would you confirm if my guess on the Vd Hul Grail is correct? Like Lew, I did a bit more research on it, and it seems a very accomplished unit. 

@ledoux1238 

No it is as @lewm  stated - I have a bespoke moving coil step up using current mode/current sensing - the output is connected to the Marantz 7 phono (stage )  input.

It is not available commercially.

@lewm

"Suitable" = very low capacitance, I assume. 

Please excuse my ignorance and technical understanding, but I have a strong opinion that the + & - cartridge signal paths should be as similar as possible. Such a belief shuns any use of coaxial cable - yes, inductance not good.

On transimpedance phono inputs featuring RCA style inputs, such an assumption isn’t so intuitive. Knowledge of SME’s use of twisted pair phono cable construction sheds light perfectly on this scenario as each + & - path of their RCA outputs feature identical runs all the way back to the cartridge pins exhibiting perfectly balanced cartridge signals without XLR outputs. Continuing on that theme, SME only accesses the optional signal shield via a “drain” wire which exits the rear of the output RCA connector for optional noise control if needed - just tie it with chassis ground.

As far as keeping capacitance low, as long as each + & - cartridge signal path is again equal, I cannot see where that would hurt - Mogami W2549 works exceptionally well and is a well known low capacitance conductor.

@lewm 

My question was more about the effect of MI inductance on cartridge output impedance as frequency increases and how that affects the efficiency of current drive.

Seems like a question for PL. I would pose a similar inquiry for J Carr to the evolution of the Lambda Series of Atlas & Etna as their current delivery seems to be much improved over previous versions. I suspect lower inductance generators.

@ledoux1238 , Yes, I will report on what I think in my system. That is a lot of stuff to cram into a Lino C! I was going to get a Lino C but it turns out the Seta L plus is a better unit even though it is less versatile. 

Most of the differences we hear are in amplitude variation across the frequency band, bright, dark, warm, vivid are all caused by frequency variation to which we are quite sensitive. These variations can be caused by intension, our systems, resonances anywhere and acoustics and are way more prevalent than other errors such as distortion and group delays.