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Is RIAA equalisation enough for Phono Stages?

This question was bought up in the latest HiFi+. In particular, the editors report back from the Dem he put on at the Rocky Montain show. To summarise the argument, he says that even after all companies signed up to use RIAA in the 70's I believe, in fact they did'nt. The poor results from DGG in particular, with screetchy, painful treble, is all due to this. Played with the proper correction, they are transformed.
Now a number of stages, both cheap and expensive, provide alternative equalisation, but not all, including many expensive ones. I believe Graham Slee at the cheaper end, EAR, Manley Steelhead, Zanden, all do, for example. Should it be a more important considerration in choosing a stage? Looking at discussions on this site for example, it does not seem to come up much.
david12
jazdoc
365 posts
 
I had the pleasure of attending one of the HiFi+ demonstrations at the RMAF. They used a Zanden phono stage which has multiple (but not continuously variable) RIAA settings. The table/arm/cartridge combination was kept constant except when demonstrating the utility of a mono cartridge with a mono recording. This was a methodical demonstration with only a single variable changed during each part of the demonstration. Roy Gregory and cohorts are to be commended for taking the time to make this such a meaningful demonstration.

The results were easily heard and for me, justified the cost of the trip. IMO, if you are dedicated to vinyl and have a significant investment in analog, it behooves you to at least consider a phono stage with variable RIAA. I have recently purchased a new turntable (Galibier Stelvio/Triplanar/Dynavector XV1-S combo) and the HiFi+ demo will definitely enter into my thought process as I look for a new phonostage/preamplifier. I have many jazz records recorded prior to 1975 that should benefit. I am also looking into add a second arm with a mono cartridge for my many mono recordings.

Regards and enjoy the music.
patrickamory
193 posts
 
Tbg, thanks, but since I've got the Sentec now (and having a great time playing with it), I think I'm set for the moment!
tbg
5,263 posts
 
Patrickamory, can you tell us more about the Sentec. I have not heard of it, nor can I google for it.
patrickamory
193 posts
 
Hi Tbg, it's an all-tube unit from Sweden with almost 100 curves available, built by a retired (but apparently legendary) audio designer - cut and paste this link:

http://www.toneimports.com/sentec/sentec_eq10.html

So far it's been pretty revelatory on early '50s pressings, including Emarcy jazz, US Columbia classical (mostly pre-6-eye, i.e. blue label), early UK/Germany Decca and EMI mono classical (LXT, ALP, WALP, Furtwangler etc.), and mono French classical (Discophiles Francais). Cool looking to boot. All settings can be made on the fly.
tbg
5,263 posts
 
Patrickamory, wow Tone Imports. They also import the EMT JPA-66, which I have heard. It gave a major improvement on the early LPs, such as the early 1950s, and 78s. It probably is more expensive than the Sentec. I just noticed that the Sentec is mono. Do you have two, or do you have a mono dedicated vinyl source?
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