best phono preamps?

Well, in theory why have any separates at all? I mean a completely integrated source/amp/speaker so there are no cables anywhere. ;-)

In all honesty, I reserve the right to change my position if I ever get a chance to spend time with a full function Alaap in my system. Then I could really pick up on any differences in topology in a very controlled situation. However, as I make more and more changes/improvements to my system I have yet to find a point where I cannot hear more from the signal coming through my components. I haven't found any limit yet.

On the flip side, there is great benefit to me to be able to leave those other 6 tubes off if I'm just spinning CDs. I also opted for dual, stepped attenuators and no remote. This is why I think we have to look at the whole picture and not just concentrate on this one aspect. The more I learn in this hobby, the fewer absolutes I accept.

Many years ago I had the priviledge of attending the CES in Chicago- not to see all the latest gadgets, although the Sony HDTV demo was very impressive (the year was 1989). The scene was at the hotel across the street- Hifi audio equipment demonstrations set-up in hotel rooms on 3-4 floors. Music floated down the halls. All of the variations of equipment and sounds were overwhelming after a while. I wish I would have had a chance to go back with a notebook. The contrasts were remarkable- some rooms with set-ups that looked impressive sounded so-so while some rooms with modest looking (but not cheap) set-ups were so incredibly musical. That toe-tapping, involved in the music sound is what I have sought ever since.

Frankly, integrated phono preamps sound best to me for records but older ones seem to color CD's as line level preamps. A no compromise system might require two seperate preamps for analog and digital. Maybe I just never heard the right combinations, but seperate phono preamps had the right sound technically, highs/lows/openess/detail, but just were sterile and uninspiring.

I lack the prose of some to describe how music sounds in a particular system. But I can say that when the system is right, my toes just start tapping.

Dear Dan: Maybe you don't read it, I posted " everything the same " on my example.

Anyway think only in that additional cable you need on separates ( everything the same ) gear that means additional " stages/veils/distortions/noises/colorations " where the cartridge signal must pass : small wire soldered between the female output phono stage to the phono stage board: three " stages/veils " here: the solder it self on circuit board, the wire interconnect and the solder at RCA female connector, then the female connector, then the male connector and the solder it self on the IC cable.
At the other end of the IC cable ( line stage input ) the additional " stages/veils/distortions/noises/colorations " are the same number: 6+6=12 !!! plus one meter of IC cable with all the IC cable self signal degradations.

Dan, IMHO the subject here is not: """" the fewer absolutes I accept. """" but common sense, easy.

Regards and enjoy the music.
Raul.

Cmon guys, this is getting stupid.

There is more degredation in the musical signal before it gets onto vinyl for us to be worrying about 12 additional colorations a 1 metre cable makes.

I now have MC and MM stage inside my pre amp and the vinyl sounds wonderful. Vinyl also sounds wonderful on my seperate phono stage.

There are more sonic difference's going from LP to LP than there is comparing my internal and external phono stages.

We all tend to take subtle differences and AMPLIFY (& distort) them to the ridiculous.

Back to common sense now boys?

Downunder,

I see your point but I think that such small differences really do count. Obviously, to hear the differences between records initself suggests the importance of the phonolinestage: especially when you reflect on the minute mechanical impulses that are being translated from the cartridge.