Do 5-pole DIN tonearm connectors deteriorate the sound?
I am in the process of completely rewiring my new Woody tonearm (https://vtaf.com/woody-tm-universaltm-tonearms.html#/), sitting on a custom-made Lenco-recreation by Peter Reinders (http://www.ptpaudio.com/solid9.html). My new cartridge for this set-up is the Audio Technica ART 1000.The signal goes from the TT into my Supratek Grange phono-stage/preamp via a custom-made phono cable that is foil-shielded and also carries the TT grounding wire. Currently I have issues with hiss and a deep background hum, indicating bad shielding of the tonearm wires and some grounding issues. So, I decided to completely re-wire the Woody and the phono cable. The latter is currently soldered directly to the tonearm wires (34 AWG copper). I also have a ProJect 10 Carbon TT with a BenzMicro LPS cartridge. This TT has an internal 5-point DIN connector linking the tonearm wires to the phono cable.
Here is my question: has - in the experience of this esteemed forum - the 5-pole DIN connection a noticeable effect on the sound? After all, we are talking about very low voltages here, so - at least in theory - a direct connection from the phono cartridge to the preamp would be ideal. However, because of the small wire gauge (34 AWG 6N silver by Zavfino), I would probably run into resistance and capacitance issues for a 3 feet run. I would rather put the DIN plug in place to have a clean transition between the TT-wires and the phono wire, but I am not sure if this would lead to a sonic compromise. Of course, I could just try both configurations and try to hear a difference, but first, I am interested in the science behind this question, and second, I don't really have the time for trial-and-error.
Your input will be highly appreciated.
I have Tonearms that have the DIN Connection and a Tonearm that has a Direct Wire routing, which is from Tags to RCA Phono. I have formed the view that the less connections is for the better, but have not to date, got comparisons put in place to discover where the discernable differences are to be found. Where I have recently discovered discernable differences for the better, is relating to the Wand Wire used. The demonstration has included a Wire Type not commonly seen in use as a Tonearm Signal Wire, and also has the Wire being used as the Tag Wire. This experience has been quite revelatory, it has left myself wanting to incorporate the same into a Tonearm I own of the same design. If I could attach the Wand Wire to the Cart's Coils and Directly Terminated to the circuit at the Phono Amp' end, that would be for me the very best outcome, but as it is quite a fragile design and will be impractical, the direct wire method will be the option used. @reimarc If I am interpreting your inquiry correctly. It looks like you are trying to learn about controlling hum in the system. When using the methods I am familiar with I have not had a Hum issue due to these Wiring Configurations, neither have I been aware of Hum in others systems that use either of the options. If you can make time available to try out a selection of wire types, you might discover a signal wire that offers a SQ way above what you thought was available.
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@lewm . Isn't your BMC balanced? I can not separate having a current mode phono stage from running balanced as they happened together. There is no question to my ears that the combination of the two is distinctly better especially when it comes to bass and that is most definitely not psychological. Some Reed arms have removable arm wands adding an additional connection. They offer the wands in different EFs which is good for cartridge matching but I refer the Schroder approach of supplying different cartridge mounting plates. Having experienced problems with various tonearm connections in the past I avoid them religiously. Theoretically the lower the cartridge output the worse they are so I think you are wise to use straight wired arms with your low output cartridges. I think you can also order Kuzma arms straight wired. I am not totally sure.
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Yes, the BMC is balanced. So too are my Atma-sphere MP1 and my 3160 Phonolinepreamp. In my Sound Lab system, everything is balanced, front to back. Nearly all current driven phono stages are balanced, but not all; the Sutherland Loco appears not to be balanced. (There are 3 Sutherland current driven stages; at least one of them offers RCA inputs only and is said not to be balanced.) Since the most common way to do current drive (BMC excepted) seems to involve an op amp, and those can usually be driven in balanced mode, I have to wonder whether Sutherland drives what is really a balanced current to voltage gain stage in SE mode, in order not to scare away customers who are used to SE phono operation. |
