MC-MM-MI CARTRIDGES . DO YOU KNOW WHICH HAS BETTER QUALITY PERFORMANCE? REALLY?

When the Pair of Bespoke Phon's, of which I have one in use, was undergoing being built. Part of my commitment to the design was to contribute to the purchasing of parts to be used or tried out for experimental purposes.

As the Prototypes progressed, an increase to the alternate parts to be exchanged were being introduced, as a purely experimental venture.

All selected Parts inclusive of Caps, Resistors were perfectly matched to each other, I can't recall exactly but feel confident the criteria for accuracy was as low as practically sensible to read for the parts. I'm sure one man's cut off for being an accurate match is another man's poison?

The Prototype was under this type of control for part matching from initial build through to final selections being made.

As a supplier of Parts, I found this accuracy at times to be quite costly, as Cap's were bought in excess, with many only to become discards. Resistors were more Pocket Book Friendly.

Additionally when selected Parts were to be exchanged, the exchange part had been exposed to a period of burn in, to give it a improved chance to perform at its best. The EE was even making allowances for new solder needing a burn in period. 

Having Two Prototypes running Parallel as a build, made it very easy to evaluate changes being made as there was only on Phon' receiving the mod's at a time.   

When the end sound was first discovered that was really wanted to be worked on, other parts on the Schematic were swapped out to see how the end sonic was effected.

Valve Bases were swapped, the impact on the end sonic was quite relevant, as different bases were discernible for altering the sonic. The Bases selected in the end, were a Pure Copper Pin design, but were also a design where the Valve fits as if it is almost mechanically fastened. Certainly not tube exchanging friendly. These Bases really stood out on how the end sonic was perceived for being a betterment.

My experience of having been present to assess the impact on the end sound of a Phon' as a result of exchanging components, has been that there are Components that can create a end sonic that is extremely attractive in comparison to an alternate part used, especially one selected for the high spec' and matching.

Not only did I receive a Phon' that has been carefully produced using parts not typically selected for their matched levels. 

I also received a Phon' voiced to my own unique wants using Parts that are not typically selected for the Spec' and matched levels.

Is there really any need to be looking anywhere else to have a experience of listening to Vinyl?

For me yes, do the same once more with a design I have recently been experiencing on a regular basis, but this time postpone the venture to a later date and do to it all once more with a SS Design. 

Why not have the best of both Schematic Types that are affordable to oneself, at their fingertips to be experienced, as Phon' Only, Phon + SUT, Phon + Head Amp.

I know one thing for sure, as result of having Two Bespoke Designed Phon's produced, one Valve Input / Output and SS, by two very very skilled EE's in this field. 

I will still have substantial monies in reserve, through my not using the route of purchasing only one Branded Design of a particular schematic type, that may be able to prove itself as being close as a equivalent to one of my options.

I will state it once more, that the user of a Vinyl Source, who really enjoys their replays, and would like to venture into experiencing a replay that is maybe able to deliver a sonic that is perceived as being more refined to their usual experiences.

DOES not have to spend Stupid Sums of Monies to experience Phon's, that may just prove through being experienced, to be more than enough to be end game keepers. 

I am confident that a selection of Vinyl users, owning commercial Brand Phon's, could sell on these models, and for the monies received or a small addition, get more out in front with a electronic device. If choosing to use a non commercial route to achieve their next Phon' experience.

Dear @richardkrebs : How you doing?  rauliruegas@hotmail.com

R.

@pindac When you do go to solid state, I suggest a full complementary push-pull design. A NiCad battery power supply is also beneficial. These are two things you can’t do with tubes, and both matter.

Of course, multiple devices in the first stage differential amplifier from the cartridge to reduce noise. And (discrete) aerospace BJT’s. Last, I would build in filters at about 200 Hz and 50 Hz for woofer and sub - you may need them. I don’t know if you should bother with Bessel, or just go with Butterworth filters. I am building a Bessel, but it gets forced onto the back burner, so can’t tell you how it sounds yet..

Dover, I am aware of the difference between a capacitor and a resistor. By comparing the Russian SSG capacitors to a TX resistor I was only suggesting an analogy as regards the property of transparency. Most regard the TX2575 foil resistor as very neutral and transparent, as resistors go. The SSGs are similar, as capacitors go, in my opinion.

Raul, I am aware that tiny differences in capacitor value can alter RIAA. The SSGs are extremely tightly matched to their stated values, using my Sencore capacitor tester. The caps I replaced were a good match to the SSGs. This was in a tube phono stage, not the MP1.

Terry, when you advised a push pull complementary device, were you thinking about a phono stage? Or an amplifier? Certainly that topology is more commonly associated with amplifier output stage design. In fact, I know of no phono stage in history that used a complementary push pull output stage. Unless you could say that the Atma-spher M P1 and MP3 preamps, which use a circlotRon output linestage might fit that description, broadly. Also, I just wanted to point out sheepishly that you can certainly do a fully complementary push pull output stage with tubes. It’s been done many many times , in the history of our hobby.