MC phono stage without transformer?

I had a recent demo and comparison of three SOTA phono stages,with one of them having the ability to apply the correct RIAA curve for "specific" LP's on hand.

The first two non RIAA selectable Phono stages(Vac,and VTL)sounded fabulous,and I would have been totaly satisfied with the performance,had we left it at that....

Then the change to the Zanden phono stage was made,and a comparison between the correct RIAA curve,and standard curve was demonstrated,by the flip of a switch....

The particular LP's being used were superb original pressing Decca recordings(I have a "load" of these)....

UNBELIEVABLE!!!....There was a vast improvement in depth,and distance between instruments.This was the most apparent difference I heard!....However when we read about instrumentalists moving in position while playing,it was "really" apparent to me now!

I left the demo thinking that SO many of the subtle changes and subjects we all have our "pet peeves" about(as SO important) are insignificant,as compared to having the ability to "fotz around" with the RIAA curves shown in this magnifico phono stage.

Guaranteed to deliver a totally fun few afternoons of listening pleasure,and experimentation, for the lucky owner!!


From what I understand the Zanden has the ability to switch curves for Decca,EMI,and Colimbia Lp's (I "think" DGG too)...on the fly!!

I have a vast collection of these labels,along with the Deccas.Unfortunately I cannot afford the Zanden,but those having the opportunity to compare the before and after effects of such a feature will be very impressed!

Sorry Dan,I had to get that in,and realize your "proper" direction to another thread.

Best.

Sirspeedy...The label-specific equalization curves varied by several dB and the inflection frequencies were also different. Of course you could hear a big difference.
Raul is promoting 0.1 dB or better. Not the same thing.

You got it, Eldartford. That is why I added the link to a prior discussion on this subject.

Err,well sorry!...I was just noting the clearly obvious differences observed,and thought some would be interested in this "feature laden phonostage".

I should have realized how well schooled some of you are.You got me!.....OK?

Sirspeedy, Once the stereo LP was introduced, everybody began using the same EQ curve, which was defined by the RIAA. That curve was nearly the standard in the mono LP era with very little exception. It was during the 78 period that every label had their own EQ curve. Older tube preamps like the HK Citation 1, Marantz model 1 and the like had EQ switches for these curves.

There were a number of manufacturers of stereo LP matering electronics, for example we have the Westerx 3D cutting system outfitted on a Skully lathe. The limiter module allows you to create high frequency reduction through a series of switches. These are often reserved for master tapes wherein the mastering engineer is allowed to exercise some judgment. In addition, every LP mastering system has a 'signature' sound relating to the mastering head and the sonic character of the electronics.

But they all are based on the same EQ. Changing the EQ to taste or the like has some advantage with LPs that are poorly recorded (in this case the majority of DG classical would be a great example). For me this is very much like the CD problem: if I want the music, and its only on CD, I deal with the CD colorations because I want the music. Dealing with poorly mastered LPs is the same thing.

In a nutshell, IOW, a properly mastered LP, regardless of country of origin or label will sound its best with the standard RIAA curve. If not, there is a problem in the recording process.

Establishing a proper reference in this area is a hefty problem; one that we had to face down before we were able to make any significant progress, one that every high end audio manufacturer faces whether they know it or not, and one that every record label faces whether they know it or not (and a lot of them don't!).

One thing that I can tell you about that process is that to get to a real reference, you **have** to remove any sources of coloration that will obscure the recording. To us that meant transformers, interconnect cables, and other compromises in the signal path, like Class A vs Class B. Having gotten to a point where these sources of coloration are minimized it becomes very easy to hear what something like even a decent SUT does to the sound. That puts us back on-topic right? :)