Step Up Transformers….Are they Worth the Trouble?

Dear @lewm   : " aluminum cantilevers or any other type where the stylus can be press-fitted into the cantilever, rather than glued to a blank surface, may actually be an advantage. The glue adds extra mass just where you don't want it.. "

Did you listen an aluminum cartridge cantilever with stylus press fitted?

Probably not but I did it.

In the long MM thread JC posted that aluminum subject just as a characteristic and were some audiophiles as me that took that " road " in my case because my tought was that exist a more direct conection between the stylus and cantilever.

Higher moving mass? how much higher? because today stylus glued almost you can't see the " glue ". n the other side and as anything in audio always exist trade-offs and my first hand experiences about told me that the glue stylus/cantilever function as a very good feedback damping and a very good damp for the tremendous developed forces during tracking with out really makes a " damage " to that minimum " high " moving mass.

Now you have some cartridges including the MC2000 where you can have a real first hand experience next time that you need to re-tip it.

R.

@kennyc

Depending on your budget, I would encourage you to try SUT. Reach out to Bob Sattin @Bob Devices, his SUT’s are reasonably priced. Personally, I wouldn’t get hung up on Copper vs Silver windings. I do not have a direct experience with SUT yet but my upcoming audition includes a EMIA SUT that was build for Fuuga cart, trans-impedance phono, tube phono with MC/MM options.

As others have reported, a customized SUT should sound better; @mdalton recently implemented Swissoner HM-7 SUT with Koetsu Urushi Tsugaru and reported, “Way more dynamic, without losing koetsu magic”.

There is no substitute for trying things in your system and make an informed decision based on your own findings.

Raul, You are always right, but I do own and listen to the MC2000, and it does have a press-fitted stylus on its aluminum cantilever.

Lalitk, Do I understand you to say that you are going to use an EMIA SUT or a "transimpedance" phono stage (hate the term because it implies that the internal impedance of the cartridge and the finite input Z of the phono stage make no difference, but both parameters most assuredly do) or a tube phono with MM and MC capabilities?  Presumably you will mate the EMIA SUT with the MM inputs of the last named tube phono stage, yes? So you will cover all the possible ways for amplifying the output of an LOMC, except the use of a head amplifier (outboard gain stage to takes the place of a SUT).

@lewm 

That would be correct. My dealer is affording me the opportunity to choose the best option for Etsuro Bordeaux and Fuuga Carts. I will make a decision on Carts / Phono and SUT only after listening, 

Test 1 - Bordeaux/ Fuuga  ➡️  Allnic H-6500 MC Input 

Test 2 - Fuuga / Bordeaux  ➡️ EMIA ➡️ H-6500 MM Input 

Test 3 - Fuuga / Bordeaux ➡️ Konus Phono 

Test 4 - Fuuga / Bordeaux ➡️ Accuphase Phono Board, will A/B both MM and MC 

Cheers! 

Personally, I wouldn’t get hung up on Copper vs Silver windings

@lalitk @kennyc Totally agree - I became a SUT lover on "just" copper windings. In fact, tried the silver (Ag) version of Lundahl LL1931 (in a K&K box) versus the copper LL1931 in my VAC phono, and preferred copper (qualifying that a bit - the Lundahls aren’t my preference in general). Kevin Hayes of VAC has also told me he prefers the copper version, regardless of price. Not saying that can be extrapolated to other SUT makes - but copper ain’t bad! Sometimes I think that if copper cost over $1000 / oz, it would be the most desired audiophile wire metal BY FAR. We take for granted that it's so good, and affordable. 

There is no substitute for trying things in your system and make an informed decision based on your own findings.

Also totally agree