SUT help

Help me out please, when the Phon' of Phon's does become available for my experiencing. How do I capitalise on this opportunity.

Must the TA be the £60K Sat. 

Must the LOMC be over £20K

Must the TT be north of £80Kish

Must the Interconnects be £20K+

What must the Downstream equate to £250Kish.

@pindac High end audio isn't driven by price, its driven by intention. For that reason, the most expensive gear might not be the best sounding. Its simply the most expensive.

Funny how when I express an opinion on how I perceive what might be the best conditions to assess the Mother of all Phon's, the reply is that it is utter rubbish.

If I had to guess, the reason was because @lewm is possibly aware that price and sound quality have nothing to do with each other or at best are only loosely associated.

@atmasphere You Stated:

"the most expensive gear might not be the best sounding."

Might !!, Is very broad in its context used.

I will say when I eventually / If I eventually get to experience the end sound produced by the most expensive equipment. There might be a sound discovered that shows it to be extremely desirable to keep in use, maybe more attractive a sound than any other encountered. Obviously affordability will be the realised  constraint to making an acquisition materialise.

I don't see too much difference between either of our Statements, they are both Conjecture. 

I suspect that any body with a interest in experiencing something that is off real interest to them, is with a underlying wish to experience the very best of what is available.

Gastronomes will quite happy put their name on a waiting list to be given a seat in a restaurant of choice with a year for the waiting.

A Photography Enthusiast, will usually make sacrifices to get to the place of having professional quality Glass in their arsenal of lenses.

Vintage Car Enthusiasts will Travel far and wide to see the most pristine models from their chosen era of production.

Vehicle Enthusiasts, with little interest in owning a Performance Car will pay to experience Track Days in Super Car with Professional Driver and Coach, just to know what it is all about, a Performance Car Enthusiast, I presume the Goal is to keep going to the day out is in a Formula One Vehicle?

As for Audio Equipment, there are many who are enthusiasts, that would like the experience of being seated in front of an Uber Expensive Set Up.

I myself have done this on occasions to the point I class myself as Familiar with an extremely expensive Audio System. Even though extremely impressive and always thoroughly enjoyed when experienced, I do not class this as the Very Best in Audio, neither is it the very best produced sound that I have encountered.

My own take is attraction to end sound is unique to each individual, so each has their very own preference for what they want to wed themselves to.

My inquiry was relating to what would need to be the supporting equipment to prove a particular device selected for Audio purposes is the Best of the Offerings.

If I made the Statement I have heard the best end sound from any of the Phon's I have heard in use, hence I believe this Phon' to be the best Phon' ever produced.  I'm sure my statement would be questioned quite heavily.

The heavily questioning may be quite less, if such a statement is backed up with the types of supporting equipment used, the description offered will hopefully be one that can be seen to be with increased creditability, if references to equipment used are seen as cutting edge and at the forefront of design and function.

But most importantly, all the context of the above is conjecture, the experiencing and impression being made is the only way to assess how an end sound is one to be lived with or not.

@lewm seemingly decided he knew the quality of the end sound of my owned Phon's and suggested my owned and in use Phon's, were inferior in producing sound to others.

My Bespoke Built Phon' was over a period of time carefully worked with, to Voice it to my own particular preference. When the Phon' got to the end sound I was most attracted to. The designer / builder, made it known, my version was to be the upgrade option. I know I have got exactly what I want to make Old Bones with.

I also know Customers for this same Phon' design are extremely pleased with having discovered this as an option.

   

       

  

Okay so maybe time to get back on the rails here...

What exactly is the point here?

None of this is doing any service to my original question, and seems more to be a debate about who is 'right.' The theoretical gear needed (or not needed) to 'prove' or 'disprove' anything is a pointless discussion. Everyone has different gear, rooms, ears, preferences, and opinions. It's also completely irrelevant to my question.

I fully appreciate that there are varying experiences here with SUTs, with some finding some pleasing improvement to their experience, and others not. All are valid experiences.

From answers to my original questions, it seems like finding a SUT with 1:10 and 1:20 options might be best since it sounds like there's been success with both and either should work with various configurations on my phono pre-amp. Some good suggestions on specific models to consider so far, but if anyone else has any other suggestions that might fit the bill, happy to check them out as well. Thank you to all who have provided some guidance on proper matching.

@mmcgill829 The very best method to make a discovery about a impact a device can have is to experience it with an open mind.

You are on the right track with Winding Ratio's selected.

The want to experience will be furthered as an educational encounter when a SUT is used in your system.

Your assessment of your experience, as well as the impression that is made on you, is awaited by myself.

There is plenty of info in this thread and linked threads to help you get a bearing on what has been experienced. 

I am happy to have supplied a description that will be a aid to this. 

 

Pindac,  I know nothing about your phono stage and certainly never said or even implied that it was inferior. Originally, I was merely asking about how the term "Transconduction" might apply to the mystery phono stage that you like. The way you used the term, it seemed you were suggesting it is a category of phono stage opposite to a "Transimpedance" or current driven phono stage. To me, the alternative to current drive is voltage drive, and there is no need to adopt the term transconductance because in fact all audio gain devices act through transconduction.  Then you revealed finally that your phono stage at least starts life as a Paradise phono, made on a custom basis in the UK, so far as I can tell.  I read something about it and commented that it received a lot of favorable mention on the internet, and that it appears to use an FET and a tube complement that are both reminiscent of the Herron phono stage that is much liked on this side of the pond. Please show me where I criticized the Paradise phono, on any basis at all, let alone its relatively low cost. I also never in any way said that cost is directly proportional to results in audio.  It most certainly is not.