SUT - electrical theory and practical experience


Some vinyl users use a SUT to enhance the signal of the MC cartridge so that it can be used in the MM input of a phono stage.  Although I don't understand the theory behind it, I realize that a SUT should be matched individually to a particular cartridge, depending on the internal impedance of the MC, among other things.  

Assuming an appropriately / ideally matched SUT and MC, What are the inherent advantages or disadvantages of inserting a SUT after the MC in the audio chain?  Does the SUT theoretically enhance or degrade the sound quality?  What does the SUT actually do to the sound quality? 

Thanks. 

drbond

With out facts my common sense tells me that a LOMC through an active bipolar hifgh gain design is way fast than the same LOMC cartridge + the additional IC cables and the SUT it self where both signal must pass through. So transient response that defines the notes/harmonics is slower through a SUT and this sole characteristic is an additonal and crucial disadvantage for a SUT.

I am not a bat, nor hear like one.
I suppose that we can argue whether it is 20kHz, or higher bandwidth.

If the SUT was limiting the RF bandwidth, then it would also take care of the ringing at the high RF frequency that people talk about loading a SUT to stop.

How fast of a rise time do we need?

I would guess that the lower winding ratios would also have a higher bandwidth, or is that inductance also dependent upon the transformer core ?

 

I forgot that rise time is from steady to the time to achieve 10% to 90% of the step response.

If it is 50% duty cycle then it is “on”, in the half period, at the equivalent of a 2kHz rate.

10% of that would be 20kHz…
 

Dear @holmz  : This is what the gentlemans that made it the rise time measurements said and through the internet looking for bipolar, FET or tube rise time measurements coicide exactly with:

 

" Response speed is general refered as transiente time and transient time is the figure of merit in comparison the ability of the cartridge to reproduce the instantaneous changes of MUSIC. Transiente rise time is determined using a square wave test signal  ( 1khz. ). The transient rise time is the time elapsed from the point of the leading edge wen it's at 10% of maximum height to the point of the leading edge is at 90% of the maximum height. . This is the accepted engeneering measurement method which uses the most uniform segment of the leading edge to measure the transient rise time.Musical sounds are transients by nature. "

 

Differences between the MM/MC other the kind of motor design was that the LOMC cartridge was paired with an additional SUT and this is by common sense why the MM is faster in that transient rise time when obviously must be the other way around. SUT/cables is the culprit. Maybe not?

 

R.

 

tHOSE GENTLEMANS SAID:

 

" These measurements of cartridge circuit are of great significance to the user and illustrate why the cartridge's electrical output network has such a profound effect on the overall performance of the playback . "

 

r.

Differences between the MM/MC other the kind of motor design was that the LOMC cartridge was paired with an additional SUT and this is by common sense why the MM is faster in that transient rise time when obviously must be the other way around. SUT/cables is the culprit. Maybe not?

It is a system that most people have.
So looking these things in isolation is best, but it may be difficult.

We are pretty much looking at the transient response like slew rate.
At some point the thing is trying to make sounds >20kHz if the response time is going to zero.

In any case I ordered the test LP.
And I have an ADC, so I can capture the results digitally.
I’d rather not guess at what is happening.

If a SUT studied as a unit can exhibit a frequency response out to 300KHz, how can it be the principle culprit in determining a relatively slow rise time? Most cartridges do not respond out to 300KHz so far as I know.